initial commit of ebook 17935HEADmain

10 files changed, 13918 insertions, 0 deletions

diff --git a/.gitattributes b/.gitattributes
new file mode 100644
index 0000000..6833f05
--- /dev/null
+++ b/.gitattributes
@@ -0,0 +1,3 @@
+* text=auto
+*.txt text
+*.md text
diff --git a/17935-8.txt b/17935-8.txt
new file mode 100644
index 0000000..9596f97
--- /dev/null
+++ b/17935-8.txt
@@ -0,0 +1,4480 @@
+Project Gutenberg's French Polishing and Enamelling, by Richard Bitmead
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: French Polishing and Enamelling
+       A Practical Work of Instruction
+
+Author: Richard Bitmead
+
+Release Date: March 6, 2006 [EBook #17935]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK FRENCH POLISHING AND ENAMELLING ***
+
+
+
+
+Produced by K.D. Thornton and the Online Distributed
+Proofreading Team at http://www.pgdp.net
+
+
+
+
+
+FRENCH POLISHING
+AND
+ENAMELLING
+
+A Practical Work of Instruction
+
+INCLUDING
+NUMEROUS RECIPES FOR MAKING POLISHES,
+VARNISHES, GLAZE-LACQUERS, REVIVERS, ETC.
+
+BY RICHARD BITMEAD
+
+AUTHOR OF "THE CABINET-MAKER'S GUIDE," "THE UPHOLSTERER'S GUIDE," ETC.
+Fourth Edition
+
+[Illustration: Capio Lumen]
+
+LONDON
+CROSBY LOCKWOOD AND SON
+7, STATIONERS' HALL COURT, LUDGATE HILL
+1910
+
+[_All rights reserved_]
+
+
+PRINTED BY
+WILLIAM CLOWES AND SONS, LIMITED,
+LONDON AND BECCLES.
+
+
+
+
+AUTHOR'S PREFACE.
+
+
+Early in the present century the method generally adopted for polishing
+furniture was by rubbing with beeswax and turpentine or with
+linseed-oil. That process, however, was never considered to be very
+satisfactory, which fact probably led to experiments being made for the
+discovery of an improvement. The first intimation of success in this
+direction appeared in the _Mechanic's Magazine_ of November 22, 1823,
+and ran as follows: "The Parisians have now introduced an entirely new
+mode of polishing, which is called _plaque_, and is to wood precisely
+what plating is to metal. The wood by some process is made to resemble
+marble, and has all the beauty of that article with much of its
+solidity. It is even asserted by persons who have made trial of the new
+mode that water may be spilled upon it without staining it." Such was
+the announcement of an invention which was destined ultimately to become
+a new industry.
+
+The following pages commence with a description of the art of French
+Polishing in its earliest infancy, care having been taken by the Author,
+to the best of his ability, to note all the new processes and
+manipulations, as well as to concisely and perspicuously arrange and
+describe the various materials employed, not only for French polishing
+but for the improving and preparation of furniture woods, a matter of
+great importance to the polisher. The arts of Staining and Imitating,
+whereby inferior woods are made to resemble the most costly, are also
+fully treated, as well as the processes of Enamelling, both in
+oil-varnishes and French polish, together with the method of decorating
+the same. The condition of the art of polishing in America is dwelt
+upon, and various interesting articles written by practical polishers in
+the States, which appeared in their trade journal, _The Cabinet-maker_,
+have been revised and printed in this work.
+
+A number of valuable recipes, and other instructive matter, useful alike
+to the amateur and to the practical workman, are also given.
+
+
+
+
+CONTENTS.
+
+
+  CHAPTER I.
+  _THE IMPROVING AND PREPARATION OF FURNITURE WOODS._          PAGE
+  Improving                                                      2
+  Matching                                                       3
+  Painting                                                       5
+  Dyed Polishes                                                  6
+
+
+  CHAPTER II.
+  _STAINS AND IMITATIONS._
+  Imitation Mahogany                                             8
+  Imitation Rosewood                                             8
+  Imitation Walnut                                               9
+  Imitation Ebony                                               10
+  Imitation Oak                                                 11
+  Imitation Satin-wood                                          12
+  A Blue Stain                                                  13
+  A Green Stain                                                 13
+  A Purple Stain                                                13
+  A Red Stain                                                   14
+  Imitation Purple-wood Stain                                   14
+  Chemicals used in Staining                                    15
+  Process of Staining                                           16
+  Ready-made Wood Stains                                        17
+
+
+  CHAPTER III.
+  _FRENCH POLISHING._
+  The Polish Used                                               18
+  Rubbers                                                       22
+  Position                                                      24
+  Filling-in                                                    25
+  Applying the Polish                                           26
+  Spiriting-off                                                 30
+  Prepared Spirits                                              32
+  Antique Style                                                 32
+  Dull or Egg-shell Polish                                      33
+  Polishing in the Lathe                                        34
+
+
+  CHAPTER IV.
+  _CHEAP WORK._
+  Glazing                                                       37
+  Stencilling                                                   39
+  Charcoal Polishing                                            40
+
+
+  CHAPTER V.
+  _RE-POLISHING OLD WORK_                                       42
+
+
+  CHAPTER VI.
+  _SPIRIT VARNISHING._
+  Varnishes                                                     46
+  Brushes and Pencils                                           47
+  Mode of Operation                                             47
+  East Indian Varnishes                                         48
+
+
+  CHAPTER VII.
+  _GENERAL INSTRUCTIONS._
+  Remarks on Polishing                                          51
+  The Polishing Shop                                            52
+
+
+  CHAPTER VIII.
+  _ENAMELLING._
+  Materials                                                     57
+  Tools                                                         58
+  Mode of Operation                                             58
+  Polishing                                                     60
+  Another Process                                               61
+  Decorations                                                   63
+
+
+  CHAPTER IX.
+  _AMERICAN POLISHING PROCESSES._
+  Use of Fillers                                                65
+  Making Fillers                                                70
+    Japan of the Best Quality                                   70
+    Fillings for Light Woods                                    70
+    Another for Light Woods                                     70
+    For Mahogany or Cherry Wood                                 71
+    For Oak Wood                                                71
+    For Rosewood                                                71
+    For Black Walnut (1)                                        71
+           "         (2)                                        71
+    An Oil Colour for Black Walnut (3)                          72
+  Finishing                                                     73
+  Black Walnut Finishing                                        75
+  Finishing Veneered Panels, etc.                               78
+    Light Woods (Dead Finish)                                   79
+    Mahogany or Cherry Wood                                     79
+    Oak                                                         79
+    Rosewood, Coromandel, or Kingwood (a Bright Finish)         79
+    Walnut                                                      80
+  Finishing Cheap Work                                          81
+    With One Coat of Varnish                                    81
+    Wax Finishing                                               82
+    A Varnish Polish                                            82
+    With Copal or Zanzibar Varnish                              83
+  Polishing Varnish                                             85
+  An American Polish Reviver                                    86
+
+
+  CHAPTER X.
+  _MISCELLANEOUS RECIPES._
+  Oil Polish                                                    87
+  Wax Polish                                                    87
+  Waterproof French Polish                                      88
+  Varnish for Musical Instruments                               88
+  French Varnish for Cabinet-work                               89
+  Mastic Varnish                                                89
+  Cabinet-maker's Varnish                                       90
+  Amber Varnish                                                 90
+  Colourless Varnish with Copal                                 90
+  Seedlac Varnish                                               91
+  Patent Varnish for Wood or Canvas                             91
+  Copal Varnish                                                 91
+  Carriage Varnish                                              92
+  Transparent Varnish                                           92
+  Crystal Varnish for Maps, etc.                                92
+  Black Varnish                                                 92
+  Black Polish                                                  93
+  Varnish for Iron                                              93
+  Varnish for Tools                                             93
+  To Make Labels Adhere to a Polished Surface                   94
+  To Remove French Polish or Varnish from Old Work              94
+  Colouring for Carcase Work                                    94
+  Cheap but Valuable Stain for the Sap of Black Walnut          95
+  Polish (American) for Removing Stains, etc., from Furniture   96
+  Walnut Stain to be used on Pine and White-wood                96
+  Rosewood Stain                                                97
+  Rosewood Stain for Cane Work, etc.                            97
+  French Polish Reviver                                         98
+  Morocco Leather Reviver                                       98
+  Hair-cloth Reviver                                            99
+  To Remove Grease Stains from Silks, Damasks, Cloth, etc.      99
+  To Remove Ink Stains from White Marble                        99
+
+
+  CHAPTER XI.
+  _MATERIALS USED._
+  Alkanet-root                                                 100
+  Madder-root                                                  100
+  Red-sanders                                                  101
+  Logwood                                                      101
+  Fustic                                                       102
+  Turmeric                                                     102
+  Indigo                                                       103
+  Persian Berries                                              103
+  Nut-galls                                                    103
+  Catechu                                                      103
+  Thus                                                         104
+  Sandarach                                                    104
+  Mastic                                                       104
+  Benzoin                                                      104
+  Copal                                                        105
+  Dragon's Blood                                               106
+  Shellac                                                      106
+  Amber                                                        107
+  Pumice-stone                                                 107
+  Linseed-oil                                                  108
+  Venice Turpentine                                            110
+  Oil of Turpentine                                            110
+  Methylated Spirits                                           110
+
+
+
+
+FRENCH POLISHING
+
+AND
+
+ENAMELLING.
+
+CHAPTER I.
+
+_THE IMPROVING AND PREPARATION OF
+FURNITURE WOODS._
+
+
+For a French polisher to be considered a good workman he should, in
+addition to his ordinary ability to lay on a good polish, possess
+considerable knowledge of the various kinds of wood used for furniture,
+as well as the most approved method of bringing out to the fullest
+extent their natural tones or tints; he should also be able to improve
+the inferior kinds of wood, and to stain, bleach, or match any of the
+fancy materials to which his art is applied, in a manner that will
+produce the greatest perfection. The following information is given to
+facilitate a thorough knowledge of the above processes.
+
+
+=Improving.=--Iron filings added to a decoction of gall-nuts and vinegar
+will give to ebony which has been discoloured an intense black, after
+brushing over once or twice. Walnut or poor-coloured rosewood can be
+improved by boiling half an ounce of walnut-shell extract and the same
+quantity of catechu in a quart of soft-water, and applying with a
+sponge. Half a pound of walnut husks and a like quantity of oak bark
+boiled in half a gallon of water will produce much the same result.
+Common mahogany can be improved by rubbing it with powdered red-chalk
+(ruddle) and a woollen rag, or by first wiping the surface with liquid
+ammonia, and red-oiling afterwards. For a rich mild red colour,
+rectified spirits of naphtha, dyed with camwood dust, or an oily
+decoction of alkanet-root. Methylated spirits and a small quantity of
+dragon's blood will also produce a mild red. Any yellow wood can be
+improved by an alcoholic solution of Persian berries, fustic, turmeric,
+or gamboge. An aqueous decoction of barberry-root will serve the same
+purpose. Birch when preferred a warm tint may be sponged with oil, very
+slightly tinted with rose-madder or Venetian red; the greatest care
+should be used, or it will be rendered unnatural in appearance by
+becoming too red. Maple which is of a dirty-brown colour, or of a cold
+grey tint, and mahogany, ash, oak, or any of the light-coloured woods,
+can be whitened by the bleaching fluid (see "MATCHING"). Numerous
+materials may be improved by the aid of raw linseed-oil mixed with a
+little spirits of turpentine. Artificial graining may be given to
+various woods by means of a camel-hair pencil and raw oil; two or three
+coats should be given, and after standing for some time the ground
+should have one coat of oil much diluted with spirits of turpentine, and
+then rubbed off.
+
+
+=Matching.=--Old mahogany furniture which has been repaired may be
+easily matched by wiping over the new portions with water in which a
+nodule of lime has been dissolved, or by common soda and water. The
+darkeners for general use are dyed oils, logwood, aquafortis, sulphate
+of iron, and nitrate of silver, with exposure to the sun's rays. For new
+furniture in oak, ash, maple, etc., the process of matching requires
+care and skill. When it is desirable to render all the parts in a piece
+of furniture of one uniform tone or tint, bleach the dark parts with a
+solution of oxalic acid dissolved in hot water (about two-pennyworth of
+acid to half a pint of water is a powerful solution); when dry, if this
+should not be sufficient, apply the white stain (see pp. 11, 12)
+delicately toned down, or the light parts may be oiled. For preserving
+the intermediate tones, coat them with white polish by means of a
+camel-hair pencil. On numerous woods, carbonate of soda and bichromate
+of potash are very effective as darkeners, as are also other
+preparations of an acid or alkaline nature, but the two given above are
+the best.
+
+A good way of preparing these darkeners, says the "French Polisher's
+Manual," an excellent little work published in Perth some years since,
+is to procure twopennyworth of carbonate of soda in powder, and dissolve
+it in half a pint of boiling water; then have ready three bottles, and
+label them one, two, three. Into one put half the solution, and into the
+other two half a gill each; to number two add an additional gill of
+water, and to number three two gills. Then get the same quantity of
+bichromate of potash, and prepare it in a like manner; you will then
+have six staining fluids for procuring a series of brown and dark tints
+suitable for nearly all classes of wood.
+
+The bichromate of potash is useful to darken oak, walnut, beech, or
+mahogany, but if applied to ash it renders it of a greenish cast. If a
+sappy piece of walnut should be used either in the solid or veneer,
+darken it to match the ground colour, and then fill in the dark markings
+with a feather and the black stain (see pp. 10, 11). The carbonate
+solutions are generally used for dark surfaces, such as rosewood
+represents, and a still darker shade can be given to any one by oiling
+over after the stain is dry. The better way of using these chemical
+stains is to pour out into a saucer as much as will serve the purpose,
+and to apply it quickly with a sponge rubbed rapidly and evenly over the
+surface, and rubbed off dry immediately with old rags. Dark and light
+portions, between which the contrast is slight, may be made to match by
+varnishing the former and darkening the latter with oil, which should
+remain on it sufficiently long; by this means the different portions may
+frequently be made to match without having recourse to bleaching or
+staining.
+
+
+=Painting.=--The next process is painting. It frequently happens in
+cabinet work that a faulty place is not discovered until after the work
+is cleaned off; the skill of the polisher is then required to paint it
+to match the other. A box containing the following colours in powder
+will be found of great utility, and when required for use they should be
+mixed with French polish and applied with a brush. The pigments most
+suitable are: drop black, raw sienna, raw and burnt umber, Vandyke
+brown, French Naples yellow (bear in mind that this is a very opaque
+pigment), cadmium yellow, madder carmine (these are expensive), flake
+white, and light or Venetian red; before mixing, the colours should be
+finely pounded. The above method of painting, however, has this
+objection for the best class of furniture, that the effects of time will
+darken the body of the piece of furniture, whilst the painted portion
+will remain very nearly its original colour. In first-class work,
+therefore, stained polishes or varnishes should be applied instead of
+these pigments.
+
+
+=Dyed Polishes.=--The methods of dyeing polish or
+varnish are as follows: for a red, put a little alkanet-root or camwood
+dust into a bottle containing polish or varnish; for a bright yellow, a
+small piece of aloes; for a yellow, ground turmeric or gamboge; for a
+brown, carbonate of soda and a very small quantity of dragon's blood;
+and for a black, a few logwood chips, gall-nuts, and copperas, or by the
+addition of gas-black.
+
+The aniline dyes (black excepted) are very valuable for dyeing polishes,
+the most useful being Turkey-red, sultan red, purple, and brown. A small
+portion is put into the polish, which soon dissolves it, and no
+straining is required. The cheapest way to purchase these dyes is by the
+ounce or half-ounce. The penny packets sold by chemists are too
+expensive, although a little goes a long way.
+
+
+
+
+CHAPTER II.
+
+_STAINS AND IMITATIONS._
+
+
+In consequence of the high price demanded for furniture made of the
+costly woods, the art of the chemist has been called into requisition to
+produce upon the inferior woods an analogous effect at a trifling
+expense. The materials employed in the artificial colouring of wood are
+both mineral and vegetable; the mineral is the most permanent, and when
+caused by chemical decomposition within the pores it acts as a
+preservative agent in a greater or less degree. The vegetable colouring
+matters do not penetrate so easily, probably on account of the affinity
+of the woody fibre for the colouring matter, whereby the whole of the
+latter is taken up by the parts of the wood with which it first comes
+into contact. Different intermediate shades, in great variety, may be
+obtained by combinations of colouring matters, according to the tint
+desired, and the ideas of the stainer. The processes technically known
+as "grounding and ingraining" are partly chemical and partly mechanical,
+and are designed to teach the various modes of operation whereby the
+above effects can be produced. We will commence with
+
+
+=Imitation Mahogany.=--Half a pound of madder-root, and two ounces of
+logwood chips boiled in a gallon of water. Brush over while hot; when
+dry, go over it with a solution of pearlash, a drachm to a pint. Beech
+or birch, brushed with aquafortis in sweeping regular strokes, and
+immediately dried in front of a good fire, form very good imitations of
+old wood. Venetian red mixed with raw linseed-oil also forms a good
+stain.
+
+The following is a method in common use by French cabinet-makers. The
+white wood is first brushed over with a diluted solution of nitrous
+acid; next, with a solution made of methylated spirits one gill,
+carbonate of soda three-quarters of an ounce, and dragon's blood a
+quarter of an ounce; and a little red tint is added to the varnish or
+polish used afterwards. Black American walnut can be made to imitate
+mahogany by brushing it over with a weak solution of nitric acid.
+
+
+=Imitation Rosewood.=--Boil half a pound of logwood chips in three pints
+of water until the decoction is a very dark red; then add an ounce of
+salt of tartar. Give the work three coats boiling hot; then with a
+graining tool or a feather fill in the dark markings with the black
+stain. A stain of a very bright shade can be made with methylated
+spirits half a gallon, camwood three-quarters of a pound, red-sanders
+a quarter of a pound, extract of logwood half a pound, aquafortis one
+ounce. When dissolved, it is ready for use. This makes a very bright
+ground. It should be applied in three coats over the whole surface, and
+when dry it is glass-papered down with fine paper to a smooth surface,
+and is then ready for graining. The fibril veins are produced by passing
+a graining tool with a slight vibratory motion, so as to effect the
+natural-looking streaks, using the black stain. A coat of the bichromate
+of potash solution referred to on page 4 will make wildly-figured
+mahogany have the appearance of rosewood.
+
+
+=Imitation Walnut.=--A mixture of two parts of brown umber and one part
+of sulphuric acid, with spirits of wine or methylated spirits added
+until it is sufficiently fluid, will serve for white wood. Showy
+elm-wood, after being delicately darkened with the bichromate solution
+No. 1, page 4, will pass for walnut; it is usually applied on the cheap
+loo-table pillars, which are made of elm-wood. Equal portions of the
+bichromate and carbonate solutions (see page 4), used upon American
+pine, will have a very good effect.
+
+Another method for imitating walnut is as follows: One part (by weight)
+of walnut-shell extract is dissolved in six parts of soft-water, and
+slowly heated to boiling until the solution is complete. The surface to
+be stained is cleaned and dried, and the solution applied once or twice;
+when half-dry, the whole is gone over again with one part of chromate of
+potash boiled in five parts of water. It is then dried, rubbed down, and
+polished in the ordinary way.
+
+The extract of walnut-shells and chromate of potash are procurable at
+any large druggist's establishment. A dark-brown is the result of the
+action of copper salts on the yellow prussiate of potash; the sulphate
+of copper in soft woods gives a pretty reddish-brown colour, in streaks
+and shades, and becomes very rich after polishing or varnishing.
+Different solutions penetrate with different degrees of facility. In
+applying, for instance, acetate of copper and prussiate of potash to
+larch, the sap-wood is coloured most when the acetate is introduced
+first; but when the prussiate is first introduced, the heart-wood is the
+most deeply coloured. Pyrolignite of iron causes a dark-grey colour in
+beech, from the action and tannin in the wood on the oxide of iron;
+while in larch it merely darkens the natural colour. Most of the tints,
+especially those caused by the prussiates of iron and copper, are
+improved by the exposure to light, and the richest colours are produced
+when the process is carried out rapidly.
+
+
+=Imitation Ebony.=--Take half a gallon of strong vinegar, one pound of
+extract of logwood, a quarter of a pound of copperas, two ounces of
+China blue, and one ounce of nut-gall. Put these into an iron pot, and
+boil them over a slow fire till they are well dissolved. When cool, the
+mixture is ready for use. Add a gill of iron filings steeped in vinegar.
+The above makes a perfect jet black, equal to the best black ebony. A
+very good black is obtained by a solution of sulphate of copper and
+nitric acid; when dry, the work should have a coat of strong logwood
+stain.
+
+
+=Imitation Oak.=--To imitate old oak, the process known as "fumigating"
+is the best. This is produced by two ounces of American potash and two
+ounces of pearlash mixed together in a vessel containing one quart of
+hot water.
+
+Another method is by dissolving a lump of bichromate of potash in warm
+water; the tint can be varied by adding more water. This is best done
+out of doors in a good light. Very often in sending for bichromate of
+potash a mistake is made, and chromate of potash is procured instead;
+this is of a yellow colour, and will not answer the purpose. The
+bichromate of potash is the most powerful, and is of a red colour. A
+solution of asphaltum in spirits of turpentine is frequently used to
+darken new oak which is intended for painter's varnish, or a coating
+of boiled oil.
+
+Another method of imitating new oak upon any of the inferior
+light-coloured woods is to give the surface a coat of Stephens's
+satin-wood stain, and to draw a soft graining-comb gently over it, and
+when the streaky appearance is thus produced a camel-hair pencil should
+be taken and the veins formed with white stain. This is made by
+digesting three-quarters of an ounce of flake white (subnitrate of
+bismuth), and about an ounce of isinglass in two gills of boiling water;
+it can be made thinner by adding more water, or can be slightly tinted
+if desired.
+
+Proficients in staining and imitating can make American ash so like oak
+that experienced judges are frequently deceived, the vein and shade of
+the spurious wood looking nearly as natural as the genuine. After the
+veining is done, it should be coated with white hard varnish, made
+rather thin by adding more spirits, after which the ground can be
+delicately darkened if required.
+
+
+=Imitation Satin-wood.=--Take methylated spirits one quart, ground
+turmeric three ounces, powdered gamboge one and a-half ounces. This
+mixture should be steeped to its full strength, and then strained
+through fine muslin, when it will be ready for use. Apply with a sponge,
+and give two coats; when dry, glass-paper down with fine old paper. This
+makes a good imitation for inside work. By the addition of a little
+dragon's blood an orange tint can be produced. A yellow colour can also
+be given to wood by boiling hot solutions of turmeric, Persian berries,
+fustic, etc. but the colour is very fugitive. A more permanent colour
+results from nitric acid, and last of all by the successive introduction
+of acetate of lead and chromate of potash. Sulphate of iron also stains
+wood of a yellowish colour when used as a preservative agent, so much
+so, that the use of corrosive sublimate is recommended for this purpose
+when it is desirable to preserve the light colour.
+
+
+=A Blue Stain.=--This dye can be obtained by dissolving East Indian
+indigo in arsenious acid, which will give a dark blue. A lighter blue
+can be obtained by hot solutions of indigo, of sulphate of copper, and
+by the successive introduction of pyrolignite of iron and prussiate of
+potash.
+
+
+=A Green Stain.=--Dissolve one ounce of Roman vitriol in a quart of
+boiling water, to which is added one ounce of pearlash; the mixture
+should then be forcibly agitated, and a small quantity of pulverised
+yellow arsenic stirred in. A green is also the result of successive
+formations in the pores of the wood of a blue and a yellow as above
+indicated, and by a hot solution of acetate of copper in water. A
+yellowish green may be obtained by the action of copper salts on the red
+prussiate of potash.
+
+
+=A Purple Stain.=--Boil one pound of logwood chips in three quarts of
+water, until the full strength is obtained; then add four ounces of
+pearlash and two ounces of powdered indigo. When these ingredients are
+thoroughly dissolved, it is ready for use, either hot or cold. A purple
+is also obtained by a boiling hot solution of logwood and Brazil-wood,
+one pound of the former and one quarter of a pound of the latter to a
+gallon of water.
+
+
+=A Red Stain.=--Methylated spirits one quart, Brazil-wood three ounces,
+dragon's blood half an ounce, cochineal half an ounce, saffron one
+ounce. Steep the whole to its full strength, and strain. A red can also
+be produced by macerating red-sanders in rectified spirits of naphtha.
+An orange-red colour may be obtained by the successive action of
+bichloride of mercury and iodide of potash, madder, and ammoniacal
+solutions of carmine.
+
+
+=Imitation Purple-wood Stain.=--Grind a piece of green copperas on
+coarse glass-paper, and mix with polish coloured with red-sanders. This
+makes a capital purple stain, and is used by French cabinet-makers.
+
+These dyestuffs may be much improved by the addition of a mordant
+applied after they are dry; this will greatly assist in modifying and
+fixing the tints and shades which the dyes impart. The best thing for
+the purpose, in the writer's opinion, is clear ox-gall, which, besides
+being useful as a mordant, will destroy all unctuous matter.
+
+
+=Chemicals used in Staining.=--It may perhaps be useful here to give the
+common or popular names of the chemicals employed in the operations of
+staining and imitating, as few polishers know them by the scientific
+names used by chemists:--
+
+Nitric acid is but another phrase for aquafortis.
+Sulphuric acid, for oil of vitriol.
+Ammonia, for spirits of hartshorn.
+Sulphate of magnesia, for Epsom salts.
+Nitrate of potass, for sal prunelle.
+Chlorine, for aqua regia.
+Sulphate of copper, for blue vitriol.
+Subborate of soda, for borax.
+Superoxalate of potass, for salts of sorrel.
+Hydrochlorate of ammonia, for sal ammoniac.
+Subnitrate of bismuth, for flake white.
+Acetic acid, for vinegar.
+Acetate of lead, for sugar of lead.
+Sulphate of lime, for gypsum.
+Carbonate of potass, for pearlash.
+Bitartrate of potass, for cream of tartar.
+Nitrate of silver, for lunar caustic.
+Supercarbonate of iron, for plumbago.
+Cyanide of iron, for Prussian blue.
+Subacetate of copper, for common verdigris.
+Susquecarbonate of ammonia, for sal volatile.
+Alcohol, for pure spirit.
+Sulphate of iron, for green copperas.
+Sulphate of zinc, for white copperas.
+
+
+=Process of Staining.=--The natural qualities of woods are very
+variable; so also are the textures of the different sorts usually used
+for staining. It will be readily perceived that there is no fixed
+principle upon which certain peculiar tints or shades can be produced
+with any degree of certainty. In order to arrive at the best results,
+the stainer is recommended to observe the following rules:--
+
+All dry stuffs are best reduced to powder, when it is possible, before
+macerating or dissolving them.
+
+All liquids should be strained or filtered before use.
+
+The requisite ingredients should always be tested before a free use is
+made of them, as the effect produced by a coat of stain cannot be
+accurately ascertained until it is thoroughly dry.
+
+Amateurs in staining had far better coat twice or thrice with a weak
+stain than apply a strong one; for if too dark a tint is first obtained
+it is often irremediable. Flat surfaces will take stain more evenly if a
+small portion of linseed-oil is first wiped over, well rubbed off, and
+allowed to dry, then lightly papered down with fine glass-paper. End-way
+wood which is of a spongy nature should first have a coat of thin
+varnish, and when dry well glass-papered off. For applying stain a flat
+hog-hair tool is the best; and for a softener-down a badger-hair tool is
+used. For mahogany shades and tints a mottler will be found of service,
+as will also a soft piece of Turkey sponge. For oak, the usual steel
+graining-comb is employed for the streaking, and for veining badger
+sash-tools and sable pencils.
+
+
+=Ready-made Wood Stains.=--There are numerous stains suitable for common
+work in the market obtainable at a small cost by residents in London,
+but it is cheaper for those who reside in country towns to make their
+own, if only a small quantity is required. The principal makers of wood
+stains are H. C. Stephens, of 191, Aldersgate-street, E.C., and Jackson,
+213, Union-street, Southwark, S.E. These makers prepare stains in a
+liquid state, and also in powders for oak, walnut, mahogany, satin-wood,
+ebony, and rosewood. The powders are sold in packages at 8s. per lb. or
+1s. for two ounces, and are soluble in boiling water. Judson, of 77,
+Southwark-street, S.E., makes a mahogany powder in sixpenny packets, and
+any reliable oilman will sell a good black stain at 8d. per quart, or a
+superior black stain at 1s. 2d. per quart. Fox, of 109, Bethnal
+Green-road, also prepares stains in a liquid state.
+
+
+
+
+CHAPTER III.
+
+_FRENCH POLISHING._
+
+
+=The Polish Used.=--The oil or wax polish was used for all kinds of
+furniture before the introduction of French polish, the invention of
+which, as its name implies, is due to French cabinet-makers. It was
+first introduced into England about seventy years since; some time
+elapsed, however, before it was brought to a high state of perfection.
+At first apprentices or porters were entrusted with the polishing, they
+having been usually called upon to do the wax polishing; but in course
+of time it was found that its successful adoption implied the possession
+of considerable skill, and it came to be regarded as an art of no little
+importance--so much so, that the early polishers who had perfected
+themselves used to work in a shop with closed doors, lest the secret of
+their success should be discovered. From that time polishing became a
+separate branch of the cabinet business.
+
+The following original recipe as first invented has been extracted from
+a French work, the _Dictionnaire Technologique_, not, however, for its
+usefulness (it having gone into disuse many years ago), but as a matter
+of curiosity:--
+
+  "_French Polish._"
+
+  Gum sandarach                        14 ounces 2 drachms
+  Gum mastic in drops                   7   "    2    "
+  Shellac (the yellower the better)    14   "    2    "
+  Alcohol of 0.8295 specific gravity    3 quarts and 1 pint.
+
+"Pound the resinous gums, and effect their solution by continued
+agitation, without the aid of heat; if the woods are porous, add seven
+ounces one drachm of Venice turpentine. If an equal weight of ground
+glass be added, the solution is more quickly made, and is also otherwise
+benefited by it. Before using, the wood should be made to imbibe a
+little linseed-oil, the excess of which should be removed by an old
+flannel."
+
+Notwithstanding the improvement made upon the old processes by this new
+method, it was by no means considered to be perfect, for the polish was
+found to impart its brown tinge to the light-coloured woods, especially
+in marqueterie work, and to deteriorate their appearance. It will be
+readily seen that it was a great desideratum among polishers to render
+shellac colourless, as, with the exception of its dark-brown hue, it
+possesses all the properties essential to a good polish or spirit
+varnish in a higher degree than any of the other resins.
+
+In 1827 the Society of Arts came forward with its valuable aid and
+offered a premium of a gold medal, or thirty guineas, "for a polish or
+varnish made from shell or seed-lac, equally hard, and as fit for use in
+the arts as that at present prepared from the above substance, but
+deprived of its colouring matter." After numerous experiments, this
+long-felt want was perfectly attained by Dr. Hare, who was awarded the
+premium. His method was as follows: "Dissolve in an iron kettle one part
+of pearlash in about eight parts of water; add one part of shell or
+seed-lac, and heat the whole to ebullition. When the lac is dissolved,
+cool the solution, and impregnate it with chlorine till the lac is all
+precipitated. The precipitate is white, but its colour deepens by
+washing and consolidation; dissolved in alcohol, lac, bleached by the
+process above mentioned, yields a polish or varnish which is as free
+from colour as any copal varnish." At the present time shellac is
+bleached by filtration over animal charcoal.
+
+Numerous experiments were afterwards made in the manufacture of
+polishes; several chemists devoted their attention to its manufacture,
+and an improved polish was soon produced which was used for a number of
+years. The following are its proportions:--
+
+  Shellac                 14 ounces.
+  Sandarach                3/4 ounce.
+  White resin              3/4   "
+  Benzoin                  3/4   "
+  Gum thus                 3/4   "
+  O.P. finishing spirit    1/2 a gallon.
+
+The "filling-in" processes also began to be used, which effected a
+considerable saving in the quantity of polish usually required, and in
+consequence of the expensiveness of spirits of wine rectified spirits of
+naphtha was used as a substitute for the making of polishes, etc.; but
+it was discovered that its continued use soon affected the eyesight of
+the workmen, and it had to be abandoned, the methylic alcohol, pyroxylic
+spirit, or wood spirit, as it has been differently called, taking its
+place. This was first discovered by Mr. Philip Taylor in 1812, and is
+obtained by distilling wood. Messrs. Dumas & Peligot, after analysing
+it, determined that it contained 37·5 per cent. of carbon, 12·5 per
+cent. of hydrogen, and 50 per cent. of oxygen. When pure, it remains
+clear in the atmosphere; but for the sake of economy it is often
+employed in the manufacture of other compounds called methylated. This
+spirit began to be much used in the manufacture of polishes and
+varnishes in the year 1848, and has continued to be much used ever
+since.
+
+The wonderful improvements which have been effected in polishes since
+their first introduction obviously prove that they have now arrived at a
+very high point of perfection, and polishing is now justly acknowledged,
+both by skilled artisans and connoisseurs, to be an important decorative
+art. French polish or varnish at the present time can easily be obtained
+at most chemists or oil shops, or direct from the manufacturers, amongst
+whom may be mentioned Mr. W. Urquhart, 327, Edgware-road, W.; Messrs.
+Turner & Sons, 7 to 9, Broad-street, Bloomsbury, W.C.; Messrs. William
+Fox & Son, Bethnal Green-road, E.; Mr. G. Purdom, 49, Commercial-road,
+E.
+
+The London prices are: Best French polish, 5s. 6d. per gallon; best
+white polish, 9s. per gallon; brown or white hard varnish, 8s. per
+gallon; patent glaze, 10s. per gallon; methylated spirits, 3s. 3d. per
+gallon. For those who prefer to make their own, the following will be
+found an excellent recipe:--
+
+  12 ounces of orange shellac.
+   1 ounce of benzoin.
+   1 ounce of sandarach.
+   1/2 gallon of methylated spirits.
+
+Pound the gums well before mixing with the spirit, as this will hasten
+their dissolution. White polish for white wood and marqueterie work
+should be made with bleached shellac instead of the above. In making
+polishes or varnishes, the mixture will frequently require shaking until
+dissolved.
+
+
+=Rubbers.=--In commencing to polish, the materials required are old
+flannel for the rubbers and clean old linen or cotton rags for the
+coverings, the softer the better; some polishers, however, prefer white
+wadding for rubbers instead of flannel. Rubbers for large surfaces are
+usually made of soft old flannel, firmly and compactly put together
+somewhat in the form of a ball, and the more they possess softness and
+compactness, and are large and solid, the more quickly and
+satisfactorily will they polish extensive surfaces. Small pliable
+rubbers are usually employed for chairs or light frame-work. Perhaps for
+a beginner a rubber made of old flannel may be best, as it takes some
+little practice to obtain the necessary lightness of hand.
+
+The rubber for "spiriting-off" should be made up from a piece of old
+flannel or woollen cloth, and covered with a piece of close rag,
+doubled. Carefully fold the rag and screw it round at the back to make
+it as firm as possible, and sprinkle some spirit on the face of it just
+as it is covered; then give it two or three good smacks with the palm of
+the hand, and begin by laying on as lightly as possible for the first
+few strokes and gradually increase the pressure as the rubber gets dry;
+then take off the first fold of the cover and work it perfectly dry.
+
+The rubber should present to the wood you are about to work on a
+smooth-rounded or convex surface. Have beside you linseed-oil in one
+receptacle, and some French polish in another. Apply one drop of polish
+and one drop of oil, and polish with a circular movement--traversing
+steadily the _whole_ surface to be polished, and from time to time, as
+may be necessary (when the rubber gets sticky and harsh, indicating that
+the inside needs replenishing with more polish), open and apply more of
+it, and again draw over the linen cover, holding it tightly to form the
+convex face proper to do the work. After replenishing, the rubber will
+probably need a little more oil to help it to work smoothly. Having thus
+worked on one coat of polish evenly over all the wood until it has got
+what may best be described as a _full look_, set it aside for two or
+three hours to sink in and become hard, and when completely dry, lightly
+paper off with glass-paper (very finest), afterwards dusting the surface
+to remove any trace of powder, and lay on a second coat of polish in the
+same method. Then allow twenty-four hours to dry. Another light papering
+may possibly be needed--dust off as before recommended and let the wood
+have a _third_ coat of polish.
+
+For this third coat a fresh rubber should be made, the inside being
+sparingly supplied with spirits of wine instead of polish. Put a double
+fold of linen over it, touch it with one drop of oil, and go very
+lightly and speedily over the whole work.
+
+In spiriting-off--the object of which is to remove any trace of smudge
+that may blur the surface unless removed thus by spirit--you should go
+gently to work, using a very light hand, or you may take the polish off
+as well, amateurs more especially.
+
+
+=Position.=--All work should be placed in an easy and accessible
+position while it is being polished, so that the eye may readily
+perceive the effect of the rubber; this will greatly help to relieve the
+difficulties attending the polishing of a fine piece of furniture. It
+should also be kept quite firm, so that it cannot possibly move about.
+The most suitable benches for polishers are the ordinary cabinet-makers'
+benches, with the tops covered with thick, soft cloths; these cloths
+should not be fastened down, it being an advantage to be able to remove
+them when required. When a piece of work too large to be placed upon the
+bench is in hand, pads will be found useful to rest it upon. These can
+be made by covering pieces of wood about two feet in length by three
+inches in width with cloth several times doubled, the work being placed
+so that a good light falls upon it. All thin panelling should be tacked
+down upon a board by the edges while polishing.
+
+
+=Filling-in.=--The first process the wood usually undergoes is
+"filling-in." This consists in rubbing into the pores of the wood
+Russian tallow and plaster of Paris, which have been previously heated
+and mixed together so as to form a thick paste. For rosewood, or to
+darken mahogany, a little rose-pink should be added. After well rubbing
+in, the surface should be cleared from all the surplus paste with the
+end of the scraper, and then rubbed off with shavings or old rags, and
+made quite clean. For birch or oak, some use whiting or soft putty
+moistened with linseed-oil for the filling; this preparation prevents in
+a great measure the rising of the grain. For white delicate woods, such
+as sycamore, maple, or satin-wood, plaster of Paris, mixed with
+methylated spirit, is used. When polishing pine, a coat of Young's
+patent size (2d. per lb.) is used instead of the above mixtures, and
+when dry is rubbed down with fine glass-paper.
+
+Some workmen, who regard their modes of filling-in as important secrets,
+do their work surprisingly quick by the methods here given. The various
+processes are soon acquired by a little practice, and contribute greatly
+to the speedy advancement of a smooth and imporous ground, which is the
+most important point to observe in polishing.
+
+
+=Applying the Polish.=--In commencing to use the polish some are
+provided with a small earthenware dish, into which the polish is poured
+for wetting the rubbers; while others make a slit in the cork of the
+polish bottle, and so let it drip on to the rubber; whichever method is
+adopted, the rubber should not be saturated, but receive just enough to
+make a smear. Every time after wetting the rubber and putting on the
+cover it should be pressed upon the palm of the hand, or if a small
+rubber it can be tested between the thumb and finger. This is an
+important operation, for by it the polisher can easily tell the exact
+state of moisture, and at the same time, by the pressure being applied,
+the moisture is equalised. The tip of the finger should then be just
+dipped into the linseed-oil, and applied to the face of it; if the
+rubber should be rather sappy, the greatest care must be used or a
+coarse streaky roughness will be produced; extreme lightness of hand is
+required until the rubber is nearly dry. (It would be a serious error to
+bear heavily on the rubber while the surface is moist; to do so, and to
+use too much oil on the rubber, are the causes of many failures in
+polishing.)
+
+In commencing to work, pass the rubber a few times gently and lightly
+over the surface in the direction of the grain; then rub across the
+grain in a series of circular movements, all one way, in full and free
+sweeping strokes, until the rubber is dry. Continue this operation until
+the pores are filled in, and the surface assumes a satisfactory
+appearance. It should then be left for about twelve hours; the polish
+will be well into the wood by that time. The polish should then be
+carefully rubbed down with No. glass-paper; this will remove the atomic
+roughness usually caused by the rising of the grain during the sinking
+period. In flat-surface work a paper cork can be used, and the rubbing
+lightly and regularly done in a careful manner, so as to avoid rubbing
+through the outer skin, especially at the edges and corners, or the work
+will be irremediably defaced.
+
+The woods which possess a rising grain are well known to polishers;
+these are the light-coloured woods with a coarse grain, viz., ash,
+birch, and oak. This rising of the grain can in a great measure be
+prevented by passing a damp sponge over the work before commencing the
+polishing, allowing it to dry, and papering it. After the rubbing or
+smoothing-down process is finished, the work should be well dusted; the
+polishing can then recommence. The above operation must be again
+repeated with a rotary motion and gradually increased pressure as the
+rubber gets dry, and finished by lighter rubbings the way of the grain;
+this will remove any slight marks that may be occasioned by the circular
+movements of the rubber.
+
+Working too long on any one part is to be avoided, nor should the rubber
+be allowed to stick even for an instant, or it will pull the coating of
+polish off to the bare wood. The rubber should be covered with a clean
+part of the rag as soon as a shiny appearance becomes apparent upon it,
+or at each time of damping, and less oil should be used towards the end
+of the operation, so as to gradually clear it all off from the surface.
+Rubber marks can be removed by rubbing in a direction the reverse of the
+marks with a half-dry rubber and increased pressure. When the work has
+received a sufficient body, in finishing the drying of the last rubber,
+ply it briskly the way of the grain to produce a clean dry surface for
+the spiriting-off.
+
+The following is the method usually employed on fine carved or turned
+work when finished in the best style. In the first place it is embodied
+with polish, using a small rubber for the operation, after which it
+should have one coat of shellac (two parts by weight of shellac to one
+of spirits) applied with a brush, and when dry it should be carefully
+smoothed down with flour paper, the utmost caution being observed in
+dealing with the sharp edges, or the carving will be spoiled. Then it is
+embodied with polish again, and one coat of glaze applied with the
+greatest care. A few hours should be allowed to harden, and then
+finished off with a rubber slightly damped with thin polish. This is an
+expensive method, but it will pay in appearance for all the time
+bestowed.
+
+For the best class of cabinet and pianoforte work in amboyna or
+burr-walnut it is advisable not to use linseed-oil on the sole of the
+rubber when polishing, but the best hog's lard; the reason for this is
+that these veneers being so extremely thin and porous the oil will
+quickly penetrate through to the groundwork, softening the glue, and
+causing the veneers to rise in a number of small blisters. Of course,
+this is not always the case, but the use of lard instead of oil will be
+found a good preventative. Lard is also used on the above class of work
+when it is desirable to preserve the colour of the wood in its natural
+state.
+
+The following method is employed for the best work: Immediately on
+receiving the job from the cabinet-maker, a good coating of thin, clean
+glue should be applied with a sponge or brush; this is allowed to dry,
+and thoroughly harden; it is then cleaned off, using the scraper and
+glass-paper, cutting it down to the wood. The bodying-in with white
+polish is the next process, the usual sinking period being allowed; it
+is again cleaned off, but the scraper this time should not quite reach
+the wood. Then embody again, and treat in a like manner. In getting up
+the permanent body, commence with a slight embodying; let this stand,
+and when the sinking period is over rub it down with a felt rubber and
+powdered pumice-stone; continue this several times, till the surface
+presents a satisfactory appearance, and the job is ready for the
+spiriting process. By this means the wood will retain its natural
+colour, and a beautiful transparent polish will result, and remain for a
+number of years. This also is an expensive process, but the result
+cannot be obtained in any other way.
+
+
+=Spiriting-off.=--Most polishers affirm that if an interval of at least
+a couple of hours elapse between the final embodying and the
+spiriting-off the brilliancy of the polish will be improved, and remain
+harder and more durable. The spirit is applied in exactly the same way
+as the polish, and the same rubber can be used, but it should be covered
+with more than one fold of the soft linen rag; care should be taken not
+to make it very wet, or the gum on the surface of the work will be
+redissolved, and a dulness instead of a brilliancy will result. If the
+spirit should be very strong, the rubber should be breathed upon before
+using, and a little more oil taken up; some, however, prefer to mix a
+little polish with the spirit, while others prefer the spirit to be
+weakened by exposure to the air for a few hours; experience alone must
+be the teacher in this particular; but if the spirit should not "bite,"
+as it is termed, all will be well. The last rubber should be worked a
+little longer than usual, and a trifle quicker, so as to remove the
+slight greasy moisture on the surface.
+
+The finishing touch is given to the work by a soft rag loosely rolled up
+and just a few drops of spirit dropped upon it, applied quickly the way
+of the grain. This will remove every defect, and leave it clear and
+brilliant. If, in a short time after finishing, the polish becomes dull
+or rough, it will be owing to too much oil being absorbed in the process
+and working through the surface, combined with dust. It should be
+cleaned off first with a soft cloth, damped with a little warm water,
+and the whole repaired, as at first, with equal parts of polish and
+spirits mixed together, using the least possible damp of oil to make it
+finish clear; there is no danger of its happening again. In all cases
+the work must be rubbed till quite dry, and when nearly so the pressure
+may be increased.
+
+The rubber for spiriting-off should be made up from a piece of old
+flannel, and be covered with a piece of old rag. This is preferable to
+very thin rag, and will give a better finish.
+
+
+=Prepared Spirits.=--This preparation is useful for finishing, as it
+adds to the lustre and durability, as well as removes every defect of
+other polishes, and it gives the surface a most brilliant appearance.
+
+It is made of half a pint of the very best rectified spirits of wine,
+two drachms of shellac, and two drachms of gum benzoin. Put these
+ingredients in a bottle and keep 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.
+
+
+=Antique Style.=--For mediæval or old English furniture a dull polish is
+generally preferred to a French polish, because it has a gloss rather
+than a brilliant polish, which materially assists in showing up
+mouldings or carvings to the best advantage; it is also more in
+character with the work of the Middle Ages. Another advantage is the
+facility of obtaining a new polish (after being once done) should the
+first one get tarnished, as the finishing process can be performed
+without difficulty by any one, and a new polish obtained each time.
+
+On receiving a job which is required to be done in this style, it should
+be "filled-in" in the usual manner, and afterwards bodied with white
+polish to a good extent; it is then left for a sinking period (say
+twelve hours). The work is then carefully rubbed down with powdered
+pumice-stone and a felt-covered block or rubber, and after well dusting
+it is ready for finishing. The preparation used for this process is
+mainly composed of bees'-wax and turpentine (see Wax Polish, page 87),
+well rubbed in with a piece of felt or a woollen rag, and finished off
+by rubbing briskly with a very soft cloth or an old handkerchief to
+produce a gloss.
+
+
+=Dull or Egg-shell Polish.=--This is another style of finishing for
+mediæval work; the process is very simple. In commencing a job to be
+finished in this style, the process of "filling-in" and "embodying" are
+first gone through, then a sinking period is allowed, after which it is
+embodied again, till the work is ready for finishing. All the parts
+should be carefully examined to see if there is a good coating of polish
+upon them. This is important, for if the work should be only thinly
+coated it is liable to be spoiled by rubbing through in the last
+process. After allowing a few hours for the surface to harden, a pounce
+bag of powdered pumice-stone should be applied to the work, and a
+felt-covered rubber used, rubbing down in the direction of the grain
+until the work is of the desired dulness.
+
+For the cheaper kind of work done in this style, the first process, of
+course, is the filling-in; then a rubber of wadding is taken and used
+without a cover, made rather sappy with polish and a few drops of oil
+added; and after bodying-in with this sufficiently, the work should be
+stood aside for twelve hours, then rubbed down with some fine worn
+glass-paper. The embodying is then again commenced, a proper rubber and
+cover being used; and when sufficient is put on, and while the surface
+is still soft, the pounce above mentioned should be applied, and rubbed
+down with a piece of wadding slightly moistened with linseed-oil until
+the desired dulness appears. This is becoming the fashionable finish for
+black walnut work.
+
+
+=Polishing in the Lathe.=--The lathe is of more use to a polisher than a
+great many persons outside the trade would imagine. By its aid turned
+work can be finished in a most superior style, and in less time than by
+hand. The articles usually done by the lathe are wood musical
+instruments, such as clarionets, flutes, etc.; also cornice-poles, ends,
+and mahogany rings, the latter being first placed in a hollow chuck and
+the insides done, after which they are finished upon the outside on a
+conical chuck. For table-legs, chair-legs, and all the turnery used in
+the cabinet-work, it will be found of great advantage to finish the
+turned parts before the work is put together.
+
+Most of the best houses in the trade finish their work in this way,
+where all the work is polished out entirely with the rubber. In the
+first place, the filling-in is done. The band is thrown off the pulley
+and the work rubbed in; at the same time the pulley is turned round by
+the left hand. When this is done, the band is replaced and the work
+cleaned off with rags or shavings, the lathe to be driven with speed to
+get a clean surface. When applying the polish the lathe should revolve
+with a very slow motion.
+
+The rubbers best adapted for turned work are made of white wadding, as
+the hollows and other intricacies can be completely finished out with a
+soft rubber. The work should first receive a coating of thick shellac,
+two parts by weight of shellac to one of methylated spirits, and applied
+with a brush or a soft sponge; after a couple of hours this is nicely
+smoothed with fine paper, and the "bodying-in" completed with the soft
+rubber and thin polish. There are numerous hard woods which do not
+require filling-in, amongst which may be mentioned boxwood, cocus,
+ebony, etc.; these may be rapidly polished in the lathe, on account of
+their texture, with the white polish. In spiriting-off a very soft piece
+of chamois leather (if it is hard and creased it will scratch) should be
+damped with methylated spirits, then wrung so that the spirit may be
+equally diffused; the lathe should then be driven at a rapid speed, and
+the leather held softly to the work. In a few minutes, if a dark wood, a
+brilliant surface will be produced.
+
+
+
+
+CHAPTER IV.
+
+_CHEAP WORK._
+
+
+=Glazing.=--Glaze is known to the trade under several names, such as
+slake, finish, and telegraph; it is used only for cheap work, when
+economy of time is a consideration, and is made as follows: mastic, 1
+oz.; benzoin, 5 ozs.; methylated spirit, 5 gills. A superior article can
+be obtained from G. Purdom, 49, Commercial Road, Whitechapel, E., who is
+the manufacturer of a "patent glaze."
+
+First give the work a rubber or two of polish after the "filling-in"; it
+is important to dry the last rubber thoroughly, so that no unctuousness
+remains upon the surface before applying the glaze, otherwise it will be
+of no effect. The way to apply it is as follows: Prepare a rubber as for
+polishing and make it moderately wet, and take only one steady wipe the
+way of the grain, never going over the same surface twice while wet; and
+when dry, if one coat is found not to be enough, apply a second in the
+same manner. For mouldings or the backs and sides of chair-work, this is
+generally considered to be sufficient. Some polishers will persist in
+using glaze to a large extent, even on the best-paid work; but it is not
+recommended, as the surface will not retain its brilliancy for a
+lengthened period, particularly in hot weather. Nothing is so good for
+the best class of work as polishing entirely with French polish.
+
+The way of treating small flat surfaces such as the frames of tables,
+looking-glasses, builders' work, etc., is to first fill in, and give one
+or two rubbers of polish, drying the last rubber thoroughly; then glaze,
+and after a period of two or three hours finish with a rubber slightly
+wetted with thin polish. It is a bad plan to put glaze on newly-spirited
+work, or to re-apply it on old bodies.
+
+The following is another method for cheap work: A coating of clear size
+is first given in a warm state (this can be obtained at most oil-shops),
+and when dry is rubbed down with fine glass-paper, after which a coating
+of varnish is applied with a sponge or a broad camel-hair brush, giving
+long sweeping strokes. The tool should be plied with some degree of
+speed, as spirit varnishes have not the slow setting properties which
+distinguish those of oil, and care should be taken not to go over the
+same part twice. When this is thoroughly hard it is nicely smoothed with
+fine paper, a few rubberfuls of polish is given, and it is then ready
+for spiriting-off.
+
+Another plan is frequently adopted for cheap work: Make a thin paste
+with plaster of Paris, suitably tinted and watered, and well rub in
+across the grain with a piece of felt or old coarse canvas till the
+pores are all full; any superfluity should be instantly wiped off from
+the surface before it has time to set. The succeeding processes are
+papering and oiling. In applying the polish, which should be done
+immediately after oiling, the rubber should be made rather sappy with
+thin polish, and worked without oil. During the embodying a pounce-bag
+containing plaster of Paris is sparingly used; this application tends to
+fill the pores and also to harden the body of polish on the exterior,
+but too much should not be used, or it will impart a semi-opaque
+appearance to the work. This first body is allowed sufficient time to
+harden; it is then rubbed down lightly with flour paper or old worn No.
+1, and then embodied with thicker polish or a mixture of polish and
+varnish, and the smallest quantity of oil applied to the rubber. When a
+sufficient body of polish is given to the work, the surface is rubbed
+very carefully with a lump of moist putty plied in the longitudinal
+direction of the grain; this will bring up a gloss, and very little
+spiriting will be required.
+
+
+=Stencilling.=--An imitation of marqueterie on light-coloured woods can
+be obtained by the following method: Cut a stencil pattern in stout
+cartridge paper (this is best done upon a piece of glass with the point
+of a sharp penknife), and place it on the centre of a panel or wherever
+required, and have ready some gas-black mixed with thin polish; apply
+this with a camel-hair pencil over the cut-out pattern, and when it is
+removed finish the lines and touch up with a finer tool. The work should
+be first bodied-in, and when the pattern is dry rubbed down with a piece
+of hair-cloth (the smooth side down) on a cork rubber to a smooth
+surface, after which the polishing can be proceeded with until finished.
+Upon oak this will have the appearance of inlaid work.
+
+
+=Charcoal Polishing.=--A method known as "charcoal polishing" is now
+much used for producing the beautiful dead-black colour which seems to
+have the density of ebony. Its invention is due to French
+cabinet-makers. The woods used by them are particularly well adapted for
+staining black or any other colour, limetree, beech, cherry, pear, soft
+mahogany, or any wood of a close and compact grain being the woods
+usually selected.
+
+The first process is to give the work a coating of camphor dissolved in
+water and made rather strong; this will soon soak into the wood, and
+immediately afterwards another coat composed of sulphate of iron-water
+with a few nut-galls added. These solutions in blending penetrate the
+wood and give it an indelible tinge, and also prevent insects from
+attacking it. After these coats are dry, rub the surface with a hard
+brush (an old scrubbing-brush will do) the way of the grain, after which
+rub the flat parts with natural stick charcoal, and the carved or
+indented portions with powdered charcoal; the softest portion of the
+charcoal only should be used, because if a single hard grain should be
+applied it would seriously damage the surface. The workman should have
+ready at the same time a preparation of linseed-oil and essence of
+turpentine (linseed-oil one gill, and essence of turpentine one
+teaspoonful), a portion of which should be freely taken up with a piece
+of soft flannel and well rubbed into the work. These rubbings with the
+preparation and charcoal several times will give the article of
+furniture a beautiful dead-black colour and polish. This method of
+polishing is applied to the black-and-gold furniture, cabinets, etc., in
+imitation of ebony.
+
+Another good black polish is obtained by gas-black being applied to the
+rubber after wetting with French polish, the cover being then put on and
+worked in the usual manner.
+
+These black polishes should not be applied if there are coloured woods
+in the piece of furniture. Should the work be already dyed black, or in
+black veneers, it is best to use white polish, which will greatly help
+to preserve the transparent density of the dye.
+
+
+
+
+CHAPTER V.
+
+_RE-POLISHING OLD WORK._
+
+
+If the piece of furniture requiring to be re-polished should be in bad
+condition, it is best to clean off thoroughly, using the liquid ammonia
+(see page 94), or by the scraper and glass-paper. The indentations may
+be erased by dipping into hot water a piece of thick brown paper three
+or four times doubled and applying it to the part; the point of a
+red-hot poker should be immediately placed upon the wet paper, which
+will cause the water to boil into the wood and swell up the bruise; the
+thickness of the paper prevents the wood from being scorched by the hot
+poker. After the moisture is evaporated, the paper should be again
+wetted if required. If only shallow dents, scratches, and broken parts
+of the polish present themselves, carefully coat them two or three times
+with a thick solution of shellac, and when the last coating becomes hard
+carefully paper down with a piece of old glass-paper and a cork rubber.
+
+If the surface should be in good condition, it is necessary only to
+remove the viscid rust; this is done by friction with a felt-covered
+rubber and pure spirits of turpentine; by this means the polish remains
+unsullied. If the surface should not be in very good condition, a
+flannel should be used smeared with a paste of bathbrick-dust and water,
+or a paste made of the finest emery flour and spirits of turpentine.
+After cleansing, and before the polish is applied, it is a good plan to
+just moisten the surface with raw linseed-oil; this will cause the old
+body to unite with the new one.
+
+In order to carry out the process of re-polishing with facility, it is
+necessary to disunite all the various parts, such as panels, carvings,
+etc., before commencing the operation. The polish is applied in the
+usual manner, and when a good body is laid on the work should be set
+aside for twelve hours, after which it can be finished. It should be
+particularly observed that in polishing no job should be finished
+immediately after the rubbing-down process; a sinking period should
+always be allowed. If the work should be immediately finished, the
+consequences are that in a few hours all the marks and scratches of the
+paper, etc., will be discernible, and the polished surface will present
+a very imperfect appearance, although looking perfect when first
+finished.
+
+Holes and crevices may be well filled up with a cement made in the
+following manner: In a large iron spoon place a lump of beeswax about
+the size of a walnut, a pinch of the pigments mentioned on page 5,
+according to the colour required, a piece of common rosin the size of a
+nut, and a piece of tallow as large as a pea; melt, and it is ready for
+use. Some add a little shellac, but much will make it very brittle. A
+similar substance to the above can be bought at the French warehouses.
+
+
+
+
+CHAPTER VI.
+
+_SPIRIT VARNISHING._
+
+
+Most polishers are agreed that to obtain a good surface with varnish it
+is necessary to give the work, where it is possible to do so, a
+rubberful of polish first, and to thoroughly dry the rubber; but in most
+carved work the surface is not accessible, and the brush must be used.
+Sometimes the carving is extremely coarse, and with an open porous
+grain, in which case it is best to oil it first and then to fine-paper
+it down; by this process a thin paste is formed by the attrition, which
+materially assists in filling up the pores. Before commencing to use the
+varnish have ready an earthenware dish or box,--one of the tins used for
+the preserved meats or fish will answer the purpose,--with two holes
+drilled so that a piece of wire can be fastened diametrically across the
+top; this is called a "regulator," and when the brush is passed once or
+twice over this it prevents an unnecessary quantity of varnish being
+transferred to the work.
+
+
+=Varnishes.=--The ingredients for making
+varnish are very similar to those for making polish, but the proportions
+are somewhat different. Furniture varnish consists of two kinds, viz.:
+the brown-hard and the white-hard; the former is used for dark woods,
+such as mahogany, walnut, rosewood, etc.; whilst the latter is used for
+the light-coloured woods, in conjunction with the white polish. A few
+years since the brown-hard varnish was made from these ingredients:
+
+   1 gallon of methylated spirit,
+  40 ozs. of shellac,
+   4 ozs. of rosin,
+   5 ozs. of benzoin,
+   2 ozs. of sandarach,
+   2 ozs. of white rosin.
+
+The brown-hard varnish which is used at the present time is made
+differently, and produces a better result; it is made from the
+following:
+
+   1 gallon of methylated spirit,
+  32 ozs. of shellac,
+   8 ozs. of rosin,
+   8 ozs. of benzoin.
+
+The white-hard or transparent varnish for white wood is made with
+
+   1 gallon of methylated spirit,
+  32 ozs. of bleached shellac,
+  24 ozs. of gum sandarach.
+
+In making either polishes or varnishes, all the gums should be first
+pounded and reduced to powder before mixing with the spirit, and when
+mixed they should be occasionally well shaken or stirred, so as to
+hasten their dissolution.
+
+
+=Brushes and Pencils.=--The brushes used for varnishing are either flat,
+in tin, or round, tied firmly to the handle, and made of camel's-hair;
+but the small white bristle-tools and red-sable pencils will frequently
+be found of service in coating delicate carving, or turned work. Varnish
+brushes can be obtained from a quarter of an inch to four inches and
+upwards in width; the most useful brush, however, for general use is
+about an inch wide. It is important that brushes should be cleaned in
+spirits immediately after use, for if laid by in varnish they lose their
+elasticity and are soon spoiled; but if this preservative principle is
+ever neglected, the hardened brush should be soaked in methylated
+spirit, and if wanted for immediate use the spirit will soften the
+varnish quicker if made luke-warm. The spirit should be gently pressed
+out by the finger and thumb. All varnish brushes when not in use should
+be hung up, or kept in such a position that they do not rest upon their
+hairy ends, either in a box or tin free from dust.
+
+
+=Mode of Operation.=--It is usual in varnishing to give the work three
+coats, and always allow each coat to dry thoroughly before applying the
+next. It should be noted that spirit varnishes begin to dry immediately
+they are laid on; therefore, on no account should they be touched with
+the brush again whilst wet, or when dry they will present a rough
+surface. Always ply the brush quickly, and never go over a second time.
+When giving the first or second coats it is unimportant how they are
+applied, whether across the grain or with the grain, but the finishing
+coat should always be with the grain. If the varnish should appear
+frothy when laid on, it is of no consequence, as it will dry smooth if
+equally and evenly applied before a good fire or in a warm atmosphere.
+
+Coloured varnishes can be made in exactly the same manner as coloured
+polishes (see page 6). The beautiful glossy black varnishes so admired
+on Indian cabinet-work, specimens of which can be seen at the Indian
+Museum, are very difficult to obtain in England, but a description of
+them may be interesting.
+
+
+=East Indian Varnishes.=--The Sylhet varnish is composed of two parts of
+the juice of the bhela (the tree which bears the marking nuts of India),
+and one part of the juice of the jowar. The articles varnished with it
+at Sylhet are of the most beautiful glossy black; and it seems equally
+fitted for varnishing iron, leather, paper, wood, or stone. It has a
+sort of whitish-grey colour when first taken out of the bottle, but in a
+few minutes it becomes perfectly black by exposure to the air. In the
+temperature of this country it is too thick to be laid on alone; but it
+may be rendered more fluid by heat. In this case, however, it is clammy,
+and seems to dry very slowly. When diluted with spirits of turpentine,
+it dries more quickly; but still with less rapidity than is desirable.
+
+The _tsitsi_, or Rangoon varnish, is less known than the Sylhet varnish.
+It is probably made from the juice of the bhela alone. It appears to
+have the same general properties as the Sylhet varnish, but dries more
+rapidly. The varnish from the _kheeso_, or varnish-tree, may be the same
+as the Rangoon varnish, but is at present considered to be very
+different. The kheeso grows particularly in Kubboo, a valley on the
+banks of the Ningtee, between Munnipore and the Burman empire. It
+attains to such a large size, that it affords planks upwards of three
+feet in breadth, and in appearance and grain is very like mahogany. A
+similar tree is found in great abundance and perfection at Martaban.
+
+A poisonous vapour exhales from several of the Indian varnishes,
+especially from that of Sylhet, and is apt to produce over the whole
+skin inflammations, swellings, itchings, and pustules, as if the body
+had been stung by a number of wasps. Its effects, however, go off in a
+few hours. As a preventative the persons who collect the varnish, before
+going to work, smear their faces and hands with greasy matter to prevent
+the varnish poison coming into contact with their skin.
+
+
+
+
+CHAPTER VII.
+
+_GENERAL INSTRUCTIONS._
+
+
+=Remarks on Polishing.=--Amateurs at French polishing will be more
+successful on a large surface than a small one.
+
+When polishing, the rubber-cloth should be changed occasionally, or the
+brightness will not remain when finished.
+
+A most efficacious improver of many kinds of woods is raw linseed-oil
+mixed with a little rectified spirits of turpentine.
+
+French polish can be tinted a light-red with alkanet-root, and a
+dark-red with dragon's blood.
+
+A good Turkey sponge is capable of spreading either stain or varnish
+more smoothly than a camel's-hair brush on a flat surface.
+
+The sub-nitrate of bismuth mentioned on p. 12 is beginning to supersede
+oxalic acid for bleaching processes.
+
+Thin panels for doors should be securely tacked down to a level board,
+and polished with a large round flannel rubber having a very flat sole.
+Fret-work panels should have all the edges entirely finished with
+varnish before they undergo the above operation. To get a good polish
+upon a full-fret panel is considered by polishers to be the most
+difficult part in the work, on account of the extreme delicacy and
+frangibility of the work and the great carefulness required.
+
+Soft spongy wood may be satiated by rubbing a sponge well filled with
+polish across the grain until it becomes dry.
+
+In polishing a very large surface, such as a Loo-table top or a wardrobe
+end, it is best to do only half at a time, or if a large top a quarter
+only.
