Chapter V: Introduction (4)

A wash of one part of nitric acid in ten parts of water will, if well done, impart a stain resembling mahogany to pine wood which does not contain much resin. When the wood is thoroughly dry, shellac varnish will impart a fine finish to the surface. A glaze of carmine or lake will produce a rosewood finish. A turpentine extract of alkanet root produces a beautiful stain which admits of French polishing. Asphaltum, thinned with turpentine, makes an excellent mahogany color on new wood.

=A Method.=—Of imparting to any plain white wood the appearance of cedar wood is as follows:—Mix two parts of catechu, and one part of caustic soda, in a hundred parts of water (all by weight). The article to be stained should be boiled in this solution for some hours, and is then rinsed in clear water and dried. If the desired depth of tone has not been obtained, a second boiling must be resorted to. This stain is said to sink so deep into the wood that even thick sheets of veneer thus treated will be colored right through; while other wood articles thus stained may be safely manipulated without any fear of the original color of the wood showing through.

=For a Brown Stain.=—Boil 1 lb. of the brown pigment called Terre de Cassel with 4 quarts of water, until it is reduced one-third. Mix two ounces (Troy) of white potash with sufficient water to dissolve it, and mix with the Terre de Cassel. This stain must be applied with a brush, two or even three times, according to the depth of the shade required.

=Another.=—Paint the wood with a solution made by boiling one pot of catechu with thirty parts of water and a little soda; when dry paint over with another solution made of one part bichromate of potash and thirty parts water. By a little difference in the mode of treatment, and by varying the strength of the solutions, several shades of color may be given.

=For a Black Dye.=—Put 6 lbs. of chip logwood into the copper, with as many veneers as it will conveniently hold, without pressing too tight; fill it with water, and let it boil _slowly_ for about three hours; then add half a pound of powdered verdigris, half a pound of copperas, and four ounces of bruised nut-galls; fill the copper up with vinegar as the water evaporates; let it boil gently two hours each day till the wood is dyed through.

=To Brighten Stains.=—Any of the stains named (except the surface stains) will be rendered much more brilliant by an application of the following: 1 oz. nitric acid, ½ teaspoonful muriatic acid, ¼ oz. grain tin, 2 ozs. rain water. Mix in a bottle, at least two days before using, and keep the bottle well corked.

The above stains are probably the most important to a house finisher, and, as they have all been employed and found practicable, they can be relied upon. In performing a small job it will generally be found more convenient and economical to obtain the stain from some furniture shop where it is kept in bulk.

The best way to preserve stain is to keep it in bottles or jugs. It is said that four or five drops of creosote added to a quart of stain will prevent it from becoming mouldy and stagnant.

The stainers at the furniture shops have contrived a scheme to prevent their hands from becoming deeply stained while at work, by dipping them into a quick-dry varnish or oil shellac, and then in cleansing them they rinse them first in water to remove the stain, and then submit them to a turpentine bath, thus removing the varnish.

=Miscellaneous.=—Many processes have of late been applied to the finishing of wood-work, such as staining in various colors, fumigating and other methods. A new finish is now practised in the European market, and is known as the Rubenick process. It is used for giving a metallic surface to wood, and consists in first immersing the wood in a bath of caustic alkaline lye, in which it is allowed to remain for two or three days, according to the degree of permeability of the wood, at a temperature of 167° to 194° F. From this bath the wood passes to another of hydrosulphate of calcium, to which is added, after 24 or 36 hours, a concentrated solution of sulphur. Here it remains for about 48 hours at a temperature of 95° to 122° F., and, lastly, for from 30 to 50 hours the wood is immersed in a solution of acetate of lead at the same temperature. The timber, thus pickled, is allowed to dry, when it is said to be susceptible, after burnishing, of a high polish and even metallic luster, which is more brilliant if the surfaces of the wood have been previously rubbed with lead, tin or zinc plates, and then polished with a glass or porcelain burnisher. Treated in this way the wood may assume the appearance of a metallic mirror, being also hard and very strong.

With the majority of lumbermen the term hardwood includes everything except white pine, and is accepted in that sense generally by the trade, though in reality there are two or three woods, such as buckeye and Southern white lynn, that are softer than white pine. Some writer, we know not who, says: “The relative hardness of woods is calculated by the hickory, which is the toughest. Estimating this at 100, we get for pignut hickory 96, white oak 84, white ash 77, dogwood 75, scrub oak 73, white hazel, 72, apple tree 70, red oak 79, white beech 65, black walnut 65, black birch 62, yellow and black oak, 60, hard maple 56, white elm 58, red cedar 56, cherry 55, yellow pine 54, chestnut 52, yellow poplar 51, butternut and white birch 43, and white pine 35.”

According to this formula, woods possessing a degree of hardness equal to only about 40 per cent., or less than that of hickory, should not be classed as hardwoods. Such woods are, however, limited in quantity, and are not of sufficient importance to justify a classification, and the trade will continue to construe hardwood to mean everything except white pine.

=Dyeing= wood is mostly applied for the purpose of veneers, while staining is more generally had recourse to give the desired color to the article after it has been manufactured. In the one 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 most colors holly is preferable. It is also best to have wood as young and as newly cut as possible. After the veneers are cut, they should be allowed to lie in a trough of water for four or five days before they are put into the copper; as the water, acting as a purgative to the wood, brings out an abundance of slimy matter, which must be removed, or the wood will never be a good color. After this purificatory process, they should be dried in the open air for at least twelve hours. They are then ready for the copper. By these simple means the color will strike much quicker, and be of a brighter hue. It would also add to the improvement of the colors, if, after the veneers have boiled a few hours, they are taken out, dried in the air, and again immersed in the coloring copper. Always dry veneers in the open air, for fire invariably injures the colors.

