Chapter III: Introduction (2)

In finishing “rubbing” may be considered one of the most essential qualities, since it gives to the varnish when laid upon the wood a degree of smoothness not otherwise attainable; for by the use of the brush alone minute furrows and ridges are left upon the plastic surface of the varnish, and although good varnish possesses in itself a high gloss, the gloss is not nearly so agreeable to the eye as the brilliant polish of which rubbing is the preliminary. The reduction of these ridges and furrows is accomplished by means of finely-powdered pumice-stone moistened with raw linseed oil, applied with a piece of haircloth or other coarse and fibrous material. For rubbing large flat surfaces the haircloth is sometimes folded over a block of convenient size, but this is not practicable for articles of small size or irregular shape. In rubbing, considerable force must be used, but the stroke must be steady, and as long as possible, and great care should be taken to rub the surface uniformly, as in case it is rubbed unevenly the varnish is liable to be worn away quite to the wood in some places, and the perfect smoothness that is the beauty of a good finish will thus be impossible. The edges especially are liable to be rubbed bare, and should be carefully treated. The crevices and hollows of carvings are rubbed by means of hard-pointed sticks of various convenient sizes. The rubbing should be continued until the entire surface appears perfectly smooth and free from marks of any kind. The surplus pumice-stone and oil should all be carefully removed from the surface by means of rags, and the work may then be cleaned up with a little sweet oil well rubbed in, and retouched with a cloth slightly dampened in alcohol, which serves to remove any remaining oil from the surface. If the article has veneered panels they are now ready for the final processes of “polishing,” or “flowing,” processes, whatever the kind of “finishing,” the workman should make it a point where possible, to have a suitable temperature. No good finishing can be done under 60°, and it is hard to get the temperature too high for this work. The wood should be warm and perfectly dry, and visitors, flies, dirt, dust and dampness should rigorously be excluded from the room while the work is in progress.

The word “shellacking” has become of late very common with finishers and is often applied to first coating or “sizing,” whether shellac be used or not. This, doubtless, arises from the fact of the general employment of shellac for first coating and up to the present time has proved the most suitable medium discovered for the purpose. 1 again quote from R. A. Bahre’s papers on this subject.

Before proceeding with the application of shellac, it will be necessary to investigate the condition of the surface of the wood, taking care that no successive application is made before the preceding one is perfectly dry.

The dry condition of water-stained work may easily be determined by the uniformly dead appearance it presents, especially in the corners and angles. A surface treated with oil stain, when dry, will impart no color to the finger if brought in contact, and is effected in twelve or fifteen hours according to the amount of japan used.

The condition of a filled surface cannot be so readily observed, for in wiping off the filler from the surface, the moisture is likewise wiped off, and the surface is dry to the touch. But let us examine the pores, which have become small receptacles filled to the brim with a fatty substance. We find that the bulk of the substance in these pores does not dry so fast as were it spread out in a thin layer upon an extended surface. When regard is not paid to this condition and the surface is prematurely coated, it will be but a matter of a short time before the effects will become manifest by the cracking of the varnish, caused by the varnish becoming dry before the filler. We shall have something more to say on this subject later.

The safest way to ascertain whether a filler has become perfectly dry is to drop, while filling, a few drops upon a board and let them remain until they become hard enough to resist the pressure of the finger nail. The length of time required will depend upon the amount of oil contained in the filler.

Upon acquiring this degree of hardness the filler in the work may be considered dry, and ready to receive the first coating. This coating, which should be employed on all first-class work, is an alcoholic solution of gum shellac.

Among the advantages of this solution are, first, that it dries very rapidly, thus preventing it penetrating and sinking into the pores. Besides levelling the surface, it forms a close impenetrable body for receiving the varnish. By reason of this property it is also used for sealing up the pores of fine grained wood by applying two coats. On account of its best solvent (alcohol), it is indispensable for developing, certain stains, especially the aniline and other water stains which do not contain lye or glue. Alcohol does not affect the stains nor the glue; for this reason an alkali stain should first receive a light coat of oil, while the glue stains require a strong glue size for their development.

The second advantage of shellac solution is its exceedingly hard drying qualities; as it dries in five or six hours sufficiently hard to sandpaper, and in eight or ten hours becomes so hard that the finger nail can make no impression upon it, the surface is then ready for the second coat. In addition to this, its quality of hardness makes it indispensable for the first coating of all resinous woods, especially the pines, of which it not only seals up the pores but prevents the exudation of the resin while it sandpapers as fine as satin.

In preparing shellac for general use, dissolve in a gallon of alcohol (ethylic alcohol, spirits of wine) four pounds of the orange or five pounds of the white shellac, using the white upon light wood if a clean or clear job is required, and the orange if the color is immaterial or is required to be darkened, as the cost of the orange gum is about forty per. cent. less. The clearness of the orange gum depends much upon its freshness, and it is therefore undesirable to prepare it until it is wanted for use, when the dissolving of the gum can be accelerated by warming and continually agitating the mixture. Wood spirit (methylic alcohol) also dissolves this gum and is frequently substituted for pure alcohol, its cost being about one-third; but on account of disagreeable odor and deleterious effect it is rejected for first-class work.