+
+The approved method of treating dining-table tops is to well body-in
+with French polish, after which thoroughly glass-paper down with fine
+paper, and then use the oil polish (see page 87).
+
+Immediately after using a rubber, it should be kept in an air-tight tin
+canister, where it will always remain fresh and fit for use.
+
+
+=The Polishing Shop.=--A few words as to the polishing shop may be
+acceptable to those who possess ample room and desire the best results.
+
+First in order is the location and arrangement of the finishing rooms.
+Preference is to be given to the upper rooms of a building for several
+reasons, among which may be named the securing of better light, greater
+freedom from dust, and superior ventilation.
+
+A good light in this, as in many other arts, is a very important matter,
+and by a good light we mean all the light that can be obtained without
+the glare of the direct rays of the sun. Light from side windows is
+preferable to that from skylights for three reasons: (1) Skylights are
+very liable to leakage; (2) they are frequently, for greater or less
+periods, covered with snow in winter; (3) the rays of the sun
+transmitted by them in summer are frequently so powerful as to blister
+shellac or varnish.
+
+Good ventilation is at all times of importance, and especially so in
+summer, both as tending to dry the varnish or shellac more evenly and
+rapidly, and as contributing to the comfort of the workmen. The latter
+consideration is of importance even as a matter of economy, as men in a
+room the atmosphere of which is pleasant and wholesome will feel better
+and accomplish more than they could do in the close and forbidding
+apartments in which they sometimes work.
+
+Any suggestion in reference to freedom from dust, as a matter to be
+considered in locating rooms for this business, would seem to be
+entirely superfluous, as it is clear that there is hardly any
+department of mechanical work which is so susceptible to injury from
+dust as the finishing of furniture, including varnishing and polishing.
+
+Finishing rooms may be arranged in three departments. The first should
+include the room devoted to sand-papering and filling. These processes,
+much more than any other part of furniture polishing, produce dirt and
+dust, and it is plain that the room devoted to them should be so far
+isolated from the varnishing room as not to introduce into it these
+injurious elements.
+
+Another room should be appropriated to the bodying-in, smoothing and
+rubbing-down processes. The third room is for spiriting and varnishing,
+or the application of the final coats of varnish, which is the most
+important of all the processes in finishing. It requires a very light
+and clean room, and a greater degree of heat than a general workroom. It
+should, as nearly as possible, be uniform, and kept up to _summer heat_;
+in no case ought the temperature to fall below fifty nor rise higher
+than eighty-five degrees Fahrenheit while the varnishing process is
+going on. Varnishing performed under these circumstances will be more
+thorough in result, have a brighter appearance and better polish, than
+if the drying is slow and under irregular temperature. For drying work,
+the best kind of heat is that from a stove or furnace.
+
+Steam heat is not so good for two reasons: (1), it is too moist and
+soft, causing the work to sweat rather than to dry hard, and (2), the
+temperature of a room heated by steam is liable to considerable
+variation, and especially to becoming lower in the night. This _fire
+heat_ is as necessary for the varnishing room in damp and cloudy weather
+in summer as it is in winter. At all seasons, and by night as well as by
+day, the heat should be as dry as possible, and kept uniformly up to
+summer heat, by whatever means this result is secured. Varnished work,
+after receiving the last coat, should be allowed to remain one day in
+the varnishing room. It may then be removed into the general workroom.
+
+A remark may be proper here, viz., that there is sometimes a failure to
+secure the best and most permanent results from not allowing sufficient
+time for and between the several processes. An order is perhaps to be
+filled, or for some other reason the goods are "rushed through" at the
+cost of thoroughness and excellence of finish.
+
+The following suggestion is made by way of caution in reference to the
+disposal of oily rags and waste made in the various processes of
+finishing. These articles are regarded as very dangerous, and are
+frequently the cause of much controversy between insurance companies and
+parties who are insured. The best way to dispose of this waste is to put
+it into the stove and burn it as fast as it is produced. If this rule
+is strictly adhered to there will be no danger of fire from this source.
+All liquid stock should be kept in close cans or barrels, and as far
+from the fire as possible.
+
+
+
+
+CHAPTER VIII.
+
+_ENAMELLING._
+
+
+The process of enamelling in oil varnishes as applied to furniture must
+be understood as a smooth, glossy surface of various colours produced by
+bodies of paint and varnish skilfully rubbed down, and prepared in a
+peculiar way so as to produce a surface equal to French polish. Ornament
+can be added by gilding, etc., after the polished surface is finished.
+
+We will begin with the white or light-tinted enamel. The same process
+must be pursued for any colour, the only difference being in the
+selection of the materials for the tint required to be produced.
+
+It should be observed that enamelling requires the exercise of the
+greatest care, and will not bear hurrying. Each coat must be allowed
+sufficient time for the hardening, and the rubbing down must be
+patiently and gently done; heavy pressure will completely spoil the
+work.
+
+
+=Materials.=--The materials used for the purpose above named are: white
+lead ground in turpentine and the best white lead in oil; a clear,
+quick, and hard-drying varnish, such as the best copal, or the varnishes
+for enamel manufactured by Mr. W. Urquhart, 327, Edgware Road, W.; or
+white coburg and white enamel varnish, ground and lump pumice-stone, or
+putty-powder, great care being taken in the selection of the
+pumice-stone, as the slightest particle of grit will spoil the surface;
+and rotten-stone, used either with water or oil.
+
+
+=Tools.=--The tools required are several flat wooden blocks, of various
+sizes and forms, suitable for inserting into corners and for
+mouldings--these must be covered with felt on the side you intend to
+use, the felt best adapted for the purpose being the white felt, from a
+quarter to half an inch in thickness, which can be obtained of Messrs.
+Thomas Wallis & Co., Holborn Circus, or at the woollen warehouses; two
+or three bosses (made similar to polish rubbers) of cotton-wool, and
+covered with silk (an old silk handkerchief makes capital coverings);
+wash or chamois leather, and a good sponge.
+
+
+=Mode of Operation.=--If the wood is soft and porous it is best to
+commence with a coating of size and whiting applied in a warm state,
+which is allowed to dry; it is then rubbed down with glass-paper, and
+two coats of common paint given, mixed in the usual way and of the same
+colour as you intend to finish with. In practice this is found to be
+best; after these two coats are thoroughly dry, mix the white-lead
+ground in turps, with only a sufficient quantity of varnish to bind it,
+thinning to a proper consistency with turps. It is as well to add a
+little of the ordinary white-lead ground in oil, as it helps to prevent
+cracking. Give the work four or five coats of this, and allow each coat
+to dry thoroughly. When it is hard and ready for rubbing down, commence
+with a soft piece of pumice-stone and water, and rub just sufficient to
+take off the roughness. Now use the felt-covered rubbers and ground
+pumice-stone, and cut it down, working in a circular manner. The
+greatest care is required to obtain a level surface free from scratches.
+
+After the work is well rubbed down, if it should appear to be
+insufficiently filled up, or if scratched, give it two more coats, laid
+on very smoothly, and rub down as before. If properly done, it will be
+perfectly smooth and free from scratches. Wash it well down, and be
+careful to clean off all the loose pumice-stone. Then mix flake-white
+from the tube with either of the above-named varnishes, till it is of
+the consistency of cream. Give one coat of this, and when dry give it
+another, adding more varnish. Let this dry hard, the time taken for
+which will of course depend upon the drying qualities of the varnish;
+some will polish in eight or nine days, but it is much the best to let
+it stand as long as you possibly can, as the harder it is, the brighter
+and more enduring will be the polish. When sufficiently hard, use the
+felt, and very finely-ground pumice-stone and water; with this cut down
+till it is perfectly smooth; then let it stand for a couple of days, to
+harden the surface.
+
+
+=Polishing.=--In commencing to bring up a polish, first take
+rotten-stone, either in oil or water; use this with the felt rubber for
+a little while, then put some upon the surface of the silk-covered boss,
+and commence to rub very gently in circular strokes; continue this till
+there is a fine equal surface all over. The polish will begin to appear
+as you proceed, but it will be of a dull sort. Clean off: if the
+rotten-stone is in oil, clean off with dry flour; if in water, wash off
+with sponge and leather, taking care that you wash it perfectly clean
+and do not scratch.
+
+You will now, after having washed your hands, use a clean damp chamois
+leather, holding it in the left hand, and using the right to polish
+with, keeping it clean by frequently drawing it over the damp leather.
+With the ball of the right hand press gently upon the work, and draw
+your hand sharply, forward or towards you; this will produce a bright
+polish, and every time you bring your hand forward a sharp shrill sound
+will be heard similar to rubbing on glass. Continue this till the whole
+surface is one bright even polish. It will be some time before you will
+be able to do this perfectly, especially if the skin is dry or hard, as
+it is then liable to scratch the work. A smooth, soft skin will produce
+the best polish.
+
+For the interior of houses, the "Albarine" enamel manufactured by the
+Yorkshire Varnish Company, of Ripon, is recommended. This article
+combines in itself a perfectly hard solid enamel of the purest possible
+colour; and for all interior decorations, where purity of colour and
+brilliancy of finish are desired, it is universally admitted to be the
+most perfect article of the kind hitherto introduced to the trade. It is
+applied in the same manner as ordinary varnish.
+
+_Another Process._--The preceding section describes the process of
+enamelling by oil varnishes, and the directions referring to the
+polishing will be found of value for the "polishing up" on painted
+imitations of woods or marbles. There is another process whereby an
+enamel can be produced upon furniture at a much cheaper rate than the
+preceding, and one too, perhaps, in which a polisher may feel more "at
+home." The work should first have a coating of size and whiting (well
+strained); this will act as a pore-filler. When dry, rub down with fine
+paper, after which use the felt-covered rubber and powdered
+pumice-stone, to remove all the scratches caused by the glass-paper and
+to obtain a smooth and good surface. Then proceed to make a solution for
+the enamel: first procure two ounces of common isinglass from the
+druggist's, and thoroughly dissolve it in about a pint of boiling water;
+when dissolved, stir in two ounces and a-half of subnitrate of
+bismuth--this will be found to be about the right quantity for most
+woods, but it can be varied to suit the requirements. With this give the
+work one coat, boiling hot; apply it with a soft piece of Turkey sponge,
+or a broad camel's-hair brush, and when dry cut down with powdered
+pumice-stone; if a second coat is required, serve in precisely the same
+manner. Then proceed to polish in the ordinary way with white polish.
+After wetting the rubber, sprinkle a small quantity of the subnitrate of
+bismuth upon it; then put on the cover, and work in the usual manner;
+continue this till a sufficient body is obtained, and after allowing a
+sufficient time for the sinking and hardening it can be spirited off.
+
+Enamelled furniture has had, comparatively speaking, rather a dull sale,
+but there is no class of furniture more susceptible of being made to
+please the fancy of the many than this. It can be made in any tint that
+may be required by the application of Judson's dyes, and the exercise of
+a little skill in the decoration will produce very pleasing effects.
+
+
+=Decorations.=--The decorations are usually ornaments drawn in gold. A
+cut-out stencil pattern is generally used, and the surface brushed over
+with a camel's-hair pencil and japanner's gold size, which can be
+obtained at the artist's colourman's, or, if preferred, can be made by
+boiling 4 ozs. of linseed-oil with 1 oz. of gum anîme and a little
+vermilion. When the size is tacky, or nearly dry, gold powder or gold
+leaf is applied. The gold is gently pressed down with a piece of
+wadding, and when dry the surplus can be removed with a round
+camel's-hair tool. In all cases where gold has been fixed by this
+process it will bear washing without coming off, which is a great
+advantage.
+
+
+
+
+CHAPTER IX.
+
+_AMERICAN POLISHING PROCESSES_
+
+
+The method of polishing furniture practised by the American
+manufacturers differs considerably from the French polishing processes
+adopted by manufacturers in most European countries. This difference,
+however, is mostly compulsory, and is attributable to the climate. The
+intense heat of summer and the extreme cold of winter will soon render a
+French polish useless, and as a consequence numerous experiments have
+been tried to obtain a polish for furniture that will resist heat or
+cold. The writer has extracted from two American cabinet-trade journals,
+_The Cabinet-maker_ and _The Trade Bureau_, descriptions of the various
+processes now used in the States, which descriptions were evidently
+contributed by practical workmen. The following pages are not, strictly
+speaking, a mere reprint from the above-named journals, the articles
+having been carefully revised and re-written after having been
+practically tested; attention to them is, therefore, strongly
+recommended.
+
+In these processes the work is first filled in with a "putty filler,"
+and after the surface has been thoroughly cleaned it is ready for
+shellac or varnish. Second, a coating of shellac is next applied with a
+brush or a soft piece of Turkey sponge. This mixture is composed of two
+parts (by weight) of shellac to one of methylated spirits, but what is
+called "thin shellac" is composed of one part shellac to two of spirits.
+After the coating is laid on and allowed to dry, which it does very
+soon, it is rubbed carefully with fine flour glass-paper, or powdered
+pumice-stone--about four coats are usually given, each one rubbed down
+as directed. Third, when the surface has received a sufficient body, get
+a felt-covered rubber and apply rotten-stone and sweet oil in the same
+manner as you would clean brass; with this give the work a good rubbing,
+so as to produce a polish. Fourth, clean off with a rag and sweet oil,
+and rub dry; then take a soft rag with a few drops of spirit upon it,
+and vapour up to a fine polish. With these few preliminary remarks, the
+following will be easily understood.
+
+
+=Use Of Fillers.=--The cost of a putty filler consists chiefly in the
+time consumed in applying it. In the matter of walnut-filling much
+expense is saved in the processes of coating and rubbing if the pores of
+the wood be filled to the surface with a substance that will not shrink,
+and will harden quickly. The time occupied in spreading and cleaning a
+thin or fatty mixture of filler, or a stiff and brittle putty made fresh
+every day, is about the same, and while the thin mixture will be subject
+to a great shrinkage, the putty filler will hold its own. It will thus
+be seen that a proper regard to the materials used in making fillers,
+and the consistency and freshness of the same, form an important element
+in the economy of filling.
+
+A principal cause of poor filling is the use of thin material. By some a
+putty-knife is used, and the filling rubbed into the surfaces of
+mouldings with tow, while others use only the tow for all surfaces,
+mostly, however, in cases of dry filling. In the use of the wet filler,
+either with a knife or with tow, workmen are prone to spread it too thin
+because it requires less effort, but experience shows that the greatest
+care should always be taken to spread the putty stiff and thick,
+notwithstanding the complaints of workmen. In fact, this class of work
+does not bring into play so much muscle as to warrant complaints on
+account of it. Nor can there be any reasonable excuse for taking a
+longer time to spread a stiff filler than a thin filler.
+
+Good results are not always obtained by the use of thick fillers,
+because the putty is spread too soon after the application of the first
+coat of oil, which liquid should be quite thin, and reduced either with
+benzine or turpentine, so that when the putty is forced into the pores
+the oil already in them will have the effect of thinning it. As an
+illustration of the idea meant here to be conveyed, we will suppose a
+quantity of thick mud or peat dumped into a cavity containing water, and
+a similar quantity of the same material dumped into another cavity
+having no water; the one fills the bottom of the cavity solid, while the
+other becomes partly liquid at the bottom, and must of necessity shrink
+before it assumes the solidity of the former. Hence it appears that work
+to be filled should be oiled and allowed to stand some time before
+receiving the filler, or until the oil has been absorbed into the pores.
+
+The preparatory coating should not be mixed so as to dry too quickly,
+nor allowed to stand too long before introducing the putty, for in this
+case the putty when forced along by the knife will not slip so easily as
+it should.
+
+The cost of rubbing and sand-papering in the finishing process is very
+much lessened if the cleaning be thorough, and if all the corners and
+mouldings be scraped out, so that pieces of putty do not remain to work
+up into the first coat of shellac, or whatever finish may be used as a
+substitute for shellac.
+
+Another important feature in hard filling is to let the work be well
+dried before applying the first coat of finish. One day is not
+sufficient for the proper drying of putty fillers, and if in consequence
+of insufficient drying a part of the filling washes out, it is so much
+labour lost. As a safeguard against washing out, these fillers should be
+mixed with as much dryer or japan as the case warrants, for it
+frequently occurs that work must be finished, or go into finish, the day
+following the filling, whether it be dry or not.
+
+By observing the main facts here alluded to, good filling may always be
+obtained, and at a cost not exceeding that of poor work.
+
+For the light woods, including ash, chestnut, and oak, the filling is
+similar to that used in walnut, except the colouring material, which, of
+course, must be slight, or just enough to prevent the whiting and
+plaster from showing white in the pores. This colouring may consist of
+raw sienna, burnt sienna, or a trifle raw, or umber; one of these
+ingredients separate, or all three combined, mixed so as to please the
+fancy and suit the prevailing style. The colouring may be used with a
+dry filling, although a wet filling is more likely to give a smooth
+finish and greater satisfaction, and the colour of the filler can be
+seen better in the putty than in the dry powder.
+
+Upon cheap work a filler should be used that requires the least amount
+of labour in its application. For this purpose liquid fillers, like
+japan, are suitable. If, however, a fine finish on fine goods is
+required, the putty compositions of various mixtures are the more
+appropriate. The secret of the process of filling consists in the
+mixing of the compounds and the method of using them. A liquid filler
+or a japan simply spread over the work in one or two coats can hardly be
+called filling, yet this will serve the purpose very well for cheap
+furniture.
+
+Thick compositions or putty fillers are composed of whiting and plaster,
+or similar powders having little or no colour. This material is mixed
+with oil, japan, and benzine, with a sufficient quantity of colouring
+matter to please the fancy. The value of these fillers is in proportion
+to their brittleness or "shortness," as it is termed, and, to give them
+this quality, plaster is used and as much benzine or turpentine as the
+mixture will bear without being too stiff or too hard to clean off.
+Sometimes a little dissolved shellac is used to produce "shortness."
+This desirable feature of a filler is best effected by mixing a small
+quantity of the material at a time. Many workmen mistakenly mix large
+batches at a time with a view of securing uniformity of colour, and this
+is one cause why such fillers work tough and produce a poor surface. An
+oil mixture soon becomes fatty and tough, and must be reduced in
+consistency when used, as it is apt when old to "drag" and leave the
+pores only partly filled. These fillers should be mixed fresh every day,
+and allowed to stiffen and solidify in the wood rather than out of it.
+
+The surface of a pore is the largest part of it, and it is desirable to
+fill it to a level as nearly as possible. This is done by using the
+filler thick or stiff.
+
+
+=Making Fillers.=--In making "fillers," a quantity of the japan which is
+used in the ingredients can be made at one time, and used from as
+occasion may require. It is made in the following manner:
+
+_Japan of the Best Quality._--Put 3/4 lb. gum shellac into 1 gall.
+linseed-oil; take 1/2 lb. each of litharge, burnt umber, and red-lead,
+also 6 oz. sugar of lead. Boil in the mixture of shellac and oil until
+all are dissolved; this will require about four hours. Remove from the
+fire, and stir in 1 gall. of spirits of turpentine, and the work is
+finished.
+
+_Fillings for Light Woods._--Take 5 lb. of whiting, 3 lb. calcined
+plaster (plaster of Paris), 1/2 gall. of raw linseed-oil, 1 qt. of
+spirits of turpentine, 1 qt. of brown japan, and a little French yellow
+to tinge the white. Mix well, and apply with a brush; rub it well with
+excelsior or tow, and clean off with rags. This thoroughly fills the
+pores of the wood and preserves its natural colour.
+
+_Another for Light Woods._--Take 10 lb. of whiting, 5 lb. of calcined
+plaster, 1 lb. of corn starch, 3 oz. calcined magnesia, 1 gall. of raw
+linseed-oil, 1/2 gall. spirits of turpentine, 1 qt. of brown japan, 2
+oz. French yellow. Mix well, and apply with brush; rub in well with
+excelsior or tow, and clean off with rags.
+
+_For Mahogany or Cherry Wood._--Take 5 lb. of whiting, 2 lb. of calcined
+plaster, 11/2 oz. dry burnt sienna, 1 oz. Venetian red, 1 qt. of boiled
+linseed-oil, 1 pt. of spirits of turpentine, and 1 pt. of brown japan.
+Mix well, apply with brush, and rub well in with excelsior or tow. Clean
+off with rags dry.
+
+_For Oak Wood._--Take 5 lb. of whiting, 2 lb. calcined plaster, 1 oz.
+dry burnt sienna, 1/2 oz. of dry French yellow, 1 qt. raw linseed-oil, 1
+pt. benzine spirits, and 1/2 pt. white shellac. Mix well, apply with
+brush, rub in with excelsior or tow, and clean off with rags.
+
+_For Rosewood._--Take 6 lb. of fine whiting, 2 lb. of calcined plaster,
+1 lb. of rose-pink, 2 oz. of Venetian red, 1/2 lb. of Vandyke brown, 1/2
+lb. of Brandon red, 1 gall. of boiled linseed-oil, 1/2 gall. of spirits
+of turpentine, 1 qt. of black japan. Mix well together, apply with
+brush, rub well in with tow, and clean off with rags.
+
+_For Black Walnut_ (1).--For medium and cheap work. Take 10 lb. of
+whiting, 3 lb. dry burnt umber, 4 lb. of Vandyke brown, 3 lb. of
+calcined plaster, 1/2 lb. of Venetian red, 1 gall. of boiled
+linseed-oil, 1/2 gall. of spirits of turpentine, 1 qt. of black japan.
+Mix well and apply with brush; rub well with excelsior or tow, and clean
+off with rags.
+
+_For Black Walnut_ (2).--An improved filling, producing a fine
+imitation of wax finish, may be effected by taking 5 lb. of whiting,
+with 1 lb. of calcined plaster, 6 oz. of calcined magnesia, 1 oz. of dry
+burnt umber, 1 oz. of French yellow to tinge the white. Add 1 qt. of raw
+linseed-oil, 1 qt. of benzine spirits, 1/2 pt. of very thin white
+shellac. Mix well, and apply with a brush; rub well in, and clean off
+with rags.
+
+_An Oil-Colour for Black Walnut_ (3), to be used only on first-class and
+custom work.--Take 3 lb. of burnt umber ground in oil, 1 lb. of burnt
+sienna ground in oil, 1 qt. of spirits of turpentine, 1 pt. of brown
+japan. Mix well and apply with a brush. Sand-paper well; clean off with
+tow and rags. This gives a beautiful chocolate colour to the wood.
+
+Numerous compositions are in the market for filling the pores of wood,
+and in this connection particular attention has been given to walnut,
+for the reason that this wood is used in large quantities in the
+furniture industry, and is nearly, if not quite, as porous as any other
+of the woods used.
+
+A variety of walnut fillings have been recommended to the trade in order
+to meet the demand consequent upon the different grades of finish and
+the method of obtaining the finish, so that it would be difficult to
+pronounce as to the superiority of any one filling for general purposes.
+In treating this subject, attention should be given to the necessities
+for the use of filling, so that each one may determine for himself the
+kind of composition best adapted for the work in hand, and the best
+method of applying it.
+
+
+=Finishing.=--Having described the methods of making and applying the
+"fillings," we will now describe the mode of finishing, and begin with
+the "dead-oil finish." We can remember when a satisfactory oil-finish
+was produced either with a good quality of japan or a fair quality of
+spirits. These materials are recommended to be used by inexperienced
+workmen and those not familiar with the mixing of the various grades of
+japan and varnish with oil, turpentine, benzine, etc. This method of
+oil-finish, too, is scarcely inferior to the shellac or spirit-varnish
+method, and it is cheaper. When the best finish is desired, a sufficient
+number of coats to fill the pores of wood to a level are required, and
+then the whole surface should be subjected to the rubbing process. The
+use of these fillers provides an oil-finish in a simplified form for
+those who are not aware of the difference between hard and soft gum
+compositions as a base for rubbing. In fact, the rubbing process
+constitutes a fine oil-finish, and requires a hard gum, whether it be of
+japan, varnish, or shellac.
+
+The use of varnish or its substitute as a filler and finish is more
+frequent than the use of shellac, and for cheap work it is equally good.
+The surface produced by a hard gum composition must be smooth and dead,
+or but slightly glossed, so as to admit of the pores being filled full
+or to a level. It may be added that a coat or any number of coats of the
+composition referred to above is substantially a filling, and the
+quality of finish depends upon the number of coats, together with the
+amount of rubbing applied.
+
+Thus far we have simply called attention to the best quality of
+oil-finish and the manner of producing it. Possibly three-fourths of all
+wood-finishing, particularly walnut-finishing, is several degrees below
+the best quality. In fact, oil-finish may imply only one coat of any
+composition that will dry, while two coats may be regarded as fair, and
+three coats a very good quality of finish. For the class of finish not
+rubbed down with pumice-stone and water, oil-varnish would be out of
+place on account of its gloss; hence shellac, being in composition
+similar to japan, is the better material, because of its dull appearance
+or lack of gloss as compared with shellac.
+
+In addition to the liquid fillers already mentioned, there is a putty or
+powder filling used for cross-grained woods, or such woods as have a
+deep pore. This filling is forced into the wood previous to the
+application of the other finishing compounds, with the use of which it
+in no way interferes. On the contrary, it economises the use of the
+liquid fillers, and, while constituting a part of an oil-finish, is also
+a finish wholly independent of the other methods mentioned--that is to
+say, the same results can be obtained by the use of either one, although
+the putty or powder filling is attended with greater expense both as to
+time and material. The hard filling is generally used on walnut, ash,
+and all coarse-grained woods.
+
+With regard to oil-finishes, viz., spirit-varnish or oil-varnish,
+shellac is thought by many to be the best for fine work; but others
+think differently. We may say of shellac that it will finish up into any
+degree of polish, and while it will not retain a French polish long in
+this climate, it will replenish easier and cheaper than any other
+finish, and continue to improve under each application. For a common
+finish, however, oil preparation is as good as shellac, and even for a
+fine finish it is only second to shellac, if made of a hard gum. On
+common finish, too, the oil will wear better than shellac in stock or on
+storage, so far as preserving its freshness is concerned.
+
+The cost of oil-finish is governed chiefly by the amount of labour
+expended on it. A suite of walnut furniture can be well rubbed with
+sand-paper in two hours, or even less; while two weeks could be
+profitably employed in rubbing another suite with pumice and water.
+
+
+=Black Walnut Finishing.=--The fashionable finish for black walnut work,
+particularly chamber sets, is what is known to the trade as the
+"dead-oil finish." It is admired, perhaps, because it has a gloss,
+rather than a shine of the varnish stamp. There is no more labour
+required upon it than upon a bright finish, but the process of
+manipulation is different, and harder to the fingers.
+
+It should be premised that the walnut work of the day bears upon its
+surface, to a greater or less extent, raised panels covered with French
+burl veneer. And upon this fact largely depends the beauty of the
+production. And the endeavour is to so finish the article that there
+shall be a contrast between the panel and the groundwork on which it is
+placed. In other words, the former should be of a light colour, while
+the latter is of a darker shade. In that view the palest shellac should
+be used on the panels, and darker pieces, liver coloured, etc., on the
+body of the work. The darker grades of shellac are the cheaper, and will
+answer for the bulk of the work, but the clearest only for the panels.
+
+In commencing to finish a job direct from the cabinet-maker's hand,
+rough and innocent of sand-paper, first cover the panels with a coat of
+shellac to prevent the oil in the filling from colouring them dark.
+Next, cover the body of the work with a wood filling composed of whiting
+and plaster of Paris, mixed with japan, benzine, and raw linseed-oil, or
+the lubricating oil made from petroleum; the whole covered with umber,
+to which, in the rare cases when a reddish shade is wanted, Venetian
+red is also added. This filling is then rubbed off with cloths, and by
+this process tends to close up the grain of the wood and produce an even
+surface. More or less time should be allowed after each of the several
+steps in the finishing process for the work to dry and harden, though
+much less is required in working with shellac than with varnishes
+composed of turpentine, oil, and gums. But the time that should be
+allowed is often lessened by the desire to get the work through as soon
+as possible, so that no standard can be set up as to the number of hours
+required between each of the several processes. It would be well if
+twelve hours intervened, but if work to which ten days could well be
+devoted must be hurried through in three, obviously the processes must
+follow each other in a corresponding haste.
+
+A coating of shellac is then given the whole work, light on the panels
+and dark on the body work, and when it has dried and hardened, which it
+does very soon, it may be rubbed down. This process of "rubbing down"
+should be done evenly and carefully, so as not to rub through the
+shellac at any point, and be done with the finer grades of sand-paper
+for the cheaper class of work, particularly at first, but at a later
+period of the process, and for the better class of articles in all
+cases, hair-cloth should be used, the material for the "rubbing down"
+being pumice-stone moistened with raw linseed-oil for the best work, and
+the lubricating oil, before mentioned, for cheaper work, or the covered
+parts of the better grades. This rubbing down involves labour, wear of
+fingers and finger-nails, and is carried on with an ordinary bit of
+hair-cloth, the smooth surface next the wood, and not made in any
+particular shape, but as a wad, ball, or otherwise. In the corners and
+crevices where the hair-cloth will not enter it will be necessary to use
+sand-paper of the finest grades, and worn pieces only.
+
+Three coats of shellac are put on, followed each time by this
+rubbing-down process, each one giving the work a smoother feeling and a
+more perfect appearance. Afterwards, to complete the whole, a coating of
+japan thinned with benzine is applied, which gives to the work a clean
+appearance and the dead glossy finish.
+
+There is this objection to the above style of finish, that the japan
+catches all the dust which touches it, and holds it permanently, so that
+many of the best workmen will not have work finished in this way for
+their own private houses, preferring the brighter look given by shellac
+and varnish without rubbing down the last coat, believing that the work
+can be kept much cleaner.
+
+
+=Finishing Veneered Panels, etc.=--The large oval panels of desks, etc.,
+covered with French veneer, are generally taken out and finished by
+themselves. The process is similar to that above given, with successive
+coats of shellac and varnish, and the oil and pumice-stone rubbing down;
+but the final part of this latter process is a rubbing down with
+rotten-stone; then the merest trifle of sweet-oil is applied all over
+the surface and wiped off. (See Rosewood, etc., farther on.)
+
+_For Light Woods (Dead Finish)._--Apply two or three coats of white
+shellac; rub down with pumice and raw linseed-oil, and clean off well
+with rags; use varnish-polish on the panels.
+
+_Another._--Finish as in the previous recipe. For a flowing coat of
+varnish-finish apply one flowing coat of light amber varnish. If a
+varnish-polish is desired, apply three coats of Zanzibar polishing
+varnish. Rub down and polish, and the result will be a splendid finish.
+
+_Mahogany or Cherry Wood._--For shellac _dead finish_ apply two coats of
+yellow shellac. Rub down with pumice and raw linseed-oil. If a
+varnish-finish is desired, apply a flowing coat of light amber varnish
+or shellac thus rubbed. The panels should receive two coats of Zanzibar
+polishing varnish.
+
+_Oak._--For a _dead finish_ give three coats of shellac, two-thirds of
+white and one-third of yellow, mixed. Rub down with pumice and raw
+linseed-oil. For a cheap varnish-finish give one flowing coat of light
+amber varnish in the shellac, rubbed as directed. Varnish-polish the
+panels.
+
+_Rosewood, Coromandel, or Kingwood (a Bright Finish)._--Apply two thin
+coats of shellac, sand-papering each coat; then apply three or four
+coats of Zanzibar polishing varnish, laying it on thin, and giving it
+sufficient time to dry thoroughly. When it is perfectly hard, rub down
+with pumice and water. Polish with rotten-stone to a fine lustre, clean
+up with sweet-oil, and vapour up the oil with a damp alcohol rag. The
+result is a splendid mirror-like polish. This is the method employed in
+polishing pianofortes in America.
+
+_Walnut._--For a cheap finish, apply one coat of yellow shellac. When
+dry, sand-paper down. Apply with brush; rub in well; clean off with
+rags. This gives a very fair finish.
+
+For a medium _dead finish_ apply two or three coats of yellow shellac.
+When dry, rub down with pumice and raw linseed-oil; clean up well;
+varnish-polish the panels.
+
+For _finish._ Before using the above filling, give the work one coat of
+white shellac. When dry, sand-paper down, and apply the above filling.
+Give two coats of white shellac; rub down with pumice and raw
+linseed-oil; clean up well with brown japan and spirits of turpentine,
+mixed. Wipe off. This is a good imitation of wax-finish; it is
+waterproof, and will not spot as wax-finish does. The panels are to be
+varnished-polished. This is to be used with the improved filling No. 2.
+
+For _finish._ Apply three coats of yellow shellac; rub down with pumice
+and raw linseed-oil; clean off well. Varnish-polish the panels. Use this
+with the oil colour No. 3.
+
+
+=Finishing Cheap Work.=--_With One Coat of Varnish._--Give the work a
+coat of boiled linseed-oil; immediately sprinkle dry whiting upon it,
+and rub it well in with tow all over the surface. The whiting absorbs
+the oil and completely fills the pores of the wood. For black walnut add
+a little dry burnt umber. For mahogany or cherry add a little Venetian
+red, according to the colour of the wood. The application can be made to
+turned work while in motion in the lathe. Clean off well with rags. The
+work can then be finished with a single coat of varnish, and for cheap
+work makes a very good finish.
+
+For varnishing large surfaces, a two-inch oval varnish brush is to be
+used first to lay out the varnish, and then a two-inch flat badger
+flowing-brush for a softener. The latter lays down moats and bubbles
+left by the large brush. A perfectly smooth glass-like surface is thus
+obtained. When not in use, these tools should be put into a pot
+containing raw linseed-oil and spirits of turpentine. This keeps them in
+a better working condition than if they are kept in varnish, making them
+clean and soft. Standing in varnish they congeal and become hard as the
+spirit evaporates from the varnish. For shellacing a large surface use a
+two-inch bristle brush; for small work, such as carvings and mouldings,
+use a one-and-a-half inch flat brush. These brushes when not in use
+should be taken from the various pots and deposited in an earthen pot
+sufficiently large to hold all the shellac brushes used in the shop. Put
+in enough of raw linseed-oil and thin shellac to cover the bristles of
+the brushes. Kept in this manner, they will remain clean and elastic,
+and will wear much longer.
+
+_Wax Finishing._--Take 1/2 gall. of turpentine, 11/2 lb. yellow
+beeswax, 1 lb. white beeswax, 1/2 lb. white rosin. Pulverise the rosin,
+and shave the wax into fine shavings. Put the whole into the turpentine,
+and dissolve it cold. If dissolved by a fire-heat, the vitality of the
+wax is destroyed. When it is thoroughly dissolved, mix well and apply
+with a stiff brush. Rub well in, and clean off with rags. When dry, it
+is ready for shellac or varnish as may be desired.
+
+_A Varnish Polish._--Take 10 oz. gum shellac, 1 oz. gum sandarach, 1
+drachm Venice turpentine, 1 gall. alcohol. Put the mixture into a jug
+for a day or two, shaking occasionally. When dissolved it is ready for
+use. Apply a few coats. Polish by rubbing smooth.
+
+For the commonest kind of work in black walnut a very cheap polish can
+be made in the following manner: Take 1 gall. of turpentine, 2 lb.
+pulverised asphaltum, 1 qt. boiled linseed-oil, 2 oz. Venetian red. Put
+the mixture in a warm place and shake occasionally. When it is
+dissolved, strain and apply to the wood with a stiff brush. Rub well
+with cloth when dry. Then take 1 pt. of thin shellac, 1/2 pt. boiled
+linseed-oil. Shake it well before using. Apply with cloth, rubbing
+briskly, and you will have a fine polish.
+
+_With Copal or Zanzibar Varnish._--As a substitute for filling, the wood
+may receive one coat of native coal-oil, thinned with benzine-spirits;
+then apply one coat of shellac, and follow with varnish, as desired. The
+time is not far distant when manufacturers must and will use varnish for
+the finishing of all kinds of furniture on account of the high price of
+shellac. Furniture finished in the last-named method may be rubbed with
+either water or oil. Water has a tendency to harden varnish, while oil
+softens it. If water is used there will be a saving of oil and rags. In
+the other case shellac, when rubbed with oil, should be cleaned with
+japan. This removes the greasy and cloudy appearance which is left after
+the rubbing with oil, and the work will have a clean, dry, and brighter
+appearance than otherwise.
+
+We suggest another idea for finishing black walnut for a cheap or a
+medium class of work. In the first place, fill the pores of the wood,
+and apply one thin coat of shellac to hold the filling in the pores of
+the wood. Let this stand one day; sand-paper down with fine paper, then
+with a brush apply a coat of coach japan. Rub well, and clean off with
+rags. Let this stand one day to dry, then, with some sand-paper that has
+been used before, take off the moats from the japan. Go over the whole
+surface with a soft rag saturated with japan; wipe and clean off
+carefully, and the job is finished. This, though a cheap finish, is a
+good one for this class of work.
+
+We give one more method of finishing black walnut, that is, with boiled
+linseed-oil only, and there is no other way of obtaining a genuine
+oil-finish. Sand-paper the wood down smoothly; apply a coat of boiled
+linseed-oil over the whole surface; sand-paper well, and clean up dry
+with rags; let it stand one day to dry, then apply one more coat of oil;
+rub well in with rags, but do not use sand-paper on this coat. Apply
+three, four, or more coats in the same way. When the work has received
+the last coat of oil and is dry, sand-paper down with old paper. Then
+clean up with the best coach japan with rags, and let the work stand one
+day to dry. The panels are to be varnish-polished the same as other
+wood. The work is then finished, and ready for the warerooms.
+
+This method takes a longer time than finishing with either varnish or
+shellac; but the cost is less both for materials and for labour, the
+workman being able to go over a greater surface in the same time. The
+work will stand longer, and the method gives a rich and close finish,
+bringing out the figure and rich colour of the wood better than in any
+other method of finishing. It does not cost so much as shellac finish;
+it only requires a little more time for drying between the coats of oil.
+In finishing in varnish or shellac, to get the body or surface for
+polishing three or four coats are frequently applied, which is liable to
+produce a dull cloudy appearance. For this reason, and having in view
+the high and increasing price of stock, it seems to us that this really
+superior method of finishing in oil must take the place of shellac and
+varnish-finish in good work.
+
+
+=Polishing Varnish.=--This is certainly a tedious process, and
+considered by many a matter of difficulty. The following is the mode of
+procedure: Put two ounces of powdered tripoli into an earthen pot or
+basin, with water sufficient to cover it; then, with a piece of fine
+flannel four times doubled, laid over a piece of cork rubber, proceed to
+polish your varnish, always wetting it well with the tripoli and water.
+You will know when the process is complete by wiping a part of the work
+with a sponge and observing whether there is a fair and even gloss.
+Clean off with a bit of mutton suet and fine flour. Be careful not to
+rub the work too hard, or longer than is necessary to make the face
+perfectly smooth and even. Some workmen polish with rotten-stone, others
+with putty-powder, and others with common whiting and water; but
+tripoli, we think, will be found to answer best.
+
+
+=An American Polish Reviver.=--Take of olive-oil 1 lb., of rectified oil
+of amber 1 lb., spirits of turpentine 1 lb., oil of lavender 1 oz.,
+tincture of alkanet-root 1/2 oz. Saturate a piece of cotton batting with
+this polish, and apply it to the wood; then, with soft and dry cotton
+rags, rub well and wipe off dry. This will make old furniture in private
+dwellings, or that which has been shop-worn in warerooms, look as well
+as when first finished. The articles should be put into a jar or jug,
+well mixed, and afterwards kept tightly corked.
+
+This is a valuable recipe, and is not known, the writer believes,
+outside of his practice.
+
+
+
+
+CHAPTER X.
+
+_MISCELLANEOUS RECIPES._
+
+
+=Oil Polish.=--One quart of cold-drawn linseed-oil to be simmered (not
+boiled) for ten minutes, and strained through flannel; then add
+one-eighth part of spirits of turpentine: to be applied daily with soft
+linen rags, and rubbed off lightly; each time the oil is applied the
+surface should be previously washed with cold water, so as to remove any
+dirt or dust. This method of polishing is particularly useful for
+dining-table tops; it will in about six weeks produce a polish so
+durable as to resist boiling water or hot dishes, and be like a mirror
+for brilliancy.
+
+
+=Wax Polish.=--Eight ounces of beeswax, 2 oz. of resin, and 1/2 oz. of
+Venetian turpentine, to be melted over a slow fire; the mass, when quite
+melted, is poured into a sufficiently large stone-ware pot, and while it
+is still warm 6 oz. of rectified turpentine are stirred in. After the
+lapse of twenty-four hours the mass will have assumed the consistency
+of soft butter, and is ready for use. A small portion of the polish is
+taken up with a woollen rag and rubbed over the surface of the work--at
+first gently, then more strongly. When the polish is uniformly laid on,
+the surface is once more rubbed lightly and quickly with a fresh clean
+rag to produce a gloss.
+
+
+=Waterproof French Polish.=--Take 2 oz. gum benjamin, 1/2 oz. gum
+sandarach, 1/2 oz. gum anîme, 11/2 oz. gum benzoin, and 1 pt. alcohol.
+Mix in a closely-stoppered bottle, and put in a warm place till the gums
+are well dissolved. Then strain off, and add 1/4 gill of poppy-oil.
+Shake well together, and it is ready for use.
+
+
+=A Varnish for Musical Instruments.=--Take one gallon of alcohol, 1 lb.
+gum sandarach, 1/2 lb. gum mastic, 2 lbs. best white resin, 3 lbs. gum
+benzoin; cut the gums cold. When they are thoroughly dissolved, strain
+the mixture through fine muslin, and bottle for use; keep the bottle
+tightly corked. This is a beautiful varnish for violins and other
+musical instruments of wood, and for fancy articles, such as those of
+inlaid work. It is also well adapted for panel-work, and all kinds of
+cabinet furniture. There is required only one flowing coat, and it
+produces a very fine mirror-like surface. Apply this varnish with a
+flat camel's-hair or sable brush. In an hour after application the
+surface is perfectly dry.
+
+
+=French Varnish for Cabinet-work.=--Take of shellac 11/2 oz. gum mastic
+and gum sandarach, of each 1/2 oz., spirit of wine by weight 20 oz. The
+gums to be first dissolved in the spirit, and lastly the shellac. This
+may be best effected by means of the water-bath. Place a loosely-corked
+bottle containing the mixture in a vessel of warm water of a temperature
+below the boiling point, and let it remain until the gums are dissolved.
+Should evaporation take place, an equal quantity to the spirit of wine
+so lost must be replaced till the mixture settles, then pour off the
+clear liquid for use, leaving the impurities behind; but do not filter
+it. Greater hardness may be given to the varnish by increasing the
+quantity of shellac, which may be done to the amount of one-twelfth of
+the lac to eleven-twelfths of spirit. But in this latter proportion the
+varnish loses its transparency in some degree, and must be laid on in
+very small quantities at a time.
+
+
+=Mastic Varnish.=--Mastic should be dissolved in oil of turpentine, in
+close glass vessels, by means of a gentle heat. This varnish is
+extensively used in transparencies, etc.
+
+
+=Cabinet-maker's Varnish.=--Take 5 lbs. very pale gum shellac, 7 oz. gum
+mastic, 1 gallon alcohol. Dissolve in a cold atmosphere with frequent
+stirring.
+
+
+=Amber Varnish.=--This is a most difficult varnish to make. It is
+usually prepared by roasting the amber and adding hot linseed-oil, after
+which turpentine can be mixed if required. But for a small quantity,
+dissolve the broken amber, without heat, in the smallest possible
+quantity of chloroform or pure benzine. Heat the linseed-oil, remove it
+from the fire, and pour in the amber solution, stirring all the time.
+Then add the turpentine. If not quite clear, heat again, using the
+utmost caution.
+
+
+=Colourless Varnish with Copal.=--To prepare this varnish the copal must
+be picked; each piece is broken, and a drop of rosemary-oil poured on
+it. Those pieces which, on contact with the oil, become soft are the
+ones used. The pieces being selected, they are ground and passed through
+a sieve, being reduced to a fine powder. It is then placed in a glass,
+and a corresponding volume of rosemary-oil poured over it; the mixture
+is then stirred for a few minutes until it is transformed into a thick
+liquor. It is then left to rest for two hours, when a few drops of
+rectified alcohol are added, and intimately mixed. Repeat the operation
+until the varnish is of a sufficient consistency; leave the rest for a
+few days, and decant the clear. This varnish can be applied to wood and
+metals (_Journal of Applied Chemistry_).
+
+
+=Seedlac Varnish.=--Wash 3 oz. of seedlac in several waters; dry it and
+powder it coarsely. Dissolve it in one pint of rectified spirits of
+wine; submit it to gentle heat, shaking it as often as convenient, until
+it appears dissolved. Pour off the clear part, and strain the remainder.
+
+
+=Patent Varnish for Wood or Canvas.=--Take 1 gallon spirits of
+turpentine, 21/4 lbs. asphaltum. Put them into an iron kettle on a
+stove, and dissolve the gum by heat. When it is dissolved and a little
+cool, add 1 pint copal varnish and 1 pint boiled linseed-oil. When
+entirely cool it is ready for use. For a perfect black add a little
+lamp-black.
+
+
+=Copal Varnish.=--Dissolve the copal, broken in pieces, in linseed-oil,
+by digestion, the heat being almost sufficient to boil the oil. The oil
+should be made drying by the addition of quick-lime. This makes a
+beautiful transparent varnish. It should be diluted with oil of
+turpentine; a very small quantity of copal, in proportion to the oil,
+will be found sufficient.
+
+
+=Carriage Varnish.=--Take 19 oz. gum sandarach, 91/2 oz. orange
+shellac, 121/2 oz. white resin, 18 oz. turpentine, 5 pints alcohol.
+Dissolve and strain. Use for the internal parts of carriages and similar
+purposes. This varnish dries in ten minutes.
+
+
+=Transparent Varnish.=--Take 1 gallon alcohol, 2 lbs. gum sandarach, 1/2
+lb. gum mastic. Place them in a tin can. Cork tight and shake
+frequently, placing the can in a warm place. When dissolved it is ready
+for use.
+
+
+=Crystal Varnish for Maps, etc.=--Mix together 1 oz. Canada balsam and 2
+oz. spirits of turpentine. Before applying this varnish to a drawing or
+a painting in water-colours the paper should be placed on a stretcher,
+sized with a thin solution of isinglass in water, and dried. Apply the
+varnish with a soft camel's-hair brush.
+
+
+=A Black Varnish.=--Mix a small quantity of gas-black with the brown
+hard varnish previously mentioned. The black can be obtained by boiling
+a pot over a gas-burner, so that it almost touches the burner, when a
+fine jet-black will form at the bottom, which remove and mix with the
+varnish, and apply with a brush.
+
+
+=A Black Polish= can be made in the same way: after wetting the rubber,
+just touch it with the black. Place the linen cover over, touch it with
+oil, and it is ready for work.
+
+
+=Varnish for Iron.=--Take 2 lbs. pulverised gum asphaltum, 1/4 lb. gum
+benzoin, 1 gallon spirits of turpentine. To make this varnish quickly,
+keep in a warm place, and shake often till it is dissolved. Shade to
+suit with finely-ground ivory-black. Apply with a brush. This varnish
+should be used on iron-work exposed to the weather. It is also well
+adapted for inside work, such as iron furniture, where a handsome polish
+is desired.
+
+
+=Varnish for Tools.=--Take 2 oz. tallow, 1 oz. resin; melt together, and
+strain while hot to remove the specks which are in the resin. Apply a
+slight coat on the tools with a brush, and it will keep off the rust for
+any length of time.
+
+
+=To Make Labels Adhere to a Polished Surface.=--Brush the back of a
+label over with thin varnish or polish, and press down with a soft rag;
+this must be done quickly, as the polish soon becomes dry. This is the
+way labels are put on pianofortes, and also the paper imitation of fancy
+woods on polished pine-work.
+
+
+=How to Remove French Polish or Varnish from Old Work.=--Cleaning off
+old work for re-polishing or varnishing is usually found difficult, and
+to occupy much time if only the scraper and glass-paper be used. It can
+be easily accomplished in a very short time by washing the surface with
+liquid ammonia, applied with a piece of rag; the polish will peel off
+like a skin, and leave the wood quite bare. In carvings or turned work,
+after applying the ammonia, use a hard brush to remove the varnish.
+Unadulterated spirits of wine used in a tepid state will answer the same
+purpose.
+
+
+=Colouring for Carcase Work.=--In the best class of cabinet-work all the
+inside work--such as carcase backs, shelves, etc.--is made of good
+materials, such as wainscot, soft mahogany, Havannah cedar, or American
+walnut; but for second-class work, pine or white deal is used instead,
+and coloured.
+
+The colouring matter used should match with the exterior wood. For
+mahogany take 1/2 lb. of ground yellow ochre to a quart of water, and
+add about a tablespoonful of Venetian red--a very small quantity of
+red in proportion to the yellow is sufficient for mahogany--and a piece
+of glue about the size of a walnut; the whole to be well stirred and
+boiled. Brush over while hot, and immediately rub off with soft shavings
+or a sponge. For the antique hues of old wainscot mix equal parts of
+burnt umber and brown ochre. For new oak, bird's-eye maple, birch,
+satin-wood, or any similar light yellowish woods, whiting or white-lead,
+tinted with orange chrome, or by yellow ochre and a little size. For
+walnut, brown umber, glue size, and water; or by burnt umber very
+moderately modified with yellow ochre. For rosewood, Venetian red tinted
+with lamp-black. For ebony, ivory-black; but for the common ebonised
+work lamp-black is generally used.
+
+When the colouring is dry, it should be rubbed down with a piece of worn
+fine glass-paper, and polished with beeswax rubbed on a very hard
+brush--a worn-out scrubbing-brush is as good as anything--or it can be
+well rubbed with Dutch rush. In polishing always rub the way of the
+grain. The cheap work seldom gets more than a coat of colour rubbed off
+with shavings.
+
+
+=Cheap but Valuable Stain for the Sap of Black Walnut.=--Take 1 gallon
+of strong vinegar, 1 lb. dry burnt umber, 1/2 lb. fine rose-pink, 1/2
+lb. dry burnt Vandyke brown. Put them into a jug and mix them well; let
+the mixture stand one day, and it will then be ready for use. Apply this
+stain to the sap with a piece of fine sponge; it will dry in half an
+hour. The whole piece is then ready for the filling process. When
+completed, the stained part cannot be detected even by those who have
+performed the work. This recipe is of value, as by it wood of poor
+quality and mostly of sap can be used with good effect.
+
+
+=Polish for Removing Stains, etc., from Furniture (American).=--Take 1/2
+pint alcohol, 1/4 oz. pulverised resin, 1/4 oz. gum shellac, 1/2 pint boiled
+linseed-oil. Shake the mixture well, and apply it with a sponge, brush,
+or cotton flannel, rubbing well after the application.
+
+
+=Walnut Stain to be used on Pine and White-wood.=--Take 1 gallon of very
+thin sized shellac; add 1 lb. of dry burnt umber, 1 lb. of dry burnt
+sienna, and 1/4 lb. of lamp-black. Put these articles into a jug, and
+shake frequently until they are mixed. Apply one coat with a brush. When
+the work is dry, sand-paper down with fine paper, and apply one coat of
+shellac or cheap varnish. It will then be a good imitation of solid
+walnut, and will be adapted for the back-boards of mirror-frames, for
+the backside and inside of case-work, and for similar work.
+
+
+=Rosewood Stain.=--Take 1 lb. of logwood chips, 1/2 lb. of red-sanders,
+1/2 gallon of water. Boil over a fire until the full strength is
+obtained. Apply the mixture, while hot, to the wood with a brush. Use
+one or two coats to obtain a strong red colour. Then take 1 gallon of
+spirits of turpentine and 2 lb. of asphaltum. Dissolve in an iron kettle
+on a stove, stirring constantly. Apply with a brush over the red stain,
+to imitate rosewood. To make a perfect black, add a little lamp-black.
+The addition of a small quantity of varnish with the turpentine will
+improve it. This stain applied to birchwood gives as good an imitation
+of rosewood as on black walnut, the shade on the birch being a little
+brighter.
+
+
+=Rosewood Stain for Cane Work, etc.=--Take 1 gallon alcohol, 1 lb.
+red-sanders, 1 lb. dragon's blood, 1 lb. extract logwood, 1/2 lb. gum
+shellac. Put the mixture into a jug, and steep well till it obtains its
+full strength. Then strain, and it will be ready for use. Apply with
+brush, giving one, two, or more coats, according to the depth of colour
+desired. Then give one or more coats of varnish. This stain is suitable
+for use on cane, willow, or reed work, and produces a good imitation of
+rosewood.
+
+
+=French Polish Reviver.=--This recipe will be found a valuable one. If
+the work is sweated and dirty, make it tolerably wet, and let it stand a
+few minutes; then rub off and polish with a soft rag. It is important
+that the ingredients should be mixed in a bottle in the order as given:
+Vinegar, 1 gill; methylated spirit, 1 gill; linseed-oil, 1/2 pint;
+butter of antimony (poison), 1 oz. Raw linseed-oil, moderately thinned
+with turpentine or spirits of wine, will also make a good reviver. Old
+furniture, or furniture that has been warehoused for a long time, should
+be washed with soda and warm water previous to applying the reviver.
+
+
+=Morocco Leather Reviver.=--The coverings of chairs or sofas in morocco,
+roan, or skiver can be much improved by this reviver. If old and greasy,
+wash with sour milk first. The reviver should be applied with a piece of
+wadding, and wiped one way only, as in glazing. The colour can be
+matched by adding red-sanders. Methylated spirit, 1/2 pint; gum benzoin,
+2 oz.; shellac, 1/2 oz. Mix, and shake up occasionally until dissolved.
+
+
+=Hair-cloth Reviver.=--Mix equal parts of marrow-oil (neats-foot),
+ox-gall. and ivory-black, to be well rubbed with a cloth. This
+composition forms a valuable renovator for old hair-cloth.
+
+
+=To Remove Grease Stains from Silks, Damasks, Cloth, etc.=--Pour over
+the stain a small quantity of benzoline spirit, and it will soon
+disappear without leaving the least mark behind. The most delicate
+colours can be so treated without fear of injury. For paint stains
+chloroform is very efficacious.
+
+
+=To Remove Ink Stains from White Marble.=--Make a little chloride of
+lime into a paste with water, and rub it into the stains, and let it
+remain a few hours; then wash off with soap and water.
+
+
+
+
+CHAPTER XI.
+
+_MATERIALS USED._
+
+
+=Alkanet-root= (botanical name, _Anchusa tinctoria_).--This plant is a
+native of the Levant, but it is much cultivated in the south of France
+and in Germany. The root is the only part used by French polishers to
+obtain a rich quiet red; the colouring is chiefly contained in the bark
+or outer covering, and is easily obtained by soaking the root in spirits
+or linseed-oil. The plant itself is a small herbaceous perennial, and
+grows to about a foot in height, with lance-shaped leaves and purple
+flowers, and with a long woody root with a deep red bark.
+
+
+=Madder-root= (_Rubia tinctoria_).--This plant is indigenous to the
+Levant; but it is much cultivated in Southern Europe, and also in India.
+Its uses are for dyeing and staining; it can be procured in a powdered
+state, and imparts its red colour when soaked in water or spirits. This
+is a creeping plant with a slender stem; almost quadrangular, the
+leaves grow four in a bunch; flowers small, fruit yellow, berry double,
+one being abortive. The roots are dug up when the plant has attained the
+age of two or three years; they are of a long cylindrical shape, about
+the thickness of a quill, and of a red-brownish colour, and when
+powdered are a bright Turkish-red. Extracts of madder are mostly
+obtained by treating the root with boiling water, collecting the
+precipitates which separate on cooling, mixing them with gum or starch,
+and adding acetate of alumina or iron. This is in fact a mixture of
+colouring matter and a mordant.
+
+
+=Red-sanders= (_Pterocarpus santalinus_).--The tree from which this wood
+is obtained is a lofty one, and is to be found in many parts of India,
+especially about Madras. It yields a dye of a bright garnet-red colour,
+and is used by French polishers for dyeing polishes, varnishes,
+revivers, etc.
+
+
+=Logwood= (_Hæmatoxylon campeachianum_).--This is a moderate-sized tree
+with a very contorted trunk and branches, which are beset with sharp
+thorns, and blooms with a yellow flower. It is a native of Central
+America and the West Indies. This valuable dye-wood is imported in logs;
+the heart-wood is the most valuable, which is cut up into chips or
+ground to powder for the use of dyers by large powerful mills
+constructed especially for the purpose. Logwood, when boiled in water,
+easily imparts its red colour. If a few drops of acetic acid (vinegar)
+is added, a bright red is produced; and when a little alum is added for
+a mordant, it forms red ink. If an alkali, such as soda or potash, is
+used instead of an acid, the colour changes to a dark blue or purple,
+and with a little management every shade of these colours can be
+obtained. Logwood put into polish or varnish also imparts its red
+colour.
+
+
+=Fustic= (_Maclura tinctoria_).--This tree is a native of the West
+Indies, and imparts a yellow dye. Great quantities are used for dyeing
+linens, etc. The fustic is a large and handsome evergreen, and is
+imported in long sticks.
+
+
+=Turmeric= (_Curcuma longa_).--Turmeric is a stemless plant, with
+palmated tuberous roots and smooth lance-shaped leaves. It is imported
+from the East Indies and China. The root is the part which affords the
+yellow powder for dyeing. It is also a condiment, and is largely used in
+Indian curry-powder. Paper stained with turmeric is used by chemists as
+a test for alkalies, and it is also used in making Dutch, pink, and
+gold-coloured varnishes.
+
+
+=Indigo= (_Indigofera tinctoria_).--Indigo is a shrub which grows from
+two to three feet in height, and is cut down just as it begins to
+flower. It is cultivated in almost all the countries situated in the
+tropics. The dye substance is prepared from the stems and leaves, and is
+largely used in calico-printing.
+
+
+=Persian Berries= (_Rhamnus infectorius_).--These berries are the
+produce of a shrub of a species of buckthorn common in Persia, whence
+they derive their name; but large quantities are also imported into
+England from Turkey and the south of France. The berries are gathered in
+an unripe state, and furnish a yellow dye.
+
+
+=Nut-galls.=--These are found upon the young twigs of the Turkish dwarf
+oak (_Quercus infectoria_), and are produced by the puncture of an
+insect called Cynips. The supply is principally from Turkey and Aleppo.
+Nut-galls contain a large quantity of tannin and gallic acid, and are
+extensively used in dyeing.
+
+
+=Catechu.=--This is obtained from the East Indies, and is the extract of
+the _Acacia catechu_, a thorny tree. The wood is cut up into chips
+similar to logwood, and after boiling and evaporation the liquor
+assumes the consistency of tar; but when cold it hardens, and is formed
+into small squares. It is extensively used by tanners in place of oak
+bark.
+
+
+=Thus.=--Thus is the resin which exudes from the spruce-fir, and is used
+by some polishers in the making of polishes and varnishes.
+
+
+=Sandarach= is the produce of the _Thuya articulata_ of Barbary. It
+occurs in small pale yellow scales, slightly acid, and is soluble in
+alcohol; it is used in both polishes and varnishes.
+
+
+=Mastic= exudes from the mastic-tree (_Pistacia lentiscus_), and is
+principally obtained from Chios, in the Grecian Archipelago. It runs
+freely when an incision is made in the body of the tree, but not
+otherwise. It occurs in the form of nearly colourless and transparent
+tears of a faint smell, and is soluble in alcohol as well as oil of
+turpentine, forming a rapidly-drying but alterable varnish, which
+becomes brittle and dark-coloured by age.
+
+
+=Benzoin.=--This is the produce of the American tree _Laurus benzoin_,
+and also of the _Styrax benzoin_ of Sumatra, which is called "gum
+benjamin"; it is used in polishes and varnishes, and as a cosmetic, and
+is also burnt as incense in Catholic churches.
+
+
+=Copal= is one of the most valuable of gums, and is furnished by many
+countries in the districts of Africa explored by Mr. H. M. Stanley, the
+discoverer of Livingstone. Copal is found in a fossil state in very
+large quantities. The natives collect the gum by searching in the sandy
+soil, mostly in the hilly districts, the country being almost barren,
+with no large tree except the Adansonia, and occasionally a few thorny
+bushes.
+
+The gum is dug out of the earth by the copal gatherers at various
+depths, from two or three to ten or more feet, in a manner resembling
+gold-digging; and great excitement appears when a good amount is
+discovered. The gum is found in various shapes and sizes, resembling a
+hen's egg, a flat cake, a child's head, etc. There are three kinds,
+yellow, red, and whitish; and the first furnishes the best varnish and
+fetches the highest price from the dealers. Many of the natives assert
+that the copal still grows on different trees, and that it acquires its
+excellent qualities as a resin by dropping off and sinking several feet
+into the soil, whereby it is cleansed, and obtains, after a lapse of
+many years, its hardness, inflammability, and transparency.
+
+
+=Dragon's Blood= is the juice of certain tropical plants of a red
+colour, especially of the tree _Pterocarpus draco_. After the juice is
+extracted, it is reduced to a powder by evaporation. It is used for
+darkening mahogany, colouring varnishes or polishes, etc., and for
+staining marble. Chemists also use it in preparing tinctures and tooth
+powders.
+
+
+=Shellac=--or, more properly, _gum-lac_--is a resinous substance
+obtained from the Bihar-tree, and also from the _Ficus Indica_, or
+Banyan-tree. It exudes when the branches are pierced by an insect called
+the _Coccus ficus_. The twigs encrusted with the resin in its natural
+state is called Stick-lac. When the resin is broken off the twigs,
+powdered, and rubbed with water, a good deal of the red colouring matter
+is dissolved, and the granular resin left is called seed-lac; and when
+melted, strained, and spread into thin plates it is called shellac, and
+is prepared in various ways and known by the names of button, garnet,
+liver, orange, ruby, thread, etc., and is used for many purposes in the
+arts. Shellac forms the principal ingredient for polishes and spirit
+varnishes. Red sealing-wax is composed of shellac, Venice turpentine,
+and vermilion red; for the black sealing-wax ivory-black is used instead
+of the vermilion. Shellac is soluble in alcohol, and in many acids and
+alkalies. Lac-dye is the red colour from the stick-lac dissolved by
+water and evaporated to dryness. The dye, however, is principally from
+the shrivelled-up body of the insect of the Stick-lac.
+
+Shellac is produced in the largest quantity and the best quality in
+Bengal, Assam, and Burmah. The chief seat of manufacture is Calcutta,
+where the native manufacturers are accused of adulterating it with resin
+to a considerable extent. The best customers are Great Britain and the
+United States, though the demand in the Italian markets appears to be on
+the increase.
+
+
+=Amber= is a yellow, semi-transparent, fossil resin; hard but brittle,
+and easily cut with a knife; tasteless, and without smell, except when
+pounded or heated, and then it emits a fragrant odour. It has
+considerable lustre; becomes highly electric by friction; and will burn
+with a yellow flame. It is found in nodules of various sizes in alluvial
+soils, or on the seashore in many places, particularly on the shores of
+the Baltic. Amber is much employed for ornamental purposes, and is also
+used in the manufacture of amber-varnish. It will not dissolve in
+alcohol, but yields to the concentrated action of sulphuric acid, which
+will dissolve all resins except caramba wax.
+
+
+=Pumice-stone.=--This well-known light and spongy volcanic substance is
+extensively quarried in the small islands that lie off the coast of
+Sicily. Its porosity and smooth-cutting properties render it of great
+value to painters and polishers for levelling down first coatings.
+Ground pumice-stone is the best for cutting down bodies of polish or
+varnish that are more advanced towards completion. The best way to get a
+surface to a piece of lump pumice-stone is to rub it down on a flat York
+stone, or, better still, an old tile that has been well baked.
+Pumice-stone should not be allowed to stand in water; it causes the
+grain to contract and to harden, thereby deteriorating its cutting
+properties.
+
+
+=Linseed-oil.=--This valuable oil is obtained by pressure from the seed
+of the flax plant (_Linum usitatissimum_). Linseed contains on an
+average about 33 per cent. of oil, though the amount varies materially,
+the percentage obtained fluctuating considerably, not being alike on any
+two successive days. This is partly due to the varying richness of the
+seed, and partly to the manner in which it is manipulated in extracting
+the oil, it being a very easy matter to lose a considerable percentage
+of the oil by a lack of skill in any of the processes, though they all
+seem so simple.
+
+The first thing done with the seed from which the oil is to be extracted
+is to pass it through a screen, to cleanse it from foreign substances.
+The seed is received in bags containing from three to four bushels, and
+pockets containing one-sixth of that amount. Having been screened it is
+passed through a mill, whose large iron-rollers, three in number, grind
+it to a coarse meal. Thence it is carried to what are known as the
+"mullers," which are two large stones, about eight feet in diameter and
+eighteen inches thick, weighing six tons each, standing on their edges,
+and rolling around on a stone bed. About five bushels of the meal are
+placed in the mullers, and about eight quarts of hot water are added.