=Fine Black Dye.=—Put 6 lbs. of chip logwood into the copper, with as many veneers as it will conveniently hold, without pressing too tight; fill it with water, and let it boil _slowly_ for about three hours; then add half a pound of powdered verdigris, half a pound of copperas, and 4 ounces of bruised nut-galls; fill the copper up with vinegar as the water evaporates; let it boil gently two hours each day till the wood is dyed through.

_Another._—Procure some liquor from a tanner’s pit, or make a decoction of oak bark, and to every gallon of the liquor add a quarter of a pound of green copperas, and mix them well together; put the liquor into the copper, and make it quite hot, but not boil; immerse the veneers in it, and let them remain for an hour; take them out, and expose them to the air, till it has penetrated its substance; then add some logwood to the solution, place the veneers again in it, and let it simmer for two or three hours; let the whole cool gradually, dry the veneers in the shade, and they will be a very fine black.

=Fine Blue Dye.=—Into a clean glass bottle put 1 lb. of oil of vitriol, and 4 ozs. of the best indigo pounded in a mortar (take care to set the bottle in a basin or earthen glazed pan, as it will ferment); then put the veneers into a copper or stone trough; fill it rather more than one-third with water, and add as much of the vitriol and indigo (stirring it about) as will make a fine blue, which may be known by trying it with a piece of white paper or wood, Let the veneers remain till the dye has struck through.

The color will be much improved if the solution of indigo in vitriol be kept a few weeks before using it. The color will strike better if the veneers are boiled in plain water till completely soaked through, and then allowed for a few hours to dry partially, previous to being immersed in the dye.

_Another._—Throw pieces of quicklime into soft water; stir it well; when settled, strain or pour off the clear part; then to every gallon add ten or twelve ounces of the best turnsole; put the whole into the copper with the veneers, which should be of white holly, and prepared as usual by boiling in water; let them simmer gently till the color has sufficiently penetrated, but be careful not to let them boil in it, as it would injure the color.

=A Fine Yellow Dye.=—Reduce 4 lbs. of the root of barberry, by sawing, to dust, which put in a copper or brass trough; add 4 ozs. of turmeric and 4 gallons of water, then put in as many white holly veneers as the liquor will cover; boil them together for three hours, often turning them; when cool, add 2 ozs. of aquafortis and the dye will strike through much sooner.

=A Bright Yellow Dye.=—To every gallon of water necessary to cover the veneers, add 1 lb. of French berries; boil the veneers till the color has penetrated through; add to the infusion of the French berries, the liquid for brightening colors given on page 78, and let the veneers remain for two or three hours, and the color will be very bright.

=Bright Green Dye.=—Proceed as in either of the previous receipts to produce a yellow; but instead of adding aquafortis or the brightening liquid, add as much vitriolated indigo (see page 80) as will produce the desired color.

=Green Dye.=—Dissolve 4 ozs. of the best verdigris, and of sap-green and indigo half an ounce each in 3 pints of the best vinegar; put in the veneers, and gently boil till the color has penetrated sufficiently.

The hue of the green may be varied by altering the proportion of the ingredients; and it is advised, unless wanted for a particular purpose, to leave out the sap-green, as it is a vegetable color very apt to change, or turn brown, when exposed to the air.

=Bright Red Dye.=—To 2 lbs. of genuine Brazil dust, add 4 gallons of water; put in as many veneers as the liquor will cover; boil them for three hours; then add 2 ozs. of alum, and 2 ozs. of aquafortis, and keep it lukewarm until it has struck through.

=Red Dye.=—To every pound of logwood chips, add 2 gallons of water; put in the veneers, and boil as in the last; then add a sufficient quantity of the brightening liquid (see page 78) 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 sufficiently penetrated.

The logwood chips should be picked from all foreign substances, with which it generally abounds, as bark, dirt, etc.; and it is always best when fresh cut, which may be known by its appearing of a bright-red color; for if stale, it will look brown, and not yield so much coloring matter.

=Purple Dye.=—To 2 lbs. of chip logwood and half a 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 pearl-ash and 2 ozs. of alum; let them boil for two or three hours every day, till the color has struck through.

The Brazil dust only contributes to make the purple of a more red cast; you may, therefore, omit it, if you require a deep bluish purple.

_Another._—Boil 2 lbs. of logwood, either in chips or powder, in 4 gallons of water, with the veneers; after boiling till the color is well struck in, add by degrees vitriolated indigo (see page 80) till the purple is of the shade required, which may be known by trying it with a piece of paper; let it then boil for one hour, and keep the liquid in a milk-warm state till the color has penetrated the veneer. This method, when properly managed, will produce a brilliant purple, not so likely to fade as the foregoing.

=Liquid For Brightening= AND SETTING COLORS.—To every pint of strong aquafortis, add 1 oz. of grain tin, and a piece of sal-ammoniac of the size of a walnut; set it by to dissolve, shake the bottle round with the cork out, from time to time; in the course of two or three days it will be fit for use. This will be found an admirable liquid to add to any color, as it not only brightens it, but renders it less likely to fade from exposure to the air.

=Orange Dye.=—Let the veneers be dyed by either of the methods given in page 81, of a fine deep yellow, and while they are still wet and saturated with the dye, transfer them to the bright red dye as in page 82, till the color penetrates equally throughout.

=Silver Grey Dye.=—Expose to the weather in a cast-iron pot of six or eight gallons, old iron nails, hoops, etc., till covered with rust; add 1 gallon of vinegar and 2 of water, boil all well for an hour; have the veneers ready, which must be hardwood (not too dry,) put them in the copper used to dye black, and pour the iron liquor over them; add 1 lb. of chip logwood and 2 ozs. of bruised nut-galls; then boil up another pot of the iron liquor to supply the copper with, keeping the veneers covered, and boiling two hours a day, till the required color is obtained.