The application of shellac is to an experienced finisher the most agreeable and least difficult part of finishing; but to a beginner it is often most aggravating and discouraging, it being very difficult to prevent lapping or doubling up. Especially is this the case when the lac is darker than the wood, as, for instance, in shellacking pine shutters with orange shellac, when the attempt of the beginner usually results in a total botch. An experienced hand will produce a clear and even effect by proceeding in the following manner: Having in view the fact that the wood is very soft, he will dilute his lac somewhat with the spirits, to make it work free. Then, with a double-thick flat-chiselled bristle brush about two inches wide he will apply a very free coat to the closed slats, on the bar side, including the small ogee edge of the frame, taking care to daub none on the flat surface. Then, quickly turning to the other side and opening the slats, he will finish and lay off the sides, and, again closing the slats, proceed by coating them upon the plain (non-bar) sides, including the other edge of the frame. He will then return to the bar side, open, lay off and finish; then, running the brush up and down the bar, complete that portion of the work. It may be laid down as a rule that one section should be completed before another is started. When one portion is coated, proceed with the frame by coating the outside edges and then the centre rail, cutting the joints clean. Then begin at one end of the style and follow around until the starting-point is reached, being always careful to complete as you go on.

It is sometimes required to finish shutters in a hanging condition, but, on account of the speed required in applying the shellac, there is much danger of spattering the walls or windows. If, therefore, they are hung with loose joint butts, it will be found economical to remove them and finish them in a separate room.

We have thus far referred to the shellacking of pine shutters with orange shellac. If one has acquired proficiency in this point, all the remainder will come very easy to him, especially when using white shellac (transparent), which does not show the laps after varnishing. The whole secret of shellacking may be condensed in adherence to the following simple rules: First, to keep a wet edge to work to; second, always to work to a joint before stopping; and third, never to repeat with the brush after becoming partly set, thereby causing it to “double up.”

There are several substitutes for shellac, but the operator should remember they are only “substitutes,” and cannot compare with the “real thing” and only the man who takes his work at starvation prices, will use the “subs,” unless such be specified.

Oil shellac, which is used to a great extent, is generally supposed to be gum shellac dissolved in a volatile oil, and in quality virtually equal to alcohol shellac. This supposition is wrong however, for the gums employed are of an inferior sort, being chiefly taken from our pines and dissolved in turpentine or naphtha, and having a little linseed oil and chemical dryer thrown in. When dry it is very brittle, easily spoils and will not resist the action of water on the grain, and is utterly useless as a substantial finish. This so-called shellac, is applied in the same manner as varnish.

Glue size proves most effectual in holding out varnish, and while the work is new, it is not easily marred. In the course of two or three years, however, the glue decays, when the slightest bruise causes the varnish, size and all to give. For developing water-stains containing alkali it is quite effective.

“Hard oil finish” so-called, is simply an application of a quick-drying brittle varnish, that will polish with rubbing; for inside work it contains very little “oil” while that prepared for outside purposes, contains more “oil,” is more expensive, dries slower and is more durable.

It matters but little whether we employ shellac or a substitute, or even varnish for first coating. It should be allowed to dry and then receive a rubbing to take off all the grit or roughness which may have been caused by a little filler remaining on the surface or dust settled upon it before dry. Whatever it may be, it should be smoothed before applying a coat of varnish. For this purpose No. 0 sandpaper will be found the best adapted, but, as the ordinary sandpaper is very heavy, and therefore stiff, we are liable to cut through the edge in using it. Neither does it conform easily to mouldings and corners. It is therefore advisable to employ the thin paper especially prepared for the purpose; but if it cannot be obtained, the heavy should be split—that is, by detaching one or two layers of the back paper. This can be accomplished in the following manner: Hold one corner of the sheet between the thumb and forefinger; rub that corner briskly with a moistened finger of the other hand, and the layers will then become detached and can easily be separated by running the finger down the edge between the two layers. Then, holding the paper down upon a flat surface, the layers can be drawn asunder across the whole width of the sheet. By tearing the sheet once lengthwise and twice crosswise, we have pieces of a convenient size for use. As new paper scratches more or less, it will be advisable to rub the grit off upon another piece; then by moistening the back we are able conveniently to get into the corners without scouring the edges through. Should the sandpaper still scratch (which it frequently does when inferior stock is used for coating), haircloth will do instead, using the hair side on the surface. This can be obtained at any furniture repair shop.

A very important part of hardwood finishing is the varnishing. Simple as it looks, it is extremely difficult to properly lay on a coat of varnish, and experienced varnishers will tell us that this is so. Scarcely two varnishers work alike, and it takes time and patient experience with any particular varnish to learn its peculiarities. We cannot teach how the varnishing should be done, but we can give a few general directions that may prove helpful. In the first place, do not be afraid of your varnish; do not get excited if it threatens to give trouble. I have seen a carriage-painter tremble so when applying a strange varnish that he appeared as though in an ague-fit, and it is needless to say that it was a bad job. Apply the varnish quickly and freely, and do not work it much; the less varnish is worked after being applied, the higher will be the lustre. Remember this, for it is true and very important to know. Flow it on freely with a flat brush of suitable width, and use a badger or fitch hair brush; a fine elastic or half-elastic chiselled bristle brush is very good. I mention the badger and the fitch more because they will outwear any bristle varnish brush and of course are cheaper.