+The meal is afterwards carried by machinery to the heaters, iron pans
+holding about a bushel each. These are heated to an even temperature by
+steam, and are partly filled with the meal, which for seven minutes is
+submitted to the heat, being carefully stirred in order that all parts
+may become evenly heated. At the end of that time the meal is placed in
+bags, which in turn are placed in hydraulic presses, iron plates being
+placed between the bags. Pressure is applied for about eight minutes,
+until, as is supposed, all the oil is pressed out, leaving a hard cake,
+known to the trade as oil-cake, or linseed-cake.
+
+The product of these various processes is known as "raw" oil, a
+considerable portion of which is sold without further labour being
+expended upon it. There is, however, a demand for "boiled" oil, for
+certain purposes where greater drying properties are needed. To supply
+this want oil is placed in large kettles, holding from five hundred to
+one thousand gallons, where it is heated to a temperature of about 500
+degrees, being stirred continually. This process, when large kettles are
+used, requires nearly the entire day. While the boiling process is going
+on, oxide of manganese is added, which helps to give the boiled oil
+better drying properties. A considerable portion of the oil is bleached,
+for the use of manufacturers of white paints.
+
+
+=Venice Turpentine.=--This is obtained from the larch, and is said to be
+contained in peculiar sacs in the upper part of the stem, and to be
+obtained by puncturing them. It is a ropy liquid, colourless or brownish
+green, having a somewhat unpleasant odour and bitter taste.
+
+
+=Oil of Turpentine= is the most plentiful and useful of oils. It is
+obtained in America from a species of pine very plentiful in the
+Carolinas, Georgia, and Alabama, known as the long-leaved pine (_pinus
+Australis_), and found only where the original forest has not been
+removed.
+
+
+=Methylated Spirits.=--The methylated spirit of commerce usually
+consists of the ordinary mixed grain, or "plain" spirit, as produced by
+the large distillers in London and elsewhere, with which are blended,
+by simply mixing in various proportions, one part vegetable naphtha and
+three parts spirits of wine. The mixing takes place in presence of a
+revenue officer, and the spirits so "methylated" are allowed to be used
+duty free. The revenue authorities consider the admixture of naphtha,
+having so pungent and disagreeable a smell, a sufficient security
+against its sale and consumption as a beverage. No process has yet been
+discovered of getting rid of this odour. It is illegal for druggists to
+use it in the preparation of medicinal tinctures, unless they are for
+external use.
+
+
+PRINTED BY WILLIAM CLOWES AND SONS, LIMITED, LONDON AND BECCLES.
+
+
+
+
+CROSBY LOCKWOOD & SON'S
+
+LIST OF WORKS
+
+ON
+
+TRADES AND MANUFACTURES, THE INDUSTRIAL ARTS, CHEMICAL MANUFACTURES,
+COUNTING HOUSE WORK, ETC.
+
+
+A Complete Catalogue of NEW and STANDARD BOOKS relating to CIVIL,
+MECHANICAL, MARINE and ELECTRICAL ENGINEERING; MINING, METALLURGY, and
+COLLIERY WORKING; ARCHITECTURE and BUILDING; AGRICULTURE and ESTATE
+MANAGEMENT, etc. Post Free on Application.
+
+7, STATIONERS' HALL COURT, LONDON, E.C.,
+AND
+121a, VICTORIA STREET, WESTMINSTER, S.W.
+
+1910.
+
+
+
+
+LIST OF WORKS
+
+ON
+
+TRADES and MANUFACTURES, THE INDUSTRIAL ARTS, Etc.
+
+
+=ACETYLENE, LIGHTING BY.= Generators, Burners, and Electric Furnaces. By
+WILLIAM E. GIBBS, M.E. With 66 Illustrations. Crown 8vo, cloth =7/6=
+
+=AIR GAS LIGHTING SYSTEMS.= See PETROL GAS.
+
+=ALCOHOL (INDUSTRIAL): ITS MANUFACTURE AND USES.= A Practical Treatise
+based on Dr. Max Maercker's "Introduction to Distillation," as revised
+by Drs. DELBRUCK and LANGE. By J. K. BRACHVOGEL. 500 pages, 105
+engravings _Net_ =16/6=
+
+THE INDUSTRIAL VALUE OF TAX-FREE ALCOHOL AND WHAT IT MEANS TO
+AGRICULTURAL INTERESTS--SUMMARY OF THE PROCESSES IN SPIRIT
+MANUFACTURE--STARCH, HOW FORMED, ITS CHARACTERISTICS, AND THE CHANGES
+IT UNDERGOES--ENZYMES OR FERMENTS--PRODUCTS OF FERMENTATION--STARCHY
+AND SACCHARIFEROUS RAW MATERIALS--PREPARATION OF THE MALT--STEAMING
+THE RAW MATERIAL--THE MASHING PROCESS--FERMENTING THE MASH--PREPARATION
+OF ARTIFICIAL YEAST IN THE DISTILLERY--FERMENTATION IN
+PRACTICE--DISTILLATION AND RECTIFICATION--ARRANGEMENT OF THE
+DISTILLERY--THE SPENT WASH--DENATURING OF ALCOHOL--ALCOHOL FOR THE
+PRODUCTION OF POWER, HEATING AND ILLUMINATION--STATISTICS.
+
+=ALKALI TRADE MANUAL.= Including the Manufacture of Sulphuric Acid,
+Sulphate of Soda, and Bleaching Powder. By JOHN LOMAS, Alkali
+Manufacturer. With 232 Illustrations. Super-royal 8vo, cloth. =£1 10s.=
+
+=BLOWPIPE IN CHEMISTRY, MINERALOGY, Etc.= Containing all known Methods
+of Anhydrous Analysis, many Working Examples, and Instructions for
+Making Apparatus. By Lieut.-Colonel W. A. Ross, R.A., F.G.S. Second
+Edition. Crown 8vo, cloth =5/0=
+
+=BOOT AND SHOE MAKING=, including Measurement, Last-fitting,
+Cutting-out, Closing and Making, with a Description of the most Approved
+Machinery employed. By J. B. LENO. Crown 8vo, cloth =2/0=
+
+=BRASS FOUNDER'S MANUAL.= Modelling, Pattern Making, Moulding, Turning,
+&c. By W. GRAHAM. Crown 8vo, cloth =2/0=
+
+=BREAD & BISCUIT BAKER'S & SUGAR-BOILER'S ASSISTANT.= Including a large
+variety of Modern Recipes. By ROBERT WELLS. Fifth Edition.
+Crown 8vo, cloth 1/0
+
+     "A large number of wrinkles for the ordinary cook, as well as the
+     baker."--_Saturday Review._
+
+=BREAKFAST DISHES. For every Morning of Three Months.= By Miss
+ALLEN (Mrs. A. MACAIRE). Author of "Savouries and Sweets," &c.
+Twenty-third Edition. F'cap 8vo. Sewed   1/0
+     Or, quarter bound, fancy boards     1/6
+
+=BREWERS, HANDY BOOK FOR.= Being a Practical Guide to the Art of Brewing
+and Malting. Embracing the Conclusions of Modern Research which bear
+upon the Practice of Brewing. By H. E. WRIGHT, M.A. Third
+Edition. Thoroughly Revised and Enlarged. Large Crown 8vo, 578 pp.,
+cloth _Net_ =12/6=
+
+BARLEY, MALTING AND MALT--WATER FOR BREWING--HOPS AND SUGARS--THE
+BREWING ROOM--CHEMISTRY AS APPLIED TO BREWING--THE LABORATORY--MASHING,
+SPARGING, AND BOILING--FERMENTS IN GENERAL--FERMENTATION WITH COMMERCIAL
+YEAST--CULTURE FROM A SINGLE CELL WITH YEASTS--TREATMENT OF BEER--THE
+BREWERY AND PLANTS.
+
+     "We have great pleasure in recommending this handy Book."--_The
+     Brewers' Guardian._
+
+=CALCULATOR, NUMBER, WEIGHT AND FRACTIONAL.= Containing upwards of
+250,000 Separate Calculations, showing at a Glance the Value at 422
+Different Rates, ranging from 1/128th of a Penny to 20s. each, or per
+cwt., and £20 per ton, of any number of articles consecutively, from 1
+to 470. Any number of cwts., qrs., and lbs., from 1 cwt. to 470 cwts.
+Any number of tons, cwts., qrs., and lbs., from 1 to 1,000 tons. By
+WILLIAM CHADWICK, Public Accountant. Fourth Edition, Revised
+and Improved. 8vo, strongly bound =18/0=
+
+     "It is as easy of reference for any answer or any number of answers
+     as a dictionary. For making up accounts or estimates the book must
+     prove invaluable to all who have any considerable quantity of
+     calculations involving price and measure in any combination to
+     do."--_Engineer._
+
+     "The most perfect work of the kind yet prepared."--_Glasgow
+     Herald._
+
+=CEMENTS, PASTES, GLUES, AND GUMS.= A Guide to the Manufacture and
+Application of Agglutinants for Workshop, Laboratory, or Office Use.
+With 900 Recipes and Formulæ. By H. C. STANDAGE, Crown 8vo,
+cloth =2/0=
+
+     "As a revelation of what are considered trade secrets, this book
+     will arouse an amount of curiosity among the large number of
+     industries it touches."--_Daily Chronicle._
+
+=CHEMISTRY FOR ARMY AND MATRICULATION CANDIDATES.= By GEOFFREY
+MARTIN, B.SC., Ph.D. Crown 8vo, cloth. With numerous Illustrations
+_Net_ =2/0=
+
+PREPARATION AND USE OF APPARATUS--PREPARATION AND PROPERTIES OF
+CERTAIN GASES AND LIQUIDS--SIMPLE QUANTITATIVE EXPERIMENTS--ANALYTICAL
+OPERATIONS--SOLUBILITY--WATER CRYSTALLISATION--NEUTRALISATION OF ACIDS
+BY BASES, AND PREPARATION OF SIMPLE SALTS--VOLUMETRIC ANALYSIS--CHEMICAL
+EQUIVALENTS--OBSERVATION OF REACTION--MELTING AND BOILING
+POINTS--SYMBOLS AND ATOMIC WEIGHTS OF THE ELEMENTS--WEIGHTS AND
+MEASURES--HINTS ON REGULATING WORK IN PRACTICAL CHEMISTRY CLASSES.
+
+=CLOCKS, WATCHES, & BELLS for PUBLIC PURPOSES.= By EDMUND BECKETT,
+LORD GRIMTHORPE, LL.D., K.C., F.R.A.S. Eighth Edition, with new
+List of Great Bells and an Appendix on Weathercocks. Crown 8vo, cloth
+4/6; cloth boards, =5/6=
+
+     "The only modern treatise on clock-making."--_Horological Journal._
+
+=COACH-BUILDING.= A Practical Treatise, Historical and Descriptive. By
+J. W. BURGESS. Crown 8vo, cloth =2/6=
+
+=COKE--MODERN COKING PRACTICE.= Including the Analysis of Materials and
+Products. A handbook for those engaged or interested in Coke Manufacture
+with recovery of By-Products. By T. H. BYROM, F.I.C., F.C.S.,
+Mem. Soc. of Chem. Industry, Chief Chemist to the Wigan Coal and Iron
+Company. For fifteen years Lecturer at the Wigan Technical College.
+Author of "The Physics and Chemistry of Mining"; and J. E.
+CHRISTOPHER, Mem. Soc. of Chem. Industry, Sub-manager of the
+Semet Solvay Coking Plant of the Wigan Coal and Iron Company. Lecturer
+on Coke Manufacture at the Wigan Technical College. 168 pages, with
+numerous illustrations. Demy 8vo, cloth. [_Just Published Net_] =8/6=
+
+     "The authors have succeeded in treating the subject in a clear and
+     compact way, giving an easily comprehensible review of the
+     different processes."--_Mining Journal._
+
+     "The book will be eagerly read, and the authors may be assured that
+     their labour will be appreciated. We anticipate that the book will
+     be a success; at any rate it possesses the necessary
+     merit."--_Science and Art of Mining._
+
+=COMMERCIAL CORRESPONDENT, FOREIGN.= Being Aids to Commercial
+Correspondence in Five Languages--English, French, German, Italian, and
+Spanish. By CONRAD E. BAKER. Third Edition, Carefully Revised
+Throughout. Crown 8vo, cloth 4/6
+
+     "Whoever wishes to correspond in all the languages mentioned by Mr.
+     Baker cannot do better than study this work, the materials of which
+     are excellent and conveniently arranged. They consist not of entire
+     specimen letters, but--what are far more useful--short passages,
+     sentences, or phrases expressing the same general idea in various
+     forms."--_Athenæum._
+
+=CONFECTIONER, MODERN FLOUR.= Containing a large Collection of Recipes
+for Cheap Cakes, Biscuits, &c. With remarks on the Ingredients Used in
+their Manufacture. By R. WELLS =1/0=
+
+=CONFECTIONERY, ORNAMENTAL.= A Guide for Bakers, Confectioners and
+Pastrycooks; including a variety of Modern Recipes, and Remarks on
+Decorative and Coloured Work. With 129 Original Designs. By ROBERT
+WELLS. Crown 8vo, cloth =5/0=
+
+     "A valuable work, practical, and should be in the hands of every
+     baker and confectioner. The illustrative designs are worth treble
+     the amount charged for the work."--_Bakers' Times._
+
+=COTTON MANUFACTURE.= A Manual of Practical Instruction of the Processes
+of Opening, Carding, Combing, Drawing, Doubling and Spinning, Methods of
+Dyeing, &c. For the Use of Operatives, Overlookers, and Manufacturers.
+By J. LISTER. 8vo, cloth =7/6=
+
+=DANGEROUS GOODS.= Their Sources and Properties, Modes of Storage and
+Transport. With Notes and Comments on Accidents arising therefrom. For
+the Use of Government and Railway Officials, Steamship Owners, &c. By H.
+J. PHILLIPS. Crown 8vo, cloth =9/0=
+
+=DENTISTRY (MECHANICAL).= A Practical Treatise on the Construction of
+the Various Kinds of Artificial Dentures. By C. HUNTER. Crown
+8vo, cloth =3/0
+
+=DISCOUNT GUIDE.= Comprising several Series of Tables for the Use of
+Merchants, Manufacturers, Ironmongers, and Others, by which may be
+ascertained the Exact Profit arising from any mode of using Discounts,
+either in the Purchase or Sale of Goods, and the method of either
+Altering a Rate of Discount, or Advancing a Price, so as to produce,
+by one operation, a sum that will realise any required Profit after
+allowing one or more Discounts: to which are added Tables of Profit or
+Advance from 11/4 to 90 per cent., Tables of Discount from 11/4 to 983/4 per
+cent., and Tables of Commission, &c., from 1/8 to 10 per cent. By HENRY
+HARBEN, Accountant. New Edition, Corrected. Demy 8vo, half-bound =£1
+5s.=
+
+     "A book such as this can only be appreciated by business men, to
+     whom the saving of time means saving of money. The work must prove
+     of great value to merchants, manufacturers, and general
+     traders."--_British Trade Journal._
+
+=DRYING MACHINERY AND PRACTICE.= A Handbook on the Theory and Practice
+of Drying and Desiccating, with Classified Description of Installations,
+Machinery, and Apparatus, including also a Glossary of Technical Terms
+and Bibliography. By THOMAS G. MARLOW, Grinding, Drying, and
+Separating Machinery Specialist. Medium 8vo. About 250 pages, with 150
+Illustrations [_In the Press, price about_] =12/6= _net._
+
+=ELECTRICITY IN FACTORIES AND WORKSHOPS: ITS COST AND CONVENIENCE.=
+A Handbook for Power Producers and Power Users. By A. P. HASLAM,
+M.I.E.E. 328 pages, with numerous illustrations. Large crown, 8vo,
+cloth _Net_ =7/6=
+
+=ELECTRO-METALLURGY.= A Practical Treatise. By ALEXANDER WATT.
+Tenth Edition, enlarged and revised. Including the most Recent
+Processes. Crown 8vo, cloth =3/6=
+
+=ELECTRO-PLATING.= A Practical Handbook on the Deposition of Copper,
+Silver, Nickel, Gold, Aluminium, Brass, Platinum, &c., &c. By J. W.
+URQUHART, C.E. Fifth Edition, Revised. Crown 8vo, cloth =5/0=
+
+=ELECTRO-PLATING & ELECTRO-REFINING OF METALS= Being a new edition of
+ALEXANDER WATT'S "ELECTRO-DEPOSITION." Revised and Rewritten by A.
+PHILIP, B.Sc., Principal Assistant to the Admiralty Chemist. Crown 8vo,
+cloth _Net_ =12/6=
+
+PART I. ELECTRO-PLATING--PRELIMINARY CONSIDERATIONS--PRIMARY AND
+SECONDARY BATTERIES--THERMOPILES--DYNAMOS--COST OF ELECTRICAL
+INSTALLATIONS OF SMALL OUTPUT FOR ELECTRO-PLATING--HISTORICAL REVIEW OF
+ELECTRO DEPOSITION--ELECTRO DEPOSITION OF COPPER--DEPOSITION OF GOLD BY
+SIMPLE IMMERSION--ELECTRO DEPOSITION OF GOLD--VARIOUS GILDING
+OPERATIONS--MERCURY GILDING--ELECTRO DEPOSITION OF SILVER--IMITATION
+ANTIQUE SILVER--ELECTRO DEPOSITION OF NICKEL, TIN, IRON AND ZINC,
+VARIOUS METALS AND ALLOYS--RECOVERY OF GOLD AND SILVER FROM
+WASH SOLUTIONS--MECHANICAL OPERATIONS CONNECTED WITH ELECTRO
+DEPOSITION--MATERIALS USED IN ELECTRO DEPOSITION. PART II. ELECTRO
+METALLURGY--ELECTRO METALLURGY OF COPPER--COST OF ELECTROLYTIC COPPER
+REFINING--CURRENT DENSITY AS A FACTOR IN PROFITS--SOME IMPORTANT DETAILS
+IN ELECTROLYTIC COPPER REFINERIES--ELECTROLYTIC GOLD AND SILVER BULLION
+REFINING--ELECTROLYTIC TREATMENT OF TIN--ELECTROLYTIC REFINING OF
+LEAD--ELECTROLYTIC PRODUCTION OF ALUMINIUM AND ELECTROLYTIC REFINING OF
+NICKEL--ELECTRO GALVANISING.
+
+     "Eminently a book for the practical worker in
+     electro-deposition."--_Engineer._
+
+=ELECTRO-TYPING.= The Reproduction and Multiplication of Printing
+Surfaces and Works of Art by the Electro-Deposition of Metals. By J. W.
+URQUHART, C.E. Crown 8vo, cloth =5/0=
+
+=ENGINEERING CHEMISTRY.= A Practical Treatise for the Use of Analytical
+Chemists, Engineers, Iron Masters, Iron Founders, Students and others.
+Comprising Methods of Analysis and Valuation of the Principal Materials
+used in Engineering Work, with numerous Analyses, Examples and
+Suggestions. By H. PHILLIPS. Third Edition, Revised. Crown 8vo,
+420 pp., with Illustrations, cloth _Net_ =10/6=
+
+=EXPLOSIVES, MODERN, A HANDBOOK ON.= A Practical Treatise on the
+Manufacture and Use of Dynamite, Gun-Cotton, Nitro-Glycerine and other
+Explosive Compounds, including Collodion-Cotton. With Chapters on
+Explosives in Practical Application. By M. EISSLER, M.E. Second Edition,
+Enlarged. Crown 8vo, cloth =12/6=
+
+     "A veritable mine of information on the subject of explosives
+     employed for military, mining, and blasting purposes."--_Army and
+     Navy Gazette._
+
+=EXPLOSIVES: NITRO-EXPLOSIVES.= The Properties, Manufacture, and
+Analysis of Nitrated Substances, including the Fulminates, Smokeless
+Powders, and Celluloid. By P. G. SANFORD, F.I.C., F.C.S.,
+Public Analyst to the Borough of Penzance. Second Edition, enlarged.
+With Illustrations. Demy 8vo, cloth _Net_ =10/6=
+
+NITRO-GLYCERINE--NITRO-CELLULOSE, ETC.--DYNAMITE--NITRO-BENZOL,
+ROBURITE, BELLITE, PICRIC ACID, ETC.--THE FULMINATES--SMOKELESS POWDERS
+IN GENERAL--ANALYSIS OF EXPLOSIVES--FIRING POINT, HEAT TESTS,
+DETERMINATION OF RELATIVE STRENGTH, ETC.
+
+     "One of the very few text-books in which can be found just what is
+     wanted. Mr. Sanford goes steadily through the whole list of
+     explosives commonly used, he names any given explosive, and tells
+     of what it is composed and how it is manufactured. The book is
+     excellent."--_Engineer._
+
+=FACTORY ACCOUNTS: THEIR PRINCIPLES AND PRACTICE.= A Handbook for
+Accountants and Manufacturers, with Appendices on the Nomenclature of
+Machine Details, the Income Tax Acts, the Rating of Factories, Fire and
+Boiler Insurance, the Factory and Workshop Acts, etc., including a
+Glossary of Terms and a large number of Specimen Rulings. By EMILE
+GARCKE and J. M. FELLS. Fifth Edition, Revised and
+Enlarged. Demy 8vo, cloth =7/6=
+
+     "A very interesting description of the requirements of Factory
+     Accounts.... The principle of assimilating the Factory Accounts to
+     the general commercial books is one which we thoroughly agree
+     with."--_Accountants' Journal._
+
+=FLOUR MANUFACTURE.= A Treatise on Milling Science and Practice. By
+FRIEDRICH KICK, Imperial Regierungsrath, Professor of
+Mechanical Technology in the Imperial German Polytechnic Institute,
+Prague. Translated from the Second Enlarged and Revised Edition. By H.
+H. P. POWLES, A.M.Inst.C.E. 400 pp., with 28 Folding Plates,
+and 167 Woodcuts. Royal 8vo, cloth =£1 5s.=
+
+     "This invaluable work is the standard authority on the science of
+     milling."--_The Miller._
+
+=FRENCH POLISHING AND ENAMELLING.= Including numerous Recipes for making
+Polishes, Varnishes, Glaze, Lacquers, Revivers, &c. By R. BITMEAD. Crown
+8vo, cloth =1/6=
+
+=GAS ENGINEER'S POCKET-BOOK.= Comprising Tables, Notes and Memoranda
+relating to the Manufacture, Distribution and Use of Coal Gas and the
+Construction of Gas Works. By H. O'CONNOR, A.M.Inst.C.E. Third
+Edition. Revised. Crown 8vo, leather. _Net_ =10/6=
+
+GENERAL CONSTRUCTING MEMORANDA--GENERAL MATHEMATICAL
+TABLES--UNLOADING MATERIALS AND STORAGE--RETORT
+HOUSE--CONDENSERS--BOILERS, ENGINES, PUMPS, AND EXHAUSTERS--SCRUBBERS
+AND WASHERS--PURIFIERS--GASHOLDER TANKS--GASHOLDERS--WORKSHOP
+NOTES--MANUFACTURING--STORING MATERIALS--RETORT HOUSE
+(WORKING)--CONDENSING GAS--EXHAUSTERS, ETC.--WASHING AND
+SCRUBBING--PURIFICATION--GASHOLDERS (CARE OF)--DISTRIBUTING
+GAS--TESTING--ENRICHING PROCESSES--PRODUCT WORKS--SUPPLEMENTARY.
+
+     "The book contains a vast amount of information."--_Gas World._
+
+=GAS ENGINEERING.= See PRODUCER GAS PRACTICE AND INDUSTRIAL GAS
+ENGINEERING. =GAS FITTING.= A Practical Handbook. By JOHN BLACK. Revised
+Edition. With 130 Illustrations. Crown 8vo, cloth =2/6=
+
+=GAS LIGHTING.= See ACETYLENE.
+
+=GAS LIGHTING FOR COUNTRY HOUSES.= See PETROL AIR GAS.
+
+=GAS MANUFACTURE, CHEMISTRY OF.= A Practical Manual for the use of Gas
+Engineers, Gas Managers and Students. By HAROLD M. ROYLE, Chief
+Chemical Assistant at the Beckton Gas Works. Demy 8vo, cloth, 340 pages,
+with numerous Illustrations and Coloured Plate. _Net_ =12/6=
+
+PREPARATION OF STANDARD SOLUTIONS--ANALYSIS OF COALS--DESCRIPTION OF
+VARIOUS TYPES OF FURNACES--PRODUCTS OF CARBONISATION AT VARIOUS
+TEMPERATURES--ANALYSIS OF CRUDE GAS--ANALYSIS OF LIME--ANALYSIS OF
+AMMONIACAL LIQUOR--ANALYTICAL VALUATION OF OXIDE OF IRON--ESTIMATION
+OF NAPHTHALIN--ANALYSIS OF FIRE-BRICKS AND FIRE-CLAY--ART OF
+PHOTOMETRY--CARBURETTED WATER GAS--APPENDIX CONTAINING STATUTORY AND
+OFFICIAL REGULATIONS FOR TESTING GAS. VALUABLE EXCERPTS FROM VARIOUS
+IMPORTANT PAPERS ON GAS CHEMISTRY, USEFUL TABLES, MEMORANDA, etc.
+
+=GAS WORKS.= Their Construction and Arrangement, and the Manufacture and
+Distribution of Coal Gas. By S. HUGHES, C.E. Ninth Edition.
+Revised by H. O'CONNOR, A.M.Inst.C.E. Crown 8vo =6/0=
+
+=GOLD WORKING. JEWELLER'S ASSISTANT= for Masters and Workmen, Compiled
+from the Experience of Thirty Years' Workshop Practice. By G. E.
+GEE. Crown 8vo =7/6=
+
+=GOLDSMITH'S HANDBOOK.= Alloying, Melting, Reducing, Colouring,
+Collecting, and Refining. Manipulation, Recovery of Waste, Chemical and
+Physical Properties; Solders, Enamels, and other useful Rules and
+Recipes, &c. By G. E. GEE, Sixth Edition. Crown 8vo, cloth =3/0=
+
+=GOLDSMITH'S AND SILVERSMITH'S COMPLETE HANDBOOK.= By G. E.
+GEE. Crown 8vo, half bound =7/0=
+
+=HALL-MARKING OF JEWELLERY.= Comprising an account of all the different
+Assay Towns of the United Kingdom, with the Stamps at present employed;
+also the Laws relating to the Standards and Hall-marks at the various
+Assay Offices. By G. E. GEE. Crown 8vo =3/0=
+
+=HANDYBOOKS FOR HANDICRAFTS.= By PAUL N. HASLUCK. See page 16.
+
+=HOROLOGY, MODERN, IN THEORY AND PRACTICE.= Translated from the French
+of CLAUDIUS SAUNIER, ex-Director of the School of Horology at
+Macon, by JULIEN TRIPPLIN, F.R.A.S., Besançon Watch
+Manufacturer, and EDWARD RIGG, M.A., Assayer in the Royal Mint.
+With Seventy-eight Woodcuts and Twenty-two Coloured Copper Plates.
+Second Edition. Super-royal 8vo, =£2 2s.= cloth; half-calf =£2 10s.=
+
+    "There is no horological work in the English language at all to
+     be compared to this production of M. Saunier's for clearness and
+     completeness. It is alike good as a guide for the student and as a
+     reference for the experienced horologist and skilled
+     workman."--_Horological Journal._
+
+=ILLUMINATING AND MISSAL PAINTING ON PAPER AND VELLUM.= A Practical
+Treatise on Manuscript Work, Testimonials, and Herald Painting, with
+Chapters on Lettering and Writing, and on Mediæval Burnished Gold. With
+two Coloured Plates. By PHILIP WHITHARD (First-class Diploma
+for Illumination and Herald Painting, Printing Trades Exhibition, 1906).
+156 pages. Crown 8vo, cloth _Net_ =4/0=
+
+=INTEREST CALCULATOR.= Containing Tables at 1, 11/2, 2, 21/2, 3, 31/2, 33/4, 4,
+41/2, 43/4 and 5 per cent. By A. M. CAMPBELL, Author of "The Concise
+Calendar." Crown 8vo, cloth _Net_ =2/6=
+
+=IRON AND METAL TRADES' COMPANION.= For Expeditiously ascertaining the
+Value of any Goods bought or sold by Weight, from 1_s._ per cwt. to
+112_s._ per cwt., and from one farthing per pound to one shilling per
+pound. By THOMAS DOWNIE. Strongly bound in leather, 396 pp. =9/0=
+
+     "A most useful set of tables. Nothing like them before
+      existed."--_Building News._
+
+=IRON-PLATE WEIGHT TABLES.= For Iron Shipbuilders, Engineers and Iron
+Merchants. Containing the Calculated Weights of upwards of 150,000
+different sizes of Iron Plates, from 1 ft. by 6 ins. by 1/4 in. to 10
+ft. by 5 ft. by 1 in. Worked out on the basis of 40 lbs. to the square
+foot of iron of 1 in. in thickness. By H. BURLINSON and W. H.
+SIMPSON. 4to, half bound =£1 5s.=
+
+=LABOUR CONTRACTS.= A Popular Handbook on the Law of Contracts or Works
+and Services. By DAVID GIBBONS. Fourth Edition, with Appendix
+of Statutes by T. F. UTTLEY; Solicitor. F'cap. 8vo, cloth =3/6=
+
+=LAUNDRY MANAGEMENT.= A Handbook for use in Private and Public
+Laundries. Cr. 8vo, cloth =2/0=
+
+=LAW FOR MANUFACTURERS, EMPLOYERS AND OTHERS, ETC.= See "EVERY MAN'S
+OWN LAWYER." A Handy-book of the Principles of Law and Equity. By a
+BARRISTER. Forty-seventh (1910) Edition, including the
+Legislation of 1909. 830 pp. Large crown 8vo, cloth [_Just Published._]
+_Net_ =6/8=
+
+SUMMARY OF CONTENTS: LANDLORD AND TENANT--VENDORS AND
+PURCHASERS--CONTRACTS AND AGREEMENTS--CONVEYANCES AND
+MORTGAGES--JOINT-STOCK COMPANIES--PARTNERSHIP--SHIPPING LAW--DEALINGS
+WITH MONEY--SURETISHIP--CHEQUES, BILLS AND NOTES--BILLS OF
+SALE--BANKRUPTCY--MASTERS, SERVANTS AND WORKMEN--INSURANCE: LIFE,
+ACCIDENT, ETC.--COPYRIGHT, PATENTS. TRADE MARKS--HUSBAND AND WIFE,
+DIVORCE--INFANCY, CUSTODY OF CHILDREN--TRUSTEES AND EXECUTORS--TAXES AND
+DEATH DUTIES--CLERGYMEN, DOCTORS, AND LAWYERS--PARLIAMENTARY
+ELECTIONS--LOCAL GOVERNMENT--LIBEL AND SLANDER--NUISANCES--CRIMINAL
+LAW--GAME LAWS, GAMING, INNKEEPERS--FORMS OF WILLS, AGREEMENTS, NOTICES,
+ETC.
+
+     "A useful and concise epitome of the law."--_Law Magazine._
+
+     "A complete digest of the most useful facts which constitute
+      English law."--_Globe._
+
+     "A dictionary of legal facts well put together. The book is a very
+      useful one."--_Spectator._
+
+=LEATHER MANUFACTURE.= A Practical Handbook of Tanning, Currying, and
+Chrome Leather Dressing. By A. WATT. Fifth Edition, Revised and
+Enlarged. 8vo, cloth _Net_ =12/6=
+
+CHEMICAL THEORY OF THE TANNING PROCESS--THE SKIN--HIDES AND
+SKINS--TANNIN OR TANNIC ACID--GALLIC ACID--GALLIC FERMENTATION--TANNING
+MATERIALS--ESTIMATION OF TANNIN--PRELIMINARY OPERATIONS--DEPILATION OR
+UNHAIRING SKINS AND HIDES--DELIMING OR BATING--TANNING BUTTS FOR SOLE
+LEATHER--TANNING PROCESSES--TANNING BY PRESSURE--QUICK TANNING--HARNESS
+LEATHER TANNING--AMERICAN TANNING--HEMLOCK TANNING--TANNING BY
+ELECTRICITY--CHEMICAL TANNING--MISCELLANEOUS PROCESSES--COST OF AMERICAN
+TANNING--MANUFACTURE OF LIGHT LEATHERS--DYEING LEATHER--MANUFACTURE OF
+WHITE LEATHER--CHROME LEATHER MANUFACTURE--BOX CALF MANUFACTURE--CHAMOIS
+OR OIL LEATHER MANUFACTURE--CURRYING--MACHINERY EMPLOYED IN LEATHER
+MANUFACTURE--EMBOSSING LEATHER--FELLMONGERING--PARCHMENT, VELLUM, AND
+SHAGREEN--GUT DRESSING--GLUE BOILING--UTILISATION OF TANNER'S
+WASTE.
+
+     "A sound, comprehensive treatise on tanning and its
+      accessories."--_Chemical Review._
+
+LEATHER MANUFACTURE. PRACTICAL TANNING:= A Handbook of Modern Processes,
+Receipts and Suggestions for the Treatment of Hides, Skins, and Pelts of
+every description, including various Patents relating to Tanning, with
+specifications. By LOUIS A. FLEMMING, American Tanner. Second Edition,
+in great part re-written, thoroughly revised, and much enlarged.
+Illustrated by six full-page Plates. Medium 8vo, cloth, 630 pages [_Just
+published._] _Net_ =28/0=
+
+=MAGNETOS FOR AUTOMOBILISTS, HOW MADE AND HOW USED.= A Handbook of
+Practical Instruction in the Manufacture and Adaptation of the Magneto
+to the needs of the Motorist. By S. R. BOTTONE, late of the Collegio del
+Carmine, Turin, Author of "The Dynamo," "Ignition Devices," &c. Second
+Edition, enlarged. With 52 Illustrations. Crown 8vo, cloth Net =2/0=
+
+=MARBLE AND MARBLE WORKING.= A Handbook for Architects, Sculptors,
+Marble Quarry Owners and Workers, and all engaged in the Building and
+Decorative Industries. Containing numerous Illustrations and thirteen
+Coloured Plates. By W. G. RENWICK, Author of "The Marble Industry," "The
+Working of Marble for Decorative Purposes," etc. 240 pages. Medium 8vo,
+cloth =15/0=
+
+THE CHEMISTRY OF MARBLE--ITS GEOLOGICAL FORMATION--A SHORT
+CLASSIFICATION OF MARBLES--ANTIQUITY OF THE MARBLE INDUSTRY--ANCIENT
+QUARRIES AND METHODS OF WORKING--MODERN QUARRIES AND QUARRYING
+METHODS--MACHINERY USED IN QUARRYING--EUROPEAN AND AMERICAN SYSTEMS
+COMPARED--MARBLE AS BUILDING MATERIAL--USES OF MARBLE OTHER THAN FOR
+BUILDING PURPOSES-SOURCES OF PRODUCTION: ITALIAN, FRENCH, BELGIAN, AND
+GREEK MARBLES, ETC.--MARBLES OF THE UNITED KINGDOM AND BRITISH
+COLONIES--CONTINENTAL MARBLE WORKING--MARBLE WORKING MACHINERY--MARBLE
+WORKING IN THE UNITED STATES--AMERICAN MACHINERY DESCRIBED AND
+COMPARED--MARBLE WORKING: A BRITISH INDUSTRY--MARBLE SUBSTITUTES AND
+IMITATIONS--PRACTICAL POINTS FOR THE CONSIDERATION OF ARCHITECTS--HINTS
+ON THE SELECTION OF MARBLE--LIST OF MARBLES IN ORDINARY USE, WITH
+DESCRIPTIVE NOTES AND INSTANCES OF THEIR APPLICATION.
+
+=MENSURATION AND GAUGING. A POCKET-BOOK= containing Tables, Rules, and
+Memoranda for Revenue Officers, Brewers, Spirit Merchants, &c. By J. B.
+MANT. Second Edition. 18mo, leather. =4/0=
+
+     "Should be in the hands of every practical brewer."--_Brewers'
+     Journal._
+
+=METRIC TABLES, A SERIES OF.= In which the British Standard Measures and
+Weights are compared with those of the Metric System at present in Use
+on the Continent. By C. H. DOWLING, C.E. 8vo, cloth =10/6=
+
+     "Mr. Dowling's tables are well put together as a ready-reckoner for
+     the conversion of one system into the other."--_Athenæum._
+
+=METROLOGY, MODERN.= A Manual of the Metrical Units and Systems of the
+present Century. With an Appendix containing a proposed English System.
+By LOWIS d'A. JACKSON, A.M.Inst.C.E., Author of "Aid to Survey
+Practice," etc. Large crown 8vo, cloth =12/6=
+
+     "We recommend the work to all interested in the practical reform of
+     our weights and measures."--_Nature._
+
+=MOTOR CAR, THE.= A Practical Manual for the use of Students and Motor
+Car Owners, with notes on the Internal Combustion Engine and its fuel.
+By ROBERT W. A. BREWER, A.M.Inst.C.E., M.I.M.E., M.I.A.E. 250 pages.
+With numerous illustrations. Demy 8vo, cloth _Net_ =5/0=
+
+=MOTOR CAR CATECHISM.= Containing about 320 Questions and Answers
+Explaining the Construction and Working of a Modern Motor Car. For the
+Use of Owners, Drivers, and Students. By JOHN HENRY KNIGHT.
+Second Edition, revised and enlarged, with an additional chapter on
+Motor Cycles. Crown 8vo, with Illustrations _Net_ =1/6=
+
+THE PETROL ENGINE--TRANSMISSION AND THE CHASSIS--TYRES--DUTIES OF A
+CAR DRIVER--MOTOR CYCLES--LAWS AND REGULATIONS.
+
+=MOTOR CARS FOR COMMON ROADS.= By A. J. WALLIS-TAYLER,
+A.M.Inst.C.E. 212 pp., with 76 Illustrations. Crown 8vo. =4/6=
+
+=MOTOR VEHICLES FOR BUSINESS PURPOSES.= A Practical Handbook for those
+interested in the Transport of Passengers and Goods. By A. J.
+WALLIS-TAYLER, A.M.Inst.C.E. With 134 Illustrations. Demy 8vo, cloth
+_Net_ =9/0=
+
+RESISTANCE TO TRACTION ON COMMON ROADS--POWER REQUIRED FOR MOTOR
+VEHICLES--LIGHT PASSENGER VEHICLES--HEAVY PASSENGER VEHICLES--LIGHT
+GOODS VANS--HEAVY FREIGHT VEHICLES--SELF-PROPELLED VEHICLES FOR
+MUNICIPAL PURPOSES--MISCELLANEOUS TYPES OF MOTOR VEHICLES--COST OF
+RUNNING AND MAINTENANCE.
+
+=OILS AND ALLIED SUBSTANCES. AN ANALYSIS.= By A. C. WRIGHT,
+M.A.Oxon., B.Sc.Lond., formerly Assistant Lecturer in Chemistry at the
+Yorkshire College, Leeds, and Lecturer in Chemistry at the Hull
+Technical School. Demy 8vo, cloth _Net_ =9/0=
+
+THE OCCURRENCE AND COMPOSITION OF OILS, FATS AND WAXES--THE
+PHYSICAL PROPERTIES OF OILS, FATS, AND WAXES, AND THEIR
+DETERMINATION--THE CHEMICAL PROPERTIES OF OILS, FATS, AND WAXES
+FROM THE ANALYTICAL STANDPOINT--DETECTION AND DETERMINATION OF
+NON-FATTY CONSTITUENTS--METHODS FOR ESTIMATING THE CONSTITUENTS
+OF OILS AND FATS--DESCRIPTION AND PROPERTIES OF THE MORE IMPORTANT
+OILS, FATS, AND WAXES, WITH THE METHODS FOR THEIR
+INVESTIGATION--EXAMINATION OF CERTAIN COMMERCIAL PRODUCTS.
+
+=ORGAN BUILDING (PRACTICAL).= By W. E. DICKSON, M.A., Precentor
+of Ely Cathedral. Second Edition, Crown 8vo =2/6=
+
+=PAINTS, MIXED. THEIR CHEMISTRY AND TECHNOLOGY.= By MAXIMILIAN
+TOCH. With 60 Photomicrographic Plates and other Illustrations
+_Net_ =12/6=
+
+THE PIGMENTS--YELLOW, BLUE, AND GREEN PIGMENTS--THE INERT FILLERS
+AND EXTENDERS--PAINT VEHICLES--SPECIAL PAINTS--ANALYTICAL--APPENDIX.
+
+=PAINTING FOR THE IMITATION OF WOODS AND MARBLES.= As Taught and
+Practised by A. R. VAN DER BURG and P. VAN DER BURG, Directors of the
+Rotterdam Painting Institution. Royal folio, cloth, 181/2 by 121/2 in.
+Illustrated with 24 full-size Coloured Plates; also 12 Plain Plates,
+comprising 154 Figures. Fifth Edition _Net_ =25/0=
+
+=PAINTING, GRAINING, MARBLING, AND SIGN WRITING.= With a Course of
+Elementary Drawing and a Collection of Useful Receipts. By E. A.
+DAVIDSON. Ninth Edition. Coloured Plates. Crown 8vo, cloth,
+=5/0=; cloth boards, =6/0=
+
+=PAPER-MAKING.= A Practical Manual for Paper Makers and Owners and
+Managers of Paper-Mills. With Tables, Calculations, etc. By G.
+CLAPPERTON, Paper-Maker. With Illustrations of Fibres from
+Micro-Photographs. Second edition, revised and enlarged. Crown 8vo,
+cloth _Net_ =5/0=
+
+CHEMICAL AND PHYSICAL CHARACTERISTICS OF VARIOUS FIBRES--CUTTING AND
+BOILING OF RAGS--JUTE BOILING AND BLEACHING--WET PICKING--WASHING,
+BREAKING, AND BLEACHING--ELECTROLYTIC BLEACHING--ANTICHLOR--CELLULOSE
+FROM WOOD--MECHANICAL WOOD PULP--ESPARTO AND STRAW--BEATING--
+LOADING--STARCHING--COLOURING MATTER--RESIN, SIZE, AND SIZING--THE
+FOURDRINIER MACHINE AND ITS MANAGEMENT--ANIMAL SIZING--DRYING--GLAZING
+AND BURNISHING--CUTTING, FINISHING--MICROSCOPICAL EXAMINATION OF
+PAPER--TESTS FOR INGREDIENTS OF PAPER--RECOVERY OF SODA--TESTING
+OF CHEMICALS--TESTING WATER FOR IMPURITIES.
+
+     "The author caters for the requirements of responsible mill hands,
+     apprentices, etc., whilst his manual will be found of great service
+     to students of technology, as well as to veteran paper-makers and
+     mill-owners. The illustrations form an excellent feature."--_The
+     World's Paper Trade._
+
+=PAPER-MAKING.= A Practical Handbook of the Manufacture of Paper from
+Rags, Esparto, Straw, and other Fibrous Materials. Including the
+Manufacture of Pulp from Wood Fibre, with a Description of the Machinery
+and Appliances used. To which are added Details of Processes for
+Recovering Soda from Waste Liquors. By A. WATT. With Illustrations.
+Crown 8vo =7/6=
+
+=PAPER MAKING, CHAPTERS ON.= A Series of Volumes dealing in a practical
+manner with all the leading questions in connection with the Chemistry
+of Paper-Making and the Manufacture of Paper. By CLAYTON BEADLE,
+Lecturer on Paper-Making before the Society of Arts, 1898 and 1902, and
+at the Battersea Polytechnic Institute, 1902, etc., etc. Each volume is
+published separately, at the price of =5/0= _net_ per vol.
+
+     Volume I, comprises a Series of Lectures delivered on behalf of the
+     Battersea Polytechnic Institute in 1902. Crown 8vo. 151 pp. _Net_
+     5/0
+
+     Volume II. comprises Answers to Questions on Paper-Making Set by
+     the Examiners to the City and Guilds of London Institute,
+     1901-1903. Crown 8vo, 182 pp. _Net_ =5/0=
+
+     Volume III. comprises a short practical Treatise in which Boiling,
+     Bleaching, Loading, Colouring, and similar Questions are discussed.
+     Crown 8vo, 142 pp. _Net_ =5/0=
+
+CONTENTS:--"BRASS" AND "STEEL" BEATER BARS--THE SIZE AND SPEED OF
+BEATER ROLLS--THE FADING OF PRUSSIAN BLUE PAPERS--THE EFFECT OF LOWERING
+THE BREAST ROLL--THE EFFECT OF "LOADING" ON THE TRANSPARENCY OF
+PAPER--"TERRA ALBA" AS A LOADING FOR PAPER--THE USE OF ALUM IN TUB
+SIZING--THE INFLUENCE OF TEMPERATURE ON BLEACHING--THE USE OF REFINING
+ENGINES--AGITATION AS AN AUXILIARY TO BLEACHING--THE HEATING OF "STUFF"
+FOR THE PAPER MACHINE--THE COMPARATIVE RESULTS OF QUADRUPLE AND OPEN
+EFFECT EVAPORATION--HOW TO PREVENT ELECTRIFICATION OF PAPER ON THE
+MACHINE--TRANSPARENCY OF PAPERS--THE "LIFE" OF MACHINE WIRES--EDGE
+RUNNERS.
+
+     Volume IV. contains discussions upon Water Supplies and the
+     Management of the Paper Machine and its influence upon the
+     Qualities of Papers. Crown 8vo, 164 pp. _Net_ =5/0=
+
+CONTENTS:--THE BULKING OF PAPERS--SPECIAL QUALITIES OF "ART"
+PAPERS--THE "AGEING" AND STORAGE OF PAPERS--THE USE OF LIME IN
+BOILING--CONTROLLING THE MARK OF THE "DANDY"--"MACHINE" AND "HAND" CUT
+RAGS--FROTH ON PAPER MACHINE--SCUM SPOTS IN PAPER--CONSUMPTION OF WATER
+IN THE MANUFACTURE OF PAPER--THE MANAGEMENT OF SUCTION-BOXES--THE
+SHRINKAGE OF PAPER ON THE MACHINE--PAPER THAT DOES NOT SHRINK OR
+EXPAND--THE PRODUCTION OF NON-STRETCHABLE PAPER--THE CONNECTION
+BETWEEN "STRETCH" AND "EXPANSION" OF PAPERS--"STRETCH" AND "BREAKING
+STRAIN"--PAPER TESTING MACHINES.
+
+     Volume V. concerning THE THEORY AND PRACTICE OF BEATING. Crown 8vo.
+     With photomicrographs and other Illustrations. _Net_ =5/0=
+
+CONTENTS:--EARLY BEATING APPLIANCES--THE HOLLANDER--THE ECONOMY OF
+BEATING--DIFFICULTIES OF ARRIVING AT DEFINITE RESULTS--BEHAVIOUR OF
+DIFFERENT FIBRES--"REFINING"--POWER CONSUMPTION--A COMPARISON OF TWO
+DIFFERENT KINDS OF BEATERS--POWER CONSUMED IN THE "BREAKING," "BEATING,"
+AND "REFINING" OF DIFFERENT MATERIALS--DEALING WITH THE "CIRCULATION"
+AND "AGITATION" IN A HOLLANDER--COMPARISONS OF LARGE AND MEDIUM-SIZED
+HOLLANDERS WHEN BEATING "HARD" AND "SOFT" STOCK--TRIALS TO DETERMINE THE
+RELATIVE MERITS OF STONE AND METAL BEATER-BARS--TRIALS WITH BREAKERS,
+REED BEATERS, AND KINGSLAND REFINERS--A SYSTEM OF BEATING COMBINED WITH
+A SYSTEM FOR CONTINUOUS BLEACHING--BEATERS AND REFINERS--POWER CONSUMED
+IN GRINDING WOOD-PULP--THE REDUCTION IN LENGTH OF FIBRES AT DIFFERENT
+STAGES OF BEATING--METHOD FOR DETERMINING THE "WETNESS" OF BEATEN
+STUFF--THE POSITION OF BEATERS IN OLD AND MODERN PAPER-MILLS--APPENDIX.
+
+=PARA RUBBER. ITS CULTIVATION & PREPARATION.= By W. H. JOHNSON, F.L.S.,
+Ex-Director of Agriculture, Gold Coast Colony, West Africa, Director of
+Agriculture, Mozambique Company, East Africa, Commissioned by Government
+in 1902 to visit Ceylon to Study the Methods employed there in the
+Cultivation and Preparation of Para Rubber and other Agricultural
+Staples for Market, with a view to Introduce them into West Africa.
+Second Edition, rewritten and greatly enlarged, with numerous
+illustrations. Demy 8vo, cloth _Net_ =7/6=
+
+THE WORLD'S PRODUCTION AND CONSUMPTION OF RUBBER--THE PARA RUBBER
+TREE AT HOME AND ABROAD--PROPAGATION--PLANTING AND CULTIVATING--SOILS
+AND MANURES--PESTS--LATEX--COLLECTING THE LATEX--RUBBER MANUFACTURE--THE
+ANTISEPTICISATION OF RUBBER--DRYING AND PACKING RUBBER FOR EXPORT--YIELD
+OF PARA RUBBER FROM CULTIVATED TREES--ESTABLISHMENT AND MAINTENANCE OF A
+PARA RUBBER PLANTATION--COMMERCIAL VALUE OF THE OIL IN HEVEA SEEDS.
+
+=PASTRYCOOK AND CONFECTIONER'S GUIDE.= For Hotels, Restaurants, and the
+Trade in general, adapted also for Family Use. By R. WELLS,
+Author of "The Bread and Biscuit Baker" =1/0=
+
+=PETROL AIR GAS.= A Practical Handbook on the Installation and Working
+of Air Gas Lighting Systems for Country Houses. By HENRY
+O'CONNOR, F.R.S.E., A.M. Inst. C.E., &c., author of "The Gas
+Engineer's Pocket Book." 80 pages with illustrations. Crown 8vo, cloth
+_Net_ =1/6=
+
+DESCRIPTION OF PREVIOUS PLANTS AND SYSTEMS FOR COUNTRY-HOUSE
+LIGHTING, DIFFICULTIES WITH, OBJECTIONS AND PRICES--HISTORY OF PETROL
+GAS, COMPARATIVE COSTS--PETROL, ITS NATURE, DANGERS, AND STORING, NOTES
+ON THE LAW REGARDING SAME--BURNERS, DESCRIPTION OF SAME, PIPING,
+MANTLES--GENERAL PRINCIPLES OF PARTS OF PLANTS--MOTIVE POWER
+METERS--WEIGHT-DRIVEN PLANTS--ROOT'S BLOWERS--HOT-AIR ENGINES--PELTON
+WATER-WHEELS--DESCRIPTIONS OF VARIOUS PLANTS--EXTRACT FROM AN ACT FOR
+THE SAFE-KEEPING OF PETROLEUM AND OTHER SUBSTANCES OF A LIKE
+NATURE--APPENDIX--USEFUL NOTES.
+
+=PETROLEUM. THE OIL FIELDS OF RUSSIA AND THE RUSSIAN PETROLEUM
+INDUSTRY.= A Practical Handbook on the Exploration, Exploitation, and
+Management of Russian Oil Properties, the Origin of Petroleum in Russia,
+the Theory and Practice of Liquid Fuel. By A. B. THOMPSON, A.M.I.M.E.,
+F.G.S. 415 pp., with numerous Illustrations and Photographic Plates.
+Second Edition Revised. Super-royal 8vo, cloth _Net_ =21/0=
+
+=PETROLEUM MINING AND OIL-FIELD DEVELOPMENT.= A Guide to the Exploration
+of Petroleum Lands, and a Study of the Engineering Problems connected
+with the Winning of Petroleum. Including Statistical Data of important
+Oil Fields. Notes on the Origin and Distribution of Petroleum, and a
+description of the Methods of Utilizing Oil and Gas Fuels. By A.
+BEEBY THOMPSON, A.M.I.Mech.E., F.G.S. Author of "The Oil Fields
+of Russia." 384 pages, 114 illustrations, including 22 full-page plates.
+Demy 8vo, cloth. [_Just Published._] _Net_ =15/0=
+
+     "It is an admirable text-book by a competent authority on an
+     interesting subject."--_Mining Magazine._
+
+     "The present effort is likely to receive a warm welcome in
+     engineering circles, and it can be cordially commended for perusal.
+     It will doubtless have that large sale to which its merits entitle
+     it."--_Mining World._
+
+     "The general aspects of the Petroleum Industry are fully and ably
+     laid out."--_Engineer._
+
+=PIGMENTS, ARTISTS' MANUAL OF.= Showing their Composition, Conditions of
+Permanency, Non-Permanency, and Adulterations, etc., with Tests of
+Purity. By H. C. STANDAGE. Third Edition. Crown 8vo, cloth =2/6=
+
+=PORTLAND CEMENT, THE MODERN MANUFACTURE OF.= By PERCY C. H. WEST,
+Chemical Engineer and Consulting Chemist. In Three Volumes. Vol. I.,
+dealing with "Machinery and Kilns." About 200 pages, Medium 8vo. With
+numerous Illustrations. [_Nearly ready, price about_] =10/6=
+
+=PRODUCER GAS PRACTICE (AMERICAN) AND INDUSTRIAL GAS ENGINEERING.= By
+NISBET LATTA, M.Amer.Soc.M.E., M.Amer.Gas Inst. 558 pages, with
+247 illustrations. Demy 4to, cloth [_Just Published._] _Net_ =25/-=
+
+PRODUCER OPERATION--CLEANING THE GAS--WORKS DETAILS--PRODUCER
+TYPES--MOVING GASES--SOLID FUELS--PHYSICAL PROPERTIES OF GASES--CHEMICAL
+PROPERTIES OF GASES--GAS ANALYSIS--GAS POWER--GAS ENGINES--INDUSTRIAL
+GAS APPLICATIONS--FURNACES AND KILNS--BURNING LIME AND
+CEMENT--PRE-HEATING AIR--DOHERTY COMBUSTION ECONOMISER--COMBUSTION IN
+FURNACES--HEAT: TEMPERATURE, RADIATION AND CONDUCTION--HEAT
+MEASUREMENTS: PYROMETRY AND CALORIMETRY--PIPES, FLUES, AND
+CHIMNEYS--MATERIALS: FIRE CLAY, MASONRY, WEIGHTS AND ROPE--USEFUL
+TABLES--OIL FUEL PRODUCER GAS.
+
+=RECIPES, FORMULAS AND PROCESSES, TWENTIETH CENTURY BOOK OF.= Edited by
+GARDNER D. Hiscox, M.E. Nearly 10,000 Scientific, Chemical, Technical,
+and Household Recipes, Formulas and Processes for Use in the Laboratory
+and the Office, the Workshop and the Home. Medium 8vo, 800 pp., cloth.
+_Net_ =12/6=
+
+SELECTED LIST OF CONTENTS:--ABSINTHE--ACID PROOFING--ADHESIVES--
+ALCOHOL--ALKALI--ALLOYS--ALUMINIUM--AMMONIA--ANILINE--ANTIDOTES FOR
+POISON--ANCHOVY PREPARATIONS--ANTISEPTICS--ANTIQUES--BAKING POWDERS--
+AROMETERS--BEVERAGES--BLEACHING--BRASS--BRICK--CARBOLIC ACIDS--CASTING--
+CELLULOID--CHEESE--CERAMICS--CIGARS--COFFEE--CONDIMENTS--COPPER--
+COSMETICS--COTTON--DIAMOND TESTS--DONARITE--DYES--ELECTRO PLATING--
+EMBALMING--ENAMELLING--ENGRAVING--ESSENCES--EXPLOSIVES--FERTILISERS--
+FILTERS--FOOD ADULTERANTS--GELATINE--GLASS--GOLD--GUMS--HARNESS
+DRESSINGS--HORN--INKS--INSECTICIDES--IRON--IVORY--JEWELLERS' FORMULAS--
+LACQUERS--LAUNDRY PREPARATIONS--LEATHER--LINOLEUM--LUBRICANTS--
+MATCHES--METALS--MUSIC BOXES--OILS--PAINTS--PAPER--PERFUMES--PETROLEUM--
+PHOTOGRAPHY--PLASTER--PLATING--POLISHES--PORCELAIN--POULTRY--PUTTY--RAT
+POISONS--REFRIGERATION--ROPES--RUBBER--RUST PREVENTIVES--SALT--SCREWS--
+SILK--SILVER--SOAPS--SOLDERS--SPIRIT--SPONGES--STEEL--STONE--
+THERMOMETERS--TIN--VALVES--VARNISHES--VETERINARY FORMULAS--WATCHMAKERS'
+FORMULAS--WATERPROOFING--WAX--WEIGHTS AND MEASURES--WHITEWASH--
+WOOD--YEAST.
+
+=RUBBER HAND STAMPS.= And the Manipulation of Rubber. A Practical
+Treatise on the Manufacture of Indiarubber Hand Stamps, Small Articles
+of Indiarubber, The Hektograph, Special Inks, Cements, and Allied
+Subjects. By T. O'CONOR SLOANE A.M., Ph.D. With numerous
+Illustrations. Square 8vo, cloth =5/0=
+
+=SAVOURIES AND SWEETS.= Suitable for Luncheons and Dinners. By Miss M.
+L. Allen (Mrs. A. Macaire), Author of "Breakfast Dishes," etc.
+Thirty-first Edition. F'cap 8vo, sewed =1/0= Or, quarter bound, fancy
+boards =1/6=
+
+=SHEET METAL-WORKER'S GUIDE.= A Practical Handbook for Tinsmiths,
+Coppersmiths, Zincworkers, &c., with 46 Diagrams and Working Patterns.
+By W. J. E. CRANE. Crown 8vo, Cloth =1/6=
+
+=SHEET METAL-WORKER'S INSTRUCTOR.= Comprising Geometrical Problems and
+Practical Rules for Describing the Various Patterns Required by Zinc,
+Sheet-Iron, Copper, and Tin-Plate Workers. By R. H. WARN. Third
+Edition. Revised and Further Enlarged by J. G. HORNER,
+A.M.I.M.E. Crown 8vo, 280 pp., with 465 Illustrations, cloth =7/6=
+
+=SILVERSMITH'S HANDBOOK.= Alloying and Working of Silver, Refining and
+Melting, Solders, Imitation Alloys, Manipulation, Prevention of Waste,
+Improving and Finishing the Surface of the Work, etc. By GEORGE E.
+GEE. Fourth Edition Revised, Crown 8vo, cloth =3/0=
+
+=SOAP-MAKING.= A Practical Handbook of the Manufacture of Hard and Soft
+Soaps, Toilet Soaps, etc. With a Chapter on the Recovery of Glycerine
+from Waste Leys. By ALEXANDER WATT. Seventh Edition, including
+an Appendix on Modern Candlemaking. Crown 8vo, cloth =7/6=
+
+     "The work will prove very useful, not merely to the technological
+     student, but to the soap boiler who wishes to understand the theory
+     of his art."--_Chemical News._
+
+=SOAPS, CANDLES, and GLYCERINE.= A Practical Manual of Modern Method
+of Utilisation of Fats and Oils in the Manufacture of Soap and Candles,
+and of the recovery of Glycerine. By L. L. LAMBORN, Massachusetts
+Institute of Technology, M.Am.C.S. Medium 8vo, cloth. Fully Illustrated.
+706 pages _Net_ =30/0=
+
+THE SOAP INDUSTRY--RAW MATERIALS--BLEACHING AND PURIFICATION OF
+SOAP-STOCK--THE CHEMICAL CHARACTERISTICS OF SOAP-STOCK AND THEIR
+BEHAVIOUR TOWARDS SAPONIFYING AGENTS--MECHANICAL EQUIVALENT OF THE SOAP
+FACTORY--COLD PROCESS AND SEMI-BOILED SOAP--GRAINED SOAP--SETTLED ROSIN
+SOAP--MILLED SOAP-BASE--FLOATING SOAP--SHAVING SOAP--MEDICATED
+SOAP--ESSENTIAL OILS AND SOAP PERFUMERY--MILLED SOAP--CANDLES--
+GLYCERINE--EXAMINATION OF RAW MATERIALS AND FACTORY PRODUCTS.
+
+=SOLUBILITIES OF INORGANIC AND ORGANIC SUBSTANCES.= A Hand-book of the
+most Reliable Quantitative Solubility Determinations. Recalculated and
+Compiled by ATHERTON SEIDELL, Ph.D., Chemist, Hygienic Laboratory, U. S.
+Public Health Service, Washington, D C. Medium 8vo, cloth, 377 pages
+_Net_ =12/6=
+
+=TEA MACHINERY AND TEA FACTORIES.= Describing the Mechanical Appliances
+required in the Cultivation and Preparation of Tea for the Market. By A.
+J. WALLIS-TAYLER, A.M.Inst.C.E. Medium 8vo, 468 pp. With 218
+Illustrations _Net_ =25/0=
+
+     "The subject of tea machinery is now one of the first interest to a
+     large class of people, to whom we strongly commend the
+     volume."--_Chamber of Commerce Journal._
+
+=WAGES TABLES.= At 54, 52, 50, and 48 Hours per Week. Showing the
+Amounts of Wages from one quarter of an hour to sixty-four hours, in
+each case at Rates of Wages advancing by One Shilling from 4s. to
+55s. per week. By THOS. CARBUTT, Accountant. Square crown, 8vo,
+half-bound =6/0=
+
+=WATCH REPAIRING, CLEANING, AND ADJUSTING.= A Practical Handbook dealing
+with the Materials and Tools Used, and the Methods of Repairing,
+Cleaning, Altering, and Adjusting all kinds of English and Foreign
+Watches, Repeaters, Chronographs, and Marine Chronometers. By F. J.
+GARRARD, Springer and Adjuster of Marine Chronometers and Deck Watches
+for the Admiralty. Second Edition. Revised. With over 200 Illustrations.
+Crown 8vo, cloth _Net_ =4/6=
+
+=WATCHES AND OTHER TIMEKEEPERS, HISTORY OF.= By J. F. KENDAL,
+M.B.H. Inst. =1/6= boards; or cloth =2/6=
+
+=WATCHMAKER'S HANDBOOK.= Intended as a Workshop Companion for those
+engaged in Watchmaking and the Allied Mechanical Arts. Translated from
+the French of CLAUDIUS SAUNIER, and enlarged by JULIEN TRIPPLIN,
+F.R.A.S., and EDWARD RIGG, M.A., Assayer in the Royal Mint. Fourth
+Edition. Cr. 8vo, cloth =9/0=
+
+     "Each part is truly a treatise in itself. The arrangement is good
+     and the language is clear and concise. It is an admirable guide for
+     the young watchmaker."--_Engineering._
+
+=WEIGHT CALCULATOR.= Being a Series of Tables upon a New and
+Comprehensive Plan, exhibiting at one Reference the Exact Value of any
+Weight from 1 lb. to 15 tons, at 300 Progressive Rates, from 1d. to
+168s. per cwt., and containing 186,000 Direct Answers, which, with their
+Combinations, consisting of a single addition (mostly to be performed at
+sight), will afford an aggregate of 10,266,000 Answers; the whole being
+calculated and designed to ensure correctness and promote despatch. By
+HENRY HARBEN, Accountant. Sixth edition, carefully corrected.
+Royal 8vo, strongly half bound =£1 5s.=
+
+     "A practical and useful work of reference for men of business
+     generally."--_Ironmonger._
+
+     "Of priceless value to business men."--_Sheffield Independent._
+
+=WOOD ENGRAVING.= A Practical and Easy Introduction to the Study of the
+Art. By W. N. BROWN. Crown 8vo, cloth. =1/6=
+
+
+
+
+HANDYBOOKS FOR HANDICRAFTS.
+
+BY PAUL N. HASLUCK.
+
+Author of "Lathe Work," etc. Crown 8vo, 144 pp., price 1s. each.
+
+
+[symbol: right pointing hand]_These_ HANDYBOOKS _have been written to
+supply information for_ WORKMEN STUDENTS, _and_ AMATEURS _in the several
+Handicrafts, on the actual_ PRACTICE _of the_ WORKSHOP, _and are
+intended to convey in plain language_ TECHNICAL KNOWLEDGE _of the
+several_ CRAFTS. _In describing the processes employed, and the
+manipulation of material, workshop terms are used; workshop practice is
+fully explained; and the text is freely illustrated with drawings of
+modern tools, appliances, and processes._
+
+=METAL TURNER'S HANDYBOOK.= A Practical Manual for Workers at the
+Foot-Lathe. With 100 Illustrations =1/0=
+
+     "The book displays thorough knowledge of the subject."--_Scotsman._
+
+=WOOD TURNER'S HANDYBOOK.= A Practical Manual for Workers at the Lathe.