=Gray Dye.=—Expose any quantity of old iron, or what is better, the borings of gun-barrels, etc., in any convenient vessel, and from time to time sprinkle them with spirits of salt (muriatic acid) diluted in four times its quantity of water, till they are very thickly covered with rust; then to every six pounds add a gallon of water, in which has been dissolved two ounces of salt of tartar; lay the veneers in the copper, and cover them with this liquid; let it boil for two or three hours till well soaked, then to every gallon of liquor add a quarter of a pound of green copperas, and keep the whole at a moderate temperature till the dye has sufficiently penetrated.

=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 leaf, applied to articles of furniture as a means of decoration, is used in two ways; it is applied over an ordinary varnish or other finish, in which case but little special preparation is necessary; or, as when used for picture-frames, cornices, etc., it is applied to a specially prepared foundation, the basis of which is whiting, mixed with various other ingredients suggested by experience or fancy. In either case, the gold leaf is caused to adhere to the work, by size specially prepared for the purpose, receipts for which follow herewith; the size being first applied to the work, and when it has become of the right consistency, the gold is laid 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 picture-frames and articles having a specially prepared foundation, whose entire surface is to be gilded. It is intended that the gold shall adhere to the work only in the places to which the size has been applied, but the smallest portion of oil or even a slight dampness may cause the gold to partially adhere to the adjoining surface, resulting in slightly ragged edges; to prevent this, before applying the size to the desired design, the entire surface is covered with a thin film of some substance perfectly free from moisture, and easily removable by water, after completion of the process.

=The Requisites.=—First, a sufficient quantity of leaf-gold, which is of two sorts—the deep gold, as it is called, and the pale gold. The former is the best; the latter very useful, and may occasionally be introduced for variety or effect.

Second, a gilder’s cushion: an oblong piece of wood, covered with rough calf-skin, 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, and tips, made of a few long camel’s hairs put between two cards, in the same manner as hairs are put into tin cases for brushes, thus making a flat brush with a very few hairs.

Lastly, a burnisher, which is a crooked piece of agate set in a long wooden handle.

=Sizes.=—These are of two kinds: oil sizes are those which when applied, present an adhesive surface, requiring the immediate 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.

=Oil Size for Oil-Gliding.=—Grind calcined red-ochre with the best and oldest drying-oil. When desired for use, add sufficient oil of turpentine to make it work freely.

=Parchment-Size.=—For preparing Frames, etc.—To half a pound of parchment shavings, or cuttings of white leather, add three quarts of water, and boil it in a proper vessel till reduced to nearly half the quantity; then take it off the fire, and strain it through a sieve. Be careful in the boiling to keep it well stirred, and do not let burn.

=Gold-Size for Burnish-Gilding.=—Grind fine sal-ammoniac well with a muller and stone; scrape into it a little beef suet, and grind all wet together; after which, mix in with a pallet knife a small proportion of parchment-size with a double proportion of water. When about to use, add parchment-size until it will just flow from the brush.

_Another._—Grind a lump of tobacco-pipe clay into a very stiff paste with thin size; add a small quantity of ruddle and fine black lead, ground very fine, and temper the whole with a small piece of tallow. When ready to use, reduce with parchment size until it will just flow from the brush.

_Another._—Grind separately in water, 1 lb. Armenian bole, 2 ozs. red lead, a sufficient quantity of black lead; mix, and regrind with a small quantity of olive oil. Reduce with parchment size to the proper consistency.

=To Prevent Gold Adhering.=—Either one of the following methods will prevent gold-leaf or bronze from adhering to the surface beyond the outlines of the sizing laid on to receive it:

1. Whiting used dry, and applied by means of a pounce bag.

2. Whiting mixed in water, and applied with a soft brush. When the water has evaporated, dust off the superfluous whiting with an ordinary paint duster. By this method a very thin coating of whiting remains, which is free from any grittiness. One advantage gained by the use of whiting thus applied is, it furnishes a whitish ground over which clear varnish or oil-size may be distinctly seen as the striping progresses. After the leaf or bronze has been applied, the work must be carefully washed, so as to insure the removal of the whiting.

3. White of egg reduced with water, and applied with a piece of sponge.

4. A thin wash of starch water, either brushed on with a flat camel-hair brush, or applied with a soft sponge.

5. Take ball liquorice and water, a weak solution, and apply with a soft brush. This may be kept in a bottle ready for use at any time.

6. Cut a new potato in two, and rub over the part to be sized with the raw face exposed, allowing the juice to remain until dry.

It will be observed that any substance which interposes a film over the varnish, itself being free from tackiness and readily removed by water, will answer the purpose.

=Oil Gilding.=—Applying the Gold.—If the wood to be gilded is finished with varnish or otherwise, no additional foundation is necessary upon which to lay the gold-leaf; if the wood is not finished, after it has been smoothed and dusted, give it one or two coats of parchment size, after it is perfectly dry and hard, again smoothing the surface with fine sandpaper. That the gold may not adhere to any part of the work except where the size is hard, powder the surface lightly with whiting from a pounce-bag, which 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 is then ready for the size. Apply this with a sable or fit brush of the proper size, carefully observing to make the outer lines of the design clear and sharp, that the work may not appear ragged. Let the size remain until it feels tacky, when the gold may be applied. This is the most difficult part of the operation, and experience is necessary before gold-leaf can be laid smoothly without a wrinkle or a break. Turn a leaf of gold out of the book upon the cushion; breathe gently upon the centre of the leaf and it will lay flat on the cushion; cut it to the proper size by bringing the knife perpendicularly over it, and sawing it gently until divided. Take your tip (a brush used for the purpose) and after drawing it lightly over your hair to remove any particles or dust that may be upon it, breathe upon it gently, which will dampen it sufficiently to cause the leaf of gold to adhere to it; lay the tip upon the leaf of gold and carefully transfer it to the work; blow upon it gently and it will straighten out and adhere. It may be rendered quite smooth by slightly dabbing it with a bit of cotton. In about an hour wash off the superfluous gold from the edges, with a sponge and water. If the article is to be exposed to the weather or much wear, the gilding may be varnished with copal varnish.