A pound or any other bristle brush will answer for varnishing grained or painted work, on which the varnish is generally scrubbed, but in varnishing natural wood it should be laid on so as to level the surface, for which purpose fine-haired brushes are necessary.

Having the surface of the wood filled and shellacked, we have a ground-work suitable for any class of work from piano polish to cheap one-coat work. In selecting the varnish for the latter—which is generally left in the gloss—use a “finishing” varnish; that is, a varnish retaining a bright gloss when dry. However, the varnishes with the brightest gloss are generally not very durable. When successive coats are to be applied either in oil—finishing—_i. e._, oil rubbing—or polishing, a varnish is required that dries hard, but not brittle, the latter especially being characteristic of cheap gum varnish, such as colophony—common pitch or rosin—poor copal, etc. If the varnish contains much oil, it will render it elastic, making it difficult to rub; and therefore a good rubbing varnish should be made either of amber or of copal, the former being especially adapted to the manufacture of polishing varnish, as the gum is susceptible of a very fine polish. Varnishes to suit almost any purpose are generally obtainable at the dealers. We never can expect good results if we put a hard varnish over an elastic one or apply a coat before the previous one is dry. These are the main causes for varnishing cracking. The same trouble also arises when varnish is applied too heavily, so that the coat forms an enamel on the surface, remaining soft underneath, and then drying very slowly. While drying, the surface enamel contracts, consequently drawing the cracks open quite wide.

It is impossible to lay down rules which by simply being read would make a practical varnisher of a person, as varnishing requires much judgment and practice, but a few “tips” may not go amiss; at any rate, they assist in completing the subject.

We will now enter a room that has been sandpapered as described previously, having a temperature of about seventy degrees. We sprinkle with water, not flooding the floor, as a very damp atmosphere would prove injurious to the gloss of the varnish, then with a painter’s duster carefully dust off all the work. This generally ends the preparation, but in order to remove all the dust it requires wiping off with a damp chamois skin; and when all is clean and dry, we are ready for the varnish. For a bucket or pot use one of the clean tin pails known as “two-quart-lunch pails.” Then, to prevent the varnish from running down the outside by scraping the brush over the edge, a bar should be soldered across the pail about ½ inch from the top and a little on one side from the centre. Manufacturers claim that varnish should be used just as it is sold, and we find that nearly all good quality of varnishes work freely without diluting, but how to obtain good results with some of their cheap stuff without diluting remains a mystery to finishers. If, therefore, the varnish is of a poor, thick quality, add turpentine until it spreads freely with your “fitch brush,” which, if the work is very complicated, should be two inches in width; and if the work be plain, a three-inch could be used to advantage. Varnish should be applied freely—or, rather, flowed on, and not rubbed out, or “skinned” on, as finishers term it. In applying the varnish, first run freely over a panel, then run over it crosswise. If there are projections rising with an angle, or any grooves or depressions, as in mouldings, they will retain more varnish than the flat surface, and to prevent running down in them it requires drawing out. This is done by stabbing the brush into the angles and at the same time drawing it out toward the flat surface; and when this is done, the whole length of the angle, we finish by laying off up and down. This should complete this portion of the work without being obliged to touch it again, and thus proceeding until a section of panels have been finished, when the frame should be gone over. In coating the panels the surface of the frame is very often daubed—in fact this is nearly inevitable—and to coat over this would form fat edges; so we shall again make it fluid by mixing it with the fresh varnish, and this is done by “pounding” it up well—or, as a painter would call it, “stabbing” it—when it can be evenly laid off. The amount a surface will hold without running can be ascertained only by experience and judgment; although much depends upon the way it is laid off, as a greater quantity can be applied if laid off up and down than horizontally, as the brushmarks give occasion for the varnish to “sag.” But if such should take place after the varnish is partly set, it could be stopped by stabbing with the brush rubbed out dry, although this will leave the surface pitted, but, at any rate, much easier to rub out than a run. The brushes, when not in use, should be kept in varnish or washed out clean, which can be done by rubbing them out well with kerosene and then washing them with soap and water until perfectly clean.

Should it be desired after applying one coat of varnish, to proceed with the oil finish, that is “oil rubbing or polishing,” we should first take into consideration the condition of our surface. Providing that one coat has filled the little depressions of the grain to a perfect level, we are prepared to proceed with the rubbing; but this levelling is seldom effected with one coat, requiring, as a rule, at least two coats for fine wood and three or four coats for coarse-grained woods. The main object, however, is to form a coating sufficiently heavy to prevent rubbing it entirely off from the elevations in getting it down to that in the depressions.