+With 100 Illustrations =1/0=
+
+     "We recommend the book to young turners and amateurs."--_Mechanical
+     World._
+
+=WATCH JOBBER'S HANDYBOOK.= A Practical Manual of Cleaning, Repairing,
+and Adjusting. With 100 Illustrations =1/0=
+
+     "All connected with the trade should acquire and study this
+     work."--_Clerkenwell Chronicle._
+
+=PATTERN MAKER'S HANDYBOOK.= A Practical Manual on the Construction of
+Patterns. With 100 Illustrations =1/0=
+
+     "A most valuable, if not indispensable, manual for the
+     pattern-maker."--_Knowledge._
+
+=MECHANIC'S WORKSHOP HANDYBOOK.= A Practical Manual on Mechanical
+Manipulation, embracing Information on various Handicraft Processes.
+With Useful Notes and Miscellaneous Memoranda. Comprising about 200
+Subjects =1/0=
+
+     "Should be found in every workshop, and in all technical
+     Schools."--_Saturday Review._
+
+=MODEL ENGINEER'S HANDYBOOK.= A Practical Manual on the Construction of
+Model Steam Engines. With upwards of 100 Illustrations =1/0=
+
+     "Mr. Hasluck has produced a very good little book."--_Builder._
+
+=CLOCK JOBBER'S HANDYBOOK.= A Practical Manual on Cleaning, Repairing,
+and Adjusting. With 100 Illustrations =1/0=
+
+     "It is of inestimable service to those commencing the
+     trade."--_Coventry Standard._
+
+=CABINET WORKER'S HANDYBOOK.= A Practical Manual on the Tools,
+Materials, Appliances, and Processes employed in Cabinet Work. With
+upwards of 100 Illustrations =1/0=
+
+     "Amongst the most practical guides for beginners in
+     cabinet-work."--_Saturday Review._
+
+=WOODWORKER'S HANDYBOOK.= Embracing information on the Tools,
+Materials, Appliances and Processes Employed in Woodworking. With 104
+Illustrations =1/0=
+
+     "Written by a man who knows, not only how work ought to be done,
+     but how to do it, and how to convey his knowledge to
+     others."--_Engineering._
+
+     "Mr. Hasluck writes admirably, and gives complete
+     instructions."--_Engineer._
+
+     "Mr. Hasluck combines the experience of a practical teacher with
+     the manipulative skill and scientific knowledge of processes of the
+     trained mechanician, and the manuals are marvels of what can be
+     produced at a popular price."--_Schoolmaster._
+
+     "Helpful to workmen of all ages and degrees of experience."--_Daily
+     Chronicle._
+
+BRADBURY, AGNEW, & CO. LD., LONDON AND TONBRIDGE. (391.25.5.10.)
+
+
+
+
+_WEALE'S SCIENTIFIC & TECHNICAL SERIES._
+
+
+MATHEMATICS, ARITHMETIC, &c.
+
+Geometry, Descriptive. J. F. HEATHER                         2/-
+Practical Plane Geometry. J. F. HEATHER                      2/-
+Analytical Geometry. J. HANN & J. R. YOUNG                   2/-
+Geometry. Part I. (Euclid, Bks. I.--III.) H. LAW             1/6
+          Part II. (Euclid, Books IV., V., VI., XI.,
+                   XII.). H. LAW                             1/6
+Geometry, in 1 vol. (Euclid's Elements)                      2/6
+Plane Trigonometry. J. HANN                                  1/6
+Spherical Trigonometry. J. HANN                              1/-
+       The above 2 vols., bound together                     2/6
+Differential Calculus. W. S. B. WOOLHOUSE                    1/6
+Integral Calculus. H. COX                                    1/6
+Algebra. J. HADDON                                           2/-
+Key to ditto                                                 1/6
+Book-keeping. J. HADDON                                      1/6
+Arithmetic. J. R. YOUNG                                      1/6
+Key to ditto                                                 1/6
+Equational Arithmetic. W. HIPSLEY                            1/6
+Arithmetic. J. HADDON                                        1/6
+Mathematical Instruments. HEATHER & WALMISLEY                2/-
+Drawing & Measuring Instruments. J. F. HEATHER               1/6
+Optical Instruments, J. F. HEATHER                           1/6
+Surveying & Astronomical Instruments. J. F. HEATHER          1/6
+      The above 3 vols., bound together                      4/6
+Mensuration and Measuring. T. BAKER                          1/6
+Slide Rule, & How to Use it. C. HOARE                        2/6
+Measures, Weights, & Moneys. W. S. B. WOOLHOUSE              2/6
+Logarithms, Treatise on, with Tables. H. LAW                 3/-
+Compound Interest and Annuities. F. THOMAN                   4/-
+Compendious Calculator. D. O'GORMAN                          2/6
+Mathematics. F. CAMPIN                                       3/-
+Astronomy. R. MAIN & W. T. LYNN                              2/-
+Statics and Dynamics. T. BAKER                               1/6
+Superficial Measurement. J. HAWKINGS                         3/6
+
+
+BUILDING & ARCHITECTURE.
+
+Building Estates. F. MAITLAND                                2/-
+Science of Building. E. W. TARN                              3/6
+Building, Art of. E. DOBSON and J. P. ALLEN                  2/-
+Book on Building. Sir E. BECKETT                             4/6
+Dwelling Houses, Erection of. S. H. BROOKS                   2/6
+Cottage Building. C. B. ALLEN                                2/-
+Acoustics of Public Buildings. Prof. T. R. SMITH.            1/6
+Practical Bricklaying. A. HAMMOND                            1/6
+Practical Brick Cutting & Setting. A. HAMMOND                1/6
+Brickwork. F. WALKER                                         1/6
+Brick and Tile Making. E. DOBSON                             3/-
+Practical Brick & Tile Book. DOBSON & HAMMOND                6/-
+Carpentry and Joinery. T. TREDGOLD & E. W. TARN              3/6
+      Atlas of 35 plates to the above                        6/-
+Handrailing, and Staircasing. G. COLLINGS                    2/6
+Circular Work in Carpentry. G. COLLINGS                      2/6
+Roof Carpentry. G. COLLINGS                                  2/-
+Construction of Roofs. E. W. TARN                            1/6
+Joints used by Builders. J. W. CHRISTY                       3/-
+Shoring. G. H. BLAGROVE                                      1/6
+Timber Importer's & Builder's Guide. R. E. GRANDY            2/-
+Plumbing. W. P. BUCHAN                                       3/6
+Ventilation of Buildings. W. P. BUCHAN                       3/6
+Practical Plasterer. W. KEMP                                 2/-
+House-Painting. E. A. DAVIDSON                               5/-
+Elementary Decoration. J. W. FACEY                           2/-
+Practical House Decoration. J. W. FACEY                      2/6
+Gas-Fitting. J. BLACK                                        2/6
+Portland Cement for Users. H. FAIJA & D. B. BUTLER           3/-
+Limes, Cements, & Mortars. G. R. BURNELL                     1/6
+Masonry and Stone Cutting. E. DOBSON                         2/6
+Arches, Piers, and Buttresses. W. BLAND                      1/6
+Quantities and Measurements. A. C. BEATON                    1/6
+Complete Measurer. R. HORTON                                 4/-
+Superficial Measurement. J. HAWKINGS                         3/6
+Light, for use of Architects. E. W. TARN                     1/6
+Hints to Young Architects. WIGHTWICK & GUILLAUME             3/6
+Dictionary of Architectural Terms. J. WEALE                  5/-
+Architecture, Orders. W. H. LEEDS                            1/6
+Architecture, Styles. T. T. BURY                             2/-
+       The above 2 vols., bound together                     3/6
+Architecture, Design. E. L. GARBETT                          2/6
+       The above 3 vols., bound together                     6/-
+Architectural Modelling. T. A. RICHARDSON                    1/6
+Vitruvius' Architecture. J. GWILT                            5/-
+Grecian Architecture. Lord ABERDEEN                          1/-
+       The above 2 vols., bound together                     6/-
+
+
+FINE ARTS.
+
+Dictionary of Painters. P. DARYL                             2/6
+Painting, Fine Art. T. J. GULLICK & J. TIMBS                 5/-
+Grammar of Colouring. G. FIELD & E. A. DAVIDSON              3/-
+Perspective. G. PYNE                                         2/-
+Glass Staining & Painting on Glass                           2/6
+Music. C. C. SPENCER                                         2/6
+Pianoforte Instruction. C. C. SPENCER                        1/6
+
+
+INDUSTRIAL & USEFUL ARTS.
+
+Cements, Pastes, Glues & Gums. H. C. STANDAGE                2/-
+Clocks, Watches and Bells. Lord GRIMTHORPE                   4/6
+Goldsmith's Handbook. G. E. GEE                              3/-
+Silversmith's Handbook. G. E. GEE                            3/-
+Goldsmith's & Silversmith's Handbook. G. E. GEE              7/-
+Hall-Marking of Jewelry. G. E. GEE                           2/-
+Cabinet Maker's Guide. R. BITMEAD                            2/6
+Practical Organ Building. W. E. DICKSON                      2/6
+Coach Building. J. W. BURGESS                                2/6
+Brass Founder's Manual. W. GRAHAM                            2/-
+French Polishing and Enamelling. R. BITMEAD                  1/6
+House Decoration. J. W. FACEY                                5/-
+Letter-Painting Made Easy. J. G. BADENOCH                    1/6
+Boot and Shoemaking. J. B. LENO                              2/-
+Mechanical Dentistry. C. HUNTER                              3/-
+Wood Engraving. W. N. BROWN                                  1/6
+Laundry Management                                           2/-
+
+
+CROSBY LOCKWOOD & SON, 7, Stationers' Hall Court, E.C.
+
+
+[Transcriber's note: the following advertisements were moved from
+the front of the book.]
+
+_WEALE'S SCIENTIFIC & TECHNICAL SERIES._
+
+
+CIVIL ENGINEERING & SURVEYING.
+
+Civil Engineering. H. LAW & D. K. CLARK                      6/6
+Pioneer Engineering. E. DOBSON                               4/6
+Iron Bridges of Moderate Span. H. W. PENDRED                 2/-
+Iron and Steel Bridges & Viaducts. F. CAMPIN                 3/6
+Constructional Steel & Ironwork. F. CAMPIN                   3/6
+Tubular & Girder Bridges. G. D. DEMPSEY                      2/-
+Materials and Construction. F. CAMPIN                        3/-
+Sanitary Work. C. SLAGG                                      3/-
+Roads & Streets. LAW, CLARK, & WALLIS-TAYLER                 6/-
+Construction of Gasworks. S. HUGHES & H. O'CONNOR            6/-
+Well-Sinking. J. G. SWINDELL & G. R. BURNELL                 2/-
+Drainage. G. D. DEMPSEY & D. K. CLARK                        4/6
+Blasting and Quarrying. J. BURGOYNE                          1/6
+Foundations and Concrete Work. E. DOBSON                     1/6
+Pneumatics. C. TOMLINSON                                     1/6
+Surveying. T. BAKER & F. E. DIXON                            2/-
+
+
+MECHANICAL ENGINEERING, &c.
+
+Engineering Drawing. J. MAXTON                               3/6
+Fuels, Analysis and Valuation. H. J. PHILLIPS                2/-
+Fuel. C. W. WILLIAMS & D. K. CLARK                           3/6
+Boilermaker's Assistant. J. COURTNEY                         2/-
+Boilermaker's Ready Reckoner. J. COURTNEY                    4/-
+Boilermaker's Ready Reckoner and Assistant                   7/-
+Steam Boilers. R. ARMSTRONG                                  1/6
+Steam and Machinery Management. M. P. BALE                   2/6
+Steam and the Steam Engine. D. K. CLARK                      3/6
+Steam Engine, Theory of. T. BAKER                            1/6
+Steam Engine. Dr. LARDNER                                    1/6
+Locomotive Engines. G. D. DEMPSEY & D. K. CLARK              3/-
+Locomotive Engine Driving. M. REYNOLDS                       3/6
+Stationary Engine Driving. M. REYNOLDS                       3/6
+Model Locomotive Engineer. M. REYNOLDS                       3/6
+Modern Workshop Practice. J. G. WINTON                       3/6
+Mechanical Engineering. F. CAMPIN                            2/6
+Details of Machinery. F. CAMPIN                              3/-
+Elementary Marine Engineering. J. S. BREWER                  1/6
+Power of Water. J. GLYNN                                     2/-
+Mechanism and Machines. T. BAKER & J. NASMYTH                2/6
+Mechanics. C. TOMLINSON                                      1/6
+Cranes and Machinery. J. GLYNN                               1/6
+Smithy and Forge. W. J. E. CRANE                             2/6
+Sheet-Metal Worker's Guide. W. J. E. CRANE                   1/6
+Elementary Electric Lighting. A. A. C. SWINTON               1/6
+
+
+MINING & METALLURGY.
+
+Mining Calculations. T. A. O'DONAHUE                         3/6
+Mineralogy. A. RAMSAY                                        3/6
+Coal Mining. Sir W. W. SMYTH & T. F. BROWN                   3/6
+Metallurgy of Iron. H. BAUERMAN                              5/-
+Mineral Surveyor's Guide. W. LINTERN                         3/6
+Slate and Slate Quarrying. D. C. DAVIES                      3/-
+Mining and Quarrying. J. H. COLLINS                          1/6
+Subterraneous Surveying. T. FENWICK & T. BAKER               2/6
+Mining Tools. W. MORGANS                                     2/6
+Plates to ditto. 4to                                         4/6
+Physical Geology. PORTLOCK & TATE                            2/-
+Historical Geology. R. TATE                                  2/6
+    The above 2 vols., bound together.                       4/6
+Electro-Metallurgy. A. WATT                                  3/6
+
+
+NAVIGATION, SHIPBUILDING, &c.
+
+Navigation. J. GREENWOOD & W. H. ROSSER                      2/6
+Practical Navigation. GREENWOOD, ROSSER & LAW                7/-
+Navigation and Nautical Astronomy. J. R. YOUNG               2/6
+Mathematical & Nautical Tables. LAW & YOUNG                  4/-
+Masting and Rigging. R. KIPPING                              2/-
+Sails and Sailmaking. R. KIPPING                             2/6
+Marine Engines. R. MURRAY & G. CARLISLE                      4/6
+Naval Architecture. J. PEAKE                                 3/6
+Ships, Construction of. H. A. SOMMERFELDT                    1/6
+Plates to ditto. 4to                                         7/6
+Ships and Boats. W. BLAND                                    1/6
+
+
+=AGRICULTURE & GARDENING.=
+
+Fertilisers & Feeding Stuffs. DR. B. DYER             _net_  1/-
+Draining and Embanking. PROF. J. SCOTT                       1/6
+Irrigation and Water Supply. PROF. J. SCOTT                  1/6
+Farm Roads, Fences, and Gates. PROF. J. SCOTT                1/6
+Farm Buildings. PROF. J. SCOTT                               2/-
+Barn Implements and Machines. PROF. J. SCOTT                 2/-
+Field Implements and Machines. PROF. J. SCOTT                2/-
+Agricultural Surveying. PROF. J. SCOTT                       1/6
+    The above 7 vols., bound together                       12/-
+Farm Management. R. S. BURN                                  2/6
+Landed Estates Management. R. S. BURN                        2/6
+Farming--Soils, Manures, and Crops. R. S. BURN               2/-
+Farming--Outlines--Farming Economy. R. S. BURN               3/-
+Farming--Cattle, Sheep, and Horses. R. S. BURN               2/6
+Farming--Dairy, Pigs, and Poultry. R. S. BURN                2/-
+Farming--Sewage & Irrigation. R. S. BURN                     2/6
+    The above 5 vols., bound together                       12/-
+Book-keeping for Farmers. J. M. WOODMAN                      2/6
+Ready Reckoner for Land. A. ARMAN                            2/-
+Miller's & Farmer's Ready Reckoner                           2/-
+Hay and Straw Measurer. J. STEELE                            2/-
+Meat Production. J. EWART                                    2/6
+The Sheep. W. C. SPOONER                                     3/6
+Multum-in-Parvo Gardening. S. WOOD                           1/-
+Forcing Garden. S. WOOD                                      3/6
+Market and Kitchen Gardening. C. W. SHAW                     3/-
+Kitchen Gardening. G. M. F. GLENNY                           1/6
+Cottage Gardening. E. HOBDAY                                 1/6
+Garden Receipts. C. W. QUIN                                  1/6
+Potatoes: How to Grow. J. PINK                               2/-
+Culture of Fruit Trees. M. DU BREUIL                         3/6
+Tree Planter & Plant Propagator. S. WOOD                     2/-
+Tree Pruner. S. WOOD                                         1/6
+Tree Planter, Propagator, & Pruner. S. WOOD                  3/6
+Grafting and Budding. C. BALTET                              2/6
+Bees for Pleasure & Profit. G. G. SAMSON              _net_  1/-
+
+CROSBY LOCKWOOD & SON, 7, Stationers' Hall Court, E.C.
+
+
+Transcriber's notes:
+page
+ 14.  add period after "the above processes"
+ 29.  varnsh corrected to varnish
+ 31.  from corrected
+ 32.  closing quote added after Polish
+ 44.  polish aud spirits changed to and
+ 93.  added parens close after "finish
+ 95.  earthern corrected to earthen
+ 97.  boiled-linseed oil corrected to boiled linseed-oil
+104.  period after coarsely
+114.  campeachiaum corrected to campeachianum
+130.  published net added right bracket
+131.  net added right bracket
+131.  OF METALS added period
+134.  added right bracket ]
+135.  Material [added right bracket] Uses of
+137.  "Refining"--Power Consumption added dashes
+138.  added ] in 3 places
+
+
+
+
+
+
+End of Project Gutenberg's French Polishing and Enamelling, by Richard Bitmead
+
+*** END OF THIS PROJECT GUTENBERG EBOOK FRENCH POLISHING AND ENAMELLING ***
+
+***** This file should be named 17935-8.txt or 17935-8.zip *****
+This and all associated files of various formats will be found in:
+        http://www.gutenberg.org/1/7/9/3/17935/
+
+Produced by K.D. Thornton and the Online Distributed
+Proofreading Team at http://www.pgdp.net
+
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties.  Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License (available with this file or online at
+http://gutenberg.org/license).
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement.  If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B.  "Project Gutenberg" is a registered trademark.  It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement.  There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement.  See
+paragraph 1.C below.  There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed.  Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work.  You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D.  The copyright laws of the place where you are located also govern
+what you can do with this work.  Copyright laws in most countries are in
+a constant state of change.  If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E.  Unless you have removed all references to Project Gutenberg:
+
+1.E.1.  The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges.  If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder.  Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5.  Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6.  You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form.  However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7.  Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8.  You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm trademark, but he
+     has agreed to donate royalties under this paragraph to the
+     Project Gutenberg Literary Archive Foundation.  Royalty payments
+     must be paid within 60 days following each date on which you
+     prepare (or are legally required to prepare) your periodic tax
+     returns.  Royalty payments should be clearly marked as such and
+     sent to the Project Gutenberg Literary Archive Foundation at the
+     address specified in Section 4, "Information about donations to
+     the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+     you in writing (or by e-mail) within 30 days of receipt that s/he
+     does not agree to the terms of the full Project Gutenberg-tm
+     License.  You must require such a user to return or
+     destroy all copies of the works possessed in a physical medium
+     and discontinue all use of and all access to other copies of
+     Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+     money paid for a work or a replacement copy, if a defect in the
+     electronic work is discovered and reported to you within 90 days
+     of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+     distribution of Project Gutenberg-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH F3.  YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need, is critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at http://www.pglaf.org.
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Its 501(c)(3) letter is posted at
+http://pglaf.org/fundraising.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at http://pglaf.org
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit http://pglaf.org
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including checks, online payments and credit card
+donations.  To donate, please visit: http://pglaf.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart is the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+Most people start at our Web site which has the main PG search facility:
+
+     http://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
+
+*** END: FULL LICENSE ***
+
diff --git a/17935-8.zip b/17935-8.zip
new file mode 100644
index 0000000..dbb3d4f
--- /dev/null
+++ b/17935-8.zip
diff --git a/17935-h.zip b/17935-h.zip
new file mode 100644
index 0000000..8474086
--- /dev/null
+++ b/17935-h.zip
diff --git a/17935-h/17935-h.htm b/17935-h/17935-h.htm
new file mode 100644
index 0000000..d72bb3f
--- /dev/null
+++ b/17935-h/17935-h.htm
@@ -0,0 +1,4942 @@
+<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
+    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
+
+<html xmlns="http://www.w3.org/1999/xhtml">
+
+<head>
+<meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" />
+<title> The Project Gutenberg eBook of French Polishing and Enamelling, by Richard Bitmead </title>
+<style type="text/css">
+/*<![CDATA[  XML blockout */
+
+  <!--
+
+    p {  margin-top: .75em; text-align: justify; margin-bottom: .75em;}
+    h1,h2,h3,h4,h5,h6 {text-align: center;clear: both;}
+    h3{font-size:larger;margin-top: 0em; margin-bottom: 0em}
+    h4 {font-style:italic; text-align: center;margin-top: .5em;margin-bottom: .5em}
+    hr { width: 33%; margin-top: 2em;margin-bottom: 2em; margin-left: auto;margin-right: auto;clear: both;}
+    body{margin-left: 10%;margin-right: 10%}
+
+    .adborder{border: solid 3px; margin: auto;text-align:center;}
+    .adtitle { }
+    .nobox {border: solid 0px; width:90%;margin-left: auto;margin-right: auto; padding:0;border-spacing:0;}
+    .weale {text-align:center; font-weight:bold;font-style:italic; font-size: 120%;}
+    .price{float:right; text-align:right;}
+    .sbprice{font-weight:bold;}
+
+    .bprice {text-align:right; width: 4em;  position:absolute; right: 0; padding-left: 1em; font-weight:bold;}
+    .netbprice {text-align:right; width: 5em;  position:absolute;  right: 0;  padding-left: 1em; display:inline;}
+    .xnetbprice{text-align:right; width: 15em; position: absolute; right: 0;  padding-left: 1em;}
+
+    .netbprice b{}
+    .xnetbprice b{}
+
+    .ads {position: relative;}
+    .adpara {position:relative;  text-align:left; text-indent: 1.6em;}
+
+   .outdent {margin-left: 1.6em; text-indent: -1.6em;}
+
+    .tocnum {float:right; text-align:right; clear:both;font-size:smaller; font-weight:bold;}
+    .tocnum1 {float:right; text-align:right; font-size:larger; font-weight:bold;}
+    .ad {width:90%; border: solid 3px; margin:1em; margin-left: auto; margin-right: auto;}
+    .note {border: dashed 1px; padding: 1em; margin-left: auto;margin-right: auto; width:90%;}
+    .tochead  {font-size:larger;font-weight:bold; text-align:left;}
+    .blockquot{margin-left: 5%; margin-right: 10%;}
+    .pagenum  {position:absolute; left:92%; color:#cccccc; background-color:inherit; font-size:smaller; text-align: right;} /* page numbers */
+    .bb       {border-bottom: solid 2px;}
+    .bl       {border-left: solid 2px;}
+    .bt       {border-top: solid 2px;}
+    .br       {border-right: solid 2px;}
+    .bbox     {border: solid 2px;}
+    .left     {text-align: left;}
+    .center   {text-align: center;}
+    .smcap    {font-variant: small-caps;}
+    .poem span.i2     {display: block; margin-left: 2em;}
+    .poem span.i4     {display: block; margin-left: 4em;}
+     // -->
+    /* XML end  ]]>*/
+    </style>
+</head>
+<body>
+
+
+<pre>
+
+Project Gutenberg's French Polishing and Enamelling, by Richard Bitmead
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: French Polishing and Enamelling
+       A Practical Work of Instruction
+
+Author: Richard Bitmead
+
+Release Date: March 6, 2006 [EBook #17935]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK FRENCH POLISHING AND ENAMELLING ***
+
+
+
+
+Produced by K.D. Thornton and the Online Distributed
+Proofreading Team at http://www.pgdp.net
+
+
+
+
+
+
+</pre>
+
+<div class="center">
+<h1>FRENCH POLISHING</h1>
+
+<p class="center"> AND</p>
+
+<h1>ENAMELLING</h1>
+<h2>A Practical Work of Instruction</h2>
+
+<h6>INCLUDING</h6>
+
+<p class="center">NUMEROUS RECIPES FOR MAKING POLISHES,
+VARNISHES, GLAZE-LACQUERS, REVIVERS, ETC.</p>
+
+<h3><span class="smcap">By</span> RICHARD BITMEAD</h3>
+
+<h6>AUTHOR OF "THE CABINET-MAKER'S GUIDE," "THE UPHOLSTERER'S GUIDE," ETC.</h6>
+
+<p class="center">Fourth Edition</p>
+
+<p class="center"><img src="images/title.jpg" alt="Capio Lumen" title="Capio Lumen" width="75" /></p>
+
+<p class="center">LONDON<br />
+CROSBY LOCKWOOD AND SON<br />
+7, STATIONERS' HALL COURT, LUDGATE HILL<br />
+1910</p>
+<hr style="width: 65%;" />
+<h6>[<i>All rights reserved</i>]</h6>
+</div>
+
+<p class="center">
+PRINTED BY
+WILLIAM CLOWES AND SONS, LIMITED,
+LONDON AND BECCLES.
+</p>
+
+
+
+<hr style="width: 65%;" />
+<h2>AUTHOR'S PREFACE.</h2>
+<p><a name="Page_v" id="Page_v"><span class="pagenum">v</span></a></p>
+
+
+<p>Early in the present century the method generally
+adopted for polishing furniture was by
+rubbing with beeswax and turpentine or with
+linseed-oil. That process, however, was never
+considered to be very satisfactory, which fact
+probably led to experiments being made for the
+discovery of an improvement. The first intimation
+of success in this direction appeared in the
+<i>Mechanic's Magazine</i> of November 22, 1823, and
+ran as follows: "The Parisians have now introduced
+an entirely new mode of polishing, which
+is called <i>plaque</i>, and is to wood precisely what
+plating is to metal. The wood by some process is
+made to resemble marble, and has all the beauty
+of that article with much of its solidity. It is
+even asserted by persons who have made trial of
+the new mode that water may be spilled upon it
+without staining it." Such was the announcement<a name="Page_vi" id="Page_vi"><span class="pagenum">vi</span></a>
+of an invention which was destined ultimately
+to become a new industry.</p>
+
+<p>The following pages commence with a description
+of the art of French Polishing in its
+earliest infancy, care having been taken by the
+Author, to the best of his ability, to note all the
+new processes and manipulations, as well as to
+concisely and perspicuously arrange and describe
+the various materials employed, not only for
+French polishing but for the improving and
+preparation of furniture woods, a matter of great
+importance to the polisher. The arts of Staining
+and Imitating, whereby inferior woods are made
+to resemble the most costly, are also fully treated,
+as well as the processes of Enamelling, both in
+oil-varnishes and French polish, together with the
+method of decorating the same. The condition
+of the art of polishing in America is dwelt upon,
+and various interesting articles written by practical
+polishers in the States, which appeared in
+their trade journal, <i>The Cabinet-maker</i>, have been
+revised and printed in this work.</p>
+
+<p>A number of valuable recipes, and other instructive
+matter, useful alike to the amateur and
+to the practical workman, are also given.</p>
+
+
+<h2>CONTENTS.</h2><p><a name="Page_vii" id="Page_vii"><span class="pagenum">vii</span></a></p>
+<hr style="width: 65%;" />
+
+<table class="nobox" summary="table of contents">
+<tr><td colspan="2"><h3>
+<a href="#CHAPTER_I"><b>CHAPTER I.</b></a></h3>
+<h4>THE IMPROVING AND PREPARATION OF FURNITURE WOODS.</h4></td></tr>
+<tr><td>&nbsp;</td><td><span class="tocnum">PAGE</span></td></tr>
+<tr><td>Improving                     </td><td><span class="tocnum"><a href="#Page_2">2</a></span></td></tr>
+<tr><td>Matching                      </td><td><span class="tocnum"><a href="#Page_3">3</a></span></td></tr>
+<tr><td>Painting                      </td><td><span class="tocnum"><a href="#Page_5">5</a></span></td></tr>
+<tr><td>Dyed Polishes                 </td><td><span class="tocnum"><a href="#Page_6">6</a></span></td></tr>
+
+
+<tr><td colspan="2"><h3><br /><a href="#CHAPTER_II">CHAPTER II.</a></h3>
+<h4>STAINS AND IMITATIONS.</h4></td></tr>
+<tr><td>Imitation Mahogany            </td><td><span class="tocnum"><a href="#Page_8">8</a></span></td></tr>
+<tr><td>Imitation Rosewood            </td><td><span class="tocnum"><a href="#Page_8">8</a></span></td></tr>
+<tr><td>Imitation Walnut              </td><td><span class="tocnum"><a href="#Page_9">9</a></span></td></tr>
+<tr><td>Imitation Ebony              </td><td><span class="tocnum"><a href="#Page_10">10</a></span></td></tr>
+<tr><td>Imitation Oak                </td><td><span class="tocnum"><a href="#Page_11">11</a></span></td></tr>
+<tr><td>Imitation Satin-wood         </td><td><span class="tocnum"><a href="#Page_12">12</a></span></td></tr>
+<tr><td>A Blue Stain                 </td><td><span class="tocnum"><a href="#Page_13">13</a></span></td></tr>
+<tr><td>A Green Stain                </td><td><span class="tocnum"><a href="#Page_13">13</a></span></td></tr>
+<tr><td>A Purple Stain               </td><td><span class="tocnum"><a href="#Page_13">13</a></span></td></tr>
+<tr><td>A Red Stain                  </td><td><span class="tocnum"><a href="#Page_14">14</a></span></td></tr>
+<tr><td>Imitation Purple-wood Stain  </td><td><span class="tocnum"><a href="#Page_14">14</a></span></td></tr>
+<tr><td>Chemicals used in Staining   </td><td><span class="tocnum"><a href="#Page_15">15</a></span></td></tr>
+<tr><td>Process of Staining          </td><td><span class="tocnum"><a href="#Page_16">16</a></span></td></tr>
+<tr><td>Ready-made Wood Stains       </td><td><span class="tocnum"><a href="#Page_17">17</a></span></td></tr>
+
+
+
+<tr><td colspan="2"><h3><br /><a href="#CHAPTER_III">CHAPTER III.</a></h3>
+<h4>FRENCH POLISHING.</h4></td></tr>
+
+
+<tr><td>The Polish Used              </td><td><span class="tocnum"><a href="#Page_18">18</a></span></td></tr>
+<tr><td>Rubbers                      </td><td><span class="tocnum"><a href="#Page_22">22</a></span></td></tr>
+<tr><td>Position                     </td><td><span class="tocnum"><a href="#Page_24">24</a></span></td></tr>
+<tr><td>Filling-in                   </td><td><span class="tocnum"><a href="#Page_25">25</a></span><span class="pagenum">viii</span><a name="Page_viii" id="Page_viii"></a></td></tr>
+<tr><td>Applying the Polish          </td><td><span class="tocnum"><a href="#Page_26">26</a></span></td></tr>
+<tr><td>Spiriting-off                </td><td><span class="tocnum"><a href="#Page_30">30</a></span></td></tr>
+<tr><td>Prepared Spirits             </td><td><span class="tocnum"><a href="#Page_32">32</a></span></td></tr>
+<tr><td>Antique Style                </td><td><span class="tocnum"><a href="#Page_32">32</a></span></td></tr>
+<tr><td>Dull or Egg-shell Polish     </td><td><span class="tocnum"><a href="#Page_33">33</a></span></td></tr>
+<tr><td>Polishing in the Lathe       </td><td><span class="tocnum"><a href="#Page_34">34</a></span></td></tr>
+
+
+
+<tr><td colspan="2"><h3><br /><a href="#CHAPTER_IV">CHAPTER IV.</a></h3>
+
+<h4>CHEAP WORK.</h4></td></tr>
+
+
+<tr><td>Glazing                      </td><td><span class="tocnum"><a href="#Page_37">37</a></span></td></tr>
+<tr><td>Stencilling                  </td><td><span class="tocnum"><a href="#Page_39">39</a></span></td></tr>
+<tr><td>Charcoal Polishing           </td><td><span class="tocnum"><a href="#Page_40">40</a></span></td></tr>
+
+
+
+<tr><td colspan="2"><h3><br /><a href="#CHAPTER_V">CHAPTER V.</a></h3></td></tr>
+
+<tr><td><h4 style="text-align:left;">RE-POLISHING OLD WORK</h4></td><td>    <span class="tocnum"><a href="#Page_42">42</a></span></td></tr>
+
+
+
+<tr><td colspan="2"><h3><br /><a href="#CHAPTER_VI">CHAPTER VI.</a></h3>
+
+<h4>SPIRIT VARNISHING.</h4></td></tr>
+
+
+<tr><td>Varnishes                    </td><td><span class="tocnum"><a href="#Page_46">46</a></span></td></tr>
+<tr><td>Brushes and Pencils          </td><td><span class="tocnum"><a href="#Page_47">47</a></span></td></tr>
+<tr><td>Mode of Operation            </td><td><span class="tocnum"><a href="#Page_47">47</a></span></td></tr>
+<tr><td>East Indian Varnishes        </td><td><span class="tocnum"><a href="#Page_48">48</a></span></td></tr>
+
+
+
+<tr><td colspan="2"><h3><br /><a href="#CHAPTER_VII">CHAPTER VII.</a></h3>
+<h4>GENERAL INSTRUCTIONS.</h4></td></tr>
+
+
+<tr><td>Remarks on Polishing         </td><td><span class="tocnum"><a href="#Page_51">51</a></span></td></tr>
+<tr><td>The Polishing Shop           </td><td><span class="tocnum"><a href="#Page_52">52</a></span></td></tr>
+
+
+<tr><td colspan="2"><h3><br /><a href="#CHAPTER_VIII">CHAPTER VIII.</a></h3>
+<h4>ENAMELLING.</h4></td></tr>
+
+
+<tr><td>Materials                    </td><td><span class="tocnum"><a href="#Page_57">57</a></span></td></tr>
+<tr><td>Tools                        </td><td><span class="tocnum"><a href="#Page_58">58</a></span></td></tr>
+<tr><td>Mode of Operation            </td><td><span class="tocnum"><a href="#Page_58">58</a></span></td></tr>
+<tr><td>Polishing                    </td><td><span class="tocnum"><a href="#Page_60">60</a></span></td></tr>
+<tr><td>Another Process              </td><td><span class="tocnum"><a href="#Page_61">61</a></span></td></tr>
+<tr><td>Decorations                  </td><td><span class="tocnum"><a href="#Page_63">63</a></span></td></tr>
+
+<tr><td colspan="2"><h3><br /><a href="#CHAPTER_IX">CHAPTER IX.</a></h3>
+<a name="Page_ix" id="Page_ix"><span class="pagenum">ix</span></a>
+<h4>AMERICAN POLISHING PROCESSES.</h4></td></tr>
+<tr><td>Use of Fillers                                                  </td><td><span class="tocnum"><a href="#Page_65">65</a></span></td></tr>
+<tr><td>Making Fillers                            </td><td><span class="tocnum"><a href="#Page_70">70</a></span></td></tr>
+<tr><td><span style="margin-left: 1em;">Japan of the Best Quality</span></td><td>        <span class="tocnum"><a href="#Page_70">70</a></span></td></tr>
+<tr><td><span style="margin-left: 1em;">Fillings for Light Woods </span></td><td>       <span class="tocnum"><a href="#Page_70">70</a></span></td></tr>
+<tr><td><span style="margin-left: 1em;">Another for Light Woods</span></td><td><span class="tocnum"><a href="#Page_70">70</a></span></td></tr>
+<tr><td><span style="margin-left: 1em;">For Mahogany or Cherry Wood</span></td><td>       <span class="tocnum"><a href="#Page_71">71</a></span></td></tr>
+<tr><td><span style="margin-left: 1em;">For Oak Wood</span></td><td>              <span class="tocnum"><a href="#Page_71">71</a></span></td></tr>
+<tr><td><span style="margin-left: 1em;">For Rosewood</span></td><td>              <span class="tocnum"><a href="#Page_71">71</a></span></td></tr>
+<tr><td><span style="margin-left: 1em;">For Black Walnut (1)</span></td><td><span class="tocnum"><a href="#Page_71">71</a></span>  </td></tr>
+<tr><td><span style="margin-left: 4.5em;">"&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;(2)</span></td><td><span class="tocnum"><a href="#Page_71">71</a></span></td></tr>
+
+<tr><td><span style="margin-left: 1em;">An Oil Colour for Black Walnut (3)</span></td>
+     <td><span class="tocnum"><a href="#Page_72">72</a></span></td></tr>
+<tr><td>Finishing                                 </td><td><span class="tocnum"><a href="#Page_73">73</a></span></td></tr>
+<tr><td>Black Walnut Finishing                    </td><td><span class="tocnum"><a href="#Page_75">75</a></span></td></tr>
+<tr><td>Finishing Veneered Panels, etc.           </td><td><span class="tocnum"><a href="#Page_78">78</a></span></td></tr>
+<tr><td><span style="margin-left: 1em;">Light Woods (Dead Finish) </span>      </td><td> <span class="tocnum"><a href="#Page_79">79</a></span></td></tr>
+<tr><td><span style="margin-left: 1em;">Mahogany or Cherry Wood</span>  </td><td>      <span class="tocnum"> <a href="#Page_79">79</a></span></td></tr>
+<tr><td><span style="margin-left: 1em;">Oak                   </span></td><td><span class="tocnum"><a href="#Page_79">79</a></span></td></tr>
+<tr><td><span style="margin-left: 1em;">Rosewood, Coromandel, or Kingwood</span>
+(a Bright Finish)       </td><td><span class="tocnum"><a href="#Page_79">79</a></span></td></tr>
+<tr><td><span style="margin-left: 1em;">Walnut  </span>               </td><td><span class="tocnum"><a href="#Page_80">80</a></span></td></tr>
+<tr><td>Finishing Cheap Work                      </td><td><span class="tocnum"><a href="#Page_81">81</a></span></td></tr>
+<tr><td><span style="margin-left: 1em;">With One Coat of Varnish</span> </td><td>       <span class="tocnum"><a href="#Page_81">81</a></span></td></tr>
+<tr><td><span style="margin-left: 1em;">Wax Finishing      </span>        </td><td><span class="tocnum"><a href="#Page_82">82</a></span></td></tr>
+<tr><td><span style="margin-left: 1em;">A Varnish Polish    </span>        </td><td><span class="tocnum"><a href="#Page_82">82</a></span></td></tr>
+<tr><td><span style="margin-left: 1em;">With Copal or Zanzibar Varnish</span></td><td><span class="tocnum">     <a href="#Page_85">83</a></span></td></tr>
+<tr><td>Polishing Varnish                         </td><td><span class="tocnum"><a href="#Page_85">85</a></span></td></tr>
+<tr><td>An American Polish Reviver                </td><td><span class="tocnum"><a href="#Page_86">86</a></span></td></tr>
+
+
+<tr><td colspan="2"><h3><br /><a href="#CHAPTER_X">CHAPTER X.</a></h3>
+
+<h4>MISCELLANEOUS RECIPES.</h4></td></tr>
+
+
+<tr><td>Oil Polish                                </td><td><span class="tocnum"><a href="#Page_87">87</a></span></td></tr>
+<tr><td>Wax Polish                                </td><td><span class="tocnum"><a href="#Page_87">87</a></span></td></tr>
+<tr><td>Waterproof French Polish                  </td><td><span class="tocnum"><a href="#Page_88">88</a></span></td></tr>
+<tr><td>Varnish for Musical Instruments           </td><td><span class="tocnum"><a href="#Page_88">88</a></span></td></tr>
+<tr><td>French Varnish for Cabinet-work           </td><td><span class="tocnum"><a href="#Page_89">89</a></span></td></tr>
+<tr><td>Mastic Varnish                            </td><td><span class="tocnum"><a href="#Page_89">89</a></span></td></tr>
+<tr><td>Cabinet-maker's Varnish                   </td><td><span class="tocnum"><a href="#Page_90">90</a></span></td></tr>
+<tr><td>Amber Varnish                             </td><td><span class="tocnum"><a href="#Page_90">90</a></span></td></tr>
+<tr><td>Colourless Varnish with Copal             </td><td><span class="tocnum"><a href="#Page_90">90</a></span></td></tr>
+<tr><td>Seedlac Varnish                           </td><td><span class="tocnum"><a href="#Page_91">91</a></span></td></tr>
+<tr><td>Patent Varnish for Wood or Canvas         </td><td><span class="tocnum"><a href="#Page_91">91</a></span></td></tr>
+<tr><td>Copal Varnish                             </td><td><span class="tocnum"><a href="#Page_91">91</a></span></td></tr>
+<tr><td>Carriage Varnish                          </td><td><span class="tocnum"><a href="#Page_92">92</a></span></td></tr>
+<tr><td>Transparent Varnish<span class="pagenum">0</span><a name="Page_x" id="Page_x"><span class="pagenum">x</span></a></td><td><span class="tocnum"><a href="#Page_92">92</a></span></td></tr>
+<tr><td>Crystal Varnish for Maps, etc.           </td><td><span class="tocnum"><a href="#Page_92">92</a></span></td></tr>
+<tr><td>Black Varnish                           </td><td><span class="tocnum"><a href="#Page_92">92</a></span></td></tr>
+<tr><td>Black Polish                            </td><td><span class="tocnum"><a href="#Page_93">93</a></span></td></tr>
+<tr><td>Varnish for Iron                        </td><td><span class="tocnum"><a href="#Page_93">93</a></span></td></tr>
+<tr><td>Varnish for Tools                       </td><td><span class="tocnum"><a href="#Page_93">93</a></span></td></tr>
+<tr><td>To Make Labels Adhere to a Polished Surface     </td><td><span class="tocnum"><a href="#Page_94">94</a></span></td></tr>
+<tr><td>To Remove French Polish or Varnish from Old Work    </td><td><span class="tocnum"><a href="#Page_94">94</a></span></td></tr>
+<tr><td>Colouring for Carcase Work    </td><td><span class="tocnum"><a href="#Page_94">94</a></span></td></tr>
+<tr><td>Cheap but Valuable Stain for the Sap of Black Walnut  </td><td><span class="tocnum"><a href="#Page_95">95</a></span></td></tr>
+<tr><td>Polish (American) for Removing Stains, etc., from Furniture      </td><td><span class="tocnum"><a href="#Page_96">96</a></span></td></tr>
+<tr><td>Walnut Stain to be used on Pine and White-wood    </td><td><span class="tocnum"><a href="#Page_96">96</a></span></td></tr>
+<tr><td>Rosewood Stain    </td><td><span class="tocnum"><a href="#Page_97">97</a></span></td></tr>
+<tr><td>Rosewood Stain for Cane Work, etc.    </td><td><span class="tocnum"><a href="#Page_97">97</a></span></td></tr>
+<tr><td>French Polish Reviver    </td><td><span class="tocnum"><a href="#Page_98">98</a></span></td></tr>
+<tr><td>Morocco Leather Reviver   </td><td><span class="tocnum"><a href="#Page_98">98</a></span></td></tr>
+<tr><td>Hair-cloth Reviver     </td><td><span class="tocnum"><a href="#Page_99">99</a></span></td></tr>
+<tr><td>To Remove Grease Stains from Silks, Damasks, Cloth, etc.  </td><td><span class="tocnum"><a href="#Page_99">99</a></span></td></tr>
+<tr><td>To Remove Ink Stains from White Marble    </td><td><span class="tocnum"><a href="#Page_99">99</a></span></td></tr>
+
+
+<tr><td colspan="2"><h3><br /><a href="#CHAPTER_XI">CHAPTER XI.</a></h3>
+<h4>MATERIALS USED.</h4></td></tr>
+
+
+<tr><td>Alkanet-root   </td><td><span class="tocnum"><a href="#Page_100">100</a></span></td></tr>
+<tr><td>Madder-root   </td><td><span class="tocnum"><a href="#Page_100">100</a></span></td></tr>
+<tr><td>Red-sanders    </td><td><span class="tocnum"><a href="#Page_101">101</a></span></td></tr>
+<tr><td>Logwood     </td><td><span class="tocnum"><a href="#Page_101">101</a></span></td></tr>
+<tr><td>Fustic    </td><td><span class="tocnum"><a href="#Page_102">102</a></span></td></tr>
+<tr><td>Turmeric     </td><td><span class="tocnum"><a href="#Page_102">102</a></span></td></tr>
+<tr><td>Indigo    </td><td><span class="tocnum"><a href="#Page_103">103</a></span></td></tr>
+<tr><td>Persian Berries     </td><td><span class="tocnum"><a href="#Page_103">103</a></span></td></tr>
+<tr><td>Nut-galls     </td><td><span class="tocnum"><a href="#Page_103">103</a></span></td></tr>
+<tr><td>Catechu    </td><td><span class="tocnum"><a href="#Page_103">103</a></span></td></tr>
+<tr><td>Thus    </td><td><span class="tocnum"><a href="#Page_104">104</a></span></td></tr>
+<tr><td>Sandarach    </td><td><span class="tocnum"><a href="#Page_104">104</a></span></td></tr>
+<tr><td>Mastic    </td><td><span class="tocnum"><a href="#Page_104">104</a></span></td></tr>
+<tr><td>Benzoin   </td><td><span class="tocnum"><a href="#Page_104">104</a></span></td></tr>
+<tr><td>Copal    </td><td><span class="tocnum"><a href="#Page_105">105</a></span></td></tr>
+<tr><td>Dragon's Blood    </td><td><span class="tocnum"><a href="#Page_106">106</a></span></td></tr>
+<tr><td>Shellac    </td><td><span class="tocnum"><a href="#Page_106">106</a></span></td></tr>
+<tr><td>Amber    </td><td><span class="tocnum"><a href="#Page_107">107</a></span></td></tr>
+<tr><td>Pumice-stone     </td><td><span class="tocnum"><a href="#Page_107">107</a></span></td></tr>
+<tr><td>Linseed-oil  </td><td><span class="tocnum"><a href="#Page_108">108</a></span></td></tr>
+<tr><td>Venice Turpentine   </td><td><span class="tocnum"><a href="#Page_110">110</a></span></td></tr>
+<tr><td>Oil of Turpentine    </td><td><span class="tocnum"><a href="#Page_110">110</a></span></td></tr>
+<tr><td>Methylated Spirits    </td><td><span class="tocnum"><a href="#Page_110">110</a></span></td></tr>
+</table>
+
+
+<div class="center"><br /><br /><h2>
+FRENCH POLISHING</h2><a name="Page_1" id="Page_1"><span class="pagenum">1</span></a>
+<span class="smcap">AND</span>
+<h2>ENAMELLING.
+</h2>
+</div>
+
+
+<hr style="width: 65%;" />
+<h2><a name="CHAPTER_I" id="CHAPTER_I"></a>CHAPTER I.</h2>
+
+<h4>THE IMPROVING AND PREPARATION OF
+FURNITURE WOODS.</h4>
+
+
+<p>For a French polisher to be considered a good
+workman he should, in addition to his ordinary
+ability to lay on a good polish, possess considerable
+knowledge of the various kinds of wood used
+for furniture, as well as the most approved method
+of bringing out to the fullest extent their natural
+tones or tints; he should also be able to improve
+the inferior kinds of wood, and to stain, bleach,
+or match any of the fancy materials to which his
+art is applied, in a manner that will produce the
+greatest perfection. The following information
+is given to facilitate a thorough knowledge
+of the above processes.</p>
+<p><span class="pagenum">2</span><a name="Page_2" id="Page_2"></a></p>
+
+<p><b>Improving.</b>&mdash;Iron filings added to a decoction
+of gall-nuts and vinegar will give to ebony
+which has been discoloured an intense black, after
+brushing over once or twice. Walnut or poor-coloured
+rosewood can be improved by boiling
+half an ounce of walnut-shell extract and the
+same quantity of catechu in a quart of soft-water,
+and applying with a sponge. Half a pound of
+walnut husks and a like quantity of oak bark
+boiled in half a gallon of water will produce much
+the same result. Common mahogany can be
+improved by rubbing it with powdered red-chalk
+(ruddle) and a woollen rag, or by first wiping the
+surface with liquid ammonia, and red-oiling afterwards.
+For a rich mild red colour, rectified
+spirits of naphtha, dyed with camwood dust, or an
+oily decoction of alkanet-root. Methylated spirits
+and a small quantity of dragon's blood will also
+produce a mild red. Any yellow wood can be
+improved by an alcoholic solution of Persian
+berries, fustic, turmeric, or gamboge. An aqueous
+decoction of barberry-root will serve the same
+purpose. Birch when preferred a warm tint may
+be sponged with oil, very slightly tinted with
+rose-madder or Venetian red; the greatest care
+should be used, or it will be rendered unnatural in
+appearance by becoming too red. Maple which
+is of a dirty-brown colour, or of a cold grey tint,
+and mahogany, ash, oak, or any of the light-coloured
+woods, can be whitened by the bleaching
+fluid (see "<span class="smcap">Matching</span>"). Numerous materials
+<span class="pagenum">3</span><a name="Page_3" id="Page_3"></a>may be improved by the aid of raw linseed-oil
+mixed with a little spirits of turpentine. Artificial
+graining may be given to various woods by
+means of a camel-hair pencil and raw oil; two or
+three coats should be given, and after standing
+for some time the ground should have one coat of
+oil much diluted with spirits of turpentine, and
+then rubbed off.</p>
+
+
+<p><b>Matching.</b>&mdash;Old mahogany furniture which
+has been repaired may be easily matched by
+wiping over the new portions with water in which
+a nodule of lime has been dissolved, or by common
+soda and water. The darkeners for general use
+are dyed oils, logwood, aquafortis, sulphate of
+iron, and nitrate of silver, with exposure to the
+sun's rays. For new furniture in oak, ash, maple,
+etc., the process of matching requires care and
+skill. When it is desirable to render all the parts
+in a piece of furniture of one uniform tone or
+tint, bleach the dark parts with a solution of
+oxalic acid dissolved in hot water (about two-pennyworth
+of acid to half a pint of water is a
+powerful solution); when dry, if this should not
+be sufficient, apply the white stain (see pp. <a href="#Page_11">11</a>, <a href="#Page_12">12</a>)
+delicately toned down, or the light parts may be
+oiled. For preserving the intermediate tones,
+coat them with white polish by means of a camel-hair
+pencil. On numerous woods, carbonate of
+soda and bichromate of potash are very effective
+as darkeners, as are also other preparations of an
+<span class="pagenum">4</span><a name="Page_4" id="Page_4"></a>acid or alkaline nature, but the two given above
+are the best.</p>
+
+<p>A good way of preparing these darkeners, says
+the "French Polisher's Manual," an excellent
+little work published in Perth some years since,
+is to procure twopennyworth of carbonate of soda
+in powder, and dissolve it in half a pint of boiling
+water; then have ready three bottles, and label
+them one, two, three. Into one put half the
+solution, and into the other two half a gill each;
+to number two add an additional gill of water,
+and to number three two gills. Then get the
+same quantity of bichromate of potash, and prepare
+it in a like manner; you will then have six
+staining fluids for procuring a series of brown and
+dark tints suitable for nearly all classes of wood.</p>
+
+<p>The bichromate of potash is useful to darken
+oak, walnut, beech, or mahogany, but if applied
+to ash it renders it of a greenish cast. If a sappy
+piece of walnut should be used either in the solid
+or veneer, darken it to match the ground colour,
+and then fill in the dark markings with a feather
+and the black stain (see pp. <a href="#Page_10">10</a>, <a href="#Page_11">11</a>). The carbonate
+solutions are generally used for dark surfaces,
+such as rosewood represents, and a still darker
+shade can be given to any one by oiling over
+after the stain is dry. The better way of using
+these chemical stains is to pour out into a saucer
+as much as will serve the purpose, and to apply
+it quickly with a sponge rubbed rapidly and
+evenly over the surface, and rubbed off dry
+<span class="pagenum">5</span><a name="Page_5" id="Page_5"></a>immediately with old rags. Dark and light portions,
+between which the contrast is slight, may
+be made to match by varnishing the former and
+darkening the latter with oil, which should remain
+on it sufficiently long; by this means the different
+portions may frequently be made to match
+without having recourse to bleaching or staining.</p>
+
+
+<p><b>Painting.</b>&mdash;The next process is painting. It
+frequently happens in cabinet work that a faulty
+place is not discovered until after the work is
+cleaned off; the skill of the polisher is then
+required to paint it to match the other. A box
+containing the following colours in powder will
+be found of great utility, and when required for
+use they should be mixed with French polish and
+applied with a brush. The pigments most suitable
+are: drop black, raw sienna, raw and burnt
+umber, Vandyke brown, French Naples yellow
+(bear in mind that this is a very opaque pigment),
+cadmium yellow, madder carmine (these are expensive),
+flake white, and light or Venetian red;
+before mixing, the colours should be finely
+pounded. The above method of painting, however,
+has this objection for the best class of
+furniture, that the effects of time will darken the
+body of the piece of furniture, whilst the painted
+portion will remain very nearly its original colour.
+In first-class work, therefore, stained polishes or
+varnishes should be applied instead of these
+pigments.
+<span class="pagenum">6</span><a name="Page_6" id="Page_6"></a></p>
+
+<p><b>Dyed Polishes.</b>&mdash;The methods of dyeing
+polish or varnish are as follows: for a red, put a
+little alkanet-root or camwood dust into a bottle
+containing polish or varnish; for a bright yellow,
+a small piece of aloes; for a yellow, ground
+turmeric or gamboge; for a brown, carbonate of
+soda and a very small quantity of dragon's blood;
+and for a black, a few logwood chips, gall-nuts,
+and copperas, or by the addition of gas-black.</p>
+
+<p>The aniline dyes (black excepted) are very
+valuable for dyeing polishes, the most useful
+being Turkey-red, sultan red, purple, and brown.
+A small portion is put into the polish, which soon
+dissolves it, and no straining is required. The
+cheapest way to purchase these dyes is by the
+ounce or half-ounce. The penny packets sold by
+chemists are too expensive, although a little goes
+a long way.</p>
+
+
+
+<hr style="width: 65%;" />
+<p><a name="CHAPTER_II" id="CHAPTER_II"></a><span class="pagenum">7</span><a name="Page_7" id="Page_7"></a></p>
+<h2>CHAPTER II.</h2>
+
+<h4>STAINS AND IMITATIONS.</h4>
+
+
+<p>In consequence of the high price demanded for
+furniture made of the costly woods, the art of the
+chemist has been called into requisition to produce
+upon the inferior woods an analogous effect at a
+trifling expense. The materials employed in the
+artificial colouring of wood are both mineral and
+vegetable; the mineral is the most permanent,
+and when caused by chemical decomposition
+within the pores it acts as a preservative agent in
+a greater or less degree. The vegetable colouring
+matters do not penetrate so easily, probably on
+account of the affinity of the woody fibre for the
+colouring matter, whereby the whole of the latter
+is taken up by the parts of the wood with which
+it first comes into contact. Different intermediate
+shades, in great variety, may be obtained by combinations
+of colouring matters, according to the
+tint desired, and the ideas of the stainer. The
+processes technically known as "grounding and
+ingraining" are partly chemical and partly
+mechanical, and are designed to teach the various
+<span class="pagenum">8</span><a name="Page_8" id="Page_8"></a>modes of operation whereby the above effects can
+be produced. We will commence with</p>
+
+
+<p><b>Imitation Mahogany.</b>&mdash;Half a pound of
+madder-root, and two ounces of logwood chips
+boiled in a gallon of water. Brush over while
+hot; when dry, go over it with a solution of
+pearlash, a drachm to a pint. Beech or birch,
+brushed with aquafortis in sweeping regular
+strokes, and immediately dried in front of a good
+fire, form very good imitations of old wood.
+Venetian red mixed with raw linseed-oil also
+forms a good stain.</p>
+
+<p>The following is a method in common use by
+French cabinet-makers. The white wood is first
+brushed over with a diluted solution of nitrous
+acid; next, with a solution made of methylated
+spirits one gill, carbonate of soda three-quarters
+of an ounce, and dragon's blood a quarter of an
+ounce; and a little red tint is added to the varnish
+or polish used afterwards. Black American
+walnut can be made to imitate mahogany by
+brushing it over with a weak solution of nitric
+acid.</p>
+
+
+<p><b>Imitation Rosewood.</b>&mdash;Boil half a pound of
+logwood chips in three pints of water until the
+decoction is a very dark red; then add an ounce
+of salt of tartar. Give the work three coats
+boiling hot; then with a graining tool or a feather
+fill in the dark markings with the black stain.
+<span class="pagenum">9</span><a name="Page_9" id="Page_9"></a>A stain of a very bright shade can be made with
+methylated spirits half a gallon, camwood three-quarters
+of a pound, red-sanders a quarter of a
+pound, extract of logwood half a pound, aquafortis
+one ounce. When dissolved, it is ready for
+use. This makes a very bright ground. It
+should be applied in three coats over the whole
+surface, and when dry it is glass-papered down
+with fine paper to a smooth surface, and is then
+ready for graining. The fibril veins are produced
+by passing a graining tool with a slight vibratory
+motion, so as to effect the natural-looking streaks,
+using the black stain. A coat of the bichromate
+of potash solution referred to on page <a href="#Page_4">4</a> will
+make wildly-figured mahogany have the appearance
+of rosewood.</p>
+
+
+<p><b>Imitation Walnut.</b>&mdash;A mixture of two parts
+of brown umber and one part of sulphuric acid,
+with spirits of wine or methylated spirits added
+until it is sufficiently fluid, will serve for white
+wood. Showy elm-wood, after being delicately
+darkened with the bichromate solution No. 1,
+page <a href="#Page_4">4</a>, will pass for walnut; it is usually applied
+on the cheap loo-table pillars, which are made of
+elm-wood. Equal portions of the bichromate and
+carbonate solutions (see page <a href="#Page_4">4</a>), used upon
+American pine, will have a very good effect.</p>
+
+<p>Another method for imitating walnut is as
+follows: One part (by weight) of walnut-shell
+extract is dissolved in six parts of soft-water, and
+<span class="pagenum">10</span><a name="Page_10" id="Page_10"></a>slowly heated to boiling until the solution is complete.
+The surface to be stained is cleaned and
+dried, and the solution applied once or twice;
+when half-dry, the whole is gone over again with
+one part of chromate of potash boiled in five parts
+of water. It is then dried, rubbed down, and
+polished in the ordinary way.</p>
+
+<p>The extract of walnut-shells and chromate of
+potash are procurable at any large druggist's
+establishment. A dark-brown is the result of the
+action of copper salts on the yellow prussiate of
+potash; the sulphate of copper in soft woods gives
+a pretty reddish-brown colour, in streaks and
+shades, and becomes very rich after polishing or
+varnishing. Different solutions penetrate with
+different degrees of facility. In applying, for
+instance, acetate of copper and prussiate of potash
+to larch, the sap-wood is coloured most when the
+acetate is introduced first; but when the prussiate
+is first introduced, the heart-wood is the most
+deeply coloured. Pyrolignite of iron causes a
+dark-grey colour in beech, from the action and
+tannin in the wood on the oxide of iron; while in
+larch it merely darkens the natural colour. Most
+of the tints, especially those caused by the prussiates
+of iron and copper, are improved by the
+exposure to light, and the richest colours are produced
+when the process is carried out rapidly.</p>
+
+
+<p><b>Imitation Ebony.</b>&mdash;Take half a gallon of
+strong vinegar, one pound of extract of logwood,
+<span class="pagenum">11</span><a name="Page_11" id="Page_11"></a>a quarter of a pound of copperas, two ounces of
+China blue, and one ounce of nut-gall. Put these
+into an iron pot, and boil them over a slow fire
+till they are well dissolved. When cool, the
+mixture is ready for use. Add a gill of iron
+filings steeped in vinegar. The above makes a
+perfect jet black, equal to the best black ebony.
+A very good black is obtained by a solution of
+sulphate of copper and nitric acid; when dry, the
+work should have a coat of strong logwood stain.</p>
+
+
+<p><b>Imitation Oak.</b>&mdash;To imitate old oak, the
+process known as "fumigating" is the best.
+This is produced by two ounces of American
+potash and two ounces of pearlash mixed together
+in a vessel containing one quart of hot water.</p>
+
+<p>Another method is by dissolving a lump of bichromate
+of potash in warm water; the tint can
+be varied by adding more water. This is best done
+out of doors in a good light. Very often in sending
+for bichromate of potash a mistake is made,
+and chromate of potash is procured instead; this
+is of a yellow colour, and will not answer the purpose.
+The bichromate of potash is the most
+powerful, and is of a red colour. A solution of
+asphaltum in spirits of turpentine is frequently
+used to darken new oak which is intended for
+painter's varnish, or a coating of boiled oil.</p>
+
+<p>Another method of imitating new oak upon any
+of the inferior light-coloured woods is to give the
+surface a coat of Stephens's satin-wood stain, and
+<span class="pagenum">12</span><a name="Page_12" id="Page_12"></a>to draw a soft graining-comb gently over it, and
+when the streaky appearance is thus produced a
+camel-hair pencil should be taken and the veins
+formed with white stain. This is made by
+digesting three-quarters of an ounce of flake
+white (subnitrate of bismuth), and about an ounce
+of isinglass in two gills of boiling water; it can
+be made thinner by adding more water, or can be
+slightly tinted if desired.</p>
+
+<p>Proficients in staining and imitating can make
+American ash so like oak that experienced judges
+are frequently deceived, the vein and shade of the
+spurious wood looking nearly as natural as the
+genuine. After the veining is done, it should be
+coated with white hard varnish, made rather thin
+by adding more spirits, after which the ground
+can be delicately darkened if required.</p>
+
+
+<p><b>Imitation Satin-wood.</b>&mdash;Take methylated
+spirits one quart, ground turmeric three ounces,
+powdered gamboge one and a-half ounces. This
+mixture should be steeped to its full strength,
+and then strained through fine muslin, when it
+will be ready for use. Apply with a sponge, and
+give two coats; when dry, glass-paper down with
+fine old paper. This makes a good imitation for
+inside work. By the addition of a little dragon's
+blood an orange tint can be produced. A yellow
+colour can also be given to wood by boiling hot
+solutions of turmeric, Persian berries, fustic, etc.
+but the colour is very fugitive. A more per<span class="pagenum">13</span><a name="Page_13" id="Page_13"></a>manent
+colour results from nitric acid, and last of
+all by the successive introduction of acetate of
+lead and chromate of potash. Sulphate of iron
+also stains wood of a yellowish colour when used
+as a preservative agent, so much so, that the use
+of corrosive sublimate is recommended for this
+purpose when it is desirable to preserve the light
+colour.</p>
+
+
+<p><b>A Blue Stain.</b>&mdash;This dye can be obtained by
+dissolving East Indian indigo in arsenious acid,
+which will give a dark blue. A lighter blue can
+be obtained by hot solutions of indigo, of sulphate
+of copper, and by the successive introduction of
+pyrolignite of iron and prussiate of potash.</p>
+
+
+<p><b>A Green Stain.</b>&mdash;Dissolve one ounce of
+Roman vitriol in a quart of boiling water, to
+which is added one ounce of pearlash; the mixture
+should then be forcibly agitated, and a small
+quantity of pulverised yellow arsenic stirred in.
+A green is also the result of successive formations
+in the pores of the wood of a blue and a yellow
+as above indicated, and by a hot solution of
+acetate of copper in water. A yellowish green
+may be obtained by the action of copper salts on
+the red prussiate of potash.</p>
+
+
+<p><b>A Purple Stain.</b>&mdash;Boil one pound of logwood
+chips in three quarts of water, until the full
+<span class="pagenum">14</span><a name="Page_14" id="Page_14"></a>strength is obtained; then add four ounces of
+pearlash and two ounces of powdered indigo.
+When these ingredients are thoroughly dissolved,
+it is ready for use, either hot or cold. A purple
+is also obtained by a boiling hot solution of logwood
+and Brazil-wood, one pound of the former
+and one quarter of a pound of the latter to a
+gallon of water.</p>
+
+
+<p><b>A Red Stain.</b>&mdash;Methylated spirits one quart,
+Brazil-wood three ounces, dragon's blood half an
+ounce, cochineal half an ounce, saffron one ounce.
+Steep the whole to its full strength, and strain.
+A red can also be produced by macerating red-sanders
+in rectified spirits of naphtha. An orange-red
+colour may be obtained by the successive action
+of bichloride of mercury and iodide of potash,
+madder, and ammoniacal solutions of carmine.</p>
+
+
+<p><b>Imitation Purple-wood Stain.</b>&mdash;Grind a
+piece of green copperas on coarse glass-paper, and
+mix with polish coloured with red-sanders. This
+makes a capital purple stain, and is used by French
+cabinet-makers.</p>
+
+<p>These dyestuffs may be much improved by the
+addition of a mordant applied after they are dry;
+this will greatly assist in modifying and fixing
+the tints and shades which the dyes impart. The
+best thing for the purpose, in the writer's opinion,
+is clear ox-gall, which, besides being useful as a
+mordant, will destroy all unctuous matter.