=Burnish-Gilding.=—As previously stated, this process requires a specially prepared foundation upon which to lay the gold, and as the preparation of this foundation is a distinct trade, the furniture dealer or cabinet-maker seldom finds it necessary to undertake it, the articles coming to his hand ready-prepared for gilding; but as in repairing picture-frames, cornices, mirror frames, etc., it frequently becomes necessary to renew the foundation, a comprehensive description of the whole process is given.

=Preparing the Woodwork.=—After smoothing and dusting the work, coat the frames in every part with boiling-hot parchment-size, as previously described, then mix a sufficient quantity of whiting with size to the consistency of thick cream, and with it by means of a brush, coat every part of the frame several times, permitting each coat to become perfectly dry before proceeding with the next. The wood will thus be covered with a layer of hard whiting nearly or quite a sixteenth of an inch in thickness. The size must not be too thick, and when mixed with the whiting should not be so hot as the preliminary coat of size.

=Polishing.=—When the preparations are quite dry, clean and polish them. To do this, wet a small piece at a time, and, with a smooth, fine piece of cloth, dipped in water, rub the part till all the bumps and inequalities are removed; and for those parts where the fingers will not enter, as the mouldings, etc., wind the wet cloth round a piece of wood, and by this means make the surface all smooth and even alike.

Where there is carved work, etc., it will sometimes be necessary to bring the mouldings to their original sharpness by means of chisels, gouges, etc., as the preparation will be apt to fill up all the finer parts of the work, which must be thus restored. It is sometimes the practice, after polishing, to go over the work once with fine yellow or Roman ochre; but this is rarely necessary.

=Applying the Size.=—Select the proper gold-size from the receipts previously given; add parchment size until it will just flow from the brush; make it quite hot, and apply it to the wood with a very soft brush, taking care not to make the first coat too thick; let it dry and give two or three successive coats, after the last brushing it with a stiff brush to remove any inequalities. The work is then ready for the gold.

Laying the gold. The manipulation of the gold leaf has been described under the heading OIL GILDING. In the paint now being described, size used (being water-size, which previously explained is permitted to become hard and dry after being applied) must be moistened to cause the gold-leaf to adhere to it. For this purpose, with a long-haired camel-hair pencil, dipped in water, go over as much of the work as you intend the piece of gold to cover; then lay the gold upon it in the manner previously explained. Be sure that the part to which the gold is applied is sufficiently wet; indeed it must be floating, or the gold will be apt to crack. Proceed in this manner a little at a time, and do not attempt to cover too much at once, until by experience you are going to handle the gold with freedom.

=Burnishing.=—When the work is covered with gold, set it by to dry; there is a particular state or degree of dryness, known only by experience in which the moulding is in a fit state for burnishing; it will probably be ready to burnish in about eight or ten hours, but it will depend on the warmth of the room or state of the 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 (quite dry) begin to burnish about an inch or two in length at a time, taking care not to bear too hard, but with a gentle and quick motion, applying the tool until all the parts of the surface are equally bright.

=Matting or Dead Gold.=—Certain portions only of the work are burnished, according to the fancy, and the facility with which the burnishing tool can be applied; the remaining parts are now to be deprived of their metallic lustre, to make a more effective contrast with the burnishing. The parts thus treated are said to be matted or dead gold. The process is as follows:

Grind some vermilion or yellow ochre very fine, and mix a very small portion either with the parchment size or with the white of an egg, and with a very soft brush lay it evenly on the parts to be dulled; if well done, it will add greatly to the beauty of the work. Previous to matting, the work must be well cleared of superfluous gold, by means of a soft brush.

=Finishing.=—In elaborate works it is frequently impossible to lay gold-leaf into all the intricacies of an elaborate design, and the parts thus left bare must be finished by touching up with a small brush charged with shell-gold, or gold-powder, mixed with gum-Arabic to the proper consistency. The following receipt describes the preparation of shell-gold:

=Shelled Gold.=—Take any quantity of leaf-gold and grind it with a small portion of honey, to a fine powder, add a little gum-Arabic and sugar-candy, with a little water, and mix it well together; let it dry.

=Silver Size.=—Grind pipe-clay fine with a little black lead and good soap, and add parchment-size as directed for gold-size.

=Composition for Frame Ornaments.=—The ornaments for gilded mirror-frames, etc., are usually moulded from some plastic substance that is somewhat tougher and more durable than the ordinary gilding foundation of whiting and size. The 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 proper place and bent into any position. Following are receipts for composition:

Dissolve 1 lb. of glue in 1 gallon of water. In another kettle boil together 2 lbs. of resin, 1 gill of Venice turpentine, and 1 pint of linseed oil; mix altogether in one kettle, and boil and stir till the water has evaporated. Turn the whole into a tub of finely-rolled whiting, and work till it is the consistency of dough.