As to the best method of rubbing and polishing as much or more diversity of opinion exists than in any other branch of the trade. This is probably due to the scheming and experimenting of the so-called “rushers,” who get nervous at seeing a man take sufficient time to rub down a surface, and thus devise some new plan for hustling out the work, and generally, when the gloss is removed, the job is completed regardless of appearance. But nevertheless in all of these snide finishes there is generally a point or two of importance for us. We have for instance, a dead finish produced by adding wax to varnish. This is made by scraping the wax fine, putting it into a dish and covering it with a good turpentine japan placed over a fire to dissolve, but with a moderate heat. When dissolved, add twice its amount of varnish and apply with a fitch flowing brush. Although this does not produce a rubbed finish, it produces quite a clever imitation, and we can use it to advantage on the slats of shutters and on elaborately carved capitals, etc. It is not infrequently employed in floor finishing.

There is a method practised which removes the gloss from the varnish by rubbing with a mixture of oil and pumice-stone applied with a furniture scrub brush, or, for a large flat surface, a commercial stencil brush—No. 12 or 14 is frequently used—dipping the brush into the mixture and scrubbing it on to the surface; three or four scrubs are generally sufficient, depending particularly upon the cleaning off with wadding completely to remove the gloss. Unless the varnish has been very cleanly applied and is perfectly level, it does not amount to much, for it does not smooth the surface.

Others, again, first sandpaper the surface with fine sandpaper, then rub it a trifle with oil and pumice, using a piece of burlap or old felt boot for a rubber. The only way yet discovered by which to level the surface is to rub it down with felt. For this operation we provide ourselves with a set of rubbers which may be made as follows: First take a piece of white Spanish felt one inch thick and about 3x5 in size; split it in two, and keep one half for the large plain surfaces. Then again split the other half, obtaining two thin pieces, reserving one for mouldings, etc., to which it will easily conform. We now want some tools to get into small corners so we whittle sticks about six or eight inches long and in shape of a triangle, half round and oblong; then, cutting the ends square, glue a piece of thin felt upon it, allowing the glue to dry thoroughly before putting in oil. For getting around in the bottom of carvings, we whittle a stick of basswood bark, and, moistening it, stub the end to a pulp. A scrub brush will also be necessary to remove the gloss from the beads and around the edges of the panels, etc. The oil generally used for rubbing is golden oil, known as machine oil, although crude petroleum, raw linseed and cotton seed oils are often used, but none of the latter cut so rapidly or clean off so well as the golden.

Pumice-stone No. 0 is generally used, although some prefer No. 00 or 000, but these are quite fine, and therefore do not cut very fast. In applying the oil and pumice, some prefer dipping the rubber first into the oil, then into the powder, and thus convey it to the surface, while others apply the oil with a piece of wadding, then sprinkle on the powder.

To excel in rubbing, like all other branches of the trade, requires practice, always remembering that if the rubber is allowed to lag over the edge while drawing back and forward it will rub the edge through. And, furthermore, the work should always be rubbed lengthwise the grain, so if it be necessary at the ends of panels next to the rails, where it is generally inclined to be rough, to rub crosswise, it should be rubbed down crosswise, but finished lengthwise, to take away the scratchy appearance. Before attempting to rub, the varnish should resist the impression of the finger nail, or when rubbed before dry it will again flow, causing bright spots to reappear, generally known as “sweating,” and would require re-rubbing after becoming dry. An experienced hand could easily tell when his surface was sufficiently rubbed by raising the felt or edge and drawing a clean streak the length of the work, and if the surface has lost its pitted appearance the rubbing is complete and ready to be cleaned off. This is accomplished easier if done directly, not allowing the oil to soak and soften the varnish, which causes the surface to appear mottled and smeary.

In cleaning use fine softwood sawdust, moistened a trifle to prevent scratching; and when the bulk of the oil is removed, the corners picked out and the work dusted it is again wiped off with wadding or waste, splitting the sheets of wadding to get the soft inside, then with the point of a pick and the wadding the beads and corners are carefully freed from all particles of oil and pumice. Should there be sags and runs or wrinkles which the ordinary rubbing did not remove, they should be rubbed out with pumice and strong soapsuds, then rubbed over a little with the oil again.

It is often required, in finishing a job, to form a contrast by polishing the raise of the panels, thus producing a rich and elegant finish.