+<span class="pagenum">15</span><a name="Page_15" id="Page_15"></a></p>
+
+
+<p><b>Chemicals used in Staining.</b>&mdash;It may
+perhaps be useful here to give the common or
+popular names of the chemicals employed in the
+operations of staining and imitating, as few
+polishers know them by the scientific names used
+by chemists:&mdash;</p>
+
+<p>
+Nitric acid is but another phrase for aquafortis.<br />
+Sulphuric acid, for oil of vitriol.<br />
+Ammonia, for spirits of hartshorn.<br />
+Sulphate of magnesia, for Epsom salts.<br />
+Nitrate of potass, for sal prunelle.<br />
+Chlorine, for aqua regia.<br />
+Sulphate of copper, for blue vitriol.<br />
+Subborate of soda, for borax.<br />
+Superoxalate of potass, for salts of sorrel.<br />
+Hydrochlorate of ammonia, for sal ammoniac.<br />
+Subnitrate of bismuth, for flake white.<br />
+Acetic acid, for vinegar.<br />
+Acetate of lead, for sugar of lead.<br />
+Sulphate of lime, for gypsum.<br />
+Carbonate of potass, for pearlash.<br />
+Bitartrate of potass, for cream of tartar.<br />
+Nitrate of silver, for lunar caustic.<br />
+Supercarbonate of iron, for plumbago.<br />
+Cyanide of iron, for Prussian blue.<br />
+Subacetate of copper, for common verdigris.<br />
+Susquecarbonate of ammonia, for sal volatile.<br />
+Alcohol, for pure spirit.<br />
+Sulphate of iron, for green copperas.<br />
+Sulphate of zinc, for white copperas.<br />
+</p>
+
+
+<p><span class="pagenum">16</span><a name="Page_16" id="Page_16"></a><b>Process of Staining.</b>&mdash;The natural qualities
+of woods are very variable; so also are the
+textures of the different sorts usually used for
+staining. It will be readily perceived that there
+is no fixed principle upon which certain peculiar
+tints or shades can be produced with any degree
+of certainty. In order to arrive at the best results,
+the stainer is recommended to observe the
+following rules:&mdash;</p>
+
+<p>All dry stuffs are best reduced to powder, when
+it is possible, before macerating or dissolving them.</p>
+
+<p>All liquids should be strained or filtered before
+use.</p>
+
+<p>The requisite ingredients should always be
+tested before a free use is made of them, as the
+effect produced by a coat of stain cannot be
+accurately ascertained until it is thoroughly dry.</p>
+
+<p>Amateurs in staining had far better coat twice
+or thrice with a weak stain than apply a strong
+one; for if too dark a tint is first obtained it is
+often irremediable. Flat surfaces will take stain
+more evenly if a small portion of linseed-oil is first
+wiped over, well rubbed off, and allowed to dry,
+then lightly papered down with fine glass-paper.
+End-way wood which is of a spongy nature should
+first have a coat of thin varnish, and when dry well
+glass-papered off. For applying stain a flat hog-hair
+tool is the best; and for a softener-down a
+badger-hair tool is used. For mahogany shades
+and tints a mottler will be found of service, as
+will also a soft piece of Turkey sponge. For oak,
+<span class="pagenum">17</span><a name="Page_17" id="Page_17"></a>the usual steel graining-comb is employed for the
+streaking, and for veining badger sash-tools and
+sable pencils.</p>
+
+
+<p><b>Ready-made Wood Stains.</b>&mdash;There are
+numerous stains suitable for common work in the
+market obtainable at a small cost by residents in
+London, but it is cheaper for those who reside in
+country towns to make their own, if only a small
+quantity is required. The principal makers of
+wood stains are H. C. Stephens, of 191, Aldersgate-street,
+E.C., and Jackson, 213, Union-street,
+Southwark, S.E. These makers prepare stains in
+a liquid state, and also in powders for oak, walnut,
+mahogany, satin-wood, ebony, and rosewood.
+The powders are sold in packages at 8s. per lb.
+or 1s. for two ounces, and are soluble in boiling
+water. Judson, of 77, Southwark-street, S.E.,
+makes a mahogany powder in sixpenny packets,
+and any reliable oilman will sell a good black
+stain at 8d. per quart, or a superior black stain
+at 1s. 2d. per quart. Fox, of 109, Bethnal Green-road,
+also prepares stains in a liquid state.<span class="pagenum">18</span><a name="Page_18" id="Page_18"></a></p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="CHAPTER_III" id="CHAPTER_III"></a>CHAPTER III.</h2>
+
+<h4>FRENCH POLISHING.</h4>
+
+
+<p><b>The Polish Used.</b>&mdash;The oil or wax polish was
+used for all kinds of furniture before the introduction
+of French polish, the invention of
+which, as its name implies, is due to French
+cabinet-makers. It was first introduced into
+England about seventy years since; some time
+elapsed, however, before it was brought to a
+high state of perfection. At first apprentices
+or porters were entrusted with the polishing, they
+having been usually called upon to do the wax
+polishing; but in course of time it was found that
+its successful adoption implied the possession of
+considerable skill, and it came to be regarded as
+an art of no little importance&mdash;so much so, that
+the early polishers who had perfected themselves
+used to work in a shop with closed doors, lest
+the secret of their success should be discovered.
+From that time polishing became a separate
+branch of the cabinet business.</p>
+
+<p>The following original recipe as first invented
+has been extracted from a French work, the
+<span class="pagenum">19</span><a name="Page_19" id="Page_19"></a><i>Dictionnaire Technologique</i>, not, however, for its
+usefulness (it having gone into disuse many years
+ago), but as a matter of curiosity:&mdash;</p>
+
+<h4>"<i>French Polish.</i>"</h4>
+
+<table style="width:90%;margin-left: auto;
+         margin-right: auto; padding:0;border-spacing:0;" summary="recipe">
+<tr><td style="width:45%;">Gum sandarach      </td><td style="width:45%;">  14 ounces 2 drachms</td></tr>
+<tr><td>Gum mastic in drops                   </td><td>&nbsp;&nbsp;7&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; " &nbsp;&nbsp;&nbsp;2&nbsp;&nbsp;&nbsp;"</td></tr>
+<tr><td>Shellac (the yellower the better)     </td><td>    14&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; " &nbsp;&nbsp;&nbsp;2&nbsp;&nbsp;&nbsp;"</td></tr>
+<tr><td>Alcohol of 0.8295 specific gravity    </td><td>&nbsp;&nbsp;3 quarts and 1 pint.</td></tr>
+</table>
+
+<p>"Pound the resinous gums, and effect their solution by continued
+agitation, without the aid of heat; if the woods are porous, add seven
+ounces one drachm of Venice turpentine. If an equal weight of ground
+glass be added, the solution is more quickly made, and is also otherwise
+benefited by it. Before using, the wood should be made to imbibe a
+little linseed-oil, the excess of which should be removed by an old
+flannel."</p>
+
+<p>Notwithstanding the improvement made upon the old processes by this new
+method, it was by no means considered to be perfect, for the polish was
+found to impart its brown tinge to the light-coloured woods, especially
+in marqueterie work, and to deteriorate their appearance. It will be
+readily seen that it was a great desideratum among polishers to render
+shellac colourless, as, with the exception of its dark-brown hue, it
+possesses all the properties essential to a good polish or spirit
+varnish in a higher degree than any of the other resins.</p>
+
+<p>In 1827 the Society of Arts came forward with its valuable aid and
+offered a premium of a gold <span class="pagenum">20</span><a name="Page_20" id="Page_20"></a>medal, or thirty guineas, "for a polish or
+varnish made from shell or seed-lac, equally hard, and as fit for use in
+the arts as that at present prepared from the above substance, but
+deprived of its colouring matter." After numerous experiments, this
+long-felt want was perfectly attained by Dr. Hare, who was awarded the
+premium. His method was as follows: "Dissolve in an iron kettle one part
+of pearlash in about eight parts of water; add one part of shell or
+seed-lac, and heat the whole to ebullition. When the lac is dissolved,
+cool the solution, and impregnate it with chlorine till the lac is all
+precipitated. The precipitate is white, but its colour deepens by
+washing and consolidation; dissolved in alcohol, lac, bleached by the
+process above mentioned, yields a polish or varnish which is as free
+from colour as any copal varnish." At the present time shellac is
+bleached by filtration over animal charcoal.</p>
+
+<p>Numerous experiments were afterwards made in the manufacture of
+polishes; several chemists devoted their attention to its manufacture,
+and an improved polish was soon produced which was used for a number of
+years. The following are its proportions:&mdash;</p>
+
+<table style="width:90%;margin-left: auto;
+         margin-right: auto; padding:0;border-spacing:0;" summary="recipe">
+<tr><td style="width:45%;">Shellac     </td><td style="width:45%;">           14 ounces.</td></tr>
+<tr><td>Sandarach       </td><td>          &nbsp;&frac34; ounce.</td></tr>
+<tr><td>White resin   </td><td>            &nbsp;&frac34;&nbsp;&nbsp;&nbsp;"</td></tr>
+<tr><td>Benzoin       </td><td>            &nbsp;&frac34;&nbsp;&nbsp;&nbsp;"</td></tr>
+<tr>
+    <td>Gum thus </td>
+    <td>             &nbsp;&frac34;&nbsp;&nbsp;&nbsp;"</td></tr>
+<tr><td>O.P. finishing spirit</td><td>     &nbsp;&frac12; a gallon.</td></tr>
+</table>
+
+<p>The<span class="pagenum">21</span><a name="Page_21" id="Page_21"></a> "filling-in" processes also began to be used,
+which effected a considerable saving in the quantity
+of polish usually required, and in consequence
+of the expensiveness of spirits of wine rectified
+spirits of naphtha was used as a substitute for the
+making of polishes, etc.; but it was discovered
+that its continued use soon affected the eyesight
+of the workmen, and it had to be abandoned, the
+methylic alcohol, pyroxylic spirit, or wood spirit,
+as it has been differently called, taking its place.
+This was first discovered by Mr. Philip Taylor
+in 1812, and is obtained by distilling wood.
+Messrs. Dumas &amp; Peligot, after analysing it,
+determined that it contained 37&middot;5 per cent. of
+carbon, 12&middot;5 per cent. of hydrogen, and 50 per
+cent. of oxygen. When pure, it remains clear in
+the atmosphere; but for the sake of economy it
+is often employed in the manufacture of other
+compounds called methylated. This spirit began
+to be much used in the manufacture of polishes
+and varnishes in the year 1848, and has continued
+to be much used ever since.</p>
+
+<p>The wonderful improvements which have been
+effected in polishes since their first introduction
+obviously prove that they have now arrived at a
+very high point of perfection, and polishing is
+now justly acknowledged, both by skilled artisans
+and connoisseurs, to be an important decorative
+art. French polish or varnish at the present
+time can easily be obtained at most chemists or
+oil shops, or direct from the manufacturers,
+<span class="pagenum">22</span><a name="Page_22" id="Page_22"></a>amongst whom may be mentioned Mr. W.
+Urquhart, 327, Edgware-road, W.; Messrs.
+Turner &amp; Sons, 7 to 9, Broad-street, Bloomsbury,
+W.C.; Messrs. William Fox &amp; Son, Bethnal
+Green-road, E.; Mr. G. Purdom, 49, Commercial-road,
+E.</p>
+
+<p>The London prices are: Best French polish,
+5s. 6d. per gallon; best white polish, 9s. per
+gallon; brown or white hard varnish, 8s. per
+gallon; patent glaze, 10s. per gallon; methylated
+spirits, 3s. 3d. per gallon. For those who prefer
+to make their own, the following will be found
+an excellent recipe:&mdash;</p>
+
+<p style="margin-left: 25%; margin-right: 25%;">
+12 ounces of orange shellac.<br />
+<span style="margin-left: 0.5em;">&nbsp;1 ounce of benzoin.</span><br />
+<span style="margin-left: 0.5em;">&nbsp;1 ounce of sandarach.</span><br />
+<span style="margin-left: 0.5em;">&frac12; gallon of methylated spirits.</span><br />
+</p>
+
+<p>Pound the gums well before mixing with the spirit, as this will hasten
+their dissolution. White polish for white wood and marqueterie work
+should be made with bleached shellac instead of the above. In making
+polishes or varnishes, the mixture will frequently require shaking until
+dissolved.</p>
+
+
+<p><b>Rubbers.</b>&mdash;In commencing to polish, the materials required are old
+flannel for the rubbers and clean old linen or cotton rags for the
+coverings, the softer the better; some polishers, however, prefer white
+wadding for rubbers instead of flannel. Rubbers for large surfaces <span class="pagenum">23</span><a name="Page_23" id="Page_23"></a>are
+usually made of soft old flannel, firmly and compactly put together
+somewhat in the form of a ball, and the more they possess softness and
+compactness, and are large and solid, the more quickly and
+satisfactorily will they polish extensive surfaces. Small pliable
+rubbers are usually employed for chairs or light frame-work. Perhaps for
+a beginner a rubber made of old flannel may be best, as it takes some
+little practice to obtain the necessary lightness of hand.</p>
+
+<p>The rubber for "spiriting-off" should be made up from a piece of old
+flannel or woollen cloth, and covered with a piece of close rag,
+doubled. Carefully fold the rag and screw it round at the back to make
+it as firm as possible, and sprinkle some spirit on the face of it just
+as it is covered; then give it two or three good smacks with the palm of
+the hand, and begin by laying on as lightly as possible for the first
+few strokes and gradually increase the pressure as the rubber gets dry;
+then take off the first fold of the cover and work it perfectly dry.</p>
+
+<p>The rubber should present to the wood you are about to work on a
+smooth-rounded or convex surface. Have beside you linseed-oil in one
+receptacle, and some French polish in another. Apply one drop of polish
+and one drop of oil, and polish with a circular movement&mdash;traversing
+steadily the <i>whole</i> surface to be polished, and from time to time, as
+may be necessary (when the rubber gets sticky and harsh, indicating that
+the <span class="pagenum">24</span><a name="Page_24" id="Page_24"></a>inside needs replenishing with more polish), open and apply more of
+it, and again draw over the linen cover, holding it tightly to form the
+convex face proper to do the work. After replenishing, the rubber will
+probably need a little more oil to help it to work smoothly. Having thus
+worked on one coat of polish evenly over all the wood until it has got
+what may best be described as a <i>full look</i>, set it aside for two or
+three hours to sink in and become hard, and when completely dry, lightly
+paper off with glass-paper (very finest), afterwards dusting the surface
+to remove any trace of powder, and lay on a second coat of polish in the
+same method. Then allow twenty-four hours to dry. Another light papering
+may possibly be needed&mdash;dust off as before recommended and let the wood
+have a <i>third</i> coat of polish.</p>
+
+<p>For this third coat a fresh rubber should be made, the inside being
+sparingly supplied with spirits of wine instead of polish. Put a double
+fold of linen over it, touch it with one drop of oil, and go very
+lightly and speedily over the whole work.</p>
+
+<p>In spiriting-off&mdash;the object of which is to remove any trace of smudge
+that may blur the surface unless removed thus by spirit&mdash;you should go
+gently to work, using a very light hand, or you may take the polish off
+as well, amateurs more especially.</p>
+
+
+<p><b>Position.</b>&mdash;All work should be placed in an <span class="pagenum">25</span><a name="Page_25" id="Page_25"></a>easy and accessible
+position while it is being polished, so that the eye may readily
+perceive the effect of the rubber; this will greatly help to relieve the
+difficulties attending the polishing of a fine piece of furniture. It
+should also be kept quite firm, so that it cannot possibly move about.
+The most suitable benches for polishers are the ordinary cabinet-makers'
+benches, with the tops covered with thick, soft cloths; these cloths
+should not be fastened down, it being an advantage to be able to remove
+them when required. When a piece of work too large to be placed upon the
+bench is in hand, pads will be found useful to rest it upon. These can
+be made by covering pieces of wood about two feet in length by three
+inches in width with cloth several times doubled, the work being placed
+so that a good light falls upon it. All thin panelling should be tacked
+down upon a board by the edges while polishing.</p>
+
+
+<p><b>Filling-in.</b>&mdash;The first process the wood usually undergoes is
+"filling-in." This consists in rubbing into the pores of the wood
+Russian tallow and plaster of Paris, which have been previously heated
+and mixed together so as to form a thick paste. For rosewood, or to
+darken mahogany, a little rose-pink should be added. After well rubbing
+in, the surface should be cleared from all the surplus paste with the
+end of the scraper, and then rubbed off with shavings <span class="pagenum">26</span><a name="Page_26" id="Page_26"></a>or old rags, and
+made quite clean. For birch or oak, some use whiting or soft putty
+moistened with linseed-oil for the filling; this preparation prevents in
+a great measure the rising of the grain. For white delicate woods, such
+as sycamore, maple, or satin-wood, plaster of Paris, mixed with
+methylated spirit, is used. When polishing pine, a coat of Young's
+patent size (2d. per lb.) is used instead of the above mixtures, and
+when dry is rubbed down with fine glass-paper.</p>
+
+<p>Some workmen, who regard their modes of filling-in as important secrets,
+do their work surprisingly quick by the methods here given. The various
+processes are soon acquired by a little practice, and contribute greatly
+to the speedy advancement of a smooth and imporous ground, which is the
+most important point to observe in polishing.</p>
+
+
+<p><b>Applying the Polish.</b>&mdash;In commencing to use the polish some are
+provided with a small earthenware dish, into which the polish is poured
+for wetting the rubbers; while others make a slit in the cork of the
+polish bottle, and so let it drip on to the rubber; whichever method is
+adopted, the rubber should not be saturated, but receive just enough to
+make a smear. Every time after wetting the rubber and putting on the
+cover it should be pressed upon the palm of the hand, or if a small
+rubber it can be tested between <span class="pagenum">27</span><a name="Page_27" id="Page_27"></a>the thumb and finger. This is an
+important operation, for by it the polisher can easily tell the exact
+state of moisture, and at the same time, by the pressure being applied,
+the moisture is equalised. The tip of the finger should then be just
+dipped into the linseed-oil, and applied to the face of it; if the
+rubber should be rather sappy, the greatest care must be used or a
+coarse streaky roughness will be produced; extreme lightness of hand is
+required until the rubber is nearly dry. (It would be a serious error to
+bear heavily on the rubber while the surface is moist; to do so, and to
+use too much oil on the rubber, are the causes of many failures in
+polishing.)</p>
+
+<p>In commencing to work, pass the rubber a few times gently and lightly
+over the surface in the direction of the grain; then rub across the
+grain in a series of circular movements, all one way, in full and free
+sweeping strokes, until the rubber is dry. Continue this operation until
+the pores are filled in, and the surface assumes a satisfactory
+appearance. It should then be left for about twelve hours; the polish
+will be well into the wood by that time. The polish should then be
+carefully rubbed down with No. glass-paper; this will remove the atomic
+roughness usually caused by the rising of the grain during the sinking
+period. In flat-surface work a paper cork can be used, and the rubbing
+lightly and regularly done in a careful manner, so as to avoid rubbing
+through the outer skin, especially at the <span class="pagenum">28</span><a name="Page_28" id="Page_28"></a>edges and corners, or the
+work will be irremediably defaced.</p>
+
+<p>The woods which possess a rising grain are well known to polishers;
+these are the light-coloured woods with a coarse grain, viz., ash,
+birch, and oak. This rising of the grain can in a great measure be
+prevented by passing a damp sponge over the work before commencing the
+polishing, allowing it to dry, and papering it. After the rubbing or
+smoothing-down process is finished, the work should be well dusted; the
+polishing can then recommence. The above operation must be again
+repeated with a rotary motion and gradually increased pressure as the
+rubber gets dry, and finished by lighter rubbings the way of the grain;
+this will remove any slight marks that may be occasioned by the circular
+movements of the rubber.</p>
+
+<p>Working too long on any one part is to be avoided, nor should the rubber
+be allowed to stick even for an instant, or it will pull the coating of
+polish off to the bare wood. The rubber should be covered with a clean
+part of the rag as soon as a shiny appearance becomes apparent upon it,
+or at each time of damping, and less oil should be used towards the end
+of the operation, so as to gradually clear it all off from the surface.
+Rubber marks can be removed by rubbing in a direction the reverse of the
+marks with a half-dry rubber and increased pressure. When the work has
+received a sufficient body, in finishing the drying of <span class="pagenum">29</span><a name="Page_29" id="Page_29"></a>the last rubber,
+ply it briskly the way of the grain to produce a clean dry surface for
+the spiriting-off.</p>
+
+<p>The following is the method usually employed on fine carved or turned
+work when finished in the best style. In the first place it is embodied
+with polish, using a small rubber for the operation, after which it
+should have one coat of shellac (two parts by weight of shellac to one
+of spirits) applied with a brush, and when dry it should be carefully
+smoothed down with flour paper, the utmost caution being observed in
+dealing with the sharp edges, or the carving will be spoiled. Then it is
+embodied with polish again, and one coat of glaze applied with the
+greatest care. A few hours should be allowed to harden, and then
+finished off with a rubber slightly damped with thin polish. This is an
+expensive method, but it will pay in appearance for all the time
+bestowed.</p>
+
+<p>For the best class of cabinet and pianoforte work in amboyna or
+burr-walnut it is advisable not to use linseed-oil on the sole of the
+rubber when polishing, but the best hog's lard; the reason for this is
+that these veneers being so extremely thin and porous the oil will
+quickly penetrate through to the groundwork, softening the glue, and
+causing the veneers to rise in a number of small blisters. Of course,
+this is not always the case, but the use of lard instead of oil will be
+found a good preventative. Lard is also used on the above class of work
+when it is desirable to preserve the colour of the wood in its natural
+state. <span class="pagenum">30</span><a name="Page_30" id="Page_30"></a></p>
+
+<p>The following method is employed for the best work: Immediately
+on receiving the job from the cabinet-maker, a good coating of thin,
+clean glue should be applied with a sponge or brush; this is allowed to
+dry, and thoroughly harden; it is then cleaned off, using the scraper
+and glass-paper, cutting it down to the wood. The bodying-in with white
+polish is the next process, the usual sinking period being allowed; it
+is again cleaned off, but the scraper this time should not quite reach
+the wood. Then embody again, and treat in a like manner. In getting up
+the permanent body, commence with a slight embodying; let this stand,
+and when the sinking period is over rub it down with a felt rubber and
+powdered pumice-stone; continue this several times, till the surface
+presents a satisfactory appearance, and the job is ready for the
+spiriting process. By this means the wood will retain its natural
+colour, and a beautiful transparent polish will result, and remain for a
+number of years. This also is an expensive process, but the result
+cannot be obtained in any other way.</p>
+
+
+<p><b>Spiriting-off.</b>&mdash;Most polishers affirm that if an interval of at least
+a couple of hours elapse between the final embodying and the
+spiriting-off the brilliancy of the polish will be improved, and remain
+harder and more durable. The spirit is applied in exactly the same way
+as the polish, and the same rubber can be used, but it should be
+<span class="pagenum">31</span><a name="Page_31" id="Page_31"></a>covered with more than one fold of the soft linen rag; care should be
+taken not to make it very wet, or the gum on the surface of the work
+will be redissolved, and a dulness instead of a brilliancy will result.
+If the spirit should be very strong, the rubber should be breathed upon
+before using, and a little more oil taken up; some, however, prefer to
+mix a little polish with the spirit, while others prefer the spirit to
+be weakened by exposure to the air for a few hours; experience alone
+must be the teacher in this particular; but if the spirit should not
+"bite," as it is termed, all will be well. The last rubber should be
+worked a little longer than usual, and a trifle quicker, so as to remove
+the slight greasy moisture on the surface.</p>
+
+<p>The finishing touch is given to the work by a soft rag loosely rolled up
+and just a few drops of spirit dropped upon it, applied quickly the way
+of the grain. This will remove every defect, and leave it clear and
+brilliant. If, in a short time after finishing, the polish becomes dull
+or rough, it will be owing to too much oil being absorbed in the process
+and working through the surface, combined with dust. It should be
+cleaned off first with a soft cloth, damped with a little warm water,
+and the whole repaired, as at first, with equal parts of polish and
+spirits mixed together, using the least possible damp of oil to make it
+finish clear; there is no danger of its happening again. In all cases
+the work must be rubbed till <span class="pagenum">32</span><a name="Page_32" id="Page_32"></a>quite dry, and when nearly so the pressure
+may be increased.</p>
+
+<p>The rubber for spiriting-off should be made up from a piece of old
+flannel, and be covered with a piece of old rag. This is preferable to
+very thin rag, and will give a better finish.</p>
+
+
+<p><b>Prepared Spirits.</b>&mdash;This preparation is useful for finishing, as it
+adds to the lustre and durability, as well as removes every defect of
+other polishes, and it gives the surface a most brilliant appearance.</p>
+
+<p>It is made of half a pint of the very best rectified spirits of wine,
+two drachms of shellac, and two drachms of gum benzoin. Put these
+ingredients in a bottle and keep 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.</p>
+
+
+<p><b>Antique Style.</b>&mdash;For medi&aelig;val or old English furniture a dull polish is
+generally preferred to a French polish, because it has a gloss rather
+than a brilliant polish, which materially assists in showing up
+mouldings or carvings to the best advantage; it is also more in
+character with the work of the Middle Ages. Another advantage is the
+facility of obtaining a new polish (after being once done) should the
+first one get tarnished, as <span class="pagenum">33</span><a name="Page_33" id="Page_33"></a>the finishing process can be performed
+without difficulty by any one, and a new polish obtained each time.</p>
+
+<p>On receiving a job which is required to be done in this style, it should
+be "filled-in" in the usual manner, and afterwards bodied with white
+polish to a good extent; it is then left for a sinking period (say
+twelve hours). The work is then carefully rubbed down with powdered
+pumice-stone and a felt-covered block or rubber, and after well dusting
+it is ready for finishing. The preparation used for this process is
+mainly composed of bees'-wax and turpentine (see Wax Polish, page <a href="#Page_87">87</a>),
+well rubbed in with a piece of felt or a woollen rag, and finished off
+by rubbing briskly with a very soft cloth or an old handkerchief to
+produce a gloss.</p>
+
+
+<p><b>Dull or Egg-shell Polish.</b>&mdash;This is another style of finishing for
+medi&aelig;val work; the process is very simple. In commencing a job to be
+finished in this style, the process of "filling-in" and "embodying" are
+first gone through, then a sinking period is allowed, after which it is
+embodied again, till the work is ready for finishing. All the parts
+should be carefully examined to see if there is a good coating of polish
+upon them. This is important, for if the work should be only thinly
+coated it is liable to be spoiled by rubbing through in the last
+process. After allowing a few hours for the surface to <span class="pagenum">34</span><a name="Page_34" id="Page_34"></a>harden, a pounce
+bag of powdered pumice-stone should be applied to the work, and a
+felt-covered rubber used, rubbing down in the direction of the grain
+until the work is of the desired dulness.</p>
+
+<p>For the cheaper kind of work done in this style, the first process, of
+course, is the filling-in; then a rubber of wadding is taken and used
+without a cover, made rather sappy with polish and a few drops of oil
+added; and after bodying-in with this sufficiently, the work should be
+stood aside for twelve hours, then rubbed down with some fine worn
+glass-paper. The embodying is then again commenced, a proper rubber and
+cover being used; and when sufficient is put on, and while the surface
+is still soft, the pounce above mentioned should be applied, and rubbed
+down with a piece of wadding slightly moistened with linseed-oil until
+the desired dulness appears. This is becoming the fashionable finish for
+black walnut work.</p>
+
+
+<p><b>Polishing in the Lathe.</b>&mdash;The lathe is of more use to a polisher than a
+great many persons outside the trade would imagine. By its aid turned
+work can be finished in a most superior style, and in less time than by
+hand. The articles usually done by the lathe are wood musical
+instruments, such as clarionets, flutes, etc.; also cornice-poles, ends,
+and mahogany rings, the latter being first placed in a hollow <span class="pagenum">35</span><a name="Page_35" id="Page_35"></a>chuck and
+the insides done, after which they are finished upon the outside on a
+conical chuck. For table-legs, chair-legs, and all the turnery used in
+the cabinet-work, it will be found of great advantage to finish the
+turned parts before the work is put together.</p>
+
+<p>Most of the best houses in the trade finish their work in this way,
+where all the work is polished out entirely with the rubber. In the
+first place, the filling-in is done. The band is thrown off the pulley
+and the work rubbed in; at the same time the pulley is turned round by
+the left hand. When this is done, the band is replaced and the work
+cleaned off with rags or shavings, the lathe to be driven with speed to
+get a clean surface. When applying the polish the lathe should revolve
+with a very slow motion.</p>
+
+<p>The rubbers best adapted for turned work are made of white wadding, as
+the hollows and other intricacies can be completely finished out with a
+soft rubber. The work should first receive a coating of thick shellac,
+two parts by weight of shellac to one of methylated spirits, and applied
+with a brush or a soft sponge; after a couple of hours this is nicely
+smoothed with fine paper, and the "bodying-in" completed with the soft
+rubber and thin polish. There are numerous hard woods which do not
+require filling-in, amongst which may be mentioned boxwood, cocus,
+ebony, etc.; these may be rapidly polished in the lathe, on account of
+their texture, with the white polish. <span class="pagenum">36</span><a name="Page_36" id="Page_36"></a>In spiriting-off a very soft
+piece of chamois leather (if it is hard and creased it will scratch)
+should be damped with methylated spirits, then wrung so that the spirit
+may be equally diffused; the lathe should then be driven at a rapid
+speed, and the leather held softly to the work. In a few minutes, if a
+dark wood, a brilliant surface will be produced. </p>
+
+
+
+<hr style="width: 65%;" /><p><a name="CHAPTER_IV" id="CHAPTER_IV"></a><span class="pagenum">37</span><a name="Page_37" id="Page_37"></a></p>
+<h2>CHAPTER IV.</h2>
+
+<h4>CHEAP WORK.</h4>
+
+
+<p><b>Glazing.</b>&mdash;Glaze is known to the trade under several names, such as
+slake, finish, and telegraph; it is used only for cheap work, when
+economy of time is a consideration, and is made as follows: mastic, 1
+oz.; benzoin, 5 ozs.; methylated spirit, 5 gills. A superior article can
+be obtained from G. Purdom, 49, Commercial Road, Whitechapel, E., who is
+the manufacturer of a "patent glaze."</p>
+
+<p>First give the work a rubber or two of polish after the "filling-in"; it
+is important to dry the last rubber thoroughly, so that no unctuousness
+remains upon the surface before applying the glaze, otherwise it will be
+of no effect. The way to apply it is as follows: Prepare a rubber as for
+polishing and make it moderately wet, and take only one steady wipe the
+way of the grain, never going over the same surface twice while wet; and
+when dry, if one coat is found not to be enough, apply a second in the
+same manner. For mouldings or the backs and sides of chair-work, this is
+generally considered to be sufficient. Some <span class="pagenum">38</span><a name="Page_38" id="Page_38"></a>polishers will persist in
+using glaze to a large extent, even on the best-paid work; but it is not
+recommended, as the surface will not retain its brilliancy for a
+lengthened period, particularly in hot weather. Nothing is so good for
+the best class of work as polishing entirely with French polish.</p>
+
+<p>The way of treating small flat surfaces such as the frames of tables,
+looking-glasses, builders' work, etc., is to first fill in, and give one
+or two rubbers of polish, drying the last rubber thoroughly; then glaze,
+and after a period of two or three hours finish with a rubber slightly
+wetted with thin polish. It is a bad plan to put glaze on newly-spirited
+work, or to re-apply it on old bodies.</p>
+
+<p>The following is another method for cheap work: A coating of clear size
+is first given in a warm state (this can be obtained at most oil-shops),
+and when dry is rubbed down with fine glass-paper, after which a coating
+of varnish is applied with a sponge or a broad camel-hair brush, giving
+long sweeping strokes. The tool should be plied with some degree of
+speed, as spirit varnishes have not the slow setting properties which
+distinguish those of oil, and care should be taken not to go over the
+same part twice. When this is thoroughly hard it is nicely smoothed with
+fine paper, a few rubberfuls of polish is given, and it is then ready
+for spiriting-off.</p>
+
+<p>Another plan is frequently adopted for cheap <span class="pagenum">39</span><a name="Page_39" id="Page_39"></a>work: Make a thin paste
+with plaster of Paris, suitably tinted and watered, and well rub in
+across the grain with a piece of felt or old coarse canvas till the
+pores are all full; any superfluity should be instantly wiped off from
+the surface before it has time to set. The succeeding processes are
+papering and oiling. In applying the polish, which should be done
+immediately after oiling, the rubber should be made rather sappy with
+thin polish, and worked without oil. During the embodying a pounce-bag
+containing plaster of Paris is sparingly used; this application tends to
+fill the pores and also to harden the body of polish on the exterior,
+but too much should not be used, or it will impart a semi-opaque
+appearance to the work. This first body is allowed sufficient time to
+harden; it is then rubbed down lightly with flour paper or old worn No.
+1, and then embodied with thicker polish or a mixture of polish and
+varnish, and the smallest quantity of oil applied to the rubber. When a
+sufficient body of polish is given to the work, the surface is rubbed
+very carefully with a lump of moist putty plied in the longitudinal
+direction of the grain; this will bring up a gloss, and very little
+spiriting will be required.</p>
+
+
+<p><b>Stencilling.</b>&mdash;An imitation of marqueterie on light-coloured woods can
+be obtained by the following method: Cut a stencil pattern in stout
+cartridge paper (this is best done upon a piece of <span class="pagenum">40</span><a name="Page_40" id="Page_40"></a>glass with the point
+of a sharp penknife), and place it on the centre of a panel or wherever
+required, and have ready some gas-black mixed with thin polish; apply
+this with a camel-hair pencil over the cut-out pattern, and when it is
+removed finish the lines and touch up with a finer tool. The work should
+be first bodied-in, and when the pattern is dry rubbed down with a piece
+of hair-cloth (the smooth side down) on a cork rubber to a smooth
+surface, after which the polishing can be proceeded with until finished.
+Upon oak this will have the appearance of inlaid work.</p>
+
+
+<p><b>Charcoal Polishing.</b>&mdash;A method known as "charcoal polishing" is now
+much used for producing the beautiful dead-black colour which seems to
+have the density of ebony. Its invention is due to French
+cabinet-makers. The woods used by them are particularly well adapted for
+staining black or any other colour, limetree, beech, cherry, pear, soft
+mahogany, or any wood of a close and compact grain being the woods
+usually selected.</p>
+
+<p>The first process is to give the work a coating of camphor dissolved in
+water and made rather strong; this will soon soak into the wood, and
+immediately afterwards another coat composed of sulphate of iron-water
+with a few nut-galls added. These solutions in blending penetrate the
+wood and give it an indelible tinge, and also prevent insects from
+attacking it. After these coats are <span class="pagenum">41</span><a name="Page_41" id="Page_41"></a>dry, rub the surface with a hard
+brush (an old scrubbing-brush will do) the way of the grain, after which
+rub the flat parts with natural stick charcoal, and the carved or
+indented portions with powdered charcoal; the softest portion of the
+charcoal only should be used, because if a single hard grain should be
+applied it would seriously damage the surface. The workman should have
+ready at the same time a preparation of linseed-oil and essence of
+turpentine (linseed-oil one gill, and essence of turpentine one
+teaspoonful), a portion of which should be freely taken up with a piece
+of soft flannel and well rubbed into the work. These rubbings with the
+preparation and charcoal several times will give the article of
+furniture a beautiful dead-black colour and polish. This method of
+polishing is applied to the black-and-gold furniture, cabinets, etc., in
+imitation of ebony.</p>
+
+<p>Another good black polish is obtained by gas-black being applied to the
+rubber after wetting with French polish, the cover being then put on and
+worked in the usual manner.</p>
+
+<p>These black polishes should not be applied if there are coloured woods
+in the piece of furniture. Should the work be already dyed black, or in
+black veneers, it is best to use white polish, which will greatly help
+to preserve the transparent density of the dye. </p>
+
+
+
+<hr style="width: 65%;" /><p><a name="CHAPTER_V" id="CHAPTER_V"></a><span class="pagenum">42</span><a name="Page_42" id="Page_42"></a></p>
+<h2>CHAPTER V.</h2>
+
+<h4>RE-POLISHING OLD WORK.</h4>
+
+
+<p>If the piece of furniture requiring to be re-polished should be in bad
+condition, it is best to clean off thoroughly, using the liquid ammonia
+(see page <a href="#Page_94">94</a>), or by the scraper and glass-paper. The indentations may
+be erased by dipping into hot water a piece of thick brown paper three
+or four times doubled and applying it to the part; the point of a
+red-hot poker should be immediately placed upon the wet paper, which
+will cause the water to boil into the wood and swell up the bruise; the
+thickness of the paper prevents the wood from being scorched by the hot
+poker. After the moisture is evaporated, the paper should be again
+wetted if required. If only shallow dents, scratches, and broken parts
+of the polish present themselves, carefully coat them two or three times
+with a thick solution of shellac, and when the last coating becomes hard
+carefully paper down with a piece of old glass-paper and a cork rubber.</p>
+
+<p>If the surface should be in good condition, it <span class="pagenum">43</span><a name="Page_43" id="Page_43"></a>is necessary only to
+remove the viscid rust; this is done by friction with a felt-covered
+rubber and pure spirits of turpentine; by this means the polish remains
+unsullied. If the surface should not be in very good condition, a
+flannel should be used smeared with a paste of bathbrick-dust and water,
+or a paste made of the finest emery flour and spirits of turpentine.
+After cleansing, and before the polish is applied, it is a good plan to
+just moisten the surface with raw linseed-oil; this will cause the old
+body to unite with the new one.</p>
+
+<p>In order to carry out the process of re-polishing with facility, it is
+necessary to disunite all the various parts, such as panels, carvings,
+etc., before commencing the operation. The polish is applied in the
+usual manner, and when a good body is laid on the work should be set
+aside for twelve hours, after which it can be finished. It should be
+particularly observed that in polishing no job should be finished
+immediately after the rubbing-down process; a sinking period should
+always be allowed. If the work should be immediately finished, the
+consequences are that in a few hours all the marks and scratches of the
+paper, etc., will be discernible, and the polished surface will present
+a very imperfect appearance, although looking perfect when first
+finished.</p>
+
+<p>Holes and crevices may be well filled up with a cement made in the
+following manner: In a large iron spoon place a lump of beeswax about
+<span class="pagenum">44</span><a name="Page_44" id="Page_44"></a>the size of a walnut, a pinch of the pigments mentioned on page <a href="#Page_5">5</a>,
+according to the colour required, a piece of common rosin the size of a
+nut, and a piece of tallow as large as a pea; melt, and it is ready for
+use. Some add a little shellac, but much will make it very brittle. A
+similar substance to the above can be bought at the French warehouses.</p>
+
+
+
+<hr style="width: 65%;" /><p><a name="CHAPTER_VI" id="CHAPTER_VI"></a><span class="pagenum">45</span><a name="Page_45" id="Page_45"></a></p>
+<h2>CHAPTER VI.</h2>
+
+<h4>SPIRIT VARNISHING.</h4>
+
+
+<p>Most polishers are agreed that to obtain a good surface with varnish it
+is necessary to give the work, where it is possible to do so, a
+rubberful of polish first, and to thoroughly dry the rubber; but in most
+carved work the surface is not accessible, and the brush must be used.
+Sometimes the carving is extremely coarse, and with an open porous
+grain, in which case it is best to oil it first and then to fine-paper
+it down; by this process a thin paste is formed by the attrition, which
+materially assists in filling up the pores. Before commencing to use the
+varnish have ready an earthenware dish or box,&mdash;one of the tins used for
+the preserved meats or fish will answer the purpose,&mdash;with two holes
+drilled so that a piece of wire can be fastened diametrically across the
+top; this is called a "regulator," and when the brush is passed once or
+twice over this it prevents an unnecessary quantity of varnish being
+transferred to the work. <span class="pagenum">46</span><a name="Page_46" id="Page_46"></a></p>
+
+<p><b>Varnishes.</b>&mdash;The ingredients for making
+varnish are very similar to those for making polish, but the proportions
+are somewhat different. Furniture varnish consists of two kinds, viz.:
+the brown-hard and the white-hard; the former is used for dark woods,
+such as mahogany, walnut, rosewood, etc.; whilst the latter is used for
+the light-coloured woods, in conjunction with the white polish. A few
+years since the brown-hard varnish was made from these ingredients:</p>
+
+<p style="margin-left: 25%; margin-right: 25%;">
+1 gallon of methylated spirit,<br />
+40 ozs. of shellac,<br />
+4 ozs. of rosin,<br />
+5 ozs. of benzoin,<br />
+2 ozs. of sandarach,<br />
+2 ozs. of white rosin.<br />
+</p>
+
+<p>The brown-hard varnish which is used at the present time is made
+differently, and produces a better result; it is made from the
+following:</p>
+
+<p style="margin-left: 25%; margin-right: 25%;">
+1 gallon of methylated spirit,<br />
+32 ozs. of shellac,<br />
+8 ozs. of rosin,<br />
+8 ozs. of benzoin.<br />
+</p>
+
+<p>The white-hard or transparent varnish for white wood is made with</p>
+
+<p style="margin-left: 25%; margin-right: 25%;">
+1 gallon of methylated spirit,<br />
+32 ozs. of bleached shellac,<br />
+24 ozs. of gum sandarach.<br />
+</p>
+
+<p>In making either polishes or varnishes, all the <span class="pagenum">47</span><a name="Page_47" id="Page_47"></a>gums should be first
+pounded and reduced to powder before mixing with the spirit, and when
+mixed they should be occasionally well shaken or stirred, so as to
+hasten their dissolution.</p>
+
+
+<p><b>Brushes and Pencils.</b>&mdash;The brushes used for varnishing are either flat,
+in tin, or round, tied firmly to the handle, and made of camel's-hair;
+but the small white bristle-tools and red-sable pencils will frequently
+be found of service in coating delicate carving, or turned work. Varnish
+brushes can be obtained from a quarter of an inch to four inches and
+upwards in width; the most useful brush, however, for general use is
+about an inch wide. It is important that brushes should be cleaned in
+spirits immediately after use, for if laid by in varnish they lose their
+elasticity and are soon spoiled; but if this preservative principle is
+ever neglected, the hardened brush should be soaked in methylated
+spirit, and if wanted for immediate use the spirit will soften the
+varnish quicker if made luke-warm. The spirit should be gently pressed
+out by the finger and thumb. All varnish brushes when not in use should
+be hung up, or kept in such a position that they do not rest upon their
+hairy ends, either in a box or tin free from dust.</p>
+
+
+<p><b>Mode of Operation.</b>&mdash;It is usual in varnish<span class="pagenum">48</span><a name="Page_48" id="Page_48"></a>ing to give the work three
+coats, and always allow each coat to dry thoroughly before applying the
+next. It should be noted that spirit varnishes begin to dry immediately
+they are laid on; therefore, on no account should they be touched with
+the brush again whilst wet, or when dry they will present a rough
+surface. Always ply the brush quickly, and never go over a second time.
+When giving the first or second coats it is unimportant how they are
+applied, whether across the grain or with the grain, but the finishing
+coat should always be with the grain. If the varnish should appear
+frothy when laid on, it is of no consequence, as it will dry smooth if
+equally and evenly applied before a good fire or in a warm atmosphere.</p>
+
+<p>Coloured varnishes can be made in exactly the same manner as coloured
+polishes (see page <a href="#Page_6">6</a>). The beautiful glossy black varnishes so admired
+on Indian cabinet-work, specimens of which can be seen at the Indian
+Museum, are very difficult to obtain in England, but a description of
+them may be interesting.</p>
+
+
+<p><b>East Indian Varnishes.</b>&mdash;The Sylhet varnish is composed of two parts of
+the juice of the bhela (the tree which bears the marking nuts of India),
+and one part of the juice of the jowar. The articles varnished with it
+at Sylhet are of the most beautiful glossy black; and it seems equally
+<span class="pagenum">49</span><a name="Page_49" id="Page_49"></a>fitted for varnishing iron, leather, paper, wood, or stone. It has a
+sort of whitish-grey colour when first taken out of the bottle, but in a
+few minutes it becomes perfectly black by exposure to the air. In the
+temperature of this country it is too thick to be laid on alone; but it
+may be rendered more fluid by heat. In this case, however, it is clammy,
+and seems to dry very slowly. When diluted with spirits of turpentine,
+it dries more quickly; but still with less rapidity than is desirable.</p>
+
+<p>The <i>tsitsi</i>, or Rangoon varnish, is less known than the Sylhet varnish.
+It is probably made from the juice of the bhela alone. It appears to
+have the same general properties as the Sylhet varnish, but dries more
+rapidly. The varnish from the <i>kheeso</i>, or varnish-tree, may be the same
+as the Rangoon varnish, but is at present considered to be very
+different. The kheeso grows particularly in Kubboo, a valley on the
+banks of the Ningtee, between Munnipore and the Burman empire. It
+attains to such a large size, that it affords planks upwards of three
+feet in breadth, and in appearance and grain is very like mahogany. A
+similar tree is found in great abundance and perfection at Martaban.</p>
+
+<p>A poisonous vapour exhales from several of the Indian varnishes,
+especially from that of Sylhet, and is apt to produce over the whole
+skin inflammations, swellings, itchings, and pustules, as if the body
+had been stung by a number of wasps. Its <span class="pagenum">50</span><a name="Page_50" id="Page_50"></a>effects, however, go off in a
+few hours. As a preventative the persons who collect the varnish, before
+going to work, smear their faces and hands with greasy matter to prevent
+the varnish poison coming into contact with their skin.</p>
+
+
+
+<hr style="width: 65%;" /><p><a name="CHAPTER_VII" id="CHAPTER_VII"></a><span class="pagenum">51</span><a name="Page_51" id="Page_51"></a></p>
+<h2>CHAPTER VII.</h2>
+
+<h4>GENERAL INSTRUCTIONS.</h4>
+
+
+<p><b>Remarks on Polishing.</b>&mdash;Amateurs at French polishing will be more
+successful on a large surface than a small one.</p>
+
+<p>When polishing, the rubber-cloth should be changed occasionally, or the
+brightness will not remain when finished.</p>
+
+<p>A most efficacious improver of many kinds of woods is raw linseed-oil
+mixed with a little rectified spirits of turpentine.</p>
+
+<p>French polish can be tinted a light-red with alkanet-root, and a
+dark-red with dragon's blood.</p>
+
+<p>A good Turkey sponge is capable of spreading either stain or varnish
+more smoothly than a camel's-hair brush on a flat surface.</p>
+
+<p>The sub-nitrate of bismuth mentioned on p. 12 is beginning to supersede
+oxalic acid for bleaching processes.</p>
+
+<p>Thin panels for doors should be securely tacked down to a level board,
+and polished with a <span class="pagenum">52</span><a name="Page_52" id="Page_52"></a>large round flannel rubber having a very flat sole.
+Fret-work panels should have all the edges entirely finished with
+varnish before they undergo the above operation. To get a good polish
+upon a full-fret panel is considered by polishers to be the most
+difficult part in the work, on account of the extreme delicacy and
+frangibility of the work and the great carefulness required.</p>
+
+<p>Soft spongy wood may be satiated by rubbing a sponge well filled with
+polish across the grain until it becomes dry.</p>
+
+<p>In polishing a very large surface, such as a Loo-table top or a wardrobe
+end, it is best to do only half at a time, or if a large top a quarter
+only.</p>
+
+<p>The approved method of treating dining-table tops is to well body-in
+with French polish, after which thoroughly glass-paper down with fine
+paper, and then use the oil polish (see page <a href="#Page_87">87</a>).</p>
+
+<p>Immediately after using a rubber, it should be kept in an air-tight tin
+canister, where it will always remain fresh and fit for use.</p>
+
+
+<p><b>The Polishing Shop.</b>&mdash;A few words as to the polishing shop may be
+acceptable to those who possess ample room and desire the best results.</p>
+
+<p>First in order is the location and arrangement <span class="pagenum">53</span><a name="Page_53" id="Page_53"></a>of the finishing rooms.
+Preference is to be given to the upper rooms of a building for several
+reasons, among which may be named the securing of better light, greater
+freedom from dust, and superior ventilation.</p>
+
+<p>A good light in this, as in many other arts, is a very important matter,
+and by a good light we mean all the light that can be obtained without
+the glare of the direct rays of the sun. Light from side windows is
+preferable to that from skylights for three reasons: (1) Skylights are
+very liable to leakage; (2) they are frequently, for greater or less
+periods, covered with snow in winter; (3) the rays of the sun
+transmitted by them in summer are frequently so powerful as to blister
+shellac or varnish.</p>
+
+<p>Good ventilation is at all times of importance, and especially so in
+summer, both as tending to dry the varnish or shellac more evenly and
+rapidly, and as contributing to the comfort of the workmen. The latter
+consideration is of importance even as a matter of economy, as men in a
+room the atmosphere of which is pleasant and wholesome will feel better
+and accomplish more than they could do in the close and forbidding
+apartments in which they sometimes work.</p>
+
+<p>Any suggestion in reference to freedom from dust, as a matter to be
+considered in locating rooms for this business, would seem to be
+entirely superfluous, as it is clear that there is hardly any
+<span class="pagenum">54</span><a name="Page_54" id="Page_54"></a>department of mechanical work which is so susceptible to injury from
+dust as the finishing of furniture, including varnishing and polishing.</p>
+
+<p>Finishing rooms may be arranged in three departments. The first should
+include the room devoted to sand-papering and filling. These processes,
+much more than any other part of furniture polishing, produce dirt and
+dust, and it is plain that the room devoted to them should be so far
+isolated from the varnishing room as not to introduce into it these
+injurious elements.</p>
+
+<p>Another room should be appropriated to the bodying-in, smoothing and
+rubbing-down processes. The third room is for spiriting and varnishing,
+or the application of the final coats of varnish, which is the most
+important of all the processes in finishing. It requires a very light
+and clean room, and a greater degree of heat than a general workroom. It
+should, as nearly as possible, be uniform, and kept up to <i>summer heat</i>;
+in no case ought the temperature to fall below fifty nor rise higher
+than eighty-five degrees Fahrenheit while the varnishing process is
+going on. Varnishing performed under these circumstances will be more
+thorough in result, have a brighter appearance and better polish, than
+if the drying is slow and under irregular temperature. For drying work,
+the best kind of heat is that from a stove or furnace. <span class="pagenum">55</span><a name="Page_55" id="Page_55"></a></p>
+
+<p>Steam heat is
+not so good for two reasons: (1), it is too moist and soft, causing the
+work to sweat rather than to dry hard, and (2), the temperature of a
+room heated by steam is liable to considerable variation, and especially
+to becoming lower in the night. This <i>fire heat</i> is as necessary for the
+varnishing room in damp and cloudy weather in summer as it is in winter.
+At all seasons, and by night as well as by day, the heat should be as
+dry as possible, and kept uniformly up to summer heat, by whatever means
+this result is secured. Varnished work, after receiving the last coat,
+should be allowed to remain one day in the varnishing room. It may then
+be removed into the general workroom.</p>
+
+<p>A remark may be proper here, viz., that there is sometimes a failure to
+secure the best and most permanent results from not allowing sufficient
+time for and between the several processes. An order is perhaps to be
+filled, or for some other reason the goods are "rushed through" at the
+cost of thoroughness and excellence of finish.</p>
+
+<p>The following suggestion is made by way of caution in reference to the
+disposal of oily rags and waste made in the various processes of
+finishing. These articles are regarded as very dangerous, and are
+frequently the cause of much controversy between insurance companies and
+parties who are insured. The best way to dispose of this waste is to put
+it into the stove and <span class="pagenum">56</span><a name="Page_56" id="Page_56"></a>burn it as fast as it is produced. If this rule
+is strictly adhered to there will be no danger of fire from this source.
+All liquid stock should be kept in close cans or barrels, and as far
+from the fire as possible.</p>
+
+
+
+<hr style="width: 65%;" /><p><a name="CHAPTER_VIII" id="CHAPTER_VIII"></a><span class="pagenum">57</span><a name="Page_57" id="Page_57"></a></p>
+<h2>CHAPTER VIII.</h2>
+
+<h4>ENAMELLING.</h4>
+
+
+<p>The process of enamelling in oil varnishes as applied to furniture must
+be understood as a smooth, glossy surface of various colours produced by
+bodies of paint and varnish skilfully rubbed down, and prepared in a
+peculiar way so as to produce a surface equal to French polish. Ornament
+can be added by gilding, etc., after the polished surface is finished.</p>
+
+<p>We will begin with the white or light-tinted enamel. The same process
+must be pursued for any colour, the only difference being in the
+selection of the materials for the tint required to be produced.</p>
+
+<p>It should be observed that enamelling requires the exercise of the
+greatest care, and will not bear hurrying. Each coat must be allowed
+sufficient time for the hardening, and the rubbing down must be
+patiently and gently done; heavy pressure will completely spoil the
+work.</p>
+
+
+<p><b>Materials</b>.&mdash;The materials used for the purpose above named are: white
+lead ground in <span class="pagenum">58</span><a name="Page_58" id="Page_58"></a>turpentine and the best white lead in oil; a clear,
+quick, and hard-drying varnish, such as the best copal, or the varnishes
+for enamel manufactured by Mr. W. Urquhart, 327, Edgware Road, W.; or
+white coburg and white enamel varnish, ground and lump pumice-stone, or
+putty-powder, great care being taken in the selection of the
+pumice-stone, as the slightest particle of grit will spoil the surface;
+and rotten-stone, used either with water or oil.</p>
+
+
+<p><b>Tools</b>.&mdash;The tools required are several flat wooden blocks, of various
+sizes and forms, suitable for inserting into corners and for
+mouldings&mdash;these must be covered with felt on the side you intend to
+use, the felt best adapted for the purpose being the white felt, from a
+quarter to half an inch in thickness, which can be obtained of Messrs.
+Thomas Wallis &amp; Co., Holborn Circus, or at the woollen warehouses; two
+or three bosses (made similar to polish rubbers) of cotton-wool, and
+covered with silk (an old silk handkerchief makes capital coverings);
+wash or chamois leather, and a good sponge.</p>
+
+
+<p><b>Mode of Operation</b>.&mdash;If the wood is soft and porous it is best to
+commence with a coating of size and whiting applied in a warm state,
+which is allowed to dry; it is then rubbed down with <span class="pagenum">59</span><a name="Page_59" id="Page_59"></a>glass-paper, and
+two coats of common paint given, mixed in the usual way and of the same
+colour as you intend to finish with. In practice this is found to be
+best; after these two coats are thoroughly dry, mix the white-lead
+ground in turps, with only a sufficient quantity of varnish to bind it,
+thinning to a proper consistency with turps. It is as well to add a
+little of the ordinary white-lead ground in oil, as it helps to prevent
+cracking. Give the work four or five coats of this, and allow each coat
+to dry thoroughly. When it is hard and ready for rubbing down, commence
+with a soft piece of pumice-stone and water, and rub just sufficient to
+take off the roughness. Now use the felt-covered rubbers and ground
+pumice-stone, and cut it down, working in a circular manner. The
+greatest care is required to obtain a level surface free from scratches.</p>
+
+<p>After the work is well rubbed down, if it should appear to be
+insufficiently filled up, or if scratched, give it two more coats, laid
+on very smoothly, and rub down as before. If properly done, it will be
+perfectly smooth and free from scratches. Wash it well down, and be
+careful to clean off all the loose pumice-stone. Then mix flake-white
+from the tube with either of the above-named varnishes, till it is of
+the consistency of cream. Give one coat of this, and when dry give it
+another, adding more varnish. Let this dry hard, the time taken for
+which will of course depend upon the drying qualities of the varnish;
+<span class="pagenum">60</span><a name="Page_60" id="Page_60"></a>some will polish in eight or nine days, but it is much the best to let
+it stand as long as you possibly can, as the harder it is, the brighter
+and more enduring will be the polish. When sufficiently hard, use the
+felt, and very finely-ground pumice-stone and water; with this cut down
+till it is perfectly smooth; then let it stand for a couple of days, to
+harden the surface.</p>
+
+
+<p><b>Polishing.</b>&mdash;In commencing to bring up a polish, first take
+rotten-stone, either in oil or water; use this with the felt rubber for
+a little while, then put some upon the surface of the silk-covered boss,
+and commence to rub very gently in circular strokes; continue this till
+there is a fine equal surface all over. The polish will begin to appear
+as you proceed, but it will be of a dull sort. Clean off: if the
+rotten-stone is in oil, clean off with dry flour; if in water, wash off
+with sponge and leather, taking care that you wash it perfectly clean
+and do not scratch.</p>
+
+<p>You will now, after having washed your hands, use a clean damp chamois
+leather, holding it in the left hand, and using the right to polish
+with, keeping it clean by frequently drawing it over the damp leather.
+With the ball of the right hand press gently upon the work, and draw
+your hand sharply, forward or towards you; this will produce a bright
+polish, and every time you bring <span class="pagenum">61</span><a name="Page_61" id="Page_61"></a>your hand forward a sharp shrill sound
+will be heard similar to rubbing on glass. Continue this till the whole
+surface is one bright even polish. It will be some time before you will
+be able to do this perfectly, especially if the skin is dry or hard, as
+it is then liable to scratch the work. A smooth, soft skin will produce
+the best polish.</p>
+
+<p>For the interior of houses, the "Albarine" enamel manufactured by the
+Yorkshire Varnish Company, of Ripon, is recommended. This article
+combines in itself a perfectly hard solid enamel of the purest possible
+colour; and for all interior decorations, where purity of colour and
+brilliancy of finish are desired, it is universally admitted to be the
+most perfect article of the kind hitherto introduced to the trade. It is
+applied in the same manner as ordinary varnish.</p>
+
+<p><i>Another Process.</i>&mdash;The preceding section describes the process of
+enamelling by oil varnishes, and the directions referring to the
+polishing will be found of value for the "polishing up" on painted
+imitations of woods or marbles. There is another process whereby an
+enamel can be produced upon furniture at a much cheaper rate than the
+preceding, and one too, perhaps, in which a polisher may feel more "at
+home." The work should first have a coating of size and whiting (well
+strained); this will act as a pore-filler. When dry, rub down with fine
+paper, after which use the felt-covered rubber and <span class="pagenum">62</span><a name="Page_62" id="Page_62"></a>powdered
+pumice-stone, to remove all the scratches caused by the glass-paper and
+to obtain a smooth and good surface. Then proceed to make a solution for
+the enamel: first procure two ounces of common isinglass from the
+druggist's, and thoroughly dissolve it in about a pint of boiling water;
+when dissolved, stir in two ounces and a-half of subnitrate of
+bismuth&mdash;this will be found to be about the right quantity for most
+woods, but it can be varied to suit the requirements. With this give the
+work one coat, boiling hot; apply it with a soft piece of Turkey sponge,
+or a broad camel's-hair brush, and when dry cut down with powdered
+pumice-stone; if a second coat is required, serve in precisely the same
+manner. Then proceed to polish in the ordinary way with white polish.
+After wetting the rubber, sprinkle a small quantity of the subnitrate of
+bismuth upon it; then put on the cover, and work in the usual manner;
+continue this till a sufficient body is obtained, and after allowing a
+sufficient time for the sinking and hardening it can be spirited off.</p>
+
+<p>Enamelled furniture has had, comparatively speaking, rather a dull sale,
+but there is no class of furniture more susceptible of being made to
+please the fancy of the many than this. It can be made in any tint that
+may be required by the application of Judson's dyes, and the exercise of
+a little skill in the decoration will produce very pleasing effects.
+<span class="pagenum">63</span><a name="Page_63" id="Page_63"></a></p>
+
+<p><b>Decorations.</b>&mdash;The decorations are usually ornaments drawn in gold. A
+cut-out stencil pattern is generally used, and the surface brushed over
+with a camel's-hair pencil and japanner's gold size, which can be
+obtained at the artist's colourman's, or, if preferred, can be made by
+boiling 4 ozs. of linseed-oil with 1 oz. of gum an&icirc;me and a little
+vermilion. When the size is tacky, or nearly dry, gold powder or gold
+leaf is applied. The gold is gently pressed down with a piece of
+wadding, and when dry the surplus can be removed with a round
+camel's-hair tool. In all cases where gold has been fixed by this
+process it will bear washing without coming off, which is a great
+advantage.</p>
+
+
+
+<hr style="width: 65%;" /><p><a name="CHAPTER_IX" id="CHAPTER_IX"></a><span class="pagenum">64</span><a name="Page_64" id="Page_64"></a></p>
+<h2>CHAPTER IX.</h2>
+
+<h4>AMERICAN POLISHING PROCESSES</h4>
+
+
+<p>The method of polishing furniture practised by the American
+manufacturers differs considerably from the French polishing processes
+adopted by manufacturers in most European countries. This difference,
+however, is mostly compulsory, and is attributable to the climate. The
+intense heat of summer and the extreme cold of winter will soon render a
+French polish useless, and as a consequence numerous experiments have
+been tried to obtain a polish for furniture that will resist heat or
+cold. The writer has extracted from two American cabinet-trade journals,
+<i>The Cabinet-maker</i> and <i>The Trade Bureau</i>, descriptions of the various
+processes now used in the States, which descriptions were evidently
+contributed by practical workmen. The following pages are not, strictly
+speaking, a mere reprint from the above-named journals, the articles
+having been carefully revised and re-written after having been
+practically tested; attention to them is, therefore, strongly
+recommended. <span class="pagenum">65</span><a name="Page_65" id="Page_65"></a></p>
+
+<p>In these processes the work is first filled in with a
+"putty filler," and after the surface has been thoroughly cleaned it is
+ready for shellac or varnish. Second, a coating of shellac is next
+applied with a brush or a soft piece of Turkey sponge. This mixture is
+composed of two parts (by weight) of shellac to one of methylated
+spirits, but what is called "thin shellac" is composed of one part
+shellac to two of spirits. After the coating is laid on and allowed to
+dry, which it does very soon, it is rubbed carefully with fine flour
+glass-paper, or powdered pumice-stone&mdash;about four coats are usually
+given, each one rubbed down as directed. Third, when the surface has
+received a sufficient body, get a felt-covered rubber and apply
+rotten-stone and sweet oil in the same manner as you would clean brass;
+with this give the work a good rubbing, so as to produce a polish.