Boil 7 lbs. of best glue in 7 half-pints of water. Melt 3 lbs. of white resin in 3 pints of raw linseed oil. When the above has been well-boiled put them into a large vessel and simmer them for half an hour, stirring the mixture and taking care that it does not boil over. The whole must then be turned into a box of whiting rolled and sifted, and mixed till it is 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 is a process for imitating on metal, plaster wood, or other material, 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 ornamented a very thin coating of bronze-powder, which is caused to adhere either by applying it directly upon a coating of any of the sizes mentioned in the foregoing pages, or by mixing with a vehicle, such as gum-Arabic or transparent varnish. The latter is most desirable, as in the other case, being subject to the direct action of the atmosphere, the bronze-powder soon tarnishes. In ornamenting furniture, bronzing is generally employed to represent gilding, a variety of bronze called gold-bronze being used, which affords an excellent imitation but is not very lasting. It is usually applied after the completion of the other finishing processes, the ground-work being prepared in the manner described under OIL-GILDING, and the size likewise applied as there described. A small wad of cotton batting is then dipped in the bronze and passed gently over the sized portions, causing the bronze to adhere. In the other method—that of applying the bronze by means of a vehicle—the preliminaries of whiting the ground and sizing are not necessary, a small quantity of bronze being simply mixed with the vehicle employed to such a degree of fluidity that it will flow easily, and in that condition applied with a fine brush. Many preparations are used as vehicles such as transparent varnish thinned with turpentine, gum-Arabic, dissolved in water, and gold-size reduced with parchment-size. There are a variety of colors in bronze-powders, and to produce the best effect the size or vehicle should be of a color similar to that of the bronze used; in gold-size the coloring pigment is ochre, and in its place, for green-bronze, or blue-bronze, may be employed respectively verditer, vermillion or Prussian blue, a very small quantity being sufficient. In bronzing on painted work the ground should be as nearly as possible the color of the bronze to be applied.

THE END.

INDEX.

A filler for rosewood, 18.

Another method of filling, 18.

A good recipe for French polish, 47.

Another recipe for French polish, 47.

A good polish, 48.

A polish that will resist water, 48.

A French polish reviver, 49.

Antique oak, 53.

Ash, 63.

A fine yellow dye, 81.

A bright yellow dye, 81.

Applying size, 88.

Berry Bros. hard oil finish, 25.

Brushes for varnishing, 35.

Birch, 64.

Basswood, 69.

Beech, 69.

Butternut, 69.

Brown stain, 77.

Brown stain by another method, 77.

Black dye, 77.

Bright green dye, 81.

Bright red dye, 82.

Burnish gilding, 87.

Burnishing, 89.

Carriage varnish, 41.

Chamois skin, 41.

Cleanliness in polishing, 42.

Cotton wads for polishing, 45.

Cherry, 62.

Cedar, 69.

Chestnut, 69.

Cypress, 70.

Cedarwood imitation, 77.

Composition for frame ornaments, 90.

Dead finish, 49.

Dying wood, 79.

Elm, 69.

Filler for light woods, 17.

Filler for cherry, 18.

Filler for oak, 18.

Filler for rosewood, 18.

Filler for mahogany, redwood and cherry, 20.

F. W. Devoe & Co.’s wax finishing, 24.

Finishing, varnishing and polishing, 27.

Flowing, 42.

French polishing, 44.

First and best recipe for French polishing, 47.

Finish—dead, 49.

Fine black dye, 80.

Fine blue dye, 80.

Finishing, 90.

Glue size, 34.

General recipes, 73.

Green dye, 81.

Grey dye, 83.

Gilding, silvering and bronzing, 83.

Gilding, 84.

Gold size for burnish gilding, 85.

Hard oil finish, 25.

Hard oil finishing, 34.

Hemlock, 70.

Introduction, 5.

Imitation oak stain, 68.

Imitation mahogany stain, 68.

Imitation rosewood stain, 68.

Imitation walnut stain, 68.

Liquid for brightening and setting colors, 82.

Murphy’s transparent varnish, 44.

Mahogany, 58.

Miscellaneous, 78.

Matting or dead gold, 89.

Oil shellac, 33.

Other French polish recipes, 47.

Oak, 52.

Oak stains, 58.

Oak stain “No. 2,” 58.

Orange dye, 83.

Oil size for oil gilding, 85.

Oil gilding, 86.

Preliminary, 9.

Preparation of wood for staining, 19.

Polishing and finishing, 27.

Preparing shellac, 32.

Pumice-stone, 39.

Prepared spirits, 48.

Polish for turner’s work, 49.

Pine, 65.

Poplar, 69.

Purple dye, 82.

Parchment size, 85.

Preparing wood-work, 88.

Polishing, 88.

Rubbing and finishing, 29.

Rubber for polishing, 46.

Rosewood, 71.

Red dye, 82.

Size and sizing, 26.

Staining, finishing, varnishing and polishing, 27.

Shellacing, 30.

Shellac, preparing, 32.

Sandpapering, 36.

“Sag” in varnish, 37.

Sweating varnish, 40.

Sycamore, 70.

Stains, 75.

Silver grey dye, 83.

Sizes, 85.

Shelled gold, 90.

Silver size, 90.

The various woods, their stains and finish, 51.

To brighten stains, 78.

The requisites, 84.

To prevent gold adhering, 86.

To manipulate gold leaf, 91.

Varnishing and polishing, 27.

Varnishing hardwood, 35.

Varnish brushes, 35.

Veneered panels, 43.

Varnish polishing, 43.

Varnish finish for cheap work, 50.

Varnish pans, 51.

Wood fillers and wood-filling, 14.

Walnut filler, medium, 17.

Walnut filler for wax finish, 17.

Walnut filler for first-class work, 17.

Wheeler’s wood-filler, 22.

Wax finish, 50.

Walnut, 68.

+Established 1870.+

STANDARD BOOKS

PUBLISHED AND FOR SALE BY THE

INDUSTRIAL PUBLICATION CO.

New York.

_These books will be sent, postpaid, to any address in any accessible part of the world, on receipt of price.—Full Descriptive Catalogues may be had free.—New Catalogues, with additions of new books, are issued from time to time, and will be sent to any address on request.—Address_,

INDUSTRIAL PUBLICATION CO., New York.