In polishing as well as rubbing the hustlers have their schemes. One scheme commonly practised is, after the ordinary oil rubbing, to rub the surface to be polished with a bunch of raw cotton moistened with about equal parts of sweet oil and alcohol, the oil and spirits being put into a bottle and well shaken before moistening the cotton. Although this may be a hustler’s scheme, an experienced hand with it can produce elegant results. In hand polishing proceed somewhat differently. First complete the oil rubbing, omitting the parts to be polished, then proceed by rubbing those parts with pumice and water, using pumice for that purpose, levelling the surface as much as the coating will permit, then cleaning off with damp chamois frequently rinsed in clean water. We then apply a coat of polishing varnish, which, when dry, is again rubbed down with pumice flour and water, using a fine but soft piece of felt; and when perfectly smooth, it is carefully cleaned off, so that none of the pumice remains upon the surface, as this will scratch and destroy the polish. It is then rubbed again with rotten-stone and a piece of chamois leather, using the lump of rotten-stone and changing the rubber by rubbing it over the lump three or four times, then rubbing the surface quite briskly, for in this rubbing is where the polishing really is done. This powder then is allowed to dry upon the surface, and then with a short circular motion with the ball of the hand we proceed to rub off the powder, frequently wiping the hand upon a rag free from all other dust or pumice-stone. Then, if the varnish was of a superior quality, the polish is complete; but should the varnish contain cheap gum or a too great amount of oil, it is nearly impossible to produce a bright polish, although in this case the method first mentioned would prove quite effective—viz., that of using an old silk handkerchief to rub with in place of the cotton.

In the finest sort of general work, get a good quality of carriage varnish, and be sure and, do not _mix_ either _oil or turpentine_ with it, as it is prepared and put up for immediate use and specially prepared to meet special needs. Two coats of varnish are usually sufficient when the filling has been complete. When the first coat is dry, rub it down with pulverized pumice-stone and water—in some cases simply with curled hair, which removes the gloss and makes a good finishing-coat possible. The rubbing accomplished, wash and dust off well; then apply the finishing-coat of varnish. If a “polished” surface be required, the last coat must be rubbed down as before with pumice-stone and brought to a mirror-like surface with rotten-stone and water. Clear up with a little sweet oil, and afterward with a cloth dampened with alcohol. A “dead finish” is produced by rubbing the varnished surface with powdered pumice-stone and raw linseed oil, which gives a semi-lustrous finish of great beauty and durability. Another method of polishing hardwood is described as follows: Take a long piece of list or coarse flannel and roll it up in a wad like a roll of rope, and over this wrap a soft piece of linen several times doubled up; sew it on tightly and form a sort of handle by tying up a round wad. Then put into a saucer some shellac varnish, into which dip the flat side of the wad until it becomes saturated. Pouring a few drops of boiled linseed oil on the face of the wad, rub the work briskly and lightly in a circular direction, doing a small space at a time until the whole surface is gone over. Repeat the operation, allowing each successive application to dry well, or rubbing dry and not putting on too much polishing-liquid at a time.

Observe cleanliness and care during these operations. Such parts as cannot well be reached with the wad polish with a bit of flannel. This will give a very durable polish, and the parts are readily brightened up at any time by means of flannel moistened with oil. Remember that in all these operations the utmost care and patience must be exercised if one would have a perfect job. Do not slight the work in the minutest particular. Take your time and do everything as it should be done, filling in well, rubbing down smoothly and dusting off carefully.

A term sometimes used by American workmen is somewhat misleading; I refer to the word “flowing,” as applied to varnishing. The term is given to the process of giving the work, after it has been properly prepared, a coat of varnish made expressly for that purpose, called “flowing varnish.” The process as so named, as given herewith is quoted from an English authority:

Veneered panels are usually finished that way. Some finishers, when the body-work is to be dead finish with flowed panels, coat the panels with the same varnish—shellac or other—used for the body, and rub them with pumice-stone and oil; in fact, up to the point of flowing make no difference whatever in the treatment of the body-work and the panels. Such treatment is not recommended; whatever varnish is used for the body-work, the panels should be coated with two or three coats of the best rubbing varnish; oil should not be used for rubbing, as, if the surface is at all greasy, the subsequent coat of flowing varnish cannot be evenly laid, therefore water should be used with the pumice-stone for rubbing, in place of oil. After the rubbing is completed, wash off with a sponge, and dry with a chamois skin. Let it stand for a day, and after freeing the work from all pumice-stone and dust, taking it to the flowing-room, which should be clean, dry, and free from all draughts of air, apply the varnish with a flat brush of suitable width, made of badger or fitch hair; lay the varnish on smoothly and evenly, leaving no marks of the brush. The quicker the varnish is put on, and the less it is worked, the better it will look. Let it stand in the room until it is hard enough to handle. Upholstered work should not be flowed until it comes from the hands of the upholsterer and is ready for the ware-rooms.

Varnish polishing is used when it is desired to give to the work a bright lustre, differing from the natural gloss, and resulting from a perfectly smooth surface produced by rubbing. The previously applied coats of rubbing varnish having been rubbed down with pumice-stone and water, one or more coats of polishing varnish are applied, rubbed down as before, and brought to a bright mirror-like surface with rotten-stone and water. Clean up with a little sweet oil, and afterward with a cloth damped in alcohol.

There are many makes of varnish in the market at the present writing, that are especially adapted for natural wood finish and which may be obtained from any respectable dealer. The most reliable manufacturers of varnish in the United States, whose preparations may be depended on to a dead certainty, do not number more than a half a dozen firms among which may be named Devoe & Co., of New York City, Murphy & Co., of New York, and Berry Bros., of Detroit, Mich. The Murphy Company make a transparent varnish that is extensively used in the trade. It is used for either a high polish or dead surface. It is recommended especially for developing the grain of natural wood; for durability in all temperatures, freedom from discoloration from soap, water or acids, a perfect adherence to the surfaces, preventing cracking, flaking or blistering, while acting as a good preservative of the wood or metal, preventing either decay or rust.