+Fourth, clean off with a rag and sweet oil, and rub dry; then take a
+soft rag with a few drops of spirit upon it, and vapour up to a fine
+polish. With these few preliminary remarks, the following will be easily
+understood.</p>
+
+
+<p><b>Use Of Fillers.</b>&mdash;The cost of a putty filler consists chiefly in the
+time consumed in applying it. In the matter of walnut-filling much
+expense is saved in the processes of coating and rubbing if the pores of
+the wood be filled to the surface with a substance that will not shrink,
+and will harden <span class="pagenum">66</span><a name="Page_66" id="Page_66"></a>quickly. The time occupied in spreading and cleaning a
+thin or fatty mixture of filler, or a stiff and brittle putty made fresh
+every day, is about the same, and while the thin mixture will be subject
+to a great shrinkage, the putty filler will hold its own. It will thus
+be seen that a proper regard to the materials used in making fillers,
+and the consistency and freshness of the same, form an important element
+in the economy of filling.</p>
+
+<p>A principal cause of poor filling is the use of thin material. By some a
+putty-knife is used, and the filling rubbed into the surfaces of
+mouldings with tow, while others use only the tow for all surfaces,
+mostly, however, in cases of dry filling. In the use of the wet filler,
+either with a knife or with tow, workmen are prone to spread it too thin
+because it requires less effort, but experience shows that the greatest
+care should always be taken to spread the putty stiff and thick,
+notwithstanding the complaints of workmen. In fact, this class of work
+does not bring into play so much muscle as to warrant complaints on
+account of it. Nor can there be any reasonable excuse for taking a
+longer time to spread a stiff filler than a thin filler.</p>
+
+<p>Good results are not always obtained by the use of thick fillers,
+because the putty is spread too soon after the application of the first
+coat of oil, which liquid should be quite thin, and reduced either with
+benzine or turpentine, so that when <span class="pagenum">67</span><a name="Page_67" id="Page_67"></a>the putty is forced into the pores
+the oil already in them will have the effect of thinning it. As an
+illustration of the idea meant here to be conveyed, we will suppose a
+quantity of thick mud or peat dumped into a cavity containing water, and
+a similar quantity of the same material dumped into another cavity
+having no water; the one fills the bottom of the cavity solid, while the
+other becomes partly liquid at the bottom, and must of necessity shrink
+before it assumes the solidity of the former. Hence it appears that work
+to be filled should be oiled and allowed to stand some time before
+receiving the filler, or until the oil has been absorbed into the pores.</p>
+
+<p>The preparatory coating should not be mixed so as to dry too quickly,
+nor allowed to stand too long before introducing the putty, for in this
+case the putty when forced along by the knife will not slip so easily as
+it should.</p>
+
+<p>The cost of rubbing and sand-papering in the finishing process is very
+much lessened if the cleaning be thorough, and if all the corners and
+mouldings be scraped out, so that pieces of putty do not remain to work
+up into the first coat of shellac, or whatever finish may be used as a
+substitute for shellac.</p>
+
+<p>Another important feature in hard filling is to let the work be well
+dried before applying the first coat of finish. One day is not
+sufficient for the proper drying of putty fillers, and if in consequence
+of insufficient drying a part of the <span class="pagenum">68</span><a name="Page_68" id="Page_68"></a>filling washes out, it is so much
+labour lost. As a safeguard against washing out, these fillers should be
+mixed with as much dryer or japan as the case warrants, for it
+frequently occurs that work must be finished, or go into finish, the day
+following the filling, whether it be dry or not.</p>
+
+<p>By observing the main facts here alluded to, good filling may always be
+obtained, and at a cost not exceeding that of poor work.</p>
+
+<p>For the light woods, including ash, chestnut, and oak, the filling is
+similar to that used in walnut, except the colouring material, which, of
+course, must be slight, or just enough to prevent the whiting and
+plaster from showing white in the pores. This colouring may consist of
+raw sienna, burnt sienna, or a trifle raw, or umber; one of these
+ingredients separate, or all three combined, mixed so as to please the
+fancy and suit the prevailing style. The colouring may be used with a
+dry filling, although a wet filling is more likely to give a smooth
+finish and greater satisfaction, and the colour of the filler can be
+seen better in the putty than in the dry powder.</p>
+
+<p>Upon cheap work a filler should be used that requires the least amount
+of labour in its application. For this purpose liquid fillers, like
+japan, are suitable. If, however, a fine finish on fine goods is
+required, the putty compositions of various mixtures are the more
+appropriate. The secret of the process of filling consists in the
+mix<span class="pagenum">69</span><a name="Page_69" id="Page_69"></a>ing of the compounds and the method of using them. A liquid filler
+or a japan simply spread over the work in one or two coats can hardly be
+called filling, yet this will serve the purpose very well for cheap
+furniture.</p>
+
+<p>Thick compositions or putty fillers are composed of whiting and plaster,
+or similar powders having little or no colour. This material is mixed
+with oil, japan, and benzine, with a sufficient quantity of colouring
+matter to please the fancy. The value of these fillers is in proportion
+to their brittleness or "shortness," as it is termed, and, to give them
+this quality, plaster is used and as much benzine or turpentine as the
+mixture will bear without being too stiff or too hard to clean off.
+Sometimes a little dissolved shellac is used to produce "shortness."
+This desirable feature of a filler is best effected by mixing a small
+quantity of the material at a time. Many workmen mistakenly mix large
+batches at a time with a view of securing uniformity of colour, and this
+is one cause why such fillers work tough and produce a poor surface. An
+oil mixture soon becomes fatty and tough, and must be reduced in
+consistency when used, as it is apt when old to "drag" and leave the
+pores only partly filled. These fillers should be mixed fresh every day,
+and allowed to stiffen and solidify in the wood rather than out of it.</p>
+
+<p>The surface of a pore is the largest part of it, and it is desirable to
+fill it to a level as nearly as <span class="pagenum">70</span><a name="Page_70" id="Page_70"></a>possible. This is done by using the
+filler thick or stiff.</p>
+
+
+<p><b>Making Fillers.</b>&mdash;In making "fillers," a quantity of the japan which is
+used in the ingredients can be made at one time, and used from as
+occasion may require. It is made in the following manner:</p>
+
+<p><i>Japan of the Best Quality.</i>&mdash;Put &#190; lb. gum shellac into 1 gall.
+linseed-oil; take &#189; lb. each of litharge, burnt umber, and red-lead,
+also 6 oz. sugar of lead. Boil in the mixture of shellac and oil until
+all are dissolved; this will require about four hours. Remove from the
+fire, and stir in 1 gall. of spirits of turpentine, and the work is
+finished.</p>
+
+<p><i>Fillings for Light Woods.</i>&mdash;Take 5 lb. of whiting, 3 lb. calcined
+plaster (plaster of Paris), &#189; gall. of raw linseed-oil, 1 qt. of
+spirits of turpentine, 1 qt. of brown japan, and a little French yellow
+to tinge the white. Mix well, and apply with a brush; rub it well with
+excelsior or tow, and clean off with rags. This thoroughly fills the
+pores of the wood and preserves its natural colour.</p>
+
+<p><i>Another for Light Woods.</i>&mdash;Take 10 lb. of whiting, 5 lb. of calcined
+plaster, 1 lb. of corn starch, 3 oz. calcined magnesia, 1 gall. of raw
+linseed-oil, &#189; gall. spirits of turpentine, 1 qt. of brown japan, 2
+oz. French yellow. Mix well, <span class="pagenum">71</span><a name="Page_71" id="Page_71"></a>and apply with brush; rub in well with
+excelsior or tow, and clean off with rags.</p>
+
+<p><i>For Mahogany or Cherry Wood.</i>&mdash;Take 5 lb. of whiting, 2 lb. of calcined
+plaster, 1&#189; oz. dry burnt sienna, 1 oz. Venetian red, 1 qt. of boiled
+linseed-oil, 1 pt. of spirits of turpentine, and 1 pt. of brown japan.
+Mix well, apply with brush, and rub well in with excelsior or tow. Clean
+off with rags dry.</p>
+
+<p><i>For Oak Wood.</i>&mdash;Take 5 lb. of whiting, 2 lb. calcined plaster, 1 oz.
+dry burnt sienna, &#189; oz. of dry French yellow, 1 qt. raw linseed-oil, 1
+pt. benzine spirits, and &#189; pt. white shellac. Mix well, apply with
+brush, rub in with excelsior or tow, and clean off with rags.</p>
+
+<p><i>For Rosewood.</i>&mdash;Take 6 lb. of fine whiting, 2 lb. of calcined plaster,
+1 lb. of rose-pink, 2 oz. of Venetian red, &#189; lb. of Vandyke brown, &#189;
+lb. of Brandon red, 1 gall. of boiled linseed-oil, &#189; gall. of spirits
+of turpentine, 1 qt. of black japan. Mix well together, apply with
+brush, rub well in with tow, and clean off with rags.</p>
+
+<p><i>For Black Walnut</i> (1).&mdash;For medium and cheap work. Take 10 lb. of
+whiting, 3 lb. dry burnt umber, 4 lb. of Vandyke brown, 3 lb. of
+calcined plaster, &#189; lb. of Venetian red, 1 gall. of boiled
+linseed-oil, &#189; gall. of spirits of turpentine, 1 qt. of black japan.
+Mix well and apply with brush; rub well with excelsior or tow, and clean
+off with rags.</p>
+
+<p><i>For Black Walnut</i> (2).&mdash;An improved filling, <span class="pagenum">72</span><a name="Page_72" id="Page_72"></a>producing a fine
+imitation of wax finish, may be effected by taking 5 lb. of whiting,
+with 1 lb. of calcined plaster, 6 oz. of calcined magnesia, 1 oz. of dry
+burnt umber, 1 oz. of French yellow to tinge the white. Add 1 qt. of raw
+linseed-oil, 1 qt. of benzine spirits, &#189; pt. of very thin white
+shellac. Mix well, and apply with a brush; rub well in, and clean off
+with rags.</p>
+
+<p><i>An Oil-Colour for Black Walnut</i> (3), to be used only on first-class and
+custom work.&mdash;Take 3 lb. of burnt umber ground in oil, 1 lb. of burnt
+sienna ground in oil, 1 qt. of spirits of turpentine, 1 pt. of brown
+japan. Mix well and apply with a brush. Sand-paper well; clean off with
+tow and rags. This gives a beautiful chocolate colour to the wood.</p>
+
+<p>Numerous compositions are in the market for filling the pores of wood,
+and in this connection particular attention has been given to walnut,
+for the reason that this wood is used in large quantities in the
+furniture industry, and is nearly, if not quite, as porous as any other
+of the woods used.</p>
+
+<p>A variety of walnut fillings have been recommended to the trade in order
+to meet the demand consequent upon the different grades of finish and
+the method of obtaining the finish, so that it would be difficult to
+pronounce as to the superiority of any one filling for general purposes.
+In treating this subject, attention should be given to the necessities
+for the use of filling, so that each one <span class="pagenum">73</span><a name="Page_73" id="Page_73"></a>may determine for himself the
+kind of composition best adapted for the work in hand, and the best
+method of applying it.</p>
+
+
+<p><b>Finishing.</b>&mdash;Having described the methods of making and applying the
+"fillings," we will now describe the mode of finishing, and begin with
+the "dead-oil finish." We can remember when a satisfactory oil-finish
+was produced either with a good quality of japan or a fair quality of
+spirits. These materials are recommended to be used by inexperienced
+workmen and those not familiar with the mixing of the various grades of
+japan and varnish with oil, turpentine, benzine, etc. This method of
+oil-finish, too, is scarcely inferior to the shellac or spirit-varnish
+method, and it is cheaper. When the best finish is desired, a sufficient
+number of coats to fill the pores of wood to a level are required, and
+then the whole surface should be subjected to the rubbing process. The
+use of these fillers provides an oil-finish in a simplified form for
+those who are not aware of the difference between hard and soft gum
+compositions as a base for rubbing. In fact, the rubbing process
+constitutes a fine oil-finish, and requires a hard gum, whether it be of
+japan, varnish, or shellac.</p>
+
+<p>The use of varnish or its substitute as a filler and finish is more
+frequent than the use of shellac, and for cheap work it is equally good.
+<span class="pagenum">74</span><a name="Page_74" id="Page_74"></a>The surface produced by a hard gum composition must be smooth and dead,
+or but slightly glossed, so as to admit of the pores being filled full
+or to a level. It may be added that a coat or any number of coats of the
+composition referred to above is substantially a filling, and the
+quality of finish depends upon the number of coats, together with the
+amount of rubbing applied.</p>
+
+<p>Thus far we have simply called attention to the best quality of
+oil-finish and the manner of producing it. Possibly three-fourths of all
+wood-finishing, particularly walnut-finishing, is several degrees below
+the best quality. In fact, oil-finish may imply only one coat of any
+composition that will dry, while two coats may be regarded as fair, and
+three coats a very good quality of finish. For the class of finish not
+rubbed down with pumice-stone and water, oil-varnish would be out of
+place on account of its gloss; hence shellac, being in composition
+similar to japan, is the better material, because of its dull appearance
+or lack of gloss as compared with shellac.</p>
+
+<p>In addition to the liquid fillers already mentioned, there is a putty or
+powder filling used for cross-grained woods, or such woods as have a
+deep pore. This filling is forced into the wood previous to the
+application of the other finishing compounds, with the use of which it
+in no way interferes. On the contrary, it economises the use of the
+liquid fillers, and, while constituting a part of an oil-finish, is also
+a finish wholly independent of <span class="pagenum">75</span><a name="Page_75" id="Page_75"></a>the other methods mentioned&mdash;that is to
+say, the same results can be obtained by the use of either one, although
+the putty or powder filling is attended with greater expense both as to
+time and material. The hard filling is generally used on walnut, ash,
+and all coarse-grained woods.</p>
+
+<p>With regard to oil-finishes, viz., spirit-varnish or oil-varnish,
+shellac is thought by many to be the best for fine work; but others
+think differently. We may say of shellac that it will finish up into any
+degree of polish, and while it will not retain a French polish long in
+this climate, it will replenish easier and cheaper than any other
+finish, and continue to improve under each application. For a common
+finish, however, oil preparation is as good as shellac, and even for a
+fine finish it is only second to shellac, if made of a hard gum. On
+common finish, too, the oil will wear better than shellac in stock or on
+storage, so far as preserving its freshness is concerned.</p>
+
+<p>The cost of oil-finish is governed chiefly by the amount of labour
+expended on it. A suite of walnut furniture can be well rubbed with
+sand-paper in two hours, or even less; while two weeks could be
+profitably employed in rubbing another suite with pumice and water.</p>
+
+
+<p><b>Black Walnut Finishing.</b>&mdash;The fashionable finish for black walnut work,
+particularly chamber sets, is what is known to the trade as the
+<span class="pagenum">76</span><a name="Page_76" id="Page_76"></a>"dead-oil finish." It is admired, perhaps, because it has a gloss,
+rather than a shine of the varnish stamp. There is no more labour
+required upon it than upon a bright finish, but the process of
+manipulation is different, and harder to the fingers.</p>
+
+<p>It should be premised that the walnut work of the day bears upon its
+surface, to a greater or less extent, raised panels covered with French
+burl veneer. And upon this fact largely depends the beauty of the
+production. And the endeavour is to so finish the article that there
+shall be a contrast between the panel and the groundwork on which it is
+placed. In other words, the former should be of a light colour, while
+the latter is of a darker shade. In that view the palest shellac should
+be used on the panels, and darker pieces, liver coloured, etc., on the
+body of the work. The darker grades of shellac are the cheaper, and will
+answer for the bulk of the work, but the clearest only for the panels.</p>
+
+<p>In commencing to finish a job direct from the cabinet-maker's hand,
+rough and innocent of sand-paper, first cover the panels with a coat of
+shellac to prevent the oil in the filling from colouring them dark.
+Next, cover the body of the work with a wood filling composed of whiting
+and plaster of Paris, mixed with japan, benzine, and raw linseed-oil, or
+the lubricating oil made from petroleum; the whole covered with umber,
+to which, in the rare cases when a reddish shade is <span class="pagenum">77</span><a name="Page_77" id="Page_77"></a>wanted, Venetian
+red is also added. This filling is then rubbed off with cloths, and by
+this process tends to close up the grain of the wood and produce an even
+surface. More or less time should be allowed after each of the several
+steps in the finishing process for the work to dry and harden, though
+much less is required in working with shellac than with varnishes
+composed of turpentine, oil, and gums. But the time that should be
+allowed is often lessened by the desire to get the work through as soon
+as possible, so that no standard can be set up as to the number of hours
+required between each of the several processes. It would be well if
+twelve hours intervened, but if work to which ten days could well be
+devoted must be hurried through in three, obviously the processes must
+follow each other in a corresponding haste.</p>
+
+<p>A coating of shellac is then given the whole work, light on the panels
+and dark on the body work, and when it has dried and hardened, which it
+does very soon, it may be rubbed down. This process of "rubbing down"
+should be done evenly and carefully, so as not to rub through the
+shellac at any point, and be done with the finer grades of sand-paper
+for the cheaper class of work, particularly at first, but at a later
+period of the process, and for the better class of articles in all
+cases, hair-cloth should be used, the material for the "rubbing down"
+being pumice-stone moistened with raw linseed-oil for the best work, and
+the <span class="pagenum">78</span><a name="Page_78" id="Page_78"></a>lubricating oil, before mentioned, for cheaper work, or the covered
+parts of the better grades. This rubbing down involves labour, wear of
+fingers and finger-nails, and is carried on with an ordinary bit of
+hair-cloth, the smooth surface next the wood, and not made in any
+particular shape, but as a wad, ball, or otherwise. In the corners and
+crevices where the hair-cloth will not enter it will be necessary to use
+sand-paper of the finest grades, and worn pieces only.</p>
+
+<p>Three coats of shellac are put on, followed each time by this
+rubbing-down process, each one giving the work a smoother feeling and a
+more perfect appearance. Afterwards, to complete the whole, a coating of
+japan thinned with benzine is applied, which gives to the work a clean
+appearance and the dead glossy finish.</p>
+
+<p>There is this objection to the above style of finish, that the japan
+catches all the dust which touches it, and holds it permanently, so that
+many of the best workmen will not have work finished in this way for
+their own private houses, preferring the brighter look given by shellac
+and varnish without rubbing down the last coat, believing that the work
+can be kept much cleaner.</p>
+
+
+<p><b>Finishing Veneered Panels, etc.</b>&mdash;The large oval panels of desks, etc.,
+covered with French veneer, are generally taken out and finished by
+themselves. The process is similar <span class="pagenum">79</span><a name="Page_79" id="Page_79"></a>to that above given, with successive
+coats of shellac and varnish, and the oil and pumice-stone rubbing down;
+but the final part of this latter process is a rubbing down with
+rotten-stone; then the merest trifle of sweet-oil is applied all over
+the surface and wiped off. (See Rosewood, etc., farther on.)</p>
+
+<p><i>For Light Woods (Dead Finish).</i>&mdash;Apply two or three coats of white
+shellac; rub down with pumice and raw linseed-oil, and clean off well
+with rags; use varnish-polish on the panels.</p>
+
+<p><i>Another.</i>&mdash;Finish as in the previous recipe. For a flowing coat of
+varnish-finish apply one flowing coat of light amber varnish. If a
+varnish-polish is desired, apply three coats of Zanzibar polishing
+varnish. Rub down and polish, and the result will be a splendid finish.</p>
+
+<p><i>Mahogany or Cherry Wood.</i>&mdash;For shellac <i>dead finish</i> apply two coats of
+yellow shellac. Rub down with pumice and raw linseed-oil. If a
+varnish-finish is desired, apply a flowing coat of light amber varnish
+or shellac thus rubbed. The panels should receive two coats of Zanzibar
+polishing varnish.</p>
+
+<p><i>Oak.</i>&mdash;For a <i>dead finish</i> give three coats of shellac, two-thirds of
+white and one-third of yellow, mixed. Rub down with pumice and raw
+linseed-oil. For a cheap varnish-finish give one flowing coat of light
+amber varnish in the shellac, rubbed as directed. Varnish-polish the
+panels.</p>
+
+<p><i>Rosewood, Coromandel, or Kingwood (a Bright <span class="pagenum">80</span><a name="Page_80" id="Page_80"></a>Finish)</i>.&mdash;Apply two thin
+coats of shellac, sand-papering each coat; then apply three or four
+coats of Zanzibar polishing varnish, laying it on thin, and giving it
+sufficient time to dry thoroughly. When it is perfectly hard, rub down
+with pumice and water. Polish with rotten-stone to a fine lustre, clean
+up with sweet-oil, and vapour up the oil with a damp alcohol rag. The
+result is a splendid mirror-like polish. This is the method employed in
+polishing pianofortes in America.</p>
+
+<p><i>Walnut.</i>&mdash;For a cheap finish, apply one coat of yellow shellac. When
+dry, sand-paper down. Apply with brush; rub in well; clean off with
+rags. This gives a very fair finish.</p>
+
+<p>For a medium <i>dead finish</i> apply two or three coats of yellow shellac.
+When dry, rub down with pumice and raw linseed-oil; clean up well;
+varnish-polish the panels.</p>
+
+<p>For <i>finish</i>. Before using the above filling, give the work one coat of
+white shellac. When dry, sand-paper down, and apply the above filling.
+Give two coats of white shellac; rub down with pumice and raw
+linseed-oil; clean up well with brown japan and spirits of turpentine,
+mixed. Wipe off. This is a good imitation of wax-finish; it is
+waterproof, and will not spot as wax-finish does. The panels are to be
+varnished-polished. This is to be used with the improved filling No. 2.</p>
+
+<p>For <i>finish</i>. Apply three coats of yellow shellac; rub down with pumice
+and raw linseed<span class="pagenum">81</span><a name="Page_81" id="Page_81"></a>oil; clean off well. Varnish-polish the panels. Use this
+with the oil colour No. 3.</p>
+
+
+<p><b>Finishing Cheap Work.</b>&mdash;<i>With One Coat of Varnish.</i>&mdash;Give the work a
+coat of boiled linseed-oil; immediately sprinkle dry whiting upon it,
+and rub it well in with tow all over the surface. The whiting absorbs
+the oil and completely fills the pores of the wood. For black walnut add
+a little dry burnt umber. For mahogany or cherry add a little Venetian
+red, according to the colour of the wood. The application can be made to
+turned work while in motion in the lathe. Clean off well with rags. The
+work can then be finished with a single coat of varnish, and for cheap
+work makes a very good finish.</p>
+
+<p>For varnishing large surfaces, a two-inch oval varnish brush is to be
+used first to lay out the varnish, and then a two-inch flat badger
+flowing-brush for a softener. The latter lays down moats and bubbles
+left by the large brush. A perfectly smooth glass-like surface is thus
+obtained. When not in use, these tools should be put into a pot
+containing raw linseed-oil and spirits of turpentine. This keeps them in
+a better working condition than if they are kept in varnish, making them
+clean and soft. Standing in varnish they congeal and become hard as the
+spirit evaporates from the varnish. For shellacing a large surface use a
+two-inch bristle brush; for small work, such as <span class="pagenum">82</span><a name="Page_82" id="Page_82"></a>carvings and mouldings,
+use a one-and-a-half inch flat brush. These brushes when not in use
+should be taken from the various pots and deposited in an earthen pot
+sufficiently large to hold all the shellac brushes used in the shop. Put
+in enough of raw linseed-oil and thin shellac to cover the bristles of
+the brushes. Kept in this manner, they will remain clean and elastic,
+and will wear much longer.</p>
+
+<p><i>Wax Finishing.</i>&mdash;Take &#189; gall. of turpentine, 1&#189; lb. yellow
+beeswax, 1 lb. white beeswax, &#189; lb. white rosin. Pulverise the rosin,
+and shave the wax into fine shavings. Put the whole into the turpentine,
+and dissolve it cold. If dissolved by a fire-heat, the vitality of the
+wax is destroyed. When it is thoroughly dissolved, mix well and apply
+with a stiff brush. Rub well in, and clean off with rags. When dry, it
+is ready for shellac or varnish as may be desired.</p>
+
+<p><i>A Varnish Polish.</i>&mdash;Take 10 oz. gum shellac, 1 oz. gum sandarach, 1
+drachm Venice turpentine, 1 gall. alcohol. Put the mixture into a jug
+for a day or two, shaking occasionally. When dissolved it is ready for
+use. Apply a few coats. Polish by rubbing smooth.</p>
+
+<p>For the commonest kind of work in black walnut a very cheap polish can
+be made in the following manner: Take 1 gall. of turpentine, 2 lb.
+pulverised asphaltum, 1 qt. boiled linseed-oil, 2 oz. Venetian red. Put
+the mixture in a warm place and shake occasionally. When it is
+<span class="pagenum">83</span><a name="Page_83" id="Page_83"></a>dissolved, strain and apply to the wood with a stiff brush. Rub well
+with cloth when dry. Then take 1 pt. of thin shellac, &#189; pt. boiled
+linseed-oil. Shake it well before using. Apply with cloth, rubbing
+briskly, and you will have a fine polish.</p>
+
+<p><i>With Copal or Zanzibar Varnish.</i>&mdash;As a substitute for filling, the wood
+may receive one coat of native coal-oil, thinned with benzine-spirits;
+then apply one coat of shellac, and follow with varnish, as desired. The
+time is not far distant when manufacturers must and will use varnish for
+the finishing of all kinds of furniture on account of the high price of
+shellac. Furniture finished in the last-named method may be rubbed with
+either water or oil. Water has a tendency to harden varnish, while oil
+softens it. If water is used there will be a saving of oil and rags. In
+the other case shellac, when rubbed with oil, should be cleaned with
+japan. This removes the greasy and cloudy appearance which is left after
+the rubbing with oil, and the work will have a clean, dry, and brighter
+appearance than otherwise.</p>
+
+<p>We suggest another idea for finishing black walnut for a cheap or a
+medium class of work. In the first place, fill the pores of the wood,
+and apply one thin coat of shellac to hold the filling in the pores of
+the wood. Let this stand one day; sand-paper down with fine paper, then
+with a brush apply a coat of coach japan. Rub well, <span class="pagenum">84</span><a name="Page_84" id="Page_84"></a>and clean off with
+rags. Let this stand one day to dry, then, with some sand-paper that has
+been used before, take off the moats from the japan. Go over the whole
+surface with a soft rag saturated with japan; wipe and clean off
+carefully, and the job is finished. This, though a cheap finish, is a
+good one for this class of work.</p>
+
+<p>We give one more method of finishing black walnut, that is, with boiled
+linseed-oil only, and there is no other way of obtaining a genuine
+oil-finish. Sand-paper the wood down smoothly; apply a coat of boiled
+linseed-oil over the whole surface; sand-paper well, and clean up dry
+with rags; let it stand one day to dry, then apply one more coat of oil;
+rub well in with rags, but do not use sand-paper on this coat. Apply
+three, four, or more coats in the same way. When the work has received
+the last coat of oil and is dry, sand-paper down with old paper. Then
+clean up with the best coach japan with rags, and let the work stand one
+day to dry. The panels are to be varnish-polished the same as other
+wood. The work is then finished, and ready for the warerooms.</p>
+
+<p>This method takes a longer time than finishing with either varnish or
+shellac; but the cost is less both for materials and for labour, the
+workman being able to go over a greater surface in the same time. The
+work will stand longer, and the method gives a rich and close finish,
+bringing out <span class="pagenum">85</span><a name="Page_85" id="Page_85"></a>the figure and rich colour of the wood better than in any
+other method of finishing. It does not cost so much as shellac finish;
+it only requires a little more time for drying between the coats of oil.
+In finishing in varnish or shellac, to get the body or surface for
+polishing three or four coats are frequently applied, which is liable to
+produce a dull cloudy appearance. For this reason, and having in view
+the high and increasing price of stock, it seems to us that this really
+superior method of finishing in oil must take the place of shellac and
+varnish-finish in good work.</p>
+
+
+<p><b>Polishing Varnish.</b>&mdash;This is certainly a tedious process, and
+considered by many a matter of difficulty. The following is the mode of
+procedure: Put two ounces of powdered tripoli into an earthen pot or
+basin, with water sufficient to cover it; then, with a piece of fine
+flannel four times doubled, laid over a piece of cork rubber, proceed to
+polish your varnish, always wetting it well with the tripoli and water.
+You will know when the process is complete by wiping a part of the work
+with a sponge and observing whether there is a fair and even gloss.
+Clean off with a bit of mutton suet and fine flour. Be careful not to
+rub the work too hard, or longer than is necessary to make the face
+perfectly smooth and even. Some workmen polish with rotten-stone, others
+with putty-powder, and others with common <span class="pagenum">86</span><a name="Page_86" id="Page_86"></a>whiting and water; but
+tripoli, we think, will be found to answer best.</p>
+
+
+<p><b>An American Polish Reviver.</b>&mdash;Take of olive-oil 1 lb., of rectified oil
+of amber 1 lb., spirits of turpentine 1 lb., oil of lavender 1 oz.,
+tincture of alkanet-root &#189; oz. Saturate a piece of cotton batting with
+this polish, and apply it to the wood; then, with soft and dry cotton
+rags, rub well and wipe off dry. This will make old furniture in private
+dwellings, or that which has been shop-worn in warerooms, look as well
+as when first finished. The articles should be put into a jar or jug,
+well mixed, and afterwards kept tightly corked.</p>
+
+<p>This is a valuable recipe, and is not known, the writer believes,
+outside of his practice. </p>
+
+
+
+<hr style="width: 65%;" /><p><a name="CHAPTER_X" id="CHAPTER_X"></a><span class="pagenum">87</span><a name="Page_87" id="Page_87"></a></p>
+<h2>CHAPTER X.</h2>
+
+<h4>MISCELLANEOUS RECIPES.</h4>
+
+
+<p><b>Oil Polish.</b>&mdash;One quart of cold-drawn linseed-oil to be simmered (not
+boiled) for ten minutes, and strained through flannel; then add
+one-eighth part of spirits of turpentine: to be applied daily with soft
+linen rags, and rubbed off lightly; each time the oil is applied the
+surface should be previously washed with cold water, so as to remove any
+dirt or dust. This method of polishing is particularly useful for
+dining-table tops; it will in about six weeks produce a polish so
+durable as to resist boiling water or hot dishes, and be like a mirror
+for brilliancy.</p>
+
+
+<p><b>Wax Polish.</b>&mdash;Eight ounces of beeswax, 2 oz. of resin, and &#189; oz. of
+Venetian turpentine, to be melted over a slow fire; the mass, when quite
+melted, is poured into a sufficiently large stone-ware pot, and while it
+is still warm 6 oz. of rectified turpentine are stirred in. After the
+lapse of twenty-four hours the mass will have <span class="pagenum">88</span><a name="Page_88" id="Page_88"></a>assumed the consistency
+of soft butter, and is ready for use. A small portion of the polish is
+taken up with a woollen rag and rubbed over the surface of the work&mdash;at
+first gently, then more strongly. When the polish is uniformly laid on,
+the surface is once more rubbed lightly and quickly with a fresh clean
+rag to produce a gloss.</p>
+
+
+<p><b>Waterproof French Polish.</b>&mdash;Take 2 oz. gum benjamin, &#189; oz. gum
+sandarach, &#189; oz. gum an&icirc;me, 1&#189; oz. gum benzoin, and 1 pt. alcohol.
+Mix in a closely-stoppered bottle, and put in a warm place till the gums
+are well dissolved. Then strain off, and add &#188; gill of poppy-oil.
+Shake well together, and it is ready for use.</p>
+
+
+<p><b>A Varnish for Musical Instruments.</b>&mdash;Take one gallon of alcohol, 1 lb.
+gum sandarach, &#189; lb. gum mastic, 2 lbs. best white resin, 3 lbs. gum
+benzoin; cut the gums cold. When they are thoroughly dissolved, strain
+the mixture through fine muslin, and bottle for use; keep the bottle
+tightly corked. This is a beautiful varnish for violins and other
+musical instruments of wood, and for fancy articles, such as those of
+inlaid work. It is also well adapted for panel-work, and all kinds of
+cabinet furniture. There is required only one flowing coat, and it
+produces a very fine mirror-like surface. Apply this varnish <span class="pagenum">89</span><a name="Page_89" id="Page_89"></a>with a
+flat camel's-hair or sable brush. In an hour after application the
+surface is perfectly dry.</p>
+
+
+<p><b>French Varnish for Cabinet-work.</b>&mdash;Take of shellac 1&#189; oz. gum mastic
+and gum sandarach, of each &#189; oz., spirit of wine by weight 20 oz. The
+gums to be first dissolved in the spirit, and lastly the shellac. This
+may be best effected by means of the water-bath. Place a loosely-corked
+bottle containing the mixture in a vessel of warm water of a temperature
+below the boiling point, and let it remain until the gums are dissolved.
+Should evaporation take place, an equal quantity to the spirit of wine
+so lost must be replaced till the mixture settles, then pour off the
+clear liquid for use, leaving the impurities behind; but do not filter
+it. Greater hardness may be given to the varnish by increasing the
+quantity of shellac, which may be done to the amount of one-twelfth of
+the lac to eleven-twelfths of spirit. But in this latter proportion the
+varnish loses its transparency in some degree, and must be laid on in
+very small quantities at a time.</p>
+
+
+<p><b>Mastic Varnish.</b>&mdash;Mastic should be dissolved in oil of turpentine, in
+close glass vessels, by means of a gentle heat. This varnish is
+extensively used in transparencies, etc. <span class="pagenum">90</span><a name="Page_90" id="Page_90"></a></p>
+
+<p><b>Cabinet-maker's
+Varnish.</b>&mdash;Take 5 lbs. very pale gum shellac, 7 oz. gum mastic, 1 gallon
+alcohol. Dissolve in a cold atmosphere with frequent stirring.</p>
+
+
+<p><b>Amber Varnish.</b>&mdash;This is a most difficult varnish to make. It is
+usually prepared by roasting the amber and adding hot linseed-oil, after
+which turpentine can be mixed if required. But for a small quantity,
+dissolve the broken amber, without heat, in the smallest possible
+quantity of chloroform or pure benzine. Heat the linseed-oil, remove it
+from the fire, and pour in the amber solution, stirring all the time.
+Then add the turpentine. If not quite clear, heat again, using the
+utmost caution.</p>
+
+
+<p><b>Colourless Varnish with Copal.</b>&mdash;To prepare this varnish the copal must
+be picked; each piece is broken, and a drop of rosemary-oil poured on
+it. Those pieces which, on contact with the oil, become soft are the
+ones used. The pieces being selected, they are ground and passed through
+a sieve, being reduced to a fine powder. It is then placed in a glass,
+and a corresponding volume of rosemary-oil poured over it; the mixture
+is then stirred for a few minutes until it is transformed into a thick
+liquor. It is then left to rest for two hours, when a few drops of
+rectified <span class="pagenum">91</span><a name="Page_91" id="Page_91"></a>alcohol are added, and intimately mixed. Repeat the operation
+until the varnish is of a sufficient consistency; leave the rest for a
+few days, and decant the clear. This varnish can be applied to wood and
+metals (<i>Journal of Applied Chemistry</i>).</p>
+
+
+<p><b>Seedlac Varnish.</b>&mdash;Wash 3 oz. of seedlac in several waters; dry it and
+powder it coarsely. Dissolve it in one pint of rectified spirits of
+wine; submit it to gentle heat, shaking it as often as convenient, until
+it appears dissolved. Pour off the clear part, and strain the remainder.</p>
+
+
+<p><b>Patent Varnish for Wood or Canvas.</b>&mdash;Take 1 gallon spirits of
+turpentine, 2&#188; lbs. asphaltum. Put them into an iron kettle on a
+stove, and dissolve the gum by heat. When it is dissolved and a little
+cool, add 1 pint copal varnish and 1 pint boiled linseed-oil. When
+entirely cool it is ready for use. For a perfect black add a little
+lamp-black.</p>
+
+
+<p><b>Copal Varnish.</b>&mdash;Dissolve the copal, broken in pieces, in linseed-oil,
+by digestion, the heat being almost sufficient to boil the oil. The oil
+should be made drying by the addition of quick-lime. This makes a
+beautiful transparent varnish. It should be diluted with oil of
+turpentine; a <span class="pagenum">92</span><a name="Page_92" id="Page_92"></a>very small quantity of copal, in proportion to the oil,
+will be found sufficient.</p>
+
+
+<p><b>Carriage Varnish.</b>&mdash;Take 19 oz. gum sandarach, 9&#189; oz. orange
+shellac, 12&#189; oz. white resin, 18 oz. turpentine, 5 pints alcohol.
+Dissolve and strain. Use for the internal parts of carriages and similar
+purposes. This varnish dries in ten minutes.</p>
+
+
+<p><b>Transparent Varnish.</b>&mdash;Take 1 gallon alcohol, 2 lbs. gum sandarach, &#189;
+1b. gum mastic. Place them in a tin can. Cork tight and shake
+frequently, placing the can in a warm place. When dissolved it is ready
+for use.</p>
+
+
+<p><b>Crystal Varnish for Maps, etc.</b>&mdash;Mix together 1 oz. Canada balsam and 2
+oz. spirits of turpentine. Before applying this varnish to a drawing or
+a painting in water-colours the paper should be placed on a stretcher,
+sized with a thin solution of isinglass in water, and dried. Apply the
+varnish with a soft camel's-hair brush.</p>
+
+
+<p><b>A Black Varnish.</b>&mdash;Mix a small quantity of gas-black with the brown
+hard varnish pre<span class="pagenum">93</span><a name="Page_93" id="Page_93"></a>viously mentioned. The black can be obtained by boiling
+a pot over a gas-burner, so that it almost touches the burner, when a
+fine jet-black will form at the bottom, which remove and mix with the
+varnish, and apply with a brush.</p>
+
+
+<p><b>A Black Polish</b> can be made in the same way: after wetting the rubber,
+just touch it with the black. Place the linen cover over, touch it with
+oil, and it is ready for work.</p>
+
+
+<p><b>Varnish for Iron.</b>&mdash;Take 2 lbs. pulverised gum asphaltum, &#188; lb. gum
+benzoin, 1 gallon spirits of turpentine. To make this varnish quickly,
+keep in a warm place, and shake often till it is dissolved. Shade to
+suit with finely-ground ivory-black. Apply with a brush. This varnish
+should be used on iron-work exposed to the weather. It is also well
+adapted for inside work, such as iron furniture, where a handsome polish
+is desired.</p>
+
+
+<p><b>Varnish for Tools.</b>&mdash;Take 2 oz. tallow, 1 oz. resin; melt together, and
+strain while hot to remove the specks which are in the resin. Apply a
+slight coat on the tools with a brush, and it will keep off the rust for
+any length of time.</p><p><span class="pagenum">94</span><a name="Page_94" id="Page_94"></a></p>
+
+<p><b>To Make Labels Adhere to a Polished
+Surface.</b>&mdash;Brush the back of a label over with thin varnish or polish,
+and press down with a soft rag; this must be done quickly, as the polish
+soon becomes dry. This is the way labels are put on pianofortes, and
+also the paper imitation of fancy woods on polished pine-work.</p>
+
+
+<p><b>How to Remove French Polish or Varnish from Old Work.</b>&mdash;Cleaning off
+old work for re-polishing or varnishing is usually found difficult, and
+to occupy much time if only the scraper and glass-paper be used. It can
+be easily accomplished in a very short time by washing the surface with
+liquid ammonia, applied with a piece of rag; the polish will peel off
+like a skin, and leave the wood quite bare. In carvings or turned work,
+after applying the ammonia, use a hard brush to remove the varnish.
+Unadulterated spirits of wine used in a tepid state will answer the same
+purpose.</p>
+
+
+<p><b>Colouring for Carcase Work.</b>&mdash;In the best class of cabinet-work all the
+inside work&mdash;such as carcase backs, shelves, etc.&mdash;is made of good
+materials, such as wainscot, soft mahogany, Havannah cedar, or American
+walnut; but for second-class work, pine or white deal is used instead,
+and coloured.</p>
+
+<p>The colouring matter used should match with <span class="pagenum">95</span><a name="Page_95" id="Page_95"></a>the exterior wood. For
+mahogany take &#189; lb. of ground yellow ochre to a quart of water, and
+add about a tablespoonful of Venetian red&mdash;a very small quantity of
+red in proportion to the yellow is sufficient for mahogany&mdash;and a piece
+of glue about the size of a walnut; the whole to be well stirred and
+boiled. Brush over while hot, and immediately rub off with soft shavings
+or a sponge. For the antique hues of old wainscot mix equal parts of
+burnt umber and brown ochre. For new oak, bird's-eye maple, birch,
+satin-wood, or any similar light yellowish woods, whiting or white-lead,
+tinted with orange chrome, or by yellow ochre and a little size. For
+walnut, brown umber, glue size, and water; or by burnt umber very
+moderately modified with yellow ochre. For rosewood, Venetian red tinted
+with lamp-black. For ebony, ivory-black; but for the common ebonised
+work lamp-black is generally used.</p>
+
+<p>When the colouring is dry, it should be rubbed down with a piece of worn
+fine glass-paper, and polished with beeswax rubbed on a very hard
+brush&mdash;a worn-out scrubbing-brush is as good as anything&mdash;or it can be
+well rubbed with Dutch rush. In polishing always rub the way of the
+grain. The cheap work seldom gets more than a coat of colour rubbed off
+with shavings.</p>
+
+
+<p><b>Cheap but Valuable Stain for the Sap of Black Walnut.</b>&mdash;Take 1 gallon
+of strong <span class="pagenum">96</span><a name="Page_96" id="Page_96"></a>vinegar, 1 lb. dry burnt umber, &#189; lb. fine rose-pink, &#189;
+lb. dry burnt Vandyke brown. Put them into a jug and mix them well; let
+the mixture stand one day, and it will then be ready for use. Apply this
+stain to the sap with a piece of fine sponge; it will dry in half an
+hour. The whole piece is then ready for the filling process. When
+completed, the stained part cannot be detected even by those who have
+performed the work. This recipe is of value, as by it wood of poor
+quality and mostly of sap can be used with good effect.</p>
+
+
+<p><b>Polish for Removing Stains, etc., from Furniture (American).</b>&mdash;Take &#189;
+pint alcohol, &#188; oz. pulverised resin, &#188; oz. gum shellac, &#189; pint
+boiled linseed-oil. Shake the mixture well, and apply it with a sponge,
+brush, or cotton flannel, rubbing well after the application.</p>
+
+
+<p><b>Walnut Stain to be used on Pine and White-wood.</b>&mdash;Take 1 gallon of very
+thin sized shellac; add 1 lb. of dry burnt umber, 1 lb. of dry burnt
+sienna, and &#188; lb. of lamp-black. Put these articles into a jug, and
+shake frequently until they are mixed. Apply one coat with a brush. When
+the work is dry, sand-paper down with fine paper, and apply one coat of
+shellac or cheap varnish. It will then be a good imitation <span class="pagenum">97</span><a name="Page_97" id="Page_97"></a>of solid
+walnut, and will be adapted for the back-boards of mirror-frames, for
+the backside and inside of case-work, and for similar work.</p>
+
+
+<p><b>Rosewood Stain.</b>&mdash;Take 1 lb. of logwood chips, &#189; lb. of red-sanders,
+&#189; gallon of water. Boil over a fire until the full strength is
+obtained. Apply the mixture, while hot, to the wood with a brush. Use
+one or two coats to obtain a strong red colour. Then take 1 gallon of
+spirits of turpentine and 2 lb. of asphaltum. Dissolve in an iron kettle
+on a stove, stirring constantly. Apply with a brush over the red stain,
+to imitate rosewood. To make a perfect black, add a little lamp-black.
+The addition of a small quantity of varnish with the turpentine will
+improve it. This stain applied to birchwood gives as good an imitation
+of rosewood as on black walnut, the shade on the birch being a little
+brighter.</p>
+
+
+<p><b>Rosewood Stain for Cane Work, etc.</b>&mdash;Take 1 gallon alcohol, 1 lb.
+red-sanders, 1 lb. dragon's blood, 1 lb. extract logwood, &#189; lb. gum
+shellac. Put the mixture into a jug, and steep well till it obtains its
+full strength. Then strain, and it will be ready for use. Apply with
+brush, giving one, two, or more coats, according to the depth of colour
+desired. Then give one or more coats of varnish. This stain is suitable
+for use <span class="pagenum">98</span><a name="Page_98" id="Page_98"></a>on cane, willow, or reed work, and produces a good imitation of
+rosewood.</p>
+
+
+<p><b>French Polish Reviver.</b>&mdash;This recipe will be found a valuable one. If
+the work is sweated and dirty, make it tolerably wet, and let it stand a
+few minutes; then rub off and polish with a soft rag. It is important
+that the ingredients should be mixed in a bottle in the order as given:
+Vinegar, 1 gill; methylated spirit, 1 gill; linseed-oil, &#189; pint;
+butter of antimony (poison), 1 oz. Raw linseed-oil, moderately thinned
+with turpentine or spirits of wine, will also make a good reviver. Old
+furniture, or furniture that has been warehoused for a long time, should
+be washed with soda and warm water previous to applying the reviver.</p>
+
+
+<p><b>Morocco Leather Reviver.</b>&mdash;The coverings of chairs or sofas in morocco,
+roan, or skiver can be much improved by this reviver. If old and greasy,
+wash with sour milk first. The reviver should be applied with a piece of
+wadding, and wiped one way only, as in glazing. The colour can be
+matched by adding red-sanders. Methylated spirit, &#189; pint; gum benzoin,
+2 oz.; shellac, &#189; oz. Mix, and shake up occasionally until dissolved.<span class="pagenum">99</span><a name="Page_99" id="Page_99"></a></p>
+
+
+<p><b>Hair-cloth Reviver.</b>&mdash;Mix equal parts of marrow-oil (neats-foot),
+ox-gall. and ivory-black, to be well rubbed with a cloth. This
+composition forms a valuable renovator for old hair-cloth.</p>
+
+
+<p><b>To Remove Grease Stains from Silks, Damasks, Cloth, etc.</b>&mdash;Pour over
+the stain a small quantity of benzoline spirit, and it will soon
+disappear without leaving the least mark behind. The most delicate
+colours can be so treated without fear of injury. For paint stains
+chloroform is very efficacious.</p>
+
+
+<p><b>To Remove Ink Stains from White Marble.</b>&mdash;Make a little chloride of
+lime into a paste with water, and rub it into the stains, and let it
+remain a few hours; then wash off with soap and water. </p>
+
+
+
+<hr style="width: 65%;" /><p><a name="CHAPTER_XI" id="CHAPTER_XI"></a><span class="pagenum">100</span><a name="Page_100" id="Page_100"></a></p>
+<h2>CHAPTER XI.</h2>
+
+<h4>MATERIALS USED.</h4>
+
+
+<p><b>Alkanet-root</b> (botanical name, <i>Anchusa tinctoria</i>).&mdash;This plant is a
+native of the Levant, but it is much cultivated in the south of France
+and in Germany. The root is the only part used by French polishers to
+obtain a rich quiet red; the colouring is chiefly contained in the bark
+or outer covering, and is easily obtained by soaking the root in spirits
+or linseed-oil. The plant itself is a small herbaceous perennial, and
+grows to about a foot in height, with lance-shaped leaves and purple
+flowers, and with a long woody root with a deep red bark.</p>
+
+
+<p><b>Madder-root</b> (<i>Rubia tinctoria</i>).&mdash;This plant is indigenous to the
+Levant; but it is much cultivated in Southern Europe, and also in India.
+Its uses are for dyeing and staining; it can be procured in a powdered
+state, and imparts its red colour when soaked in water or spirits. This
+is a creeping plant with a slender stem; almost <span class="pagenum">101</span><a name="Page_101" id="Page_101"></a>quadrangular, the
+leaves grow four in a bunch; flowers small, fruit yellow, berry double,
+one being abortive. The roots are dug up when the plant has attained the
+age of two or three years; they are of a long cylindrical shape, about
+the thickness of a quill, and of a red-brownish colour, and when
+powdered are a bright Turkish-red. Extracts of madder are mostly
+obtained by treating the root with boiling water, collecting the
+precipitates which separate on cooling, mixing them with gum or starch,
+and adding acetate of alumina or iron. This is in fact a mixture of
+colouring matter and a mordant.</p>
+
+
+<p><b>Red-sanders</b> (<i>Pterocarpus santalinus</i>).&mdash;The tree from which this wood
+is obtained is a lofty one, and is to be found in many parts of India,
+especially about Madras. It yields a dye of a bright garnet-red colour,
+and is used by French polishers for dyeing polishes, varnishes,
+revivers, etc.</p>
+
+
+<p><b>Logwood</b> (<i>H&aelig;matoxylon campeachianum</i>).&mdash;This is a moderate-sized tree
+with a very contorted trunk and branches, which are beset with sharp
+thorns, and blooms with a yellow flower. It is a native of Central
+America and the West Indies. This valuable dye-wood is imported in logs;
+the heart-wood is the most valuable, which <span class="pagenum">102</span><a name="Page_102" id="Page_102"></a>is cut up into chips or
+ground to powder for the use of dyers by large powerful mills
+constructed especially for the purpose. Logwood, when boiled in water,
+easily imparts its red colour. If a few drops of acetic acid (vinegar)
+is added, a bright red is produced; and when a little alum is added for
+a mordant, it forms red ink. If an alkali, such as soda or potash, is
+used instead of an acid, the colour changes to a dark blue or purple,
+and with a little management every shade of these colours can be
+obtained. Logwood put into polish or varnish also imparts its red
+colour.</p>
+
+
+<p><b>Fustic</b> (<i>Maclura tinctoria</i>).&mdash;This tree is a native of the West
+Indies, and imparts a yellow dye. Great quantities are used for dyeing
+linens, etc. The fustic is a large and handsome evergreen, and is
+imported in long sticks.</p>
+
+
+<p><b>Turmeric</b> (<i>Curcuma longa</i>).&mdash;Turmeric is a stemless plant, with
+palmated tuberous roots and smooth lance-shaped leaves. It is imported
+from the East Indies and China. The root is the part which affords the
+yellow powder for dyeing. It is also a condiment, and is largely used in
+Indian curry-powder. Paper stained with turmeric is used by chemists as
+a test for alkalies, and it is also used in making Dutch, pink, and
+gold-coloured varnishes.<span class="pagenum">103</span><a name="Page_103" id="Page_103"></a></p>
+
+
+<p><b>Indigo</b> (<i>Indigofera tinctoria</i>).&mdash;Indigo is
+a shrub which grows from two to three feet in height, and is cut down
+just as it begins to flower. It is cultivated in almost all the
+countries situated in the tropics. The dye substance is prepared from
+the stems and leaves, and is largely used in calico-printing.</p>
+
+
+<p><b>Persian Berries</b> (<i>Rhamnus infectorius</i>).&mdash;These berries are the
+produce of a shrub of a species of buckthorn common in Persia, whence
+they derive their name; but large quantities are also imported into
+England from Turkey and the south of France. The berries are gathered in
+an unripe state, and furnish a yellow dye.</p>
+
+
+<p><b>Nut-galls.</b>&mdash;These are found upon the young twigs of the Turkish dwarf
+oak (<i>Quercus infectoria</i>), and are produced by the puncture of an
+insect called Cynips. The supply is principally from Turkey and Aleppo.
+Nut-galls contain a large quantity of tannin and gallic acid, and are
+extensively used in dyeing.</p>
+
+
+<p><b>Catechu.</b>&mdash;This is obtained from the East Indies, and is the extract of
+the <i>Acacia catechu</i>, a thorny tree. The wood is cut up into chips
+similar to logwood, and after boiling and evapora<span class="pagenum">104</span><a name="Page_104" id="Page_104"></a>tion the liquor
+assumes the consistency of tar; but when cold it hardens, and is formed
+into small squares. It is extensively used by tanners in place of oak
+bark.</p>
+
+
+<p><b>Thus.</b>&mdash;Thus is the resin which exudes from the spruce-fir, and is used
+by some polishers in the making of polishes and varnishes.</p>
+
+
+<p><b>Sandarach</b> is the produce of the <i>Thuya articulata</i> of Barbary. It
+occurs in small pale yellow scales, slightly acid, and is soluble in
+alcohol; it is used in both polishes and varnishes.</p>
+
+
+<p><b>Mastic</b> exudes from the mastic-tree (<i>Pistacia lentiscus</i>), and is
+principally obtained from Chios, in the Grecian Archipelago. It runs
+freely when an incision is made in the body of the tree, but not
+otherwise. It occurs in the form of nearly colourless and transparent
+tears of a faint smell, and is soluble in alcohol as well as oil of
+turpentine, forming a rapidly-drying but alterable varnish, which
+becomes brittle and dark-coloured by age.</p>
+
+
+<p><b>Benzoin.</b>&mdash;This is the produce of the American tree <i>Laurus benzoin</i>,
+and also of the <i>Styrax benzoin</i> <span class="pagenum">105</span><a name="Page_105" id="Page_105"></a>of Sumatra, which is called "gum
+benjamin"; it is used in polishes and varnishes, and as a cosmetic, and
+is also burnt as incense in Catholic churches.</p>
+
+
+<p><b>Copal</b> is one of the most valuable of gums, and is furnished by many
+countries in the districts of Africa explored by Mr. H. M. Stanley, the
+discoverer of Livingstone. Copal is found in a fossil state in very
+large quantities. The natives collect the gum by searching in the sandy
+soil, mostly in the hilly districts, the country being almost barren,
+with no large tree except the Adansonia, and occasionally a few thorny
+bushes.</p>
+
+<p>The gum is dug out of the earth by the copal gatherers at various
+depths, from two or three to ten or more feet, in a manner resembling
+gold-digging; and great excitement appears when a good amount is
+discovered. The gum is found in various shapes and sizes, resembling a
+hen's egg, a flat cake, a child's head, etc. There are three kinds,
+yellow, red, and whitish; and the first furnishes the best varnish and
+fetches the highest price from the dealers. Many of the natives assert
+that the copal still grows on different trees, and that it acquires its
+excellent qualities as a resin by dropping off and sinking several feet
+into the soil, whereby it is cleansed, and obtains, after a lapse of
+many years, its hardness, inflammability, and transparency.<span class="pagenum">106</span><a name="Page_106" id="Page_106"></a></p>
+
+<p><b>Dragon's Blood</b> is the juice of certain tropical plants of a red colour,
+especially of the tree <i>Pterocarpus draco</i>. After the juice is
+extracted, it is reduced to a powder by evaporation. It is used for
+darkening mahogany, colouring varnishes or polishes, etc., and for
+staining marble. Chemists also use it in preparing tinctures and tooth
+powders.</p>
+
+
+<p><b>Shellac</b>&mdash;or, more properly, <i>gum-lac</i>&mdash;is a resinous substance
+obtained from the Bihar-tree, and also from the <i>Ficus Indica</i>, or
+Banyan-tree. It exudes when the branches are pierced by an insect called
+the <i>Coccus ficus</i>. The twigs encrusted with the resin in its natural
+state is called Stick-lac. When the resin is broken off the twigs,
+powdered, and rubbed with water, a good deal of the red colouring matter
+is dissolved, and the granular resin left is called seed-lac; and when
+melted, strained, and spread into thin plates it is called shellac, and
+is prepared in various ways and known by the names of button, garnet,
+liver, orange, ruby, thread, etc., and is used for many purposes in the
+arts. Shellac forms the principal ingredient for polishes and spirit
+varnishes. Red sealing-wax is composed of shellac, Venice turpentine,
+and vermilion red; for the black sealing-wax ivory-black is used instead
+of the vermilion. Shellac is soluble in alcohol, and in many acids and
+alkalies. Lac-dye is the red <span class="pagenum">107</span><a name="Page_107" id="Page_107"></a>colour from the stick-lac dissolved by
+water and evaporated to dryness. The dye, however, is principally from
+the shrivelled-up body of the insect of the Stick-lac.</p>
+
+<p>Shellac is produced in the largest quantity and the best quality in
+Bengal, Assam, and Burmah. The chief seat of manufacture is Calcutta,
+where the native manufacturers are accused of adulterating it with resin
+to a considerable extent. The best customers are Great Britain and the
+United States, though the demand in the Italian markets appears to be on
+the increase.</p>
+
+
+<p><b>Amber</b> is a yellow, semi-transparent, fossil resin; hard but brittle,
+and easily cut with a knife; tasteless, and without smell, except when
+pounded or heated, and then it emits a fragrant odour. It has
+considerable lustre; becomes highly electric by friction; and will burn
+with a yellow flame. It is found in nodules of various sizes in alluvial
+soils, or on the seashore in many places, particularly on the shores of
+the Baltic. Amber is much employed for ornamental purposes, and is also
+used in the manufacture of amber-varnish. It will not dissolve in
+alcohol, but yields to the concentrated action of sulphuric acid, which
+will dissolve all resins except caramba wax.</p>
+
+
+<p><b>Pumice-stone.</b>&mdash;This well-known light and <span class="pagenum">108</span><a name="Page_108" id="Page_108"></a>spongy volcanic substance is
+extensively quarried in the small islands that lie off the coast of
+Sicily. Its porosity and smooth-cutting properties render it of great
+value to painters and polishers for levelling down first coatings.
+Ground pumice-stone is the best for cutting down bodies of polish or
+varnish that are more advanced towards completion. The best way to get a
+surface to a piece of lump pumice-stone is to rub it down on a flat York
+stone, or, better still, an old tile that has been well baked.
+Pumice-stone should not be allowed to stand in water; it causes the
+grain to contract and to harden, thereby deteriorating its cutting
+properties.</p>
+
+
+<p><b>Linseed-oil.</b>&mdash;This valuable oil is obtained by pressure from the seed
+of the flax plant (<i>Linum usitatissimum</i>). Linseed contains on an
+average about 33 per cent. of oil, though the amount varies materially,
+the percentage obtained fluctuating considerably, not being alike on any
+two successive days. This is partly due to the varying richness of the
+seed, and partly to the manner in which it is manipulated in extracting
+the oil, it being a very easy matter to lose a considerable percentage
+of the oil by a lack of skill in any of the processes, though they all
+seem so simple.</p>
+
+<p>The first thing done with the seed from which the oil is to be extracted
+is to pass it through a <span class="pagenum">109</span><a name="Page_109" id="Page_109"></a>screen, to cleanse it from foreign substances.
+The seed is received in bags containing from three to four bushels, and
+pockets containing one-sixth of that amount. Having been screened it is
+passed through a mill, whose large iron-rollers, three in number, grind
+it to a coarse meal. Thence it is carried to what are known as the
+"mullers," which are two large stones, about eight feet in diameter and
+eighteen inches thick, weighing six tons each, standing on their edges,
+and rolling around on a stone bed. About five bushels of the meal are
+placed in the mullers, and about eight quarts of hot water are added.
+The meal is afterwards carried by machinery to the heaters, iron pans
+holding about a bushel each. These are heated to an even temperature by
+steam, and are partly filled with the meal, which for seven minutes is
+submitted to the heat, being carefully stirred in order that all parts
+may become evenly heated. At the end of that time the meal is placed in
+bags, which in turn are placed in hydraulic presses, iron plates being
+placed between the bags. Pressure is applied for about eight minutes,
+until, as is supposed, all the oil is pressed out, leaving a hard cake,
+known to the trade as oil-cake, or linseed-cake.</p>
+
+<p>The product of these various processes is known as "raw" oil, a
+considerable portion of which is sold without further labour being
+expended upon it. There is, however, a demand for "boiled" oil, for
+certain purposes where greater drying pro<span class="pagenum">110</span><a name="Page_110" id="Page_110"></a>perties are needed. To supply
+this want oil is placed in large kettles, holding from five hundred to
+one thousand gallons, where it is heated to a temperature of about 500
+degrees, being stirred continually. This process, when large kettles are
+used, requires nearly the entire day. While the boiling process is going
+on, oxide of manganese is added, which helps to give the boiled oil
+better drying properties. A considerable portion of the oil is bleached,
+for the use of manufacturers of white paints.</p>
+
+
+<p><b>Venice Turpentine.</b>&mdash;This is obtained from the larch, and is said to be
+contained in peculiar sacs in the upper part of the stem, and to be
+obtained by puncturing them. It is a ropy liquid, colourless or brownish
+green, having a somewhat unpleasant odour and bitter taste.</p>
+
+
+<p><b>Oil of Turpentine</b> is the most plentiful and useful of oils. It is
+obtained in America from a species of pine very plentiful in the
+Carolinas, Georgia, and Alabama, known as the long-leaved pine (<i>pinus
+Australis</i>), and found only where the original forest has not been
+removed.</p>
+
+
+<p><b>Methylated Spirits.</b>&mdash;The methylated spirit of commerce usually
+consists of the ordinary mixed grain, or "plain" spirit, as produced by
+the large distillers in London and elsewhere, with <span class="pagenum">111</span><a name="Page_111" id="Page_111"></a>which are blended,
+by simply mixing in various proportions, one part vegetable naphtha and
+three parts spirits of wine. The mixing takes place in presence of a
+revenue officer, and the spirits so "methylated" are allowed to be used
+duty free. The revenue authorities consider the admixture of naphtha,
+having so pungent and disagreeable a smell, a sufficient security
+against its sale and consumption as a beverage. No process has yet been
+discovered of getting rid of this odour. It is illegal for druggists to
+use it in the preparation of medicinal tinctures, unless they are for
+external use.</p>
+
+
+<p>PRINTED BY WILLIAM CLOWES AND SONS, LIMITED, LONDON AND BECCLES.</p>
+
+<hr style="width: 65%;" />
+<h1><span class="smcap">Crosby Lockwood &amp; Son's</span></h1>
+<p><a name="Page_112" id="Page_112"></a><a name="Page_113" id="Page_113"></a></p>
+<h3>LIST OF WORKS</h3>
+
+<h6>ON</h6>
+
+<h1>TRADES AND MANUFACTURES, THE INDUSTRIAL ARTS, CHEMICAL MANUFACTURES,
+COUNTING HOUSE WORK, <span class="smcap">Etc</span>.</h1>
+ <p><br /></p>
+<div style="width:24em; text-align:center; margin-left:auto; margin-right: auto;">
+<p class="adborder" style="text-align:justify; padding:.75em; margin: 4em 0em 4em 0em;">A Complete Catalogue of NEW and STANDARD BOOKS relating to CIVIL,
+MECHANICAL, MARINE and ELECTRICAL ENGINEERING; MINING, METALLURGY, and
+COLLIERY WORKING; ARCHITECTURE and BUILDING; AGRICULTURE and ESTATE
+MANAGEMENT, etc. Post Free on Application.</p>
+</div>
+<div style="font-size:smaller; text-align:center;">
+<br /><span class="adtitle">7, STATIONERS' HALL COURT, LONDON, E.C.,</span><br />
+<span class="smcap">AND</span><br />
+<span class="adtitle">121a, VICTORIA STREET, WESTMINSTER, S.W.</span><br />
+1910.</div>
+
+ <p><a name="Page_114" id="Page_114"></a><a name="Page_115" id="Page_115"></a></p>
+<hr style="width: 65%;" />
+<h3>LIST OF WORKS</h3>
+
+<h6>ON</h6>
+
+<h2>TRADES and MANUFACTURES,<br />
+THE INDUSTRIAL ARTS, Etc.</h2>
+<hr style="width: 65%;" />
+<div class="ads">
+<p class="outdent"><b>ACETYLENE, LIGHTING BY.</b> Generators, Burners, and Electric Furnaces. By
+<span class="smcap">William E. Gibbs</span>, M.E. With 66 Illustrations. Crown
+8vo, cloth&nbsp; <span class="bprice">&nbsp;7/6</span></p>
+
+
+<p class="outdent"><b>AIR GAS LIGHTING SYSTEMS.</b> See <span class="smcap">Petrol Gas</span>.</p>
+
+
+<p class="outdent"><b>ALCOHOL (INDUSTRIAL): ITS MANUFACTURE AND USES.</b> A Practical Treatise
+based on Dr. Max Maercker's "Introduction to Distillation," as revised
+by Drs. <span class="smcap">Delbruck</span> and <span class="smcap">Lange</span>. By J. K.
+<span class="smcap">Brachvogel</span>. 500 pages, 105 engravings  <span class="netbprice"><i>Net</i> <b>16/6</b></span> </p>
+
+
+<p class="adpara"><span class="smcap">The Industrial Value of Tax-Free Alcohol and what it means to
+Agricultural Interests &mdash; Summary of the Processes in Spirit
+Manufacture &mdash; Starch, How Formed, its Characteristics, and the Changes it
+Undergoes &mdash; Enzymes or Ferments &mdash; Products of Fermentation &mdash; Starchy and
+Sacchariferous Raw Materials &mdash; Preparation of the Malt &mdash; Steaming the Raw
+Material &mdash; The Mashing Process &mdash; Fermenting the Mash &mdash; Preparation of
+Artificial Yeast in the Distillery &mdash; Fermentation in
+Practice &mdash; Distillation and Rectification &mdash; Arrangement of the
+Distillery &mdash; The Spent Wash &mdash; Denaturing of Alcohol &mdash; Alcohol for the
+Production of Power, Heating and Illumination &mdash; Statistics</span>.</p>
+
+
+<p class="outdent"><b>ALKALI TRADE MANUAL.</b> Including the Manufacture of Sulphuric Acid,
+Sulphate of Soda, and Bleaching Powder. By <span class="smcap">John Lomas</span>, Alkali
+Manufacturer. With 232 Illustrations. Super-royal 8vo, cloth. <span class="bprice">&nbsp;&pound;1&nbsp;10s.</span></p>
+
+
+<p class="outdent"><b>BLOWPIPE IN CHEMISTRY, MINERALOGY, Etc.</b> Containing all known Methods
+of Anhydrous Analysis, many Working Examples, and Instructions for
+Making Apparatus. By Lieut.-Colonel <span class="smcap">W. A. Ross</span>, R.A., F.G.S. Second
+Edition. Crown 8vo, cloth <span class="bprice">&nbsp;5/0</span></p>
+
+
+<p class="outdent"><b>BOOT AND SHOE MAKING</b>, including Measurement, Last-fitting,
+Cutting-out, Closing and Making, with a Description of the most Approved
+Machinery employed. By J. B. <span class="smcap">Leno</span>. Crown 8vo, cloth <span class="bprice">&nbsp;2/0</span></p>
+ <p><a name="Page_116" id="Page_116"></a></p>
+
+<p class="outdent"><b>BRASS
+FOUNDER'S MANUAL.</b> Modelling, Pattern Making, Moulding, Turning, &amp;c. By
+W. <span class="smcap">Graham</span>. Crown 8vo, cloth <span class="bprice">&nbsp;2/0</span></p>
+
+
+<p class="outdent"><b>BREAD &amp; BISCUIT BAKER'S &amp; SUGAR-BOILER'S ASSISTANT.</b> Including a large
+variety of Modern Recipes. By <span class="smcap">Robert Wells</span>. Fifth Edition.
+Crown 8vo, cloth <span class="bprice">&nbsp;1/0</span></p>
+
+<div class="blockquot"><p>"A large number of wrinkles for the ordinary cook, as well as the
+     baker." &mdash;<i>Saturday Review.</i></p></div>
+
+
+<p class="outdent"><b>BREAKFAST DISHES. For every Morning of Three Months.</b> By Miss
+<span class="smcap">Allen</span> (Mrs. A. <span class="smcap">Macaire</span>).