THE STEEL SQUARE AND ITS USES.

Being a Description of the Square and Its Uses in Obtaining the
Lengths and Bevels of all kinds of Rafters, Hips, Groins, Braces,
Brackets, Purlins, Collar-Beams, and Jack-Rafters.—Also, its
Application in Obtaining the Bevels and Cuts for Hoppers, Spring
Moldings, Octagons, Stairs, Diminished Stiles, &c.—By FRED. T.
HODGSON, author of “Practical Carpentry,” “The Builders’ Guide,”
&c.—Third Edition, Revised and Greatly Enlarged.—Illustrated by
Nearly One Hundred Fine Engravings.—Cloth, gilt. $1

This is the only practical work on the steel square and its uses ever published. It is thorough, accurate, clear, and easily understood. Confounding terms and scientific 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.

This new edition, just issued, is illustrated by nearly one hundred handsome engravings, showing how the square may 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 trying.” 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 every person who may have to use a carpenter’s square. Joiners, cabinet-makers, bricklayers, stonecutters, plasterers, lumber-dealers, amateurs, and 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 of its contents.

Many difficult and troublesome mathematical problems can be solved by the use of this tool, and the methods of solving them are shown in this book. It describes how painting, plastering, and brickwork can be measured, and how many mechanical difficulties can be overcome with great ease. It explains how ellipses, parabolas, octagons, circles, and many other figures, may be described by the steel square.

It is safe to say that this dollar book will easily enable any intelligent mechanic to save ten dollars in time and material during the first three months that he has it in use.

STEEL SQUARES AND THEIR USES.

Being a Description of the Various Steel Squares and Their Uses
in Solving a large number of Mechanical Problems in Constructive
Carpentry, Joinery, Sheet-metal Work, Cut-stone or Brick-work. Also,
showing how many Geometrical and other Problems may be solved by the
use of the Steel Square.—By FRED. T. HODGSON, author of “The Steel
Square and Its Uses,” “The Slide-Rule, and Its Uses,” “Practical
Carpentry,” “The Builders’ Guide,” &c.—Finely Illustrated.—Cloth. $1

This forms Part II of “_The Steel Square and Its Uses_,” and is not in any sense a substitute for the First Part, which still remains what it always has been—a necessity to every intelligent workman. Part II is an extension and enlargement of the First Part, giving new problems, new methods, and new wrinkles for shortening the labor and increasing the accuracy of the workman. It is illustrated in the same handsome manner which characterizes the First Part, to which it forms a companion volume.

With these two volumes in his possession the workman has at command the entire practical mathematics of construction, and is prepared to lay out any piece of work more easily, quickly, and accurately than it can be done by any other method.

PRACTICAL CARPENTRY.

Being a Guide to the Correct Working and Laying out of all kinds of
Carpenters’ and Joiners’ Work, with the Solutions of the Various
Problems in Hip-Roofs, Gothic Work, Centering, Splayed Work, Joints
and Jointing, Hingeing, Dovetailing, Mitering, Timber-Splicing,
Hopper-work, Skylights, Raking Moldings, Circular Work, &c.—To
which is prefixed a thorough treatise on “Carpenters’ Geometry.”—By
FRED. T. HODGSON, author of “The Steel Square and Its Uses,”
“The Slide-Rule, and How to Use It,” “The Builders’ Guide,”
&c.—Illustrated by over Three Hundred Engravings.—Cloth, gilt. $1

This is the most thorough book of the kind ever published. It is thorough, practical, and reliable; and at the same time is written in a style so plain that any workman or apprentice can easily understand it.

STAIR-BUILDING MADE EASY.

Being a Full and Clear Description of the Art of Building the Bodies,
Carriages, and Cases for all kinds of Stairs and Steps.—Together
with Illustrations Showing the Manner of Laying Out Stairs, forming
Treads and Risers, building Cylinders, preparing Strings; with
Instructions for making Carriages for Common, Platform, Dog-legged,
and Winding Stairs.—To which is added an Illustrated Glossary of
Terms used in Stair-Building, and Designs for Newels, Balusters,
Brackets, Stair-Moldings, and Sections of Hand-Rails.—By FRED. T.
HODGSON, author of “The Steel Square and Its Uses,” &c.—Illustrated
by over One Hundred and Twenty Engravings, many of them full-page
size.—Cloth, gilt. $1

This work takes hold at the very beginning of the subject, and carries the student along by easy stages until the entire subject of stairbuilding has been unfolded, so far as ordinary practice can ever require. This book, and the following one on _Hand-Railing_, cover nearly the whole subject of _Stair-Building_.

A NEW SYSTEM OF HAND-RAILING.

Or, How to Cut Hand-Railing for Circular and other Stairs, square
from the Plank, without the aid of a Falling Mould.—By AN OLD
STAIRBUILDER.—Edited and corrected by FRED. T. HODGSON, author of
“Stair-building Made Easy,” &c.—Cloth, gilt $1

The system is new, novel, economic, and easily learned. Rules, instructions, and working drawings for building rails for seven different kinds of stairs are given.

THE BUILDERS’ GUIDE, and Estimators’ Price-Book.

Being a Compilation of Current Prices of Lumber, Hardware, Glass,
Plumbers’ Supplies, Paints, Slates, Stones, Limes, Cements, Bricks,
Tin, and other Building Materials. Also, Prices of Labor and Cost of
Performing the Several Kinds of Work Required in Building; together
with Prices of Doors, Frames, Sashes, Stairs, Moldings, Newels,
and other Machine-work.—To which is appended a large number of
Building Rules, Data, Tables, and Useful Memoranda, with a Glossary
of Architectural and Building Terms.—By FRED. T. HODGSON, author of
“The Steel Square and Its Uses,” “The Slide-Rule, and How to Use It,”
“Practical Carpentry,” &c.—Cloth $2

CARPENTERS’ and JOINERS’ POCKET COMPANION

Containing Rules, Data, and Directions for Laying Out Work, and for
Calculating and Estimating.—With Frontispiece showing the parts of
an Architectural Column; also containing many other Illustrative
Engravings.—Compiled by THOMAS MOLONEY, Carpenter and Joiner.—Cloth
50 cents.