It is made in different qualities, adapted to interior finishing on walls, floors or ceilings in halls, bath-rooms or kitchens for dwellings, asylums and hospitals, and also for exterior work, such as front doors, vestibules, window castings, and protecting the wood from weather exposure.

The Berry Bros. of Detroit, also make a white varnish that possesses all the requisites of a first-class finishing material. The preparations of Devoe & Co. are so well known and so universally used, that only a bare reference to them is necessary. Doubtless there are other makes of varnish that answer equally well with those named.

I think I have now placed before the reader pretty nearly all that is worth saying on the subject of hardwood and natural wood finish, and have drawn largely from the best authorities extant; but it would not be wise to close this section, without giving as briefly as possible, a few rules on the now almost obsolete process of French polishing, as occasionally this method of finishing is employed for certain purposes:

French polishing is a method of varnishing by rubbing the varnish upon the surface of the wood instead of applying it with brushes. When varnish is applied simply with a brush, a comparatively uneven surface results, rendering necessary the subsequent process of rubbing and polishing, but by the method of French polishing, a smooth and continuous, surface hard and not easily scratched, is secured.

All the polishes are applied very much in the same way, and a general description will therefore be sufficient. To obtain a good polish with lac varnish on wood, the quantity applied must be very small, and must be rubbed continuously until dry. If the work be porous or cross-grained, it will be necessary to give it a coat of thin clear size previous to commencing with the polish; when dry, the surface must be smoothed with fine glass or sandpaper. The size fills up the pores and saves the polish, and also saves considerable time in the operation.

Make a wad of cotton-batting, covered with several folds of very new fine soft linen cloth; put the wad or cushion to the mouth of the bottle containing the preparation (or polish) and shake it sufficiently to damp the cloth; then proceed to lightly rub the work with circular motion; as the rubber becomes drier, the pressure may be increased, but care should be taken not to press too heavily when the rubber contains much polish, as a streakiness will result. The circular motion should be continued until the rubber becomes quite dry, when more polish may be taken upon it and the rubbing renewed. It should be borne in mind that the rubber should never be raised directly from the work, but should be raised with a sweeping motion; also that it should never for a moment remain quiet upon the surface; and that its motion should be as even as possible; neglect of these precautions will produce a rough surface wherever the rubber remains quiet or is improperly removed. The circular rubbing must be continued until the surface appears perfectly smooth and the pores are no longer visible. Be very particular to keep the cloth covering of the wad clean and soft; it is desirable to use a clean portion each time it is dipped in the polish. It is quite likely that in about twelve hours after the above operation the surface of the work will be lustreless, and the grain plainly visible, in that case proceed over the work again until the grain is thoroughly filled. French polishing is a process requiring particular care and skill, and considerable experience is necessary to produce good results.

Beginners will find that they will be more successful with a flannel rubber, made in the shape of a ball. Most polishers use wadding, which is more pliable and better to get in the internal angles or small mouldings. A bottle with a slit cork is the best to apply the polish to the rubber. In commencing, the rubber should not be rubbed quite dry, as you will never get any body on the work by so doing; but, as the shiny appearance advances, you must rub each rubber dry. Every time the rubber is wetted with polish it should be pressed in the palm of the left hand, which will equalize the polish. After the cover is put over, which should be some clean old cotton or print rags, the top of the finger should be dipped in linseed oil and applied to rubber-cover—just enough to keep it from sticking. As soon as the cover has a shiny appearance, it should be removed to a fresh place. As soon as the work has got a good body of polish on, it should be set away for at least ten hours, to allow for the polish to sink, which always takes place.

Before commencing to polish again, the work should be very carefully rubbed over with the finest glass-paper obtainable, taking care not to cut through the skin; then proceed as before. Be sure never to let the rubber stop in one place for an instant, as it will surely take off the polish to the bare wood and spoil the job. After the work has sufficient polish on, it should be allowed to stand three or four hours before spiriting off.

The same rubber will do; only use spirits. Just damp the rubber, and cover three or four times double with cover, and rub very lightly over the work; but care must be taken not to make the rubber too wet, or the work will be spoilt. The same process will answer for pine or deal, only no filling is required, but a coat of clean patent size, before applying the polish.

The ingredients for the above kind of work are quite numerous, but shellac, dissolved in alcohol, is the basis of all French polishes, and some finishers use thin shellac varnish without other admixture, slightly moistening the rubber with linseed oil to prevent stickiness and make it work smoothly. There is a great variety of admixtures and diversity in the proportion of ingredients, but the differences are not material. I subjoin a number of receipts.

=First and Best.=—To one pint of spirits of wine add a quarter of an ounce of gum-copal, a quarter of an ounce of gum-Arabic, and one ounce of shellac.