+Author of "Savouries and Sweets," &amp;c. Twenty-third Edition. F'cap 8vo. Sewed
+ <span class="bprice">&nbsp;1/0</span><br />
+<span style="margin-left: 2.5em;">Or, quarter bound, fancy boards</span> <span class="bprice">&nbsp;1/6</span></p>
+
+
+<p class="outdent"><b>BREWERS, HANDY BOOK FOR.</b> Being a Practical Guide to the Art of Brewing
+and Malting. Embracing the Conclusions of Modern Research which bear
+upon the Practice of Brewing. By H. E. <span class="smcap">Wright</span>, M.A. Third
+Edition. Thoroughly Revised and Enlarged. Large Crown 8vo, 578 pp.,
+cloth  <span class="netbprice"><i>Net</i> <b>12/6</b></span></p>
+
+<p class="adpara"><span class="smcap">Barley, Malting and Malt &mdash; Water for Brewing &mdash; Hops and Sugars &mdash; The
+Brewing Room &mdash; Chemistry as Applied to Brewing &mdash; The Laboratory &mdash; Mashing,
+Sparging, and Boiling &mdash; Ferments in General &mdash; Fermentation With Commercial
+Yeast &mdash; Culture from a Single Cell with Yeasts &mdash; Treatment of Beer &mdash; The
+Brewery and Plants</span>.</p>
+
+<div class="blockquot"><p>"We have great pleasure in recommending this handy Book." &mdash;<i>The
+     Brewers' Guardian.</i></p></div>
+
+
+<p class="outdent"><b>CALCULATOR, NUMBER, WEIGHT AND FRACTIONAL.</b> Containing upwards of
+250,000 Separate Calculations, showing at a Glance the Value at 422
+Different Rates, ranging from 1/128th of a Penny to 20s. each, or per
+cwt., and &pound;20 per ton, of any number of articles consecutively, from 1
+to 470. Any number of cwts., qrs., and lbs., from 1 cwt. to 470 cwts.
+Any number of tons, cwts., qrs., and lbs., from 1 to 1,000 tons. By
+<span class="smcap">William Chadwick</span>, Public Accountant. Fourth Edition, Revised
+and Improved. 8vo, strongly bound <span class="bprice">&nbsp;18/0</span></p>
+
+<div class="blockquot"><p>"It is as easy of reference for any answer or any number of answers
+     as a dictionary. For making up accounts or estimates the book must
+     prove invaluable to all who have any considerable quantity of
+     calculations involving price and measure in any combination to
+     do." &mdash;<i>Engineer.</i></p></div>
+
+<div class="blockquot"><p>     "The most perfect work of the kind yet prepared." &mdash;<i>Glasgow
+     Herald.</i></p></div>
+
+
+<p class="outdent"><b>CEMENTS, PASTES, GLUES, AND GUMS.</b> A Guide to the Manufacture and
+Application of Agglutinants for Workshop, Laboratory, or Office Use.
+With 900 Recipes and Formul&aelig;. By H. C. <span class="smcap">Standage</span>, Crown 8vo,
+cloth <span class="bprice">&nbsp;2/0</span></p>
+
+<div class="blockquot"><p>"As a revelation of what are considered trade secrets, this book
+     will arouse an amount of curiosity among the large number of
+     industries it touches." &mdash;<i>Daily Chronicle</i>.</p></div>
+
+
+<p class="outdent"><b>CHEMISTRY FOR ARMY AND MATRICULATION CANDIDATES.</b> By <span class="smcap">Geoffrey
+Martin, B.Sc.</span>, Ph.D. Crown 8vo, cloth. With numerous Illustrations <span class="netbprice"><i>Net</i> <b>2/0</b></span></p>
+
+<p class="adpara"><span class="smcap">Preparation and Use of Apparatus &mdash; Preparation and Properties of
+Certain Gases and Liquids &mdash; Simple Quantitative Experiments &mdash; Analytical
+Operations &mdash; Solubility &mdash; Water Crystallisation &mdash; Neutralisation of Acids
+by Bases, and Preparation of Simple Salts &mdash; Volumetric Analysis &mdash; Chemical
+Equivalents &mdash; Observation of Reaction &mdash; Melting and Boiling
+Points &mdash; Symbols and Atomic Weights of the Elements &mdash; Weights and
+Measures &mdash; Hints on Regulating Work in Practical Chemistry Classes</span>.<a name="Page_117" id="Page_117"></a></p>
+
+
+<p class="outdent"><b>CLOCKS, WATCHES, &amp; BELLS for PUBLIC PURPOSES.</b> By <span class="smcap">Edmund Beckett,
+Lord Grimthorpe</span>, LL.D., K.C., F.R.A.S. Eighth Edition, with new
+List of Great Bells and an Appendix on Weathercocks. Crown 8vo, cloth
+<span class="sbprice">4/6</span>; cloth boards, <span class="bprice">&nbsp;5/6</span></p>
+
+<div class="blockquot"><p>"The only modern treatise on clock-making." &mdash;<i>Horological Journal.</i></p></div>
+
+
+<p class="outdent"><b>COACH-BUILDING.</b> A Practical Treatise, Historical and Descriptive. By
+J. W. <span class="smcap">Burgess</span>. Crown 8vo, cloth <span class="bprice">&nbsp;2/6</span></p>
+
+
+<p class="outdent"><b>COKE&mdash;MODERN COKING PRACTICE.</b> Including the Analysis of Materials and
+Products. A handbook for those engaged or interested in Coke Manufacture
+with recovery of By-Products. By T. H. <span class="smcap">Byrom</span>, F.I.C., F.C.S.,
+Mem. Soc. of Chem. Industry, Chief Chemist to the Wigan Coal and Iron
+Company. For fifteen years Lecturer at the Wigan Technical College.
+Author of "The Physics and Chemistry of Mining"; and J. E.
+<span class="smcap">Christopher</span>, Mem. Soc. of Chem. Industry, Sub-manager of the
+Semet Solvay Coking Plant of the Wigan Coal and Iron Company. Lecturer
+on Coke Manufacture at the Wigan Technical College. 168 pages, with
+numerous illustrations. Demy 8vo, cloth.
+ <span class="xnetbprice">[<i>Just Published Net</i>] <b>8/6</b></span></p>
+
+<div class="blockquot"><p>"The authors have succeeded in treating the subject in a clear and
+     compact way, giving an easily comprehensible review of the
+     different processes." &mdash;<i>Mining Journal.</i></p>
+
+<p>     "The book will be eagerly read, and the authors may be assured that
+     their labour will be appreciated. We anticipate that the book will
+     be a success; at any rate it possesses the necessary
+     merit." &mdash;<i>Science and Art of Mining.</i></p></div>
+
+
+<p class="outdent"><b>COMMERCIAL CORRESPONDENT, FOREIGN.</b> Being Aids to Commercial
+Correspondence in Five Languages&mdash;English, French, German, Italian, and
+Spanish. By <span class="smcap">Conrad E. Baker</span>. Third Edition, Carefully Revised
+Throughout. Crown 8vo, cloth <span class="bprice">&nbsp;4/6</span></p>
+
+<div class="blockquot"><p>"Whoever wishes to correspond in all the languages mentioned by Mr.
+     Baker cannot do better than study this work, the materials of which
+     are excellent and conveniently arranged. They consist not of entire
+     specimen letters, but&mdash;what are far more useful&mdash;short passages,
+     sentences, or phrases expressing the same general idea in various
+     forms." &mdash;<i>Athen&aelig;um</i>.</p></div>
+
+
+<p class="outdent"><b>CONFECTIONER, MODERN FLOUR.</b> Containing a large Collection of Recipes
+for Cheap Cakes, Biscuits, &amp;c. With remarks on the Ingredients Used in
+their Manufacture. By R. <span class="smcap">Wells</span> <span class="bprice">&nbsp;1/0</span></p>
+
+
+<p class="outdent"><b>CONFECTIONERY, ORNAMENTAL.</b> A Guide for Bakers, Confectioners and
+Pastrycooks; including a variety of Modern Recipes, and Remarks on
+Decorative and Coloured Work. With 129 Original Designs. By <span class="smcap">Robert
+Wells</span>. Crown 8vo, cloth <span class="bprice">&nbsp;5/0</span></p>
+
+<div class="blockquot"><p>"A valuable work, practical, and should be in the hands of every
+     baker and confectioner. The illustrative designs are worth treble
+     the amount charged for the work." &mdash;<i>Bakers' Times.</i></p></div>
+
+
+<p class="outdent"><b>COTTON MANUFACTURE.</b> A Manual of Practical Instruction of the Processes
+of Opening, Carding, Combing, Drawing, Doubling and Spinning, Methods of
+Dyeing, &amp;c. For the Use of Operatives, Overlookers, and Manufacturers.
+By J. <span class="smcap">Lister</span>. 8vo, cloth <span class="bprice">&nbsp;7/6</span></p>
+
+
+<p class="outdent"><b>DANGEROUS GOODS.</b> Their Sources and Properties, Modes of Storage and
+Transport. With Notes and Comments on Accidents arising therefrom. For
+the Use of Government and Railway Officials, Steamship Owners, &amp;c. By H.
+J. <span class="smcap">Phillips</span>. Crown 8vo, cloth <span class="bprice">&nbsp;9/0</span></p>
+
+
+<p class="outdent"><b>DENTISTRY (MECHANICAL).</b> A Practical Treatise on the Construction of
+the Various Kinds of Artificial Dentures. By C. <span class="smcap">Hunter</span>. Crown
+8vo, cloth <span class="bprice">&nbsp;3/0</span><a name="Page_118" id="Page_118"></a></p>
+
+<p class="outdent"><b>DISCOUNT GUIDE.</b> Comprising several Series of Tables
+for the Use of Merchants, Manufacturers, Ironmongers, and Others, by
+which may be ascertained the Exact Profit arising from any mode of using
+Discounts, either in the Purchase or Sale of Goods, and the method of
+either Altering a Rate of Discount, or Advancing a Price, so as to
+produce, by one operation, a sum that will realise any required Profit
+after allowing one or more Discounts: to which are added Tables of
+Profit or Advance from 1&#188; to 90 per cent., Tables of Discount from
+1&#188; to 98&#190; per cent., and Tables of Commission, &amp;c., from &#8539; to 10
+per cent. By <span class="smcap">Henry Harben</span>, Accountant. New Edition, Corrected.
+Demy 8vo, half-bound <span class="bprice">&nbsp;&pound;1&nbsp;5s.</span></p>
+
+<div class="blockquot"><p>"A book such as this can only be appreciated by business men, to
+     whom the saving of time means saving of money. The work must prove
+     of great value to merchants, manufacturers, and general
+     traders." &mdash;<i>British Trade Journal.</i></p></div>
+
+
+<p class="outdent"><b>DRYING MACHINERY AND PRACTICE.</b> A Handbook on the Theory and Practice
+of Drying and Desiccating, with Classified Description of Installations,
+Machinery, and Apparatus, including also a Glossary of Technical Terms
+and Bibliography. By <span class="smcap">Thomas G. Marlow</span>, Grinding, Drying, and
+Separating Machinery Specialist. Medium 8vo. About 250 pages, with 150
+Illustrations  <span class="xnetbprice">[<i>In the Press, price about</i> <b>12/6</b> <i>net.</i>]</span></p>
+
+
+<p class="outdent"><b>ELECTRICITY IN FACTORIES AND WORKSHOPS: ITS COST AND CONVENIENCE.</b> A
+Handbook for Power Producers and Power Users. By A. P. <span class="smcap">Haslam</span>,
+M.I.E.E. 328 pages, with numerous illustrations. Large crown, 8vo, cloth
+ <span class="netbprice"><i>Net</i> <b>7/6</b></span></p>
+
+
+<p class="outdent"><b>ELECTRO-METALLURGY.</b> A Practical Treatise. By <span class="smcap">Alexander Watt</span>.
+Tenth Edition, enlarged and revised. Including the most Recent
+Processes. Crown 8vo, cloth <span class="bprice">&nbsp;3/6</span></p>
+
+
+<p class="outdent"><b>ELECTRO-PLATING.</b> A Practical Handbook on the Deposition of Copper,
+Silver, Nickel, Gold, Aluminium, Brass, Platinum, &amp;c., &amp;c. By J. W.
+<span class="smcap">Urquhart</span>, C.E. Fifth Edition, Revised. Crown 8vo, cloth <span class="bprice">&nbsp;5/0</span></p>
+
+
+<p class="outdent"><b>ELECTRO-PLATING &amp; ELECTRO-REFINING OF METALS</b> Being a new edition of
+<span class="smcap">Alexander Watt's</span> "<span class="smcap">Electro-Deposition</span>." Revised and
+Rewritten by A. <span class="smcap">Philip</span>, B.Sc., Principal Assistant to the
+Admiralty Chemist. Crown 8vo, cloth  <span class="netbprice"><i>Net</i> <b>12/6</b></span></p>
+
+<p class="adpara"><span class="smcap">PART I. ELECTRO-PLATING &mdash; Preliminary Considerations &mdash; Primary and
+Secondary Batteries &mdash; Thermopiles &mdash; Dynamos &mdash; Cost of Electrical
+Installations of Small Output for Electro-Plating &mdash; Historical Review of
+Electro Deposition &mdash; Electro Deposition of Copper &mdash; Deposition of Gold by
+Simple Immersion &mdash; Electro Deposition of Gold &mdash; Various Gilding
+Operations &mdash; Mercury Gilding &mdash; Electro Deposition of Silver &mdash; Imitation
+Antique Silver &mdash; Electro Deposition of Nickel, Tin, Iron and Zinc,
+Various Metals and Alloys &mdash; Recovery of Gold and Silver from Wash
+Solutions &mdash; Mechanical Operations connected with Electro
+Deposition &mdash; Materials Used in Electro Deposition. <br />PART II. ELECTRO
+METALLURGY &mdash; Electro Metallurgy of Copper &mdash; Cost of Electrolytic Copper
+Refining &mdash; Current Density as a Factor in Profits &mdash; Some Important Details
+in Electrolytic Copper Refineries &mdash; Electrolytic Gold and Silver Bullion
+Refining &mdash; Electrolytic Treatment of Tin &mdash; Electrolytic Refining of
+Lead &mdash; Electrolytic Production of Aluminium and Electrolytic Refining of
+Nickel &mdash; Electro Galvanising</span>.</p>
+
+<div class="blockquot"><p>"Eminently a book for the practical worker in
+     electro-deposition." &mdash;<i>Engineer.</i></p></div>
+
+
+<p class="outdent"><b>ELECTRO-TYPING.</b> The Reproduction and Multiplication of Printing
+Surfaces and Works of Art by the Electro-Deposition of Metals. By J. W.
+<span class="smcap">Urquhart</span>, C.E. Crown 8vo, cloth <span class="bprice">&nbsp;5/0</span></p>
+
+
+<p class="outdent"><b>ENGINEERING CHEMISTRY.</b> A Practical Treatise for the Use of Analytical
+Chemists, Engineers, Iron Masters, Iron Founders, Students and others.
+Comprising Methods of Analysis and Valuation of the Principal Materials
+used in Engineering Work, with numerous Analyses, Examples and
+Suggestions. By H. <span class="smcap">Phillips</span>. Third Edition, Revised. Crown 8vo,
+420 pp., with Illustrations, cloth  <span class="netbprice"><i>Net</i> <b>10/6</b></span></p> <p><a name="Page_119" id="Page_119"></a></p>
+
+
+<p class="outdent"><b>EXPLOSIVES, MODERN, A
+HANDBOOK ON.</b> A Practical Treatise on the Manufacture and Use of
+Dynamite, Gun-Cotton, Nitro-Glycerine and other Explosive Compounds,
+including Collodion-Cotton. With Chapters on Explosives in Practical
+Application. By M. <span class="smcap">Eissler</span>, M.E. Second Edition, Enlarged.
+Crown 8vo, cloth <span class="bprice">&nbsp;12/6</span></p>
+
+<div class="blockquot"><p>"A veritable mine of information on the subject of explosives
+     employed for military, mining, and blasting purposes." &mdash;<i>Army and
+     Navy Gazette.</i></p></div>
+
+
+<p class="outdent"><b>EXPLOSIVES: NITRO-EXPLOSIVES.</b> The Properties, Manufacture, and
+Analysis of Nitrated Substances, including the Fulminates, Smokeless
+Powders, and Celluloid. By P. G. <span class="smcap">Sanford</span>, F.I.C., F.C.S.,
+Public Analyst to the Borough of Penzance. Second Edition, enlarged.
+With Illustrations. Demy 8vo, cloth  <span class="netbprice"><i>Net</i> <b>10/6</b></span></p>
+
+<p class="adpara"><span class="smcap">Nitro-Glycerine &mdash; Nitro-Cellulose, etc. &mdash; Dynamite &mdash; Nitro-Benzol,
+Roburite, Bellite, Picric Acid, etc. &mdash; The Fulminates &mdash; Smokeless Powders
+in General &mdash; Analysis of Explosives &mdash; Firing Point, Heat Tests,
+Determination of Relative Strength, etc</span>.</p>
+
+<div class="blockquot"><p>"One of the very few text-books in which can be found just what is
+     wanted. Mr. Sanford goes steadily through the whole list of
+     explosives commonly used, he names any given explosive, and tells
+     of what it is composed and how it is manufactured. The book is
+     excellent." &mdash;<i>Engineer.</i></p></div>
+
+
+<p class="outdent"><b>FACTORY ACCOUNTS: THEIR PRINCIPLES AND PRACTICE.</b> A Handbook for
+Accountants and Manufacturers, with Appendices on the Nomenclature of
+Machine Details, the Income Tax Acts, the Rating of Factories, Fire and
+Boiler Insurance, the Factory and Workshop Acts, etc., including a
+Glossary of Terms and a large number of Specimen Rulings. By <span class="smcap">Emile
+Garcke</span> and J. M. <span class="smcap">Fells</span>. Fifth Edition, Revised and
+Enlarged. Demy 8vo, cloth <span class="bprice">&nbsp;7/6</span></p>
+
+<div class="blockquot"><p>"A very interesting description of the requirements of Factory
+     Accounts.... The principle of assimilating the Factory Accounts to
+     the general commercial books is one which we thoroughly agree
+     with." &mdash;<i>Accountants' Journal.</i></p></div>
+
+
+<p class="outdent"><b>FLOUR MANUFACTURE.</b> A Treatise on Milling Science and Practice. By
+<span class="smcap">Friedrich Kick</span>, Imperial Regierungsrath, Professor of
+Mechanical Technology in the Imperial German Polytechnic Institute,
+Prague. Translated from the Second Enlarged and Revised Edition. By H.
+H. P. <span class="smcap">Powles</span>, A.M.Inst.C.E. 400 pp., with 28 Folding Plates,
+and 167 Woodcuts. Royal 8vo, cloth <span class="bprice">&nbsp;&pound;1&nbsp;5s.</span></p>
+
+<div class="blockquot"><p>"This invaluable work is the standard authority on the science of
+     milling." &mdash;<i>The Miller.</i></p></div>
+
+
+<p class="outdent"><b>FRENCH POLISHING AND ENAMELLING.</b> Including numerous Recipes for making
+Polishes, Varnishes, Glaze, Lacquers, Revivers, &amp;c. By R.
+<span class="smcap">Bitmead</span>. Crown 8vo, cloth <span class="bprice">&nbsp;1/6</span></p>
+
+
+<p class="outdent"><b>GAS ENGINEER'S POCKET-BOOK.</b> Comprising Tables, Notes and Memoranda
+relating to the Manufacture, Distribution and Use of Coal Gas and the
+Construction of Gas Works. By H. <span class="smcap">O'Connor</span>, A.M.Inst.C.E. Third
+Edition. Revised. Crown 8vo, leather.  <span class="netbprice"><i>Net</i> <b>10/6</b></span></p>
+
+<p class="adpara"><span class="smcap">GENERAL CONSTRUCTING MEMORANDA &mdash; General Mathematical
+Tables &mdash; Unloading Materials and Storage &mdash; Retort
+House &mdash; Condensers &mdash; Boilers, Engines, Pumps, and Exhausters &mdash; Scrubbers
+and Washers &mdash; Purifiers &mdash; Gasholder Tanks &mdash; Gasholders &mdash; Workshop
+Notes &mdash; MANUFACTURING &mdash; Storing Materials &mdash; Retort House
+(Working) &mdash; Condensing Gas &mdash; Exhausters, etc. &mdash; Washing and
+Scrubbing &mdash; Purification &mdash; Gasholders (Care of) &mdash; Distributing
+Gas &mdash; Testing &mdash; Enriching Processes &mdash; Product Works &mdash; Supplementary</span>.</p>
+
+<div class="blockquot"><p>"The book contains a vast amount of information." &mdash;<i>Gas World.</i></p></div>
+
+
+<p class="outdent"><b>GAS ENGINEERING.</b> See <span class="smcap">Producer Gas Practice and Industrial Gas
+Engineering</span>.</p>
+ <a name="Page_120" id="Page_120"></a>
+
+<p class="outdent"><b>GAS FITTING.</b> A Practical Handbook. By <span class="smcap">John
+Black</span>. Revised Edition. With 130 Illustrations. Crown 8vo, cloth
+ <span class="bprice">&nbsp;2/6</span></p>
+
+
+<p class="outdent"><b>GAS LIGHTING.</b> See <span class="smcap">Acetylene</span>.</p>
+
+
+<p class="outdent"><b>GAS LIGHTING FOR COUNTRY HOUSES.</b> See <span class="smcap">Petrol Air Gas</span>.</p>
+
+
+<p class="outdent"><b>GAS MANUFACTURE, CHEMISTRY OF.</b> A Practical Manual for the use of Gas
+Engineers, Gas Managers and Students. By <span class="smcap">Harold M. Royle</span>, Chief
+Chemical Assistant at the Beckton Gas Works. Demy 8vo, cloth, 340 pages,
+with numerous Illustrations and Coloured Plate.  <span class="netbprice"><i>Net</i> <b>12/6</b></span></p>
+
+<p class="adpara"><span class="smcap">Preparation of Standard Solutions &mdash; Analysis of Coals &mdash; Description of
+Various Types of Furnaces &mdash; Products of Carbonisation at Various
+Temperatures &mdash; Analysis of Crude Gas &mdash; Analysis of Lime &mdash; Analysis of
+Ammoniacal Liquor &mdash; Analytical Valuation of Oxide of Iron &mdash; Estimation of
+Naphthalin &mdash; Analysis of Fire-Bricks and Fire-Clay &mdash; Art of
+Photometry &mdash; Carburetted Water Gas &mdash; Appendix containing Statutory and
+Official Regulations for Testing Gas. Valuable Excerpts from Various
+important papers on Gas Chemistry, Useful Tables, Memoranda</span>, etc.</p>
+
+
+<p class="outdent"><b>GAS WORKS.</b> Their Construction and Arrangement, and the Manufacture and
+Distribution of Coal Gas. By S. <span class="smcap">Hughes</span>, C.E. Ninth Edition.
+Revised by H. <span class="smcap">O'Connor</span>, A.M.Inst.C.E. Crown 8vo <span class="bprice">&nbsp;6/0</span></p>
+
+
+<p class="outdent"><b>GOLD WORKING. JEWELLER'S ASSISTANT</b> for Masters and Workmen, Compiled
+from the Experience of Thirty Years' Workshop Practice. By G. E.
+<span class="smcap">Gee</span>. Crown 8vo <span class="bprice">&nbsp;7/6</span></p>
+
+
+<p class="outdent"><b>GOLDSMITH'S HANDBOOK.</b> Alloying, Melting, Reducing, Colouring,
+Collecting, and Refining. Manipulation, Recovery of Waste, Chemical and
+Physical Properties; Solders, Enamels, and other useful Rules and
+Recipes, &amp;c. By G. E. <span class="smcap">Gee</span>, Sixth Edition. Crown 8vo, cloth
+ <span class="bprice">&nbsp;3/0</span></p>
+
+
+<p class="outdent"><b>GOLDSMITH'S AND SILVERSMITH'S COMPLETE HANDBOOK.</b> By G. E.
+<span class="smcap">Gee</span>. Crown 8vo, half bound <span class="bprice">&nbsp;7/0</span></p>
+
+
+<p class="outdent"><b>HALL-MARKING OF JEWELLERY.</b> Comprising an account of all the different
+Assay Towns of the United Kingdom, with the Stamps at present employed;
+also the Laws relating to the Standards and Hall-marks at the various
+Assay Offices. By G. E. <span class="smcap">Gee</span>. Crown 8vo <span class="bprice">&nbsp;3/0</span></p>
+
+
+<p class="outdent"><b>HANDYBOOKS FOR HANDICRAFTS.</b> By <span class="smcap">Paul N. Hasluck</span>. See page <a href="#Page_128">16</a>.</p>
+
+
+<p class="outdent"><b>HOROLOGY, MODERN, IN THEORY AND PRACTICE.</b> Translated from the French
+of <span class="smcap">Claudius Saunier</span>, ex-Director of the School of Horology at
+Macon, by <span class="smcap">Julien Tripplin</span>, F.R.A.S., Besan&ccedil;on Watch
+Manufacturer, and <span class="smcap">Edward Rigg</span>, M.A., Assayer in the Royal Mint.
+With Seventy-eight Woodcuts and Twenty-two Coloured Copper Plates.
+Second Edition. Super-royal 8vo, <span class="sbprice">&pound;2&nbsp;2s.</span> cloth; half-calf <span class="bprice">&nbsp;&pound;2&nbsp;10s.</span></p>
+
+<div class="blockquot"><p>"There is no horological work in the English language at all to
+     be compared to this production of M. Saunier's for clearness and
+     completeness. It is alike good as a guide for the student and as a
+     reference for the experienced horologist and skilled
+     workman." &mdash;<i>Horological Journal.</i></p></div>
+
+
+<p class="outdent"><b>ILLUMINATING AND MISSAL PAINTING ON PAPER AND VELLUM.</b> A Practical
+Treatise on Manuscript Work, Testimonials, and Herald Painting, with
+Chapters on Lettering and Writing, and on Medi&aelig;val Burnished Gold. With
+two Coloured Plates. By <span class="smcap">Philip Whithard</span> (First-class Diploma
+for Illumination and Herald Painting, Printing Trades Exhibition, 1906).
+156 pages. Crown 8vo, cloth   <span class="netbprice"><i>Net</i> <b>4/0</b></span><a name="Page_121" id="Page_121"></a></p>
+
+
+
+<p class="outdent"><b>INTEREST CALCULATOR.</b> Containing
+Tables at 1, 1&#189;, 2, 2&#189;, 3, 3&#189;, 3&#190;, 4, 4&#189;, 4&#190; and 5 per
+cent. By A. M. <span class="smcap">Campbell</span>, Author of "The Concise Calendar."
+Crown 8vo, cloth  <span class="netbprice"><i>Net</i> <b>2/6</b></span></p>
+
+
+<p class="outdent"><b>IRON AND METAL TRADES' COMPANION.</b> For Expeditiously ascertaining the
+Value of any Goods bought or sold by Weight, from 1<i>s.</i> per cwt. to
+112<i>s.</i> per cwt., and from one farthing per pound to one shilling per
+pound. By <span class="smcap">Thomas Downie</span>. Strongly bound in leather, 396 pp.
+ <span class="bprice">&nbsp;9/0</span></p>
+
+<div class="blockquot"><p>"A most useful set of tables. Nothing like them before
+      existed." &mdash;<i>Building News.</i></p></div>
+
+
+<p class="outdent"><b>IRON-PLATE WEIGHT TABLES.</b> For Iron Shipbuilders, Engineers and Iron
+Merchants. Containing the Calculated Weights of upwards of 150,000
+different sizes of Iron Plates, from 1 ft. by 6 ins. by &#188; in. to 10
+ft. by 5 ft. by 1 in. Worked out on the basis of 40 lbs. to the square
+foot of iron of 1 in. in thickness. By H. <span class="smcap">Burlinson</span> and W. H.
+<span class="smcap">Simpson</span>. 4to, half bound&nbsp; <span class="bprice">&nbsp;&pound;1&nbsp;5s.</span></p>
+
+
+<p class="outdent"><b>LABOUR CONTRACTS.</b> A Popular Handbook on the Law of Contracts or Works
+and Services. By <span class="smcap">David Gibbons</span>. Fourth Edition, with Appendix
+of Statutes by T. F. <span class="smcap">Uttley</span>; Solicitor. F'cap. 8vo, cloth <span class="bprice">&nbsp;3/6</span></p>
+
+
+<p class="outdent"><b>LAUNDRY MANAGEMENT.</b> A Handbook for use in Private and Public
+Laundries. Cr. 8vo, cloth <span class="bprice">&nbsp;2/0</span></p>
+
+
+<p class="outdent"><b>LAW FOR MANUFACTURERS, EMPLOYERS AND OTHERS, ETC.</b> See "<span class="smcap">Every Man's
+Own Lawyer</span>." A Handy-book of the Principles of Law and Equity. By a
+<span class="smcap">Barrister</span>. Forty-seventh (1910) Edition, including the
+Legislation of 1909. 830 pp. Large crown 8vo, cloth  <span class="xnetbprice">[<i>Just Published.</i>]
+<i>Net</i> <b>6/8</b></span></p>
+
+<p class="adpara"><span class="smcap">SUMMARY OF CONTENTS: Landlord and Tenant &mdash; Vendors and
+Purchasers &mdash; Contracts and Agreements &mdash; Conveyances and
+Mortgages &mdash; Joint-stock Companies &mdash; Partnership &mdash; Shipping Law &mdash; Dealings
+with Money &mdash; Suretiship &mdash; Cheques, Bills and Notes &mdash; Bills of
+Sale &mdash; Bankruptcy &mdash; Masters, Servants and Workmen &mdash; Insurance: Life,
+Accident, etc. &mdash; Copyright, Patents. Trade Marks &mdash; Husband and Wife,
+Divorce &mdash; Infancy, Custody of Children &mdash; Trustees and Executors &mdash; Taxes and
+Death Duties &mdash; Clergymen, Doctors, and Lawyers &mdash; Parliamentary
+Elections &mdash; Local Government &mdash; Libel and Slander &mdash; Nuisances &mdash; Criminal
+Law &mdash; Game Laws, Gaming, Innkeepers &mdash; Forms of Wills, Agreements, Notices,
+etc</span>.</p>
+
+<div class="blockquot"><p>"A useful and concise epitome of the law." &mdash;<i>Law Magazine.</i></p>
+
+<p>     "A complete digest of the most useful facts which constitute
+      English law." &mdash;<i>Globe.</i></p>
+
+<p>     "A dictionary of legal facts well put together. The book is a very
+      useful one." &mdash;<i>Spectator.</i></p></div>
+
+
+<p class="outdent"><b>LEATHER MANUFACTURE.</b> A Practical Handbook of Tanning, Currying, and
+Chrome Leather Dressing. By A. <span class="smcap">Watt</span>. Fifth Edition, Revised and
+Enlarged. 8vo, cloth   <span class="netbprice"><i>Net</i> <b>12/6</b></span></p>
+
+<p class="adpara"><span class="smcap">Chemical Theory of the Tanning Process &mdash; The Skin &mdash; Hides and
+Skins &mdash; Tannin or Tannic Acid &mdash; Gallic Acid &mdash; Gallic Fermentation &mdash; Tanning
+Materials &mdash; Estimation of Tannin &mdash; Preliminary Operations &mdash; Depilation or
+Unhairing Skins and Hides &mdash; Deliming or Bating &mdash; Tanning Butts for Sole
+Leather &mdash; Tanning Processes &mdash; Tanning by Pressure &mdash; Quick Tanning &mdash; Harness
+Leather Tanning &mdash; American Tanning &mdash; Hemlock Tanning &mdash; Tanning by
+Electricity &mdash; Chemical Tanning &mdash; Miscellaneous Processes &mdash; Cost of American
+Tanning &mdash; Manufacture of Light Leathers &mdash; Dyeing Leather &mdash; Manufacture of
+White Leather &mdash; Chrome Leather Manufacture &mdash; Box Calf Manufacture &mdash; Chamois
+or Oil Leather Manufacture &mdash; Currying &mdash; Machinery Employed in Leather
+Manufacture &mdash; Embossing Leather &mdash; Fellmongering &mdash; Parchment, Vellum, and
+Shagreen &mdash; Gut Dressing &mdash; Glue Boiling &mdash; Utilisation of Tanner's
+Waste</span>.</p>
+<p class="outdent"><a name="Page_122" id="Page_122"></a></p>
+<div class="blockquot"><p>"A sound, comprehensive treatise on tanning and its
+      accessories." &mdash;<i>Chemical Review.</i></p></div>
+
+<p class="outdent"><b>LEATHER MANUFACTURE. PRACTICAL
+      TANNING:</b> A Handbook of Modern Processes, Receipts and Suggestions
+      for the Treatment of Hides, Skins, and Pelts of every description,
+      including various Patents relating to Tanning, with specifications.
+      By <span class="smcap">Louis A. Flemming</span>, American Tanner. Second Edition, in
+      great part re-written, thoroughly revised, and much enlarged.
+      Illustrated by six full-page Plates. Medium 8vo, cloth, 630 pages
+       <span class="xnetbprice">[<i>Just published.</i>] <i>Net</i> <b>28/0</b></span></p>
+
+
+<p class="outdent"><b>MAGNETOS FOR AUTOMOBILISTS, HOW MADE AND HOW USED.</b> A Handbook of
+     Practical Instruction in the Manufacture and Adaptation of the
+     Magneto to the needs of the Motorist. By S. R. <span class="smcap">Bottone</span>,
+     late of the Collegio del Carmine, Turin, Author of "The Dynamo,"
+     "Ignition Devices," &amp;c. Second Edition, enlarged. With 52
+     Illustrations. Crown 8vo, cloth  <span class="netbprice"><i>Net</i> <b>2/0</b></span></p>
+
+
+<p class="outdent"><b>MARBLE AND MARBLE WORKING.</b> A Handbook for Architects, Sculptors,
+     Marble Quarry Owners and Workers, and all engaged in the Building
+     and Decorative Industries. Containing numerous Illustrations and
+     thirteen Coloured Plates. By W. G. <span class="smcap">Renwick</span>, Author of "The
+     Marble Industry," "The Working of Marble for Decorative Purposes,"
+     etc. 240 pages. Medium 8vo, cloth <span class="bprice">&nbsp;15/0</span></p>
+
+<p class="adpara"><span class="smcap">The Chemistry of Marble &mdash; Its Geological Formation &mdash; A
+     short Classification of Marbles &mdash; Antiquity of the Marble
+     Industry &mdash; Ancient Quarries and Methods of Working &mdash; Modern Quarries
+     and Quarrying Methods &mdash; Machinery used in Quarrying &mdash; European and
+     American Systems compared &mdash; Marble as Building Material &mdash; Uses of
+     Marble other than for Building Purposes-Sources of
+     Production: Italian, French, Belgian, and Greek Marbles,
+     etc. &mdash; Marbles of the United Kingdom and British
+     Colonies &mdash; Continental Marble Working &mdash; Marble Working
+     Machinery &mdash; Marble Working in the United States &mdash; American Machinery
+     Described and Compared &mdash; Marble Working: A British
+     industry &mdash; Marble Substitutes and Imitations &mdash; Practical Points for
+     the Consideration of Architects &mdash; Hints on the Selection of
+     Marble &mdash; List of Marbles in Ordinary Use, with Descriptive Notes and
+     Instances of their Application</span>.</p>
+
+
+<p class="outdent"><b>MENSURATION AND GAUGING. A POCKET-BOOK</b> containing Tables, Rules,
+     and Memoranda for Revenue Officers, Brewers, Spirit Merchants, &amp;c.
+     By J. B. <span class="smcap">Mant</span>. Second Edition. 18mo, leather. <span class="bprice">&nbsp;4/0</span></p>
+
+<div class="blockquot"><p>"Should be in the hands of every practical brewer." &mdash;<i>Brewers'
+     Journal.</i></p></div>
+
+
+<p class="outdent"><b>METRIC TABLES, A SERIES OF.</b> In which the British Standard Measures and
+Weights are compared with those of the Metric System at present in Use
+on the Continent. By C. H. <span class="smcap">Dowling</span>, C.E. 8vo, cloth <span class="bprice">&nbsp;10/6</span></p>
+
+<div class="blockquot"><p>"Mr. Dowling's tables are well put together as a ready-reckoner for
+     the conversion of one system into the other." &mdash;<i>Athen&aelig;um.</i></p></div>
+
+
+<p class="outdent"><b>METROLOGY, MODERN.</b> A Manual of the Metrical Units and Systems of the
+present Century. With an Appendix containing a proposed English System.
+By <span class="smcap">Lowis</span> d'A. <span class="smcap">Jackson</span>, A.M.Inst.C.E., Author of "Aid
+to Survey Practice," etc. Large crown 8vo, cloth <span class="bprice">&nbsp;12/6</span></p>
+
+<div class="blockquot"><p>"We recommend the work to all interested in the practical reform of
+     our weights and measures." &mdash;<i>Nature.</i></p></div>
+
+
+<p class="outdent"><b>MOTOR CAR, THE.</b> A Practical Manual for the use of Students and Motor
+Car Owners, with notes on the Internal Combustion Engine and its fuel.
+By <span class="smcap">Robert</span> W. A. <span class="smcap">Brewer</span>, A.M.Inst.C.E., M.I.M.E.,
+M.I.A.E. 250 pages. With numerous illustrations. Demy 8vo, cloth  <span class="netbprice"><i>Net</i>
+<b>5/0</b></span></p>
+
+
+<p class="outdent"><b>MOTOR CAR CATECHISM.</b> Containing about 320 Questions and Answers
+Explaining the Construction and Working of a Modern Motor Car. For the
+Use of Owners, Drivers, and Students. By <span class="smcap">John Henry Knight</span>.
+Second Edition, revised and enlarged, with an additional chapter on
+Motor Cycles. Crown 8vo, with Illustrations  <span class="netbprice"><i>Net</i> <b>1/6</b></span></p>
+
+<p class="adpara"><span class="smcap">The Petrol Engine&mdash;Transmission and the Chassis&mdash;Tyres&mdash;Duties of a
+Car Driver&mdash;Motor Cycles&mdash;Laws and Regulations</span>.</p>
+
+
+<p class="outdent"><b>MOTOR CARS FOR COMMON ROADS.</b> By A. J. <span class="smcap">Wallis-Tayler</span>,
+A.M.Inst.C.E. 212 pp., with 76 Illustrations. Crown 8vo. <span class="bprice">&nbsp;4/6</span><a name="Page_123" id="Page_123"></a></p>
+
+
+<p class="outdent"><b>MOTOR
+VEHICLES FOR BUSINESS PURPOSES.</b> A Practical Handbook for those
+interested in the Transport of Passengers and Goods. By A. J.
+<span class="smcap">Wallis-Tayler</span>, A.M.Inst.C.E. With 134 Illustrations. Demy 8vo,
+cloth  <span class="netbprice"><i>Net</i> <b>9/0</b></span></p>
+
+<p class="adpara"><span class="smcap">Resistance to Traction on Common Roads &mdash; Power Required for Motor
+Vehicles &mdash; Light Passenger Vehicles &mdash; Heavy Passenger Vehicles &mdash; Light
+Goods Vans &mdash; Heavy Freight Vehicles &mdash; Self-Propelled Vehicles for
+Municipal Purposes &mdash; Miscellaneous Types of Motor Vehicles &mdash; Cost of
+Running and Maintenance</span>.</p>
+
+
+<p class="outdent"><b>OILS AND ALLIED SUBSTANCES. AN ANALYSIS.</b> By A. C. <span class="smcap">Wright</span>,
+M.A.Oxon., B.Sc.Lond., formerly Assistant Lecturer in Chemistry at the
+Yorkshire College, Leeds, and Lecturer in Chemistry at the Hull
+Technical School. Demy 8vo, cloth  <span class="netbprice"><i>Net</i> <b>9/0</b></span></p>
+
+<p class="adpara"><span class="smcap">The Occurrence and Composition of Oils, Fats and Waxes &mdash; The Physical
+Properties of Oils, Fats, and Waxes, and their Determination &mdash; The
+Chemical Properties of Oils, Fats, and Waxes from the Analytical
+Standpoint &mdash; Detection and Determination of Non-Fatty
+Constituents &mdash; Methods for Estimating the Constituents of Oils and
+Fats &mdash; Description and Properties of the more Important Oils, Fats, and
+Waxes, with the Methods for their Investigation &mdash; Examination of Certain
+Commercial Products</span>.</p>
+
+
+<p class="outdent"><b>ORGAN BUILDING (PRACTICAL).</b> By W. E. <span class="smcap">Dickson</span>, M.A., Precentor
+of Ely Cathedral. Second Edition, Crown 8vo <span class="bprice">&nbsp;2/6</span></p>
+
+
+<p class="outdent"><b>PAINTS, MIXED. THEIR CHEMISTRY AND TECHNOLOGY.</b> By <span class="smcap">Maximilian
+Toch</span>. With 60 Photomicrographic Plates and other Illustrations
+ <span class="netbprice"><i>Net</i> <b>12/6</b></span></p>
+
+<p class="adpara"><span class="smcap">The Pigments &mdash; Yellow, Blue, and Green Pigments &mdash; The Inert Fillers
+and Extenders &mdash; Paint Vehicles &mdash; Special
+Paints &mdash; Analytical &mdash; Appendix</span>.</p>
+
+
+<p class="outdent"><b>PAINTING FOR THE IMITATION OF WOODS AND MARBLES.</b> As Taught and
+Practised by A. R. <span class="smcap">Van der Burg</span> and P. <span class="smcap">Van der Burg</span>,
+Directors of the Rotterdam Painting Institution. Royal folio, cloth,
+18&#189; by 12&#189; in. Illustrated with 24 full-size Coloured Plates; also
+12 Plain Plates, comprising 154 Figures. Fifth Edition  <span class="netbprice"><i>Net</i> <b>25/0</b></span></p>
+
+
+<p class="outdent"><b>PAINTING, GRAINING, MARBLING, AND SIGN WRITING.</b> With a Course of
+Elementary Drawing and a Collection of Useful Receipts. By E. A.
+<span class="smcap">Davidson</span>. Ninth Edition. Coloured Plates. Crown 8vo, cloth,
+<span class="sbprice">5/0</span>; cloth boards, <span class="bprice">&nbsp;6/0</span></p>
+
+
+<p class="outdent"><b>PAPER-MAKING.</b> A Practical Manual for Paper Makers and Owners and
+Managers of Paper-Mills. With Tables, Calculations, etc. By G.
+<span class="smcap">Clapperton</span>, Paper-Maker. With Illustrations of Fibres from
+Micro-Photographs. Second edition, revised and enlarged. Crown 8vo,
+cloth  <span class="netbprice"><i>Net</i> <b>5/0</b></span></p>
+
+<p class="adpara"><span class="smcap">Chemical and Physical Characteristics of Various Fibres &mdash; Cutting and
+Boiling of Rags &mdash; Jute Boiling and Bleaching &mdash; Wet Picking &mdash; Washing,
+Breaking, and Bleaching &mdash; Electrolytic Bleaching &mdash; Antichlor &mdash; Cellulose
+from Wood &mdash; Mechanical Wood Pulp &mdash; Esparto and
+Straw &mdash; Beating &mdash; Loading &mdash; Starching &mdash; Colouring Matter &mdash; Resin, Size, and
+Sizing &mdash; The Fourdrinier Machine and its Management &mdash; Animal
+Sizing &mdash; Drying &mdash; Glazing and Burnishing &mdash; Cutting,
+Finishing &mdash; Microscopical Examination of Paper &mdash; Tests for Ingredients of
+Paper &mdash; Recovery of Soda &mdash; Testing of Chemicals &mdash; Testing Water for
+Impurities.</span></p>
+
+<div class="blockquot"><p>"The author caters for the requirements of responsible mill hands,
+     apprentices, etc., whilst his manual will be found of great service
+     to students of technology, as well as to veteran paper-makers and
+     mill-owners. The illustrations form an excellent feature." &mdash;<i>The
+     World's Paper Trade.</i></p></div>
+
+
+<p class="outdent"><b>PAPER-MAKING.</b> A Practical Handbook of the Manufacture of Paper from
+Rags, Esparto, Straw, and other Fibrous Materials. Including the
+Manufacture of Pulp from Wood Fibre, with a Description of the Machinery
+and Appliances used. To which are added Details of Processes for
+Recovering Soda from Waste Liquors. By A. <span class="smcap">Watt</span>. With
+Illustrations. Crown 8vo <span class="bprice">&nbsp;7/6</span></p>
+<a name="Page_124" id="Page_124"></a>
+<p class="outdent"><b>PAPER MAKING, CHAPTERS ON.</b> A Series of
+Volumes dealing in a practical manner with all the leading questions in
+connection with the Chemistry of Paper-Making and the Manufacture of
+Paper. By <span class="smcap">Clayton Beadle</span>, Lecturer on Paper-Making before the
+Society of Arts, 1898 and 1902, and at the Battersea Polytechnic
+Institute, 1902, etc., etc. Each volume is published separately, at the
+price of <span class="sbprice">5/0</span> <i>net</i> per vol.</p>
+
+<div class="blockquot"><p>Volume I, comprises a Series of Lectures delivered on behalf of the
+Battersea Polytechnic Institute in 1902. Crown 8vo. 151 pp. <span class="netbprice"><i>Net</i> <b>5/0</b></span></p>
+
+<p>Volume II. comprises Answers to Questions on Paper-Making Set by the
+Examiners to the City and Guilds of London Institute, 1901-1903. Crown
+8vo, 182 pp.  <span class="netbprice"><i>Net</i> <b>5/0</b></span></p>
+
+<p>Volume III. comprises a short practical Treatise in which Boiling,
+Bleaching, Loading, Colouring, and similar Questions are discussed.
+Crown 8vo, 142 pp. <span class="netbprice"><i>Net</i> <b>5/0</b></span></p></div>
+
+<p class="adpara"><span class="smcap">CONTENTS: &mdash; "Brass" and "Steel" Beater Bars &mdash; The Size and Speed of
+Beater Rolls &mdash; The Fading of Prussian Blue Papers &mdash; The Effect of Lowering
+the Breast Roll &mdash; The Effect of "Loading" on the Transparency of
+Paper &mdash; "Terra Alba" as a Loading for Paper &mdash; The Use of Alum in Tub
+Sizing &mdash; The Influence of Temperature on Bleaching &mdash; The Use of Refining
+Engines &mdash; Agitation as an Auxiliary to Bleaching &mdash; The Heating of "Stuff"
+for the Paper Machine &mdash; The Comparative Results of Quadruple and Open
+Effect Evaporation &mdash; How to Prevent Electrification of Paper on the
+Machine &mdash; Transparency of Papers &mdash; The "Life" of Machine Wires &mdash; Edge
+Runners</span>.</p>
+
+<div class="blockquot"><p>Volume IV. contains discussions upon Water Supplies and the Management
+of the Paper Machine and its influence upon the Qualities of Papers.
+Crown 8vo, 164 pp.  <span class="netbprice"><i>Net</i> <b>5/0</b></span></p>
+</div>
+
+<p class="adpara"><span class="smcap">CONTENTS: &mdash; The Bulking of Papers &mdash; Special Qualities of "Art"
+Papers &mdash; The "Ageing" and Storage of Papers &mdash; The Use of Lime in
+Boiling &mdash; Controlling the Mark of The "Dandy" &mdash; "Machine" and "Hand" Cut
+Rags &mdash; Froth on Paper Machine &mdash; Scum Spots in Paper &mdash; Consumption of Water
+in the Manufacture of Paper &mdash; The Management of Suction-boxes &mdash; The
+Shrinkage of Paper on the Machine &mdash; Paper that does not Shrink or
+Expand &mdash; The Production of Non-Stretchable Paper &mdash; The Connection between
+"Stretch" and "Expansion" of Papers &mdash; "Stretch" and "Breaking
+Strain" &mdash; Paper Testing Machines</span>.</p>
+
+<div class="blockquot"><p>Volume V. concerning <span class="smcap">The Theory and Practice of Beating</span>. Crown
+8vo. With photomicrographs and other Illustrations. <span class="netbprice"><i>Net</i> <b>5/0</b></span></p></div>
+
+<p class="adpara"><span class="smcap">CONTENTS: &mdash; Early Beating Appliances &mdash; The Hollander &mdash; The Economy of
+Beating &mdash; Difficulties of arriving at Definite Results &mdash; Behaviour of
+different Fibres &mdash; "Refining" &mdash; Power Consumption &mdash; A Comparison of Two
+different kinds of Beaters &mdash; Power consumed in the "Breaking," "Beating,"
+and "Refining" of different Materials &mdash; Dealing with the "Circulation"
+and "Agitation" in a Hollander &mdash; Comparisons of large and medium-sized
+Hollanders when beating "Hard" and "Soft" Stock &mdash; Trials to determine the
+Relative Merits of Stone and Metal Beater-Bars &mdash; Trials with Breakers,
+Reed Beaters, and Kingsland Refiners &mdash; A System of Beating combined with
+a System for Continuous Bleaching &mdash; Beaters and Refiners &mdash; Power consumed
+in grinding Wood-pulp &mdash; The Reduction in Length of Fibres at different
+Stages of Beating &mdash; Method for determining the "Wetness" of Beaten
+Stuff &mdash; The Position of Beaters in Old and Modern
+Paper-Mills &mdash; Appendix</span>.</p>
+
+
+<p class="outdent"><b>PARA RUBBER. ITS CULTIVATION &amp; PREPARATION.</b> By W. H. <span class="smcap">Johnson</span>,
+F.L.S., Ex-Director of Agriculture, Gold Coast Colony, West Africa,
+Director of Agriculture, Mozambique Company, East Africa, Commissioned
+by Government in 1902 to visit Ceylon to Study the Methods employed
+there in the Cultivation and Preparation of Para Rubber and other
+Agricultural Staples for Market, with a view to Introduce them into West
+Africa. Second Edition, rewritten and greatly enlarged, with numerous
+illustrations. Demy 8vo, cloth  <span class="netbprice"><i>Net</i> <b>7/6</b></span></p>
+
+<p class="adpara"><span class="smcap">The World's Production and Consumption of Rubber &mdash; The Para Rubber
+Tree at Home and Abroad &mdash; Propagation &mdash; Planting and Cultivating &mdash; Soils
+and Manures &mdash; Pests &mdash; Latex &mdash; Collecting the Latex &mdash; Rubber Manufacture &mdash; The
+Antisepticisation of Rubber &mdash; Drying and Packing Rubber for Export &mdash; Yield
+of Para Rubber from Cultivated Trees &mdash; Establishment and Maintenance of a
+Para Rubber Plantation &mdash; Commercial Value of the Oil in Hevea Seeds</span>.</p>
+
+<a name="Page_125" id="Page_125"></a>
+<p class="outdent"><b>PASTRYCOOK AND CONFECTIONER'S GUIDE.</b> For Hotels, Restaurants, and the
+Trade in general, adapted also for Family Use. By R. <span class="smcap">Wells</span>,
+Author of "The Bread and Biscuit Baker" <span class="bprice">&nbsp;1/0</span></p>
+
+
+<p class="outdent"><b>PETROL AIR GAS.</b> A Practical Handbook on the Installation and Working
+of Air Gas Lighting Systems for Country Houses. By <span class="smcap">Henry
+O'Connor</span>, F.R.S.E., A.M. Inst. C.E., &amp;c., author of "The Gas
+Engineer's Pocket Book." 80 pages with illustrations. Crown 8vo, cloth
+ <span class="netbprice"><i>Net</i> <b>1/6</b></span></p>
+
+<p class="adpara"><span class="smcap">Description of Previous Plants and Systems for Country-House
+Lighting, Difficulties with, Objections and Prices &mdash; History of Petrol
+Gas, Comparative Costs &mdash; Petrol, its Nature, Dangers, and Storing, Notes
+on the Law regarding same &mdash; Burners, Description of same, Piping,
+Mantles &mdash; General Principles of Parts of Plants &mdash; Motive Power
+Meters &mdash; Weight-Driven Plants &mdash; Root's Blowers &mdash; Hot-Air Engines &mdash; Pelton
+Water-Wheels &mdash; Descriptions of Various Plants &mdash; Extract from an Act for
+the Safe-Keeping of Petroleum and Other Substances of a Like
+Nature &mdash; Appendix &mdash; Useful Notes.</span></p>
+
+
+<p class="outdent"><b>PETROLEUM. THE OIL FIELDS OF RUSSIA AND THE RUSSIAN PETROLEUM
+INDUSTRY.</b> A Practical Handbook on the Exploration, Exploitation, and
+Management of Russian Oil Properties, the Origin of Petroleum in Russia,
+the Theory and Practice of Liquid Fuel. By A. B. <span class="smcap">Thompson</span>,
+A.M.I.M.E., F.G.S. 415 pp., with numerous Illustrations and Photographic
+Plates. Second Edition Revised. Super-royal 8vo, cloth  <span class="netbprice"><i>Net</i> <b>21/0</b></span></p>
+
+
+<p class="outdent"><b>PETROLEUM MINING AND OIL-FIELD DEVELOPMENT.</b> A Guide to the Exploration
+of Petroleum Lands, and a Study of the Engineering Problems connected
+with the Winning of Petroleum. Including Statistical Data of important
+Oil Fields. Notes on the Origin and Distribution of Petroleum, and a
+description of the Methods of Utilizing Oil and Gas Fuels. By A.
+<span class="smcap">Beeby Thompson</span>, A.M.I.Mech.E., F.G.S. Author of "The Oil Fields
+of Russia." 384 pages, 114 illustrations, including 22 full-page plates.
+Demy 8vo, cloth. <span class="xnetbprice">[<i>Just Published.</i>] <i>Net</i> <b>15/0</b></span></p>
+
+<div class="blockquot"><p>"It is an admirable text-book by a competent authority on an interesting subject." &mdash;<i>Mining Magazine.</i></p>
+
+<p>     "The present effort is likely to receive a warm welcome in
+     engineering circles, and it can be cordially commended for perusal.
+     It will doubtless have that large sale to which its merits entitle
+     it." &mdash;<i>Mining World.</i></p>
+
+<p>     "The general aspects of the Petroleum Industry are fully and ably
+     laid out." &mdash;<i>Engineer.</i></p>
+
+     </div>
+
+
+<p class="outdent"><b>PIGMENTS, ARTISTS' MANUAL OF.</b> Showing their Composition, Conditions of
+Permanency, Non-Permanency, and Adulterations, etc., with Tests of
+Purity. By H. C. <span class="smcap">Standage</span>. Third Edition. Crown 8vo, cloth
+ <span class="bprice">&nbsp;2/6</span></p>
+
+
+<p class="outdent"><b>PORTLAND CEMENT, THE MODERN MANUFACTURE OF.</b> By <span class="smcap">Percy C. H. West</span>, Chemical Engineer and Consulting Chemist. In Three
+Volumes. Vol. I., dealing with "Machinery and Kilns." About 200 pages,
+Medium 8vo. With numerous Illustrations. <span class="xnetbprice">[<i>Nearly ready, price about</i>]&nbsp;<b>10/6</b></span></p>
+
+
+<p class="outdent"><b>PRODUCER GAS PRACTICE (AMERICAN) AND INDUSTRIAL GAS ENGINEERING</b>. By
+<span class="smcap">Nisbet Latta</span>, M.Amer.Soc.M.E., M.Amer.Gas Inst. 558 pages, with
+247 illustrations. Demy 4to, cloth <span class="xnetbprice">[<i>Just Published.</i>] <i>Net</i> <b>25/-</b></span></p>
+
+<p class="adpara"><span class="smcap">Producer Operation&mdash;Cleaning the Gas&mdash;Works Details&mdash;Producer
+Types&mdash;Moving Gases&mdash;Solid Fuels&mdash;Physical Properties of Gases&mdash;Chemical
+Properties of Gases&mdash;Gas Analysis&mdash;Gas Power&mdash;Gas Engines&mdash;Industrial
+Gas Applications&mdash;Furnaces and Kilns&mdash;Burning Lime and
+Cement&mdash;Pre-Heating Air&mdash;Doherty Combustion Economiser&mdash;Combustion in
+Furnaces&mdash;Heat: Temperature, Radiation and Conduction&mdash;Heat
+Measurements: Pyrometry and Calorimetry&mdash;Pipes, Flues, and
+Chimneys&mdash;Materials: Fire Clay, Masonry, Weights and Rope&mdash;Useful
+Tables&mdash;Oil Fuel Producer Gas.</span> </p>
+
+<a name="Page_126" id="Page_126"></a>
+
+<p class="outdent"><b>RECIPES, FORMULAS AND PROCESSES,
+TWENTIETH CENTURY BOOK OF.</b> Edited by <span class="smcap">Gardner D. Hiscox</span>, M.E.
+Nearly 10,000 Scientific, Chemical, Technical, and Household Recipes,
+Formulas and Processes for Use in the Laboratory and the Office, the
+Workshop and the Home. Medium 8vo, 800 pp., cloth.  <span class="netbprice"><i>Net</i> <b>12/6</b></span></p>
+
+
+<p class="adpara"><span class="smcap">Selected List of Contents: &mdash; Absinthe &mdash; Acid
+Proofing &mdash; Adhesives &mdash; Alcohol &mdash; Alkali &mdash; Alloys &mdash; Aluminium &mdash; Ammonia &mdash; Aniline &mdash;  Antidotes
+for Poison &mdash; Anchovy Preparations &mdash; Antiseptics &mdash; Antiques &mdash; Baking
+powders &mdash; Barometers &mdash; Beverages &mdash; Bleaching &mdash; Brass &mdash; Brick &mdash; Carbolic
+Acids &mdash; Casting
+ &mdash; Celluloid &mdash; Cheese &mdash; Ceramics &mdash; Cigars &mdash; Coffee &mdash; Condiments &mdash;  Copper &mdash; Cosmetics &mdash; Cotton &mdash; Diamond
+Tests &mdash; Donarite &mdash; Dyes &mdash; Electro
+Plating &mdash; Embalming &mdash; Enamelling &mdash; Engraving &mdash; Essences &mdash; Explosives &mdash;  Fertilisers &mdash; Filters &mdash; Food
+Adulterants &mdash; Gelatine &mdash; Glass &mdash; Gold &mdash; Gums &mdash; Harness
+Dressings &mdash; Horn &mdash; Inks &mdash; Insecticides &mdash; Iron &mdash; Ivory &mdash; Jewellers'
+Formulas &mdash; Lacquers &mdash; Laundry
+Preparations &mdash; Leather &mdash; Linoleum &mdash; Lubricants &mdash; Matches &mdash; Metals &mdash; Music
+Boxes &mdash; Oils &mdash; Paints &mdash; Paper &mdash; Perfumes &mdash;  Petroleum &mdash; Photography &mdash; Plaster &mdash;
+Plating &mdash; Polishes &mdash; Porcelain &mdash; Poultry &mdash; Putty &mdash; Rat
+Poisons &mdash; Refrigeration &mdash; Ropes &mdash; Rubber &mdash; Rust
+Preventives &mdash; Salt &mdash; Screws &mdash; Silk &mdash; Silver &mdash; Soaps &mdash; Solders &mdash; Spirit &mdash;  Sponges &mdash; Steel &mdash; Stone &mdash; Thermometers &mdash; Tin &mdash; Valves &mdash; Varnishes &mdash; Veterinary
+Formulas &mdash; Watchmakers' Formulas &mdash; Waterproofing &mdash; Wax &mdash; Weights and
+Measures &mdash; Whitewash &mdash; Wood &mdash; Yeast.</span></p>
+
+
+<p class="outdent"><b>RUBBER HAND STAMPS.</b> And the Manipulation of Rubber. A Practical
+Treatise on the Manufacture of Indiarubber Hand Stamps, Small Articles
+of Indiarubber, The Hektograph, Special Inks, Cements, and Allied
+Subjects. By T. <span class="smcap">O'Conor Sloane</span> A.M., Ph.D. With numerous
+Illustrations. Square 8vo, cloth <span class="bprice">&nbsp;5/0</span></p>
+
+
+<p class="outdent"><b>SAVOURIES AND SWEETS.</b> Suitable for Luncheons and Dinners. By Miss <span class="smcap">M.
+L. Allen</span> (Mrs. <span class="smcap">A. Macaire</span>), Author of "Breakfast Dishes," etc.
+Thirty-first Edition. F'cap 8vo, sewed <span class="bprice">&nbsp; 1/0</span><br />
+<span class="xnetbprice">Or, quarter bound, fancy boards <b> 1/6</b><br /></span><br /></p>
+
+
+<p class="outdent"><b>SHEET METAL-WORKER'S GUIDE.</b> A Practical Handbook for Tinsmiths,
+Coppersmiths, Zincworkers, &amp;c., with 46 Diagrams and Working Patterns.
+By W. J. E. <span class="smcap">Crane</span>. Crown 8vo, Cloth <span class="bprice">&nbsp;1/6</span></p>
+
+
+<p class="outdent"><b>SHEET METAL-WORKER'S INSTRUCTOR.</b> Comprising Geometrical Problems and
+Practical Rules for Describing the Various Patterns Required by Zinc,
+Sheet-Iron, Copper, and Tin-Plate Workers. By R. H. <span class="smcap">Warn</span>. Third
+Edition. Revised and Further Enlarged by J. G. <span class="smcap">Horner</span>,
+A.M.I.M.E. Crown 8vo, 280 pp., with 465 Illustrations, cloth <span class="bprice">&nbsp;7/6</span></p>
+
+
+<p class="outdent"><b>SILVERSMITH'S HANDBOOK.</b> Alloying and Working of Silver, Refining and
+Melting, Solders, Imitation Alloys, Manipulation, Prevention of Waste,
+Improving and Finishing the Surface of the Work, etc. By <span class="smcap">George E.
+Gee</span>. Fourth Edition Revised, Crown 8vo, cloth <span class="bprice">&nbsp;3/0</span></p>
+
+
+<p class="outdent"><b>SOAP-MAKING.</b> A Practical Handbook of the Manufacture of Hard and Soft
+Soaps, Toilet Soaps, etc. With a Chapter on the Recovery of Glycerine
+from Waste Leys. By <span class="smcap">Alexander Watt</span>. Seventh Edition, including
+an Appendix on Modern Candlemaking. Crown 8vo, cloth <span class="bprice">&nbsp;7/6</span></p>
+
+<div class="blockquot"><p>"The work will prove very useful, not merely to the technological
+     student, but to the soap boiler who wishes to understand the theory
+     of his art." &mdash;<i>Chemical News.</i></p></div>
+
+
+<p class="outdent"><b>SOAPS, CANDLES, and GLYCERINE.</b> A Practical Manual of Modern Methods of
+Utilisation of Fats and Oils in the Manufacture of Soap and Candles, and
+of the recovery of Glycerine. By L. L. <span class="smcap">Lamborn</span>, Massachusetts
+Institute of Technology, M.Am.C.S. Medium 8vo, cloth. Fully Illustrated.
+706 pages  <span class="netbprice"><i>Net</i> <b>30/0</b></span></p>
+
+<p class="adpara"><span class="smcap">The Soap Industry &mdash; Raw Materials &mdash; Bleaching and Purification of
+Soap-stock &mdash; The Chemical Characteristics of Soap-stock and their
+Behaviour towards Saponifying Agents &mdash; Mechanical Equivalent of the Soap
+Factory &mdash; Cold Process and Semi-boiled Soap &mdash; Grained Soap &mdash; Settled Rosin
+Soap &mdash; Milled Soap-base &mdash; Floating Soap &mdash; Shaving Soap &mdash; Medicated
+Soap &mdash; Essential Oils and Soap Perfumery &mdash; Milled
+Soap &mdash; Candles &mdash; Glycerine &mdash; Examination of Raw Materials and Factory
+Products.</span></p>
+
+<a name="Page_127" id="Page_127"></a>
+
+<p class="outdent"><b>SOLUBILITIES OF INORGANIC AND ORGANIC SUBSTANCES.</b> A
+Hand-book of the most Reliable Quantitative Solubility Determinations.
+Recalculated and Compiled by <span class="smcap">Atherton Seidell</span>, Ph.D., Chemist,
+Hygienic Laboratory, U. S. Public Health Service, Washington, D C.
+Medium 8vo, cloth, 377 pages  <span class="netbprice"><i>Net</i> <b>12/6</b></span></p>
+
+
+<p class="outdent"><b>TEA MACHINERY AND TEA FACTORIES.</b> Describing the Mechanical Appliances
+required in the Cultivation and Preparation of Tea for the Market. By A.