This is a compact and handy little volume, containing the most useful rules and memoranda, practically tested by many years’ experience in the shop, factory, and building. Also, a treatise on the framing-square. It is by a thoroughly practical man, and contains enough that is not easily found any where else to make it worth more than its price to every intelligent carpenter.

EASY LESSONS IN ARCHITECTURE.

Consisting of a Series of Questions and Answers explaining in Simple
Language the Principles and Progress of Architecture from the
Earliest Times.—By THOMAS MITCHELL.—Illustrated by nearly One Hundred
and Fifty Engravings.—New Edition, with American additions.—Cloth
50 cents.

Architecture is not only a profession and an art, but an important branch of every liberal education. No person can be said to be well educated who has not some knowledge of its general principles and of the characteristics of the different styles. The present work is probably the best architectural textbook for beginners ever published. The numerous illustrative engravings make the subject very simple, and prevent all misunderstanding. It tells all about the different styles, their peculiar features, their origin, and the principles that underlie their construction.

HINTS AND AIDS TO BUILDERS

Gives hints and prices, tells how to measure, explains building
terms, and, in short, contains a fund of information for all who are
interested in building.—Paper 25 cents.

BUCK’S COTTAGE AND OTHER DESIGNS.

Buck’s Designs in Architecture, showing a Variety of Designs,
together with a large amount of Miscellaneous Matter, making it a
very valuable book.—Forty designs for fifty cents.

Just the book you want, if you are going to build a cheap and comfortable home. It shows a great variety of cheap and medium-priced cottages, besides giving a number of useful hints and suggestions on the various questions liable to arise in building, such as selections of site, general arrangement of the plans, sanatary questions. &c. Cottages costing from $500 to $5,000 are shown in considerable variety, and nearly every taste can be satisfied.

The information on site, general arrangement of plan, sanatary matters, &c., is worth a great deal more than the cost of the book.

=WATER-CLOSETS.=—A Historical, Mechanical, and Sanitary Treatise.—By
GLENN BROWN, Architect; Associate American Institute of
Architects.—Neatly bound in cloth, gilt title. $1

This book contains over 250 engravings, drawn expressly for the work by the author. The drawings are so clear that the distinctive features of every device are easily seen at a glance, and the descriptions are particularly full and thorough. Every known water-closet is fully described, and an account given of its qualities, advantages, and defects. The paramount importance of this department of the construction of our houses renders all comment upon the value of such a work unnecessary.

PLASTER: HOW TO MAKE AND HOW TO USE.

Being a Complete Guide for the Plasterer in the Preparation and
Application of all kinds of Plaster, Stucco, Portland Cement,
Hydraulic Cements, Lime of Tiel, Rosendale and other Cements. With
Useful and Practical Information on the Chemistry, Qualities, and
Uses of the Various Kinds of Limes and Cements.—Together with
Rules for Measuring, Computing, and Valuing Plaster and Stucco
Work.—To which is appended an Illustrated Glossary of Terms used in
Plastering, &c.—By FRED. T. HODGSON, author of “The Builders’ Guide,
and Estimators’ Price-Book,” “Practical Carpentry,” &c.—Cloth, gilt $1

This work is illustrated with numerous engravings in the text and three plates, giving some forty figures of ceilings, center-pieces, cornices, panels, and soffits. It is an invaluable book for plasterers, bricklayers, masons, builders, architects, and engineers.

HANDSAWS: THEIR USE, CARE, AND ABUSE.

How to Select and How to File Them.—Being a Complete Guide for
Selecting, Using, and Filing all kinds of Handsaws, Back-saws,
Compass and Key-hole Saws, Web, Hack, and Butchers’ Saws. Showing
the Shapes, Forms, Angles, Pitches, and Sizes of Saw-teeth suitable
for all kinds of Saws, and for all kinds of Wood, Bone, Ivory, and
Metal.—Together with Hints and Suggestions on the Choice of Files,
Saw-sets, Filing-clamps, and other matters pertaining to the Care and
Management of all classes of Hand and other Small Saws.—By FRED. T.
HODGSON, author of “The Steel Square and Its Uses,” “The Slide-Rule,
and How to Use It,” “The Builders’ Guide,” “Practical Carpentry,”
&c.—Illustrated by over Seventy-five Engravings.—Cloth, gilt $1

This work is intended more particularly for operative carpenters, joiners, cabinet-makers, carriage-builders, and woodworkers generally, amateurs or professionals.

THE PRACTICAL UPHOLSTERER.

Giving Clear Directions for Skillfully Performing all kinds of
Upholsterers’ Work in Leather, Silk, Plush, Reps, Cottons, Velvets,
and Carpetings.—Also, for Stuffing, Embossing, Welting, and Covering
all kinds of Mattresses, &c.—Rules for Measuring Valances, Curtains,
Tapestry, Window and Door Drapery, Curtain Rods, Persian Beds, Mantel
Drapery, Lambrequins, Cushions, Floor-Cloths, Festoon Blinds and
Curtain-Hangings, and all kinds of Upholstery.—Fully Illustrated with
Engravings of Tools, Sketches of Furniture, and numerous full-page
Illustrations of Original Decorative Designs.—By A PRACTICAL
UPHOLSTERER. 12mo, cloth $1

This work contains a number of original designs in drapery and upholstery, with full explanatory text, and an immense number of working illustrations. It gives a description of tools, appliances, and materials. It tells how to upholster chairs, parlor furniture, bedroom furniture, &c. It contains rules for cutting bed-hangings, window-curtains, door-hangings, blinds, and for measuring and cutting carpets. It gives arithmetical calculations for cutting carpets, curtains, &c., mantle-board drapery, festoons, and, in short, everything pertaining to upholstery.