Let the gums be well bruised, and sifted through a piece of muslin. Put the spirits and the gums together in a vessel that can be closely corked; place them near a warm stove, and frequently shake them. In two or three days they will be dissolved. Strain the mixture through a piece of muslin, and keep it tight corked for use.

=Next.=—Take one ounce each of mastic, sandarac, seed lac, shellac, gumlac, and gum-Arabic; reduce them to powder; and add a quarter of an ounce of virgin wax; put the whole into a bottle, with one quart of rectified spirits of wine; let it stand twelve hours, and it will be fit for use.

=Another.=—Put into a glass bottle one ounce of gumlac, two drachms of mastic in drops, four drachms of sandarac, three ounces of shellac, and half an ounce of gum dragon; reduce the whole to powder; add to it a piece of camphor the size of a nut, and pour on it eight ounces of rectified spirits of wine. Stop the bottle close, but take care, when the gums are dissolving, that it is not more than half full. Place near a warm stove until dissolved.

=Other French Polish Receipts.=—1 pint naphtha, 3½ ounces orange shellac, ½ ounce elima. Darken with red saunders wood.

To one pint of spirits of wine, add half an ounce of gum shellac, half an ounce of seed lac, and a quarter of an ounce of gum sandarac; submit the whole to a gentle heat, frequently shaking it, till the various gums are dissolved, when it is fit for use.

Shellac, 6 ounces; naphtha, 1 quart; sandarac, 1 ounce; benzoin, ¾ ounce.

Three ounces shellac, ½ ounce of gum mastic pulverized, and one pint of methylated spirits of wine added. Let it stand till dissolved.

Twelve ounces shellac, 2 ounces gum elima, 3 ounces gum copal, 1 gallon of spirits of wine; dissolve.

The following must be well mixed and dissolved:—Pale shellac, 2¼ pounds; 3 ounces mastic, 3 ounces sandarac, 1 gallon spirits of wine. After the above is dissolved, add 1 pint copal varnish, 1¼ ounces shellac, ½ ounce gum juniper, ½ ounce benzoin, ½ pint of methylated alcohol.

=A Good Polish.=—To a pint of spirits of wine add, in fine powder, one ounce seed lac, two drachms of gum guaiacum, two drachms of dragon’s-blood, and two drachms of gum mastic; expose them, in a vessel stopped close, to a moderate heat for three hours, until you find the gums dissolved; strain the whole into a bottle for use, with a quarter of a gill of the best linseed oil, to be shaken up well with it.

This polish is more particularly intended for dark-colored woods—for it is apt to give a tinge to light ones, as satinwood or air-wood, etc.—owing to the admixture of the dragon’s-blood, which gives it a red appearance.

=A Polish that Will Stand Water.=—Take a pint of spirits of wine, two ounces of gum benzoin, a quarter of an ounce of gum sandarac, and a quarter of an ounce of gum anime; these must be put into a stopped bottle, and placed either in a sand-bath or in hot water till dissolved; then strain the mixture, and, after adding about a quarter of a gill of the best clear poppy oil, shake it well up, and put it by for use.

=Prepared Spirits.=—This preparation is useful for finishing after any of the foregoing receipts, as it adds to the lustre and durability, as well as removes every defect, of the other polishes; and it gives the surface a most brilliant appearance.

Half a pint of the very best rectified spirits of wine, two drachms of shellac, and two drachms of gum benzoin. Put these ingredients into a bottle, and keep it in a warm place till the gum is all dissolved, shaking it frequently; when cold, add two teaspoonfuls of the best clear white poppy oil; shake them well together, and it is fit for use.

This preparation is used in the same manner as the foregoing polishes; but, in order to remove all dull places, you may increase the pressure in rubbing.

=Polish for Turner’s Work.=—Dissolve 1 ounce of sandarac in ½ pint of spirits of wine; shave 1 ounce of beeswax, and dissolve it in a sufficient quantity of spirits of turpentine to make it into a paste, add the former mixture to it by degrees; then, with a woollen cloth, apply it to the work while it is in motion in the lathe, and polish it with a soft linen rag; it will appear as if highly varnished.

=A French Polish Reviver.=—Beat gum acacia and white of two eggs in a mortar until they amalgamate; then add half a pint of raw linseed oil and best vinegar, eight ounces methylated spirits of wine, one ounce hydrochloric acid and two ounces muriate of antimony. They are to be rubbed on the surface of the furniture until dry, and will give a brilliant and lasting polish.

It now remains to explain the several varieties of finishing in use; these are largely derived from the peculiar qualities of the different varnishes used. Polishing varnishes, which are very hard and durable, are so called because their surface can be brought to a high lustre by rubbing with the proper materials. Flowing or finishing-varnishes contain more oil than polishing-varnishes, dry more slowly, and are softer, but their peculiar qualities are brilliancy and durability, fitting them for work requiring a brilliant gloss, such as veneered panels. Rubbing-varnishes are those that dry sufficiently hard to admit of being rubbed to a smooth surface. Turpentine varnishes, being the cheapest variety, are employed for cheap work, such as common chairs, bedsteads, &c.