There is nothing published in this country that is so thorough and complete in the instructions given for upholstering, as this book. It is invaluable alike to the practical workman and the amateur.

CABINET-MAKING, UPHOLSTERING, FURNITURE.

_Hints and Practical Information for Cabinet-makers, Upholsterers,
and Furniture-men Generally._—Together with a Description of all
kinds of Finishing, with Full Directions Therefor; Varnishes,
Polishes, Stains for Wood, Dyes for Wood, Gilding and Silvering,
Recipes for the Factory, Lacquers, Metals, Marbles, &c.; Pictures,
Engravings, &c.—Cloth, gilt $1

This book contains an immense amount of the most useful information for those who are engaged in the manufacture, superintendence, or construction of furniture or wood-work of any kind. It is one of the cheapest and best books ever published, and contains over one thousand hints, suggestions, and methods; and descriptions of tools, appliances, and materials. All the recipes, rules, and directions have been carefully revised and corrected by practical men of great experience, so that they will be found thoroughly trustworthy. It contains many of the recipes recently sold at from $5 to $500.

THE WORKSHOP COMPANION.—Part I.

A Collection of Useful and Reliable Recipes, Rules, Processes,
Methods, Wrinkles, and Practical Hints, for the Household and the
Shop. Paper, 35 cents.—Cloth, gilt title, 60 cents.

This is a book of 164 closely printed pages, forming a dictionary of practical information for mechanics, amateurs, housekeepers, farmers,—everybody. It is not a mere collection of newspaper clippings, but a series of original treatises on various subjects, such as alloys, cements, inks, steel, signal-lights, polishing materials, and the art of polishing wood, metals, &c.; varnishing, gilding, silvering, bronzing, lacquering, and the working of brass, ivory, alabaster, iron, steel, glass, &c.

THE WORKSHOP COMPANION.—Part II.

A Collection of Useful and Reliable Recipes, Rules, Processes,
Methods, Wrinkles, and Practical Hints, for the Household and the
Shop. Paper, 35 cents.—Cloth, gilt title, 60 cents.

This is an extension of the first part, and contains subjects which have not been discussed in the earlier volume. These two volumes contain an immense amount of practical instruction on matters in regard to which information is constantly desired by amateurs and practical men.

=THE PRACTICAL ASSISTANT, AND WORKSHOP COMPANION.=—A Treasury of
Useful Information relating to the Arts and Sciences of everyday
life.—Containing Useful and Reliable Processes, Recipes, Wrinkles,
Methods, Rules, Data, Tables; and Hints for the Factory and the
Household, the Shop and the Farm.—Edited by JOHN PHIN.—Cloth, $1

This is Parts I and II of “The Workshop Companion,” described above, handsomely bound together in cloth, with gilt title.

=THE AMATEURS’ HANDBOOK OF PRACTICAL INFORMATION, for the Workshop
and Laboratory.= Second Edition.—Greatly Enlarged.—Neatly bound.
15 cents.

This is a handy little book, containing just the information needed by amateurs in the workshop and laboratory. Directions for making alloys, fusible metals, cements, glues, &c.; and for soldering, brazing, lacquering, bronzing, staining and polishing wood, tempering tools, cutting and working glass, varnishing, silvering, gilding, preparing skins, &c. The new edition contains extended directions for preparing polishing powders, freezing mixtures, colored lights for tableaux, solutions for rendering ladies’ dresses incombustible, &c. There has also been added a Very large number of new and valuable recipes.

=The Workshop Companion, Part I=, above described, contains _all_ the matter that is to be found in “The Amateurs’ Handbook.”

MECHANICAL DRAUGHTING.

_The Student’s Illustrated Guide to Practical Draughting._—A series
of Practical Instructions for Machinists, Mechanics, Apprentices, and
Students at Engineering Establishments and Technical Institutes.—By
T. P. PEMBERTON, Draughtsman and Mechanical Engineer.—Illustrated by
numerous engravings.—Cloth, gilt. $1

This is a simple but thorough book, by a draughtsman of twenty-five years’ experience. It is intended for beginners and self-taught students, as well as for those who pursue the study under the direction of a teacher.

DRAWING INSTRUMENTS.

Being a Treatise on Draughting Instruments, with Rules for their Use
and Care; Explanations of Scales, Sectors, and Protractors. Together
with Memoranda for Draughtsmen; Hints on Purchasing Instruments,
Paper, Ink, Pencils, &c. Also, a Price-list of all Materials
required by Draughtsmen.—Illustrated with twenty-four Explanatory
Illustrations.—By FRED. T. HODGSON.—Paper. 25 cents.

THE SLIDE-RULE, AND HOW TO USE IT.

Being a Compilation of Explanations, Rules, and Instructions,
suitable for Mechanics and others interested in the Industrial
Arts.—Compiled and arranged by FRED. T. HODGSON.—25 cents.

Rules are given for the measurement of all kinds of boards and planks, timber in the round or square, glaziers’ work and painting, brickwork, paviors’ work, tiling and slating, the measurement of vessels of various shapes, the wedge, inclined planes, wheels and axles, levers, the weighing and measurement of metals and all solid bodies, cylinders, cones, globes, octagon rules and formulæ, the measurement of circles, and a comparison of French and English measures, with much other information useful to builders, carpenters, bricklayers, glaziers, paviors, slaters, machinists, and other mechanics.