_Dead Finish_ is a term applied to the finish produced by the reduction of any of the rubbing varnishes with powdered pumice-stone, and raw linseed oil, the surface thus produced being left in the semi-lustrous state by omitting the polishing process. It is now more used than any other for body-work, shellac varnish being generally employed because of its adaptation to the requirements of fine cabinet-work, and its properties of quick and hard drying. Copal, anime, and amber varnishes are also used, but are slower drying. The number of coats required depends somewhat upon the quality of the filler, but usually three coats, and sometimes less, are amply sufficient.

=Varnish Finish.=—=For Cheap Work.=—One coat of filler or stain followed by one coat of cheap turpentine varnish without rubbing. In this class of work the brilliancy of the gloss and covering qualities of the varnish are principally considered. The cheaper turpentine varnishes have a brilliant gloss, and dry very hard, but the gloss is not permanent, and after drying the gum is very brittle and easily cracked and broken. The gum is principally common resin.

=Wax Finish.=—Mix together, with heat, white wax, and spirits of turpentine to the consistency of thick paste; when cold, apply it to the work with a rag; rub on heavily so as to fill the pores of the wood; remove all wax from the surface with a wooden scraper made in the shape of a carpenter’s chisel; smooth off with a bunch of soft rags by rubbing hard and quick for a few minutes; finish with a little French polish applied with a cotton pad. For table tops and all large flat surfaces, allow the wax to remain on, and finish with a warm iron by passing it lightly and quickly over the work until the wax is made smooth and the surface is sufficiently polished. This is not considered a desirable finish, as it is not durable, and water spots it very easily.

The brushes required for varnishing are of many kinds and sizes and a description of even a portion of them, is out of the question in a small work of this kind; however a few remarks concerning them may not be out of place. For spirit varnishes, camel’s-hair pencils and brushes are used, the sizes of which vary from one-quarter to three-quarters of an inch diameter, according to the size of the work. When the surfaces are very large, flat camel-hair brushes are used; but from their comparative thinness they scarcely contain a sufficient quantity of varnish to preserve the brush uniformly charged in passing over a large surface. Turpentine and oil varnishes require less delicacy; and flat brushes, made of fine soft bristles, are generally used, or sometimes ordinary painting brushes are employed, but they are rather harsh, and, owing to the adhesion of the varnish, the hairs are apt to be loosened, and come out. Brushes should always be kept perfectly soft and clean, and therefore should never be laid aside when through work, without cleaning. For this purpose turpentine is best; the brushes can either be washed out quite clean in it, dried on a cloth, and laid aside, or the bristles can be partially immersed in turpentine and allowed to remain in it until wanted for use. Warm water and soap will also serve to clean the brushes. If, however, the brushes are laid aside without being thoroughly cleaned, they will certainly be ruined by the hardening of the varnish.

Varnish pans can be procured at any varnish shop. They are constructed of tin, with a false bottom; the interval between the two bottoms is filled with sand, which being heated over the fire keeps the varnish fluid, and it flows more readily from the brush. There is a tin handle to them, and the false bottom slopes from one end to the other, which gives sufficient depth when the varnish is low. They should also have a wire fixed across the top to wipe the brush against. An ordinary preserve jar is frequently used for containing the varnish, and is sufficiently suitable; but it also should have a wire or string stretched across the top, for reducing the quantity of varnish taken up by the brush. The quantity of varnish poured into the jar should be sufficient to nearly cover the hairs of the brush in order to keep it soft. Too small a quantity of varnish is liable to thicken rapidly by evaporation, which should at all times be prevented as far as possible, by keeping the vessel closely covered when not in actual use.

=The Various Woods, their Stains and Finish.=—The foregoing rules and instructions apply, in a great measure to all woods that are to be finished in natural colors or stained, but under this head it is intended to take each wood separately, with regard to coloring, and other matters not before mentioned, that may be considered necessary to insure good work.

It should not be forgotten, when speaking of hardwood finishing, that some of the prettiest woods used, are not “Hard” but soft woods among which may be mentioned pine of various kinds, poplar, cedar, redwood, hemlock and basswood. When some of these are finished in their natural state or stained to imitate harder woods their beauty is much enhanced and they become deserving of more than a passing notice. Pine when properly prepared, is in my opinion one of the most useful as well as one of the prettiest woods that Nature has given to this continent, and hemlock which is a much despised wood, when properly prepared and finished in the natural state, or slightly “Mahoganized,” makes the richest of panels for doors, wainscot or other house finish. As oak and mahogany are rivals as to which is the better and handsomer woods for finish, I will commence this section with those woods, giving oak the preference.

=Oak.=—We have in this country over forty kinds of oak nearly every one of which may be used for some special purpose, those most used for building finish and for furniture however are only few, among which are the white oak, (_Quercus rulia_), rock oak (_Quercus primas murticola_) and black oak (_Quercus tindoris_). All of the above named oaks are capable of being handsomely finished, the white and black oaks being the best and the red being next.