+J. <span class="smcap">Wallis-Tayler</span>, A.M.Inst.C.E. Medium 8vo, 468 pp. With 218
+Illustrations  <span class="netbprice"><i>Net</i> <b>25/0</b></span></p>
+
+<div class="blockquot"><p>"The subject of tea machinery is now one of the first interest to a
+     large class of people, to whom we strongly commend the
+     volume." &mdash;<i>Chamber of Commerce Journal.</i></p></div>
+
+
+<p class="outdent"><b>WAGES TABLES.</b> At 54, 52, 50, and 48 Hours per Week. Showing the
+Amounts of Wages from one quarter of an hour to sixty-four hours, in
+each case at Rates of Wages advancing by One Shilling from 4s. to 55s.
+per week. By <span class="smcap">Thos. Carbutt</span>, Accountant. Square crown, 8vo,
+half-bound <span class="bprice">&nbsp;6/0</span></p>
+
+
+<p class="outdent"><b>WATCH REPAIRING, CLEANING, AND ADJUSTING.</b> A Practical Handbook dealing
+with the Materials and Tools Used, and the Methods of Repairing,
+Cleaning, Altering, and Adjusting all kinds of English and Foreign
+Watches, Repeaters, Chronographs, and Marine Chronometers. By F. J.
+<span class="smcap">Garrard</span>, Springer and Adjuster of Marine Chronometers and Deck
+Watches for the Admiralty. Second Edition. Revised. With over 200
+Illustrations. Crown 8vo, cloth  <span class="netbprice"><i>Net</i> <b>4/6</b></span></p>
+
+
+<p class="outdent"><b>WATCHES AND OTHER TIMEKEEPERS, HISTORY OF.</b> By J. F. <span class="smcap">Kendal</span>,
+M.B.H. Inst. <span class="sbprice">1/6</span> boards; or cloth <span class="bprice">&nbsp;2/6</span></p>
+
+
+<p class="outdent"><b>WATCHMAKER'S HANDBOOK.</b> Intended as a Workshop Companion for those
+engaged in Watchmaking and the Allied Mechanical Arts. Translated from
+the French of <span class="smcap">Claudius Saunier</span>, and enlarged by <span class="smcap">Julien
+Tripplin</span>, F.R.A.S., and <span class="smcap">Edward Rigg</span>, M.A., Assayer in the
+Royal Mint. Fourth Edition. Cr. 8vo, cloth <span class="bprice">&nbsp;9/0</span></p>
+
+<div class="blockquot"><p>"Each part is truly a treatise in itself. The arrangement is good
+     and the language is clear and concise. It is an admirable guide for
+     the young watchmaker." &mdash;<i>Engineering.</i></p></div>
+
+
+<p class="outdent"><b>WEIGHT CALCULATOR.</b> Being a Series of Tables upon a New and
+Comprehensive Plan, exhibiting at one Reference the Exact Value of any
+Weight from 1 1b. to 15 tons, at 300 Progressive Rates, from 1d. to
+168s. per cwt., and containing 186,000 Direct Answers, which, with their
+Combinations, consisting of a single addition (mostly to be performed at
+sight), will afford an aggregate of 10,266,000 Answers; the whole being
+calculated and designed to ensure correctness and promote despatch. By
+<span class="smcap">Henry Harben</span>, Accountant. Sixth edition, carefully corrected.
+Royal 8vo, strongly half bound <span class="bprice">&nbsp;&pound;1&nbsp;5s.</span></p>
+
+<div class="blockquot"><p>"A practical and useful work of reference for men of business
+     generally." &mdash;<i>Ironmonger.</i></p>
+
+<p>     "Of priceless value to business men." &mdash;<i>Sheffield Independent.</i></p></div>
+
+
+<p class="outdent"><b>WOOD ENGRAVING.</b> A Practical and Easy Introduction to the Study of the
+Art. By W. N. <span class="smcap">Brown</span>. Crown 8vo, cloth. <span class="bprice">&nbsp;1/6</span><a name="Page_128" id="Page_128"></a></p>
+
+
+<h2 style="font-family:sans-serif;">HANDYBOOKS FOR
+HANDICRAFTS.</h2>
+
+<p class="center"><b>BY PAUL N. HASLUCK.</b></p>
+
+<p class="center" style="font-size:smaller;">Author of "Lathe Work," etc. Crown 8vo, 144 pp., price 1s. each.</p>
+
+<p><span style="font-size:larger;">&#9758;</span> <i>These</i> <span class="smcap">Handybooks</span> <i>have been
+written to supply information for</i> <span class="smcap">Workmen</span> <span class="smcap">Students</span>,
+<i>and</i> <span class="smcap">Amateurs</span> <i>in the several Handicrafts, on the actual</i>
+<span class="smcap">Practice</span> <i>of the</i> <span class="smcap">Workshop</span>, <i>and are intended to
+convey in plain language</i> <span class="smcap">Technical Knowledge</span> <i>of the several</i>
+<span class="smcap">Crafts</span>. <i>In describing the processes employed, and the
+manipulation of material, workshop terms are used; workshop practice is
+fully explained; and the text is freely illustrated with drawings of
+modern tools, appliances, and processes.</i></p>
+
+
+<p class="outdent"><b>METAL TURNER'S HANDYBOOK.</b> A Practical Manual for Workers at the
+Foot-Lathe. With 100 Illustrations <span class="bprice">&nbsp;1/0</span></p>
+
+<div class="blockquot"><p>"The book displays thorough knowledge of the subject." &mdash;<i>Scotsman.</i></p></div>
+
+
+<p class="outdent"><b>WOOD TURNER'S HANDYBOOK.</b> A Practical Manual for Workers at the Lathe.
+With 100 Illustrations <span class="bprice">&nbsp;1/0</span></p>
+
+<div class="blockquot"><p>"We recommend the book to young turners and amateurs." &mdash;<i>Mechanical
+     World.</i></p></div>
+
+
+<p class="outdent"><b>WATCH JOBBER'S HANDYBOOK.</b> A Practical Manual of Cleaning, Repairing,
+and Adjusting. With 100 Illustrations <span class="bprice">&nbsp;1/0</span></p>
+
+<div class="blockquot"><p>"All connected with the trade should acquire and study this
+     work." &mdash;<i>Clerkenwell Chronicle.</i></p></div>
+
+
+<p class="outdent"><b>PATTERN MAKER'S HANDYBOOK.</b> A Practical Manual on the Construction of
+Patterns. With 100 Illustrations <span class="bprice">&nbsp;1/0</span></p>
+
+<div class="blockquot"><p>"A most valuable, if not indispensable, manual for the
+     pattern-maker." &mdash;<i>Knowledge.</i></p></div>
+
+
+<p class="outdent"><b>MECHANIC'S WORKSHOP HANDYBOOK.</b> A Practical Manual on Mechanical
+Manipulation, embracing Information on various Handicraft Processes.
+With Useful Notes and Miscellaneous Memoranda. Comprising about 200
+Subjects <span class="bprice">&nbsp;1/0</span></p>
+
+<div class="blockquot"><p>"Should be found in every workshop, and in all technical
+     Schools." &mdash;<i>Saturday Review.</i></p></div>
+
+
+<p class="outdent"><b>MODEL ENGINEER'S HANDYBOOK.</b> A Practical Manual on the Construction of
+Model Steam Engines. With upwards of 100 Illustrations <span class="bprice">&nbsp;1/0</span></p>
+
+<div class="blockquot"><p>"Mr. Hasluck has produced a very good little book." &mdash;<i>Builder.</i></p></div>
+
+
+<p class="outdent"><b>CLOCK JOBBER'S HANDYBOOK.</b> A Practical Manual on Cleaning, Repairing,
+and Adjusting. With 100 Illustrations <span class="bprice">&nbsp;1/0</span></p>
+
+<div class="blockquot"><p>"It is of inestimable service to those commencing the
+     trade." &mdash;<i>Coventry Standard.</i></p></div>
+
+
+<p class="outdent"><b>CABINET WORKER'S HANDYBOOK.</b> A Practical Manual on the Tools,
+Materials, Appliances, and Processes employed in Cabinet Work. With
+upwards of 100 Illustrations <span class="bprice">&nbsp;1/0</span></p>
+
+<div class="blockquot"><p>"Amongst the most practical guides for beginners in
+     cabinet-work." &mdash;<i>Saturday Review.</i></p></div>
+
+
+<p class="outdent"><b>WOODWORKER'S HANDYBOOK.</b> Embracing information on the Tools, Materials,
+Appliances and Processes Employed in Woodworking. With 104 Illustrations
+ <span class="bprice">&nbsp;1/0</span></p>
+
+<div class="blockquot"><p>"Written by a man who knows, not only how work ought to be done,
+     but how to do it, and how to convey his knowledge to
+     others." &mdash;<i>Engineering.</i></p>
+
+<p>     "Mr. Hasluck writes admirably, and gives complete
+     instructions." &mdash;<i>Engineer.</i></p>
+
+<p>     "Mr. Hasluck combines the experience of a practical teacher with
+     the manipulative skill and scientific knowledge of processes of the
+     trained mechanician, and the manuals are marvels of what can be
+     produced at a popular price." &mdash;<i>Schoolmaster.</i></p>
+
+<p>     "Helpful to workmen of all ages and degrees of experience." &mdash;<i>Daily
+     Chronicle.</i></p></div>
+
+
+<p class="center">BRADBURY, AGNEW, &amp; CO. LD., LONDON AND TONBRIDGE. (391.25.5.10.)<a name="Page_129" id="Page_129"></a></p>
+<p><br /></p></div>
+
+
+<table class="ad" summary="advertisments"><tr><td colspan="2" align="center" class="bb">
+<span class="weale">WEALE'S SCIENTIFIC &amp; TECHNICAL SERIES.</span></td></tr>
+
+
+<tr><td colspan="2" align="center"><h4>MATHEMATICS, ARITHMETIC, &amp;c.</h4></td></tr>
+
+
+<tr><td><span class="adtitle">Geometry, Descriptive</span>. <span class="smcap">J. F. Heather</span> </td><td><span class="price">2/-</span><br /></td></tr>
+<tr><td><span class="adtitle">Practical Plane Geometry</span>. <span class="smcap">J. F. Heather</span>                 </td><td><span class="price">2/-</span><br /></td></tr>
+<tr><td><span class="adtitle">Analytical Geometry</span>. <span class="smcap">J. Hann</span> &amp; <span class="smcap">J. R. Young</span>     </td><td><span class="price">2/-</span><br /></td></tr>
+<tr><td><span class="adtitle">Geometry. </span>Part I. (Euclid, Bks. I.&mdash;III.) <span class="smcap">H. Law</span>       </td><td><span class="price">1/6</span><br /></td></tr>
+<tr><td><span style="margin-left: 4em;">Part II. (Euclid, Books IV., V., VI., XI., XII.)</span>. <span class="smcap">H. Law</span> </td><td><span class="price">1/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Geometry</span>, in 1 vol. (Euclid's Elements)                        </td><td><span class="price">2/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Plane Trigonometry</span>. <span class="smcap">J. Hann</span>                            </td><td><span class="price">1/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Spherical Trigonometry</span>. <span class="smcap">J. Hann</span>                        </td><td><span class="price">1/-</span><br /></td></tr>
+<tr><td><span style="margin-left: 3.5em;">The above 2 vols., bound together</span>  </td><td><span class="price">2/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Differential Calculus</span>. <span class="smcap">W. S. B. Woolhouse</span>              </td><td><span class="price">1/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Integral Calculus</span>. <span class="smcap">H. Cox</span>                              </td><td><span class="price">1/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Algebra</span>. <span class="smcap">J. Haddon</span>                                     </td><td><span class="price">2/-</span><br /></td></tr>
+<tr><td><span class="adtitle">Key to ditto </span>                                                   </td><td><span class="price">1/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Book-keeping</span>. <span class="smcap">J. Haddon</span>                                </td><td><span class="price">1/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Arithmetic</span>. <span class="smcap">J. R. Young</span>                                </td><td><span class="price">1/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Key to ditto </span>                                                   </td><td><span class="price">1/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Equational Arithmetic</span>. <span class="smcap">W. Hipsley</span>                      </td><td><span class="price">1/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Arithmetic</span>. <span class="smcap">J. Haddon</span>                                  </td><td><span class="price">1/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Mathematical Instruments</span>. <span class="smcap">Heather</span> &amp; <span class="smcap">Walmisley</span> </td><td><span class="price">2/-</span><br /></td></tr>
+<tr><td><span class="adtitle">Drawing &amp; Measuring Instruments</span>. <span class="smcap">J. F. Heather</span>         </td><td><span class="price">1/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Optical Instruments</span>, <span class="smcap">J. F. Heather</span>                     </td><td><span class="price">1/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Surveying &amp; Astronomical Instruments</span>. <span class="smcap">J. F. Heather</span>    </td><td><span class="price">1/6</span><br /></td></tr>
+<tr><td><span style="margin-left: 3em;">The above 3 vols., bound together </span></td><td><span class="price">4/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Mensuration and Measuring</span>. <span class="smcap">T. Baker</span>                    </td><td><span class="price">1/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Slide Rule, &amp; How to Use it</span>. <span class="smcap">C. Hoare</span>                  </td><td><span class="price">2/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Measures, Weights, &amp; Moneys</span>. <span class="smcap">W. S. B. Woolhouse</span>        </td><td><span class="price">2/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Logarithms, Treatise on, with Tables</span>. <span class="smcap">H. Law</span>           </td><td><span class="price">3/-</span><br /></td></tr>
+<tr><td><span class="adtitle">Compound Interest and Annuities</span>. <span class="smcap">F. Thoman</span>             </td><td><span class="price">4/-</span><br /></td></tr>
+<tr><td><span class="adtitle">Compendious Calculator</span>. <span class="smcap">D. O'Gorman</span>                    </td><td><span class="price">2/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Mathematics</span>. <span class="smcap">F. Campin</span>                                 </td><td><span class="price">3/-</span><br /></td></tr>
+<tr><td><span class="adtitle">Astronomy</span>. <span class="smcap">R. Main</span> &amp; <span class="smcap">W. T. Lynn</span>               </td><td><span class="price">2/-</span><br /></td></tr>
+<tr><td><span class="adtitle">Statics and Dynamics</span>. <span class="smcap">T. Baker</span>                         </td><td><span class="price">1/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Superficial Measurement</span>. <span class="smcap">J. Hawkings</span>                   </td><td><span class="price">3/6</span><br /></td></tr>
+<tr><td colspan="2" align="center" class="bt">
+
+
+<h4>CROSBY LOCKWOOD &amp; SON, 7, Stationers' Hall Court, E.C</h4></td></tr>
+</table><p><br /><a name="Page_130" id="Page_130"></a></p>
+<table class="ad" summary="advertisments">
+<tr><td colspan="2" align="center" class="bb"><p><span class="weale">WEALE'S
+SCIENTIFIC &amp; TECHNICAL SERIES.</span></p></td></tr>
+
+<tr><td colspan="2" align="center"><h4>BUILDING &amp; ARCHITECTURE.</h4></td></tr>
+
+
+<tr><td><span class="adtitle">Building Estates</span>. <span class="smcap">F. Maitland</span>                               </td><td><span class="price">2/-</span><br /></td></tr>
+<tr><td><span class="adtitle">Science of Building</span>. <span class="smcap">E. W. Tarn</span>                              </td><td><span class="price">3/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Building, Art of</span>. <span class="smcap">E. Dobson</span> and <span class="smcap">J. P. Allen</span>         </td><td><span class="price">2/-</span><br /></td></tr>
+<tr><td><span class="adtitle">Book on Building.</span> Sir <span class="smcap">E. Beckett</span>                            </td><td><span class="price">4/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Dwelling Houses, Erection of</span>. <span class="smcap">S. H. Brooks</span>                   </td><td><span class="price">2/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Cottage Building</span>. <span class="smcap">C. B. Allen</span>                                </td><td><span class="price">2/-</span><br /></td></tr>
+<tr><td><span class="adtitle">Acoustics of Public Buildings</span>. Prof. <span class="smcap">T. R. Smith</span>.            </td><td><span class="price">1/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Practical Bricklaying</span>. <span class="smcap">A. Hammond</span>                           </td><td><span class="price">1/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Practical Brick Cutting &amp; Setting</span>. <span class="smcap">A. Hammond</span>               </td><td><span class="price">1/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Brickwork</span>. <span class="smcap">F. Walker</span>                                        </td><td><span class="price">1/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Brick and Tile Making</span>. <span class="smcap">E. Dobson</span>                            </td><td><span class="price">3/-</span><br /></td></tr>
+<tr><td><span class="adtitle">Practical Brick &amp; Tile Book</span>. <span class="smcap">Dobson</span> &amp; <span class="smcap">Hammond</span>      </td><td><span class="price">6/-</span><br /></td></tr>
+<tr><td><span class="adtitle">Carpentry and Joinery</span>. <span class="smcap">T. Tredgold</span> &amp; <span class="smcap">E. W. Tarn</span>     </td><td><span class="price">3/6</span><br /></td></tr>
+<tr><td><span style="margin-left: 3em;">Atlas of 35 plates to the above</span> </td><td><span class="price">6/-</span><br /></td></tr>
+<tr><td><span class="adtitle">Handrailing, and Staircasing</span>. <span class="smcap">G. Collings</span>                   </td><td><span class="price">2/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Circular Work in Carpentry</span>. <span class="smcap">G. Collings</span>                     </td><td><span class="price">2/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Roof Carpentry</span>. <span class="smcap">G. Collings</span>                                 </td><td><span class="price">2/-</span><br /></td></tr>
+<tr><td><span class="adtitle">Construction of Roofs</span>. <span class="smcap">E. W. Tarn</span>                            </td><td><span class="price">1/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Joints used by Builders</span>. <span class="smcap">J. W. Christy</span>                       </td><td><span class="price">3/-</span><br /></td></tr>
+<tr><td><span class="adtitle">Shoring</span>. <span class="smcap">G. H. Blagrove</span>                                      </td><td><span class="price">1/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Timber Importer's &amp; Builder's Guide</span>. <span class="smcap">R. E. Grandy</span>            </td><td><span class="price">2/-</span><br /></td></tr>
+<tr><td><span class="adtitle">Plumbing</span>. <span class="smcap">W. P. Buchan</span>                                       </td><td><span class="price">3/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Ventilation of Buildings</span>. <span class="smcap">W. P. Buchan</span>                       </td><td><span class="price">3/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Practical Plasterer</span>. <span class="smcap">W. Kemp</span>                                </td><td><span class="price">2/-</span><br /></td></tr>
+<tr><td><span class="adtitle">House-Painting</span>. <span class="smcap">E. A. Davidson</span>                               </td><td><span class="price">5/-</span><br /></td></tr>
+<tr><td><span class="adtitle">Elementary Decoration</span>. <span class="smcap">J. W. Facey</span>                           </td><td><span class="price">2/-</span><br /></td></tr>
+<tr><td><span class="adtitle">Practical House Decoration</span>. <span class="smcap">J. W. Facey</span>                      </td><td><span class="price">2/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Gas-Fitting</span>. <span class="smcap">J. Black</span>                                       </td><td><span class="price">2/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Portland Cement for Users</span>. <span class="smcap">H. Faija</span> &amp; <span class="smcap">D. B. Butler</span>  </td><td><span class="price">3/-</span><br /></td></tr>
+<tr><td><span class="adtitle">Limes, Cements, &amp; Mortars</span>. <span class="smcap">G. R. Burnell</span>                     </td><td><span class="price">1/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Masonry and Stone Cutting</span>. <span class="smcap">E. Dobson</span>                        </td><td><span class="price">2/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Arches, Piers, and Buttresses</span>. <span class="smcap">W. Bland</span>                     </td><td><span class="price">1/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Quantities and Measurements</span>. <span class="smcap">A. C. Beaton</span>                    </td><td><span class="price">1/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Complete Measurer</span>. <span class="smcap">R. Horton</span>                                </td><td><span class="price">4/-</span><br /></td></tr>
+<tr><td><span class="adtitle">Superficial Measurement</span>. <span class="smcap">J. Hawkings</span>                        </td><td><span class="price">3/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Light, for use of Architects</span>. <span class="smcap">E. W. Tarn</span>                     </td><td><span class="price">1/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Hints to Young Architects</span>. <span class="smcap">Wightwick</span> &amp; <span class="smcap">Guillaume</span>   </td><td><span class="price">3/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Dictionary of Architectural Terms</span>. <span class="smcap">J. Weale</span>                 </td><td><span class="price">5/-</span><br /></td></tr>
+<tr><td colspan="2" align="center" class="bt"><h4>CROSBY LOCKWOOD &amp; SON, 7, Stationers' Hall Court, E.C.</h4></td></tr></table>
+<p><br /><a name="Page_131" id="Page_131"></a></p>
+
+<table class="ad" summary="advertisments">
+
+<tr><td colspan="2" align="center" class="bb">
+<span class="weale">WEALE'S SCIENTIFIC &amp; TECHNICAL SERIES.</span></td></tr>
+
+
+<tr><td colspan="2" align="center"><h4>BUILDING &amp; ARCHITECTURE&mdash;<i>contd.</i></h4></td></tr>
+
+<tr><td><span class="adtitle">Architecture, Orders</span>. <span class="smcap">W. H. Leeds</span>        </td><td><span class="price">1/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Architecture, Styles</span>. <span class="smcap">T. T. Bury</span>        </td><td><span class="price">2/-</span><br /></td></tr>
+<tr><td><span style="margin-left: 3.5em;" >The above 2 vols., bound together</span>  </td><td><span class="price">3/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Architecture, Design</span>. <span class="smcap">E. L. Garbett</span>        </td><td><span class="price">2/6</span><br /></td></tr>
+<tr><td><span style="margin-left: 3.5em;">The above 3 vols., bound together</span></td><td><span class="price">6/-</span><br /></td></tr>
+<tr><td><span class="adtitle">Architectural Modelling</span>. <span class="smcap">T. A. Richardson</span>        </td><td><span class="price">1/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Vitruvius' Architecture</span>. <span class="smcap">J. Gwilt</span>        </td><td><span class="price">5/-</span><br /></td></tr>
+<tr><td><span class="adtitle">Grecian Architecture</span>. Lord <span class="smcap">Aberdeen</span>       </td><td><span class="price">1/-</span><br /></td></tr>
+<tr><td><span style="margin-left: 3.5em;">The above 2 vols., bound together</span> </td><td><span class="price">6/-</span><br /></td></tr>
+
+<tr><td colspan="2" align="center"><h4>FINE ARTS.</h4></td></tr>
+
+<tr><td><span class="adtitle">Dictionary of Painters</span>. <span class="smcap">P. Daryl</span>         </td><td><span class="price">2/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Painting, Fine Art</span>. <span class="smcap">T. J. Gullick</span> &amp; <span class="smcap">J. Timbs</span>       </td><td><span class="price">5/-</span><br /></td></tr>
+<tr><td><span class="adtitle">Grammar of Colouring</span>. <span class="smcap">G. Field</span> &amp; <span class="smcap">E. A. Davidson</span>       </td><td><span class="price">3/-</span><br /></td></tr>
+<tr><td><span class="adtitle">Perspective</span>. <span class="smcap">G. Pyne</span>                                </td><td><span class="price">2/-</span><br /></td></tr>
+<tr><td><span class="adtitle">Glass Staining &amp; Painting on Glass</span>                              </td><td><span class="price">2/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Music</span>. <span class="smcap">C. C. Spencer</span>                                </td><td><span class="price">2/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Pianoforte Instruction</span>. <span class="smcap">C. C. Spencer</span>               </td><td><span class="price">1/6</span><br /></td></tr>
+<tr><td colspan="2" align="center">
+
+
+<h4>INDUSTRIAL &amp; USEFUL ARTS.</h4></td></tr>
+
+<tr><td><span class="adtitle">Cements, Pastes, Glues &amp; Gums</span>. <span class="smcap">H. C. Standage</span>       </td><td><span class="price">2/-</span><br /></td></tr>
+<tr><td><span class="adtitle">Clocks, Watches and Bells</span>. Lord <span class="smcap">Grimthorpe</span>          </td><td><span class="price">4/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Goldsmith's Handbook</span>. <span class="smcap">G. E. Gee</span>                     </td><td><span class="price">3/-</span><br /></td></tr>
+<tr><td><span class="adtitle">Silversmith's Handbook</span>. <span class="smcap">G. E. Gee</span>                   </td><td><span class="price">3/-</span><br /></td></tr>
+<tr><td><span class="adtitle">Goldsmith's &amp; Silversmith's Handbook</span>. <span class="smcap">G. E. Gee</span>     </td><td><span class="price">7/-</span><br /></td></tr>
+<tr><td><span class="adtitle">Hall-Marking of Jewelry</span>. <span class="smcap">G. E. Gee</span>                  </td><td><span class="price">2/-</span><br /></td></tr>
+<tr><td><span class="adtitle">Cabinet Maker's Guide</span>. <span class="smcap">R. Bitmead</span>                   </td><td><span class="price">2/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Practical Organ Building</span>. <span class="smcap">W. E. Dickson</span>             </td><td><span class="price">2/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Coach Building</span>. <span class="smcap">J. W. Burgess</span>                       </td><td><span class="price">2/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Brass Founder's Manual</span>. <span class="smcap">W. Graham</span>                   </td><td><span class="price">2/-</span><br /></td></tr>
+<tr><td><span class="adtitle">French Polishing and Enamelling</span>. <span class="smcap">R. Bitmead</span>         </td><td><span class="price">1/6</span><br /></td></tr>
+<tr><td><span class="adtitle">House Decoration</span>. <span class="smcap">J. W. Facey</span>                       </td><td><span class="price">5/-</span><br /></td></tr>
+<tr><td><span class="adtitle">Letter-Painting Made Easy</span>. <span class="smcap">J. G. Badenoch</span>           </td><td><span class="price">1/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Boot and Shoemaking</span>. <span class="smcap">J. B. Leno</span>                     </td><td><span class="price">2/-</span><br /></td></tr>
+<tr><td><span class="adtitle">Mechanical Dentistry</span>. <span class="smcap">C. Hunter</span>                     </td><td><span class="price">3/-</span><br /></td></tr>
+<tr><td><span class="adtitle">Wood Engraving</span>. <span class="smcap">W. N. Brown</span>                         </td><td><span class="price">1/5</span><br /></td></tr>
+<tr><td><span class="adtitle">Laundry Management</span>                                           </td><td><span class="price">2/-</span><br /></td></tr>
+<tr><td colspan="2" align="center" class="bt">
+
+
+<h4>CROSBY LOCKWOOD &amp; SON, 7, Stationers' Hall Court, E.C.</h4></td></tr>
+</table><p><br /></p><table class="ad" summary="advertisments">
+
+<tr><td colspan="2" align="center" class="bb"><span class="weale">WEALE'S SCIENTIFIC &amp; TECHNICAL SERIES.</span></td></tr>
+
+
+<tr><td colspan="2" align="center"><h4>CIVIL ENGINEERING &amp; SURVEYING.</h4></td></tr>
+
+<tr><td><span class="adtitle">Civil Engineering.</span><span class="smcap"> H. Law &amp; D. K. Clark</span>      </td><td><span class="price">6/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Pioneer Engineering.</span> <span class="smcap">E. Dobson</span>      </td><td><span class="price">4/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Iron Bridges of Moderate Span.</span><span class="smcap"> H. W. Pendred</span>      </td><td><span class="price">2/-</span><br /></td></tr>
+<tr><td><span class="adtitle">Iron and Steel Bridges &amp; Viaducts. </span><span class="smcap"> F. Campin</span>      </td><td><span class="price">3/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Constructional Steel &amp; Ironwork.</span><span class="smcap"> F. Campin</span>      </td><td><span class="price">3/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Tubular &amp; Girder Bridges.</span><span class="smcap"> G. D. Dempsey</span>      </td><td><span class="price">2/-</span><br /></td></tr>
+<tr><td><span class="adtitle">Materials and Construction.</span><span class="smcap"> F. Campin</span>      </td><td><span class="price">3/-</span><br /></td></tr>
+<tr><td><span class="adtitle">Sanitary Work.</span><span class="smcap"> C. Slagg</span>      </td><td><span class="price">3/-</span><br /></td></tr>
+<tr><td><span class="adtitle">Roads &amp; Streets.</span><span class="smcap"> Law, Clark, &amp; Wallis-Tayler</span>      </td><td><span class="price">6/-</span><br /></td></tr>
+<tr><td><span class="adtitle">Construction of Gasworks.</span> <span class="smcap">S. Hughes &amp; H. O'Connor</span>      </td><td><span class="price">6/-</span><br /></td></tr>
+<tr><td><span class="adtitle">Well-Sinking.</span><span class="smcap"> J. G. Swindell &amp; G. R. Burnell</span>      </td><td><span class="price">2/-</span><br /></td></tr>
+<tr><td><span class="adtitle">Drainage.</span><span class="smcap"> G. D. Dempsey &amp; D. K. Clark</span>      </td><td><span class="price">4/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Blasting and Quarrying.</span> <span class="smcap">J. Burgoyne</span>      </td><td><span class="price">1/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Foundations and Concrete Work.</span><span class="smcap"> E. Dobson</span>      </td><td><span class="price">1/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Pneumatics.</span><span class="smcap"> C. Tomlinson</span>      </td><td><span class="price">1/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Surveying.</span><span class="smcap"> T. Baker &amp; F. E. Dixon</span>      </td><td><span class="price">2/-</span><br /></td></tr>
+<tr><td colspan="2" align="center">
+<h4>MECHANICAL ENGINEERING, &amp;c.</h4>
+</td></tr>
+<tr><td><span class="adtitle">Engineering Drawing.</span><span class="smcap"> J. Maxton</span>      </td><td><span class="price">3/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Fuels, Analysis and Valuation.</span><span class="smcap"> H. J. Phillips</span>      </td><td><span class="price">2/-</span><br /></td></tr>
+<tr><td><span class="adtitle">Fuel.</span><span class="smcap"> C. W. Williams &amp; D. K. Clark</span>      </td><td><span class="price">3/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Boilermaker's Assistant.</span><span class="smcap"> J. Courtney</span>      </td><td><span class="price">2/-</span><br /></td></tr>
+<tr><td><span class="adtitle">Boilermaker's Ready Reckoner.</span><span class="smcap"> J. Courtney</span>      </td><td><span class="price">4/-</span><br /></td></tr>
+<tr><td><span class="adtitle">Boilermaker's Ready Reckoner and Assistant</span>      </td><td><span class="price">7/-</span><br /></td></tr>
+<tr><td><span class="adtitle">Steam Boilers.</span><span class="smcap"> R. Armstrong</span>      </td><td><span class="price">1/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Steam and Machinery Management.</span><span class="smcap"> M. P. Bale</span>      </td><td><span class="price">2/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Steam and the Steam Engine.</span><span class="smcap"> D. K. Clark</span>      </td><td><span class="price">3/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Steam Engine, Theory of.</span><span class="smcap"> T. Baker</span>     </td><td><span class="price">1/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Steam Engine.</span> Dr.<span class="smcap">  Lardner</span>      </td><td><span class="price">1/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Locomotive Engines.</span><span class="smcap"> G. D. Dempsey &amp; D. K. Clark</span>      </td><td><span class="price">3/-</span><br /></td></tr>
+<tr><td><span class="adtitle">Locomotive Engine Driving.</span><span class="smcap"> M. Reynolds</span>      </td><td><span class="price">3/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Stationary Engine Driving.</span><span class="smcap"> M. Reynolds</span>      </td><td><span class="price">3/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Model Locomotive Engineer.</span> <span class="smcap"> M. Reynolds</span>      </td><td><span class="price">3/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Modern Workshop Practice.</span><span class="smcap"> J. G. Winton</span>      </td><td><span class="price">3/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Mechanical Engineering.</span><span class="smcap"> F. Campin</span>      </td><td><span class="price">2/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Details of Machinery.</span><span class="smcap"> F. Campin</span>      </td><td><span class="price">3/-</span><br /></td></tr>
+<tr><td><span class="adtitle">Elementary Marine Engineering.</span><span class="smcap"> J. S. Brewer</span>      </td><td><span class="price">1/6</span><br /></td></tr>
+<tr><td colspan="2" align="center" class="bt">
+
+<h4>CROSBY LOCKWOOD &amp; SON, 7, Stationers' Hall Court, E.C. </h4></td></tr>
+</table><p><br /></p><table class="ad" summary="advertisments">
+<tr><td colspan="2" align="center" class="bb"><span class="weale">WEALE'S
+SCIENTIFIC &amp; TECHNICAL SERIES.</span></td></tr>
+
+
+<tr><td colspan="2" align="center"><h4>MECHANICAL ENGINEERING, &amp;c.&mdash;<i>contd.</i></h4></td></tr>
+
+<tr><td><span class="adtitle">Power of Water</span>. <span class="smcap">J. Glynn</span>     </td><td><span class="price">2/-</span><br /></td></tr>
+<tr><td><span class="adtitle">Mechanism and Machines</span>. <span class="smcap">T. Baker &amp; J. Nasmyth</span>     </td><td><span class="price">2/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Mechanics</span>. <span class="smcap">C. Tomlinson</span>     </td><td><span class="price">1/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Cranes and Machinery</span>. <span class="smcap">J. Glynn</span>      </td><td><span class="price">1/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Smithy and Forge</span>. <span class="smcap">W. J. E. Crane</span>     </td><td><span class="price">2/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Sheet-Metal Worker's Guide</span>. <span class="smcap">W. J. E. Crane</span>     </td><td><span class="price">1/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Elementary Electric Lighting</span>. <span class="smcap">A. A. C. Swinton</span>     </td><td><span class="price">1/6</span><br /></td></tr>
+<tr><td colspan="2" align="center">
+
+<h4>MINING &amp; METALLURGY.</h4></td></tr>
+
+<tr><td><span class="adtitle">Mining Calculations</span>. <span class="smcap">T. A. O'Donahue</span>      </td><td><span class="price">3/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Mineralogy</span>. <span class="smcap">A. Ramsay</span>      </td><td><span class="price">3/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Coal Mining</span>. Sir <span class="smcap">W. W. Smyth &amp; T. F. Brown</span>      </td><td><span class="price">3/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Metallurgy of Iron</span>. <span class="smcap">H. Bauerman</span>      </td><td><span class="price">5/-</span><br /></td></tr>
+<tr><td><span class="adtitle">Mineral Surveyor's Guide</span>. <span class="smcap">W. Lintern</span>       </td><td><span class="price">3/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Slate and Slate Quarrying</span>. <span class="smcap">D. C. Davies</span>      </td><td><span class="price">3/-</span><br /></td></tr>
+<tr><td><span class="adtitle">Mining and Quarrying</span>. <span class="smcap">J. H. Collins</span>      </td><td><span class="price">1/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Subterraneous Surveying</span>. <span class="smcap">T. Fenwick &amp; T. Baker</span>     </td><td><span class="price">2/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Mining Tools</span>. <span class="smcap">W. Morgans</span>     </td><td><span class="price">2/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Plates to ditto. 4to </span>    </td><td><span class="price">4/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Physical Geology</span>. <span class="smcap">Portlock &amp; Tate</span>     </td><td><span class="price">2/-</span><br /></td></tr>
+<tr><td><span class="adtitle">Historical Geology</span>. <span class="smcap">R. Tate</span>     </td><td><span class="price">2/6</span></td></tr>
+<tr><td><span style="margin-left: 1em;">The above 2 vols., bound together.</span> </td><td><span class="price">4/6</span></td></tr>
+<tr><td><span class="adtitle">Electro-Metallurgy</span>. <span class="smcap">A. Watt</span>     </td><td><span class="price">3/6</span><br /></td></tr>
+<tr><td colspan="2" align="center">
+
+<h4>NAVIGATION, SHIPBUILDING, &amp;c.</h4></td></tr>
+
+
+<tr><td><span class="adtitle">Navigation</span>. <span class="smcap">J. Greenwood &amp; W. H. Rosser</span>     </td><td><span class="price">2/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Practical Navigation</span>. <span class="smcap">Greenwood, Rosser &amp; Law</span>     </td><td><span class="price">7/-</span><br /></td></tr>
+<tr><td><span class="adtitle">Navigation and Nautical Astronomy</span>. <span class="smcap">J. R. Young</span>      </td><td><span class="price">2/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Mathematical &amp; Nautical Tables</span>. <span class="smcap">Law &amp; Young</span>     </td><td><span class="price">4/-</span><br /></td></tr>
+<tr><td><span class="adtitle">Masting and Rigging</span>. <span class="smcap">R. Kipping</span>     </td><td><span class="price">2/-</span><br /></td></tr>
+<tr><td><span class="adtitle">Sails and Sailmaking</span>. <span class="smcap">R. Kipping</span>     </td><td><span class="price">2/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Marine Engines</span>. <span class="smcap">R. Murray &amp; G. Carlisle</span>     </td><td><span class="price">4/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Naval Architecture</span>. <span class="smcap">J. Peake</span>      </td><td><span class="price">3/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Ships, Construction of</span>. <span class="smcap">H. A. Sommerfeldt</span>      </td><td><span class="price">1/6</span><br /></td></tr>
+<tr><td>Plates to ditto. 4to      </td><td><span class="price">7/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Ships and Boats</span>. <span class="smcap">W. Bland</span>      </td><td><span class="price">1/6</span><br /></td></tr>
+<tr><td colspan="2" align="center" class="bt">
+
+<h4>CROSBY LOCKWOOD &amp; SON, 7, Stationers' Hall Court, E.C.</h4> </td></tr>
+</table><p><br /></p><table class="ad" summary="advertisments">
+<tr><td colspan="2" align="center" class="bb"><span class="weale">WEALE'S
+SCIENTIFIC &amp; TECHNICAL SERIES</span>.</td></tr>
+
+<tr><td colspan="2" align="center"><h4><b>AGRICULTURE &amp; GARDENING.</b></h4></td></tr>
+
+
+<tr><td><span class="adtitle">Fertilisers &amp; Feeding Stuffs</span>. Dr. <span class="smcap">B. Dyer</span></td><td><span class="price"><i>net</i>&nbsp;1/-</span><br /></td></tr>
+<tr><td><span class="adtitle">Draining and Embanking</span>. Prof. <span class="smcap">J. Scott</span>            </td><td><span class="price">1/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Irrigation and Water Supply</span>. Prof. <span class="smcap">J. Scott</span>       </td><td><span class="price">1/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Farm Roads, Fences, and Gates</span>. Prof.<span class="smcap"> J. Scott</span>     </td><td><span class="price">1/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Farm Buildings</span>. Prof. <span class="smcap">J. Scott</span>                    </td><td><span class="price">2/-</span><br /></td></tr>
+<tr><td><span class="adtitle">Barn Implements and Machines</span>. Prof.<span class="smcap"> J. Scott</span>      </td><td><span class="price">2/-</span><br /></td></tr>
+<tr><td><span class="adtitle">Field Implements and Machines</span>. Prof. <span class="smcap">J. Scott</span>     </td><td><span class="price">2/-</span><br /></td></tr>
+<tr><td><span class="adtitle">Agricultural Surveying</span>. Prof.<span class="smcap"> J. Scott</span>            </td><td><span class="price">1/6</span><br /></td></tr>
+<tr><td><span style="margin-left: 2em;">The above 7 vols., bound together </span></td><td><span class="price">12/-</span><br /></td></tr>
+<tr><td><span class="adtitle">Farm Management</span>. <span class="smcap">R. S. Burn</span>                        </td><td><span class="price">2/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Landed Estates Management</span>. <span class="smcap">R. S. Burn</span>              </td><td><span class="price">2/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Farming&mdash;Soils, Manures, and Crops</span>. <span class="smcap">R. S. Burn</span>     </td><td><span class="price">2/-</span><br /></td></tr>
+<tr><td><span class="adtitle">Farming&mdash;Outlines&mdash;Farming Economy</span>. <span class="smcap">R. S. Burn</span>     </td><td><span class="price">3/-</span><br /></td></tr>
+<tr><td><span class="adtitle">Farming&mdash;Cattle, Sheep, and Horses</span>. <span class="smcap">R. S. Burn</span>     </td><td><span class="price">2/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Farming&mdash;Dairy, Pigs, and Poultry</span>. <span class="smcap">R. S. Burn</span>      </td><td><span class="price">2/-</span><br /></td></tr>
+<tr><td><span class="adtitle">Farming&mdash;Sewage &amp; Irrigation</span>. <span class="smcap">R. S. Burn</span>           </td><td><span class="price">2/6</span><br /></td></tr>
+<tr><td><span style="margin-left: 2em;">The above 5 vols., bound together</span></td><td><span class="price">12/-</span><br /></td></tr>
+<tr><td><span class="adtitle">Book-keeping for Farmers</span>. <span class="smcap">J. M. Woodman</span>            </td><td><span class="price">2/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Ready Reckoner for Land</span>. <span class="smcap">A. Arman</span>                 </td><td><span class="price">2/-</span><br /></td></tr>
+<tr><td>Miller's &amp; Farmer's Ready Reckoner                         </td><td><span class="price">2/-</span><br /></td></tr>
+<tr><td><span class="adtitle">Hay and Straw Measurer</span>. <span class="smcap">J. Steele</span>                 </td><td><span class="price">2/-</span><br /></td></tr>
+<tr><td><span class="adtitle">Meat Production</span>. <span class="smcap">J. Ewart</span>                         </td><td><span class="price">2/6</span><br /></td></tr>
+<tr><td><span class="adtitle">The Sheep</span>. <span class="smcap">W. C. Spooner</span>                           </td><td><span class="price">3/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Multum-in-Parvo Gardening</span>. <span class="smcap">S. Wood</span>                </td><td><span class="price">1/-</span><br /></td></tr>
+<tr><td><span class="adtitle">Forcing Garden</span>. <span class="smcap">S. Wood</span>                           </td><td><span class="price">3/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Market and Kitchen Gardening</span>. <span class="smcap">C. W. Shaw</span>           </td><td><span class="price">3/-</span><br /></td></tr>
+<tr><td><span class="adtitle">Kitchen Gardening</span>. <span class="smcap">G. M. F. Glenny</span>                  </td><td><span class="price">1/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Cottage Gardening</span>. <span class="smcap">E. Hobday</span>                      </td><td><span class="price">1/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Garden Receipts</span>. <span class="smcap">C. W. Quin</span>                        </td><td><span class="price">1/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Potatoes: How to Grow</span>. <span class="smcap">J. Pink</span>                    </td><td><span class="price">2/-</span><br /></td></tr>
+<tr><td><span class="adtitle">Culture of Fruit Trees</span>. <span class="smcap">M. Du Breuil</span>              </td><td><span class="price">3/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Tree Planter &amp; Plant Propagator</span>. <span class="smcap">S. Wood</span>          </td><td><span class="price">2/-</span><br /></td></tr>
+<tr><td><span class="adtitle">Tree Pruner</span>. <span class="smcap">S. Wood</span>                              </td><td><span class="price">1/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Tree Planter, Propagator, &amp; Pruner</span>. <span class="smcap">S. Wood</span>       </td><td><span class="price">3/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Grafting and Budding</span>. <span class="smcap">C. Baltet</span>                   </td><td><span class="price">2/6</span><br /></td></tr>
+<tr><td><span class="adtitle">Bees for Pleasure &amp; Profit</span>. <span class="smcap">G. G. Samson</span>     </td><td><span class="price"><i>net</i>&nbsp;1/-</span><br /></td></tr>
+<tr><td colspan="2" class="bt">
+<h4>CROSBY LOCKWOOD &amp; SON, 7, Stationers' Hall Court, E.C.</h4></td>
+</tr></table>
+
+
+<p><br /></p>
+<div class="note"><h3 class="left">Transcriber's notes: </h3><br />
+<i>page</i><br />
+&nbsp;&nbsp;&nbsp;<a href="#Page_1">1</a>.  add period after "the above processes"<br />
+ &nbsp;&nbsp;<a href="#Page_16">16</a>.  varnsh corrected to varnish<br />
+ &nbsp;&nbsp;<a href="#Page_17">17</a>.  from corrected<br />
+ &nbsp;&nbsp;<a href="#Page_18">18</a>.  closing quote added after Polish<br />
+ &nbsp;&nbsp;<a href="#Page_31">31</a>.  "polish aud spirits" changed to and<br />
+ &nbsp;&nbsp;<a href="#Page_79">79</a>.  added parens close after "finish<br />
+ &nbsp;&nbsp;<a href="#Page_81">81</a>.  earthern corrected to earthen<br />
+ &nbsp;&nbsp;<a href="#Page_83">83</a>.  boiled-linseed oil corrected to boiled linseed-oil<br />
+<a href="#Page_104">104</a>.  period after coarsely<br />
+<a href="#Page_101">101</a>.  campeachiaum corrected to campeachianum<br />
+<a href="#Page_117">117</a>.  published net added right bracket<br />
+<a href="#Page_118">118</a>.  net added right bracket <br />
+<a href="#Page_118">118</a>.  OF METALS added period<br />
+<a href="#Page_121">121</a>.  added right bracket ]<br />
+<a href="#Page_122">122</a>.  Material [added right bracket] Uses of<br />
+<a href="#Page_124">124</a>.  "Refining"--Power Consumption added dashes<br />
+<a href="#Page_125">125</a>.  added ] in 3 places<br />
+</div>
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of Project Gutenberg's French Polishing and Enamelling, by Richard Bitmead
+
+*** END OF THIS PROJECT GUTENBERG EBOOK FRENCH POLISHING AND ENAMELLING ***
+
+***** This file should be named 17935-h.htm or 17935-h.zip *****
+This and all associated files of various formats will be found in:
+        http://www.gutenberg.org/1/7/9/3/17935/
+
+Produced by K.D. Thornton and the Online Distributed
+Proofreading Team at http://www.pgdp.net
+
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties.  Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License (available with this file or online at
+http://gutenberg.org/license).
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement.  If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B.  "Project Gutenberg" is a registered trademark.  It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement.  There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement.  See
+paragraph 1.C below.  There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed.  Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work.  You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D.  The copyright laws of the place where you are located also govern
+what you can do with this work.  Copyright laws in most countries are in
+a constant state of change.  If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E.  Unless you have removed all references to Project Gutenberg:
+
+1.E.1.  The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges.  If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder.  Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5.  Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6.  You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form.  However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7.  Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8.  You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm trademark, but he
+     has agreed to donate royalties under this paragraph to the
+     Project Gutenberg Literary Archive Foundation.  Royalty payments
+     must be paid within 60 days following each date on which you
+     prepare (or are legally required to prepare) your periodic tax
+     returns.  Royalty payments should be clearly marked as such and
+     sent to the Project Gutenberg Literary Archive Foundation at the
+     address specified in Section 4, "Information about donations to
+     the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+     you in writing (or by e-mail) within 30 days of receipt that s/he
+     does not agree to the terms of the full Project Gutenberg-tm
+     License.  You must require such a user to return or
+     destroy all copies of the works possessed in a physical medium
+     and discontinue all use of and all access to other copies of
+     Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+     money paid for a work or a replacement copy, if a defect in the
+     electronic work is discovered and reported to you within 90 days
+     of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+     distribution of Project Gutenberg-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH F3.  YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need, is critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at http://www.pglaf.org.
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Its 501(c)(3) letter is posted at
+http://pglaf.org/fundraising.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at http://pglaf.org
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit http://pglaf.org
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including checks, online payments and credit card
+donations.  To donate, please visit: http://pglaf.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart is the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+Most people start at our Web site which has the main PG search facility:
+
+     http://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
+
+*** END: FULL LICENSE ***
+
+
+
+</pre>
+
+</body>
+</html>
+
diff --git a/17935-h/images/title.jpg b/17935-h/images/title.jpg
new file mode 100644
index 0000000..63f1f8c
--- /dev/null
+++ b/17935-h/images/title.jpg
diff --git a/17935.txt b/17935.txt
new file mode 100644
index 0000000..6a970a6
--- /dev/null
+++ b/17935.txt
@@ -0,0 +1,4480 @@
+Project Gutenberg's French Polishing and Enamelling, by Richard Bitmead
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: French Polishing and Enamelling
+       A Practical Work of Instruction
+
+Author: Richard Bitmead
+
+Release Date: March 6, 2006 [EBook #17935]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK FRENCH POLISHING AND ENAMELLING ***
+
+
+
+
+Produced by K.D. Thornton and the Online Distributed
+Proofreading Team at http://www.pgdp.net
+
+
+
+
+
+FRENCH POLISHING
+AND
+ENAMELLING
+
+A Practical Work of Instruction
+
+INCLUDING
+NUMEROUS RECIPES FOR MAKING POLISHES,
+VARNISHES, GLAZE-LACQUERS, REVIVERS, ETC.
+
+BY RICHARD BITMEAD
+
+AUTHOR OF "THE CABINET-MAKER'S GUIDE," "THE UPHOLSTERER'S GUIDE," ETC.
+Fourth Edition
+
+[Illustration: Capio Lumen]
+
+LONDON
+CROSBY LOCKWOOD AND SON
+7, STATIONERS' HALL COURT, LUDGATE HILL
+1910
+
+[_All rights reserved_]
+
+
+PRINTED BY
+WILLIAM CLOWES AND SONS, LIMITED,
+LONDON AND BECCLES.
+
+
+
+
+AUTHOR'S PREFACE.
+
+
+Early in the present century the method generally adopted for polishing
+furniture was by rubbing with beeswax and turpentine or with
+linseed-oil. That process, however, was never considered to be very
+satisfactory, which fact probably led to experiments being made for the
+discovery of an improvement. The first intimation of success in this
+direction appeared in the _Mechanic's Magazine_ of November 22, 1823,
+and ran as follows: "The Parisians have now introduced an entirely new
+mode of polishing, which is called _plaque_, and is to wood precisely
+what plating is to metal. The wood by some process is made to resemble
+marble, and has all the beauty of that article with much of its
+solidity. It is even asserted by persons who have made trial of the new
+mode that water may be spilled upon it without staining it." Such was
+the announcement of an invention which was destined ultimately to become
+a new industry.
+
+The following pages commence with a description of the art of French
+Polishing in its earliest infancy, care having been taken by the Author,
+to the best of his ability, to note all the new processes and
+manipulations, as well as to concisely and perspicuously arrange and
+describe the various materials employed, not only for French polishing
+but for the improving and preparation of furniture woods, a matter of
+great importance to the polisher. The arts of Staining and Imitating,
+whereby inferior woods are made to resemble the most costly, are also
+fully treated, as well as the processes of Enamelling, both in
+oil-varnishes and French polish, together with the method of decorating
+the same. The condition of the art of polishing in America is dwelt
+upon, and various interesting articles written by practical polishers in
+the States, which appeared in their trade journal, _The Cabinet-maker_,
+have been revised and printed in this work.
+
+A number of valuable recipes, and other instructive matter, useful alike
+to the amateur and to the practical workman, are also given.
+
+
+
+
+CONTENTS.
+
+
+  CHAPTER I.
+  _THE IMPROVING AND PREPARATION OF FURNITURE WOODS._          PAGE
+  Improving                                                      2
+  Matching                                                       3
+  Painting                                                       5
+  Dyed Polishes                                                  6
+
+
+  CHAPTER II.
+  _STAINS AND IMITATIONS._
+  Imitation Mahogany                                             8
+  Imitation Rosewood                                             8
+  Imitation Walnut                                               9
+  Imitation Ebony                                               10
+  Imitation Oak                                                 11
+  Imitation Satin-wood                                          12
+  A Blue Stain                                                  13
+  A Green Stain                                                 13
+  A Purple Stain                                                13
+  A Red Stain                                                   14
+  Imitation Purple-wood Stain                                   14
+  Chemicals used in Staining                                    15
+  Process of Staining                                           16
+  Ready-made Wood Stains                                        17
+
+
+  CHAPTER III.
+  _FRENCH POLISHING._
+  The Polish Used                                               18
+  Rubbers                                                       22
+  Position                                                      24
+  Filling-in                                                    25
+  Applying the Polish                                           26
+  Spiriting-off                                                 30
+  Prepared Spirits                                              32
+  Antique Style                                                 32
+  Dull or Egg-shell Polish                                      33
+  Polishing in the Lathe                                        34
+
+
+  CHAPTER IV.
+  _CHEAP WORK._
+  Glazing                                                       37
+  Stencilling                                                   39
+  Charcoal Polishing                                            40
+
+
+  CHAPTER V.
+  _RE-POLISHING OLD WORK_                                       42
+
+
+  CHAPTER VI.
+  _SPIRIT VARNISHING._
+  Varnishes                                                     46
+  Brushes and Pencils                                           47
+  Mode of Operation                                             47
+  East Indian Varnishes                                         48
+
+
+  CHAPTER VII.
+  _GENERAL INSTRUCTIONS._
+  Remarks on Polishing                                          51
+  The Polishing Shop                                            52
+
+
+  CHAPTER VIII.
+  _ENAMELLING._
+  Materials                                                     57
+  Tools                                                         58
+  Mode of Operation                                             58
+  Polishing                                                     60
+  Another Process                                               61
+  Decorations                                                   63
+
+
+  CHAPTER IX.
+  _AMERICAN POLISHING PROCESSES._
+  Use of Fillers                                                65
+  Making Fillers                                                70
+    Japan of the Best Quality                                   70
+    Fillings for Light Woods                                    70
+    Another for Light Woods                                     70
+    For Mahogany or Cherry Wood                                 71
+    For Oak Wood                                                71
+    For Rosewood                                                71
+    For Black Walnut (1)                                        71
+           "         (2)                                        71
+    An Oil Colour for Black Walnut (3)                          72
+  Finishing                                                     73
+  Black Walnut Finishing                                        75
+  Finishing Veneered Panels, etc.                               78
+    Light Woods (Dead Finish)                                   79
+    Mahogany or Cherry Wood                                     79
+    Oak                                                         79
+    Rosewood, Coromandel, or Kingwood (a Bright Finish)         79
+    Walnut                                                      80
+  Finishing Cheap Work                                          81
+    With One Coat of Varnish                                    81
+    Wax Finishing                                               82
+    A Varnish Polish                                            82
+    With Copal or Zanzibar Varnish                              83
+  Polishing Varnish                                             85
+  An American Polish Reviver                                    86
+
+
+  CHAPTER X.
+  _MISCELLANEOUS RECIPES._
+  Oil Polish                                                    87
+  Wax Polish                                                    87
+  Waterproof French Polish                                      88
+  Varnish for Musical Instruments                               88
+  French Varnish for Cabinet-work                               89
+  Mastic Varnish                                                89
+  Cabinet-maker's Varnish                                       90
+  Amber Varnish                                                 90
+  Colourless Varnish with Copal                                 90
+  Seedlac Varnish                                               91
+  Patent Varnish for Wood or Canvas                             91
+  Copal Varnish                                                 91
+  Carriage Varnish                                              92
+  Transparent Varnish                                           92
+  Crystal Varnish for Maps, etc.                                92
+  Black Varnish                                                 92
+  Black Polish                                                  93
+  Varnish for Iron                                              93
+  Varnish for Tools                                             93
+  To Make Labels Adhere to a Polished Surface                   94
+  To Remove French Polish or Varnish from Old Work              94
+  Colouring for Carcase Work                                    94
+  Cheap but Valuable Stain for the Sap of Black Walnut          95
+  Polish (American) for Removing Stains, etc., from Furniture   96
+  Walnut Stain to be used on Pine and White-wood                96
+  Rosewood Stain                                                97
+  Rosewood Stain for Cane Work, etc.                            97
+  French Polish Reviver                                         98
+  Morocco Leather Reviver                                       98
+  Hair-cloth Reviver                                            99
+  To Remove Grease Stains from Silks, Damasks, Cloth, etc.      99
+  To Remove Ink Stains from White Marble                        99
+
+
+  CHAPTER XI.
+  _MATERIALS USED._
+  Alkanet-root                                                 100
+  Madder-root                                                  100
+  Red-sanders                                                  101
+  Logwood                                                      101
+  Fustic                                                       102
+  Turmeric                                                     102
+  Indigo                                                       103
+  Persian Berries                                              103
+  Nut-galls                                                    103
+  Catechu                                                      103
+  Thus                                                         104
+  Sandarach                                                    104
+  Mastic                                                       104
+  Benzoin                                                      104
+  Copal                                                        105
+  Dragon's Blood                                               106
+  Shellac                                                      106
+  Amber                                                        107
+  Pumice-stone                                                 107
+  Linseed-oil                                                  108
+  Venice Turpentine                                            110
+  Oil of Turpentine                                            110
+  Methylated Spirits                                           110
+
+
+
+
+FRENCH POLISHING
+
+AND
+
+ENAMELLING.
+
+CHAPTER I.
+
+_THE IMPROVING AND PREPARATION OF
+FURNITURE WOODS._
+
+
+For a French polisher to be considered a good workman he should, in
+addition to his ordinary ability to lay on a good polish, possess
+considerable knowledge of the various kinds of wood used for furniture,
+as well as the most approved method of bringing out to the fullest
+extent their natural tones or tints; he should also be able to improve
+the inferior kinds of wood, and to stain, bleach, or match any of the
+fancy materials to which his art is applied, in a manner that will
+produce the greatest perfection. The following information is given to
+facilitate a thorough knowledge of the above processes.
+
+
+=Improving.=--Iron filings added to a decoction of gall-nuts and vinegar
+will give to ebony which has been discoloured an intense black, after
+brushing over once or twice. Walnut or poor-coloured rosewood can be
+improved by boiling half an ounce of walnut-shell extract and the same
+quantity of catechu in a quart of soft-water, and applying with a
+sponge. Half a pound of walnut husks and a like quantity of oak bark
+boiled in half a gallon of water will produce much the same result.
+Common mahogany can be improved by rubbing it with powdered red-chalk
+(ruddle) and a woollen rag, or by first wiping the surface with liquid
+ammonia, and red-oiling afterwards. For a rich mild red colour,
+rectified spirits of naphtha, dyed with camwood dust, or an oily
+decoction of alkanet-root. Methylated spirits and a small quantity of
+dragon's blood will also produce a mild red. Any yellow wood can be
+improved by an alcoholic solution of Persian berries, fustic, turmeric,
+or gamboge. An aqueous decoction of barberry-root will serve the same
+purpose. Birch when preferred a warm tint may be sponged with oil, very
+slightly tinted with rose-madder or Venetian red; the greatest care
+should be used, or it will be rendered unnatural in appearance by
+becoming too red. Maple which is of a dirty-brown colour, or of a cold
+grey tint, and mahogany, ash, oak, or any of the light-coloured woods,
+can be whitened by the bleaching fluid (see "MATCHING"). Numerous
+materials may be improved by the aid of raw linseed-oil mixed with a
+little spirits of turpentine. Artificial graining may be given to
+various woods by means of a camel-hair pencil and raw oil; two or three
+coats should be given, and after standing for some time the ground
+should have one coat of oil much diluted with spirits of turpentine, and
+then rubbed off.
+
+
+=Matching.=--Old mahogany furniture which has been repaired may be
+easily matched by wiping over the new portions with water in which a
+nodule of lime has been dissolved, or by common soda and water. The
+darkeners for general use are dyed oils, logwood, aquafortis, sulphate
+of iron, and nitrate of silver, with exposure to the sun's rays. For new
+furniture in oak, ash, maple, etc., the process of matching requires
+care and skill. When it is desirable to render all the parts in a piece
+of furniture of one uniform tone or tint, bleach the dark parts with a
+solution of oxalic acid dissolved in hot water (about two-pennyworth of
+acid to half a pint of water is a powerful solution); when dry, if this
+should not be sufficient, apply the white stain (see pp. 11, 12)
+delicately toned down, or the light parts may be oiled. For preserving
+the intermediate tones, coat them with white polish by means of a
+camel-hair pencil. On numerous woods, carbonate of soda and bichromate
+of potash are very effective as darkeners, as are also other
+preparations of an acid or alkaline nature, but the two given above are
+the best.
+
+A good way of preparing these darkeners, says the "French Polisher's
+Manual," an excellent little work published in Perth some years since,
+is to procure twopennyworth of carbonate of soda in powder, and dissolve
+it in half a pint of boiling water; then have ready three bottles, and
+label them one, two, three. Into one put half the solution, and into the
+other two half a gill each; to number two add an additional gill of
+water, and to number three two gills. Then get the same quantity of
+bichromate of potash, and prepare it in a like manner; you will then
+have six staining fluids for procuring a series of brown and dark tints
+suitable for nearly all classes of wood.
+
+The bichromate of potash is useful to darken oak, walnut, beech, or
+mahogany, but if applied to ash it renders it of a greenish cast. If a
+sappy piece of walnut should be used either in the solid or veneer,
+darken it to match the ground colour, and then fill in the dark markings
+with a feather and the black stain (see pp. 10, 11). The carbonate
+solutions are generally used for dark surfaces, such as rosewood
+represents, and a still darker shade can be given to any one by oiling
+over after the stain is dry. The better way of using these chemical
+stains is to pour out into a saucer as much as will serve the purpose,
+and to apply it quickly with a sponge rubbed rapidly and evenly over the
+surface, and rubbed off dry immediately with old rags. Dark and light
+portions, between which the contrast is slight, may be made to match by
+varnishing the former and darkening the latter with oil, which should
+remain on it sufficiently long; by this means the different portions may
+frequently be made to match without having recourse to bleaching or
+staining.
+
+
+=Painting.=--The next process is painting. It frequently happens in
+cabinet work that a faulty place is not discovered until after the work
+is cleaned off; the skill of the polisher is then required to paint it
+to match the other. A box containing the following colours in powder
+will be found of great utility, and when required for use they should be
+mixed with French polish and applied with a brush. The pigments most
+suitable are: drop black, raw sienna, raw and burnt umber, Vandyke
+brown, French Naples yellow (bear in mind that this is a very opaque
+pigment), cadmium yellow, madder carmine (these are expensive), flake
+white, and light or Venetian red; before mixing, the colours should be
+finely pounded. The above method of painting, however, has this
+objection for the best class of furniture, that the effects of time will
+darken the body of the piece of furniture, whilst the painted portion
+will remain very nearly its original colour. In first-class work,
+therefore, stained polishes or varnishes should be applied instead of
+these pigments.
+
+
+=Dyed Polishes.=--The methods of dyeing polish or
+varnish are as follows: for a red, put a little alkanet-root or camwood
+dust into a bottle containing polish or varnish; for a bright yellow, a
+small piece of aloes; for a yellow, ground turmeric or gamboge; for a
+brown, carbonate of soda and a very small quantity of dragon's blood;
+and for a black, a few logwood chips, gall-nuts, and copperas, or by the
+addition of gas-black.
+
+The aniline dyes (black excepted) are very valuable for dyeing polishes,
+the most useful being Turkey-red, sultan red, purple, and brown. A small
+portion is put into the polish, which soon dissolves it, and no
+straining is required. The cheapest way to purchase these dyes is by the
+ounce or half-ounce. The penny packets sold by chemists are too
+expensive, although a little goes a long way.
+
+
+
+
+CHAPTER II.
+
+_STAINS AND IMITATIONS._
+
+
+In consequence of the high price demanded for furniture made of the
+costly woods, the art of the chemist has been called into requisition to
+produce upon the inferior woods an analogous effect at a trifling
+expense. The materials employed in the artificial colouring of wood are
+both mineral and vegetable; the mineral is the most permanent, and when
+caused by chemical decomposition within the pores it acts as a
+preservative agent in a greater or less degree. The vegetable colouring
+matters do not penetrate so easily, probably on account of the affinity
+of the woody fibre for the colouring matter, whereby the whole of the
+latter is taken up by the parts of the wood with which it first comes
+into contact. Different intermediate shades, in great variety, may be
+obtained by combinations of colouring matters, according to the tint
+desired, and the ideas of the stainer. The processes technically known
+as "grounding and ingraining" are partly chemical and partly mechanical,
+and are designed to teach the various modes of operation whereby the
+above effects can be produced. We will commence with
+
+
+=Imitation Mahogany.=--Half a pound of madder-root, and two ounces of
+logwood chips boiled in a gallon of water. Brush over while hot; when
+dry, go over it with a solution of pearlash, a drachm to a pint. Beech
+or birch, brushed with aquafortis in sweeping regular strokes, and
+immediately dried in front of a good fire, form very good imitations of
+old wood. Venetian red mixed with raw linseed-oil also forms a good
+stain.
+
+The following is a method in common use by French cabinet-makers. The
+white wood is first brushed over with a diluted solution of nitrous
+acid; next, with a solution made of methylated spirits one gill,
+carbonate of soda three-quarters of an ounce, and dragon's blood a
+quarter of an ounce; and a little red tint is added to the varnish or
+polish used afterwards. Black American walnut can be made to imitate
+mahogany by brushing it over with a weak solution of nitric acid.
+
+
+=Imitation Rosewood.=--Boil half a pound of logwood chips in three pints
+of water until the decoction is a very dark red; then add an ounce of
+salt of tartar. Give the work three coats boiling hot; then with a
+graining tool or a feather fill in the dark markings with the black
+stain. A stain of a very bright shade can be made with methylated
+spirits half a gallon, camwood three-quarters of a pound, red-sanders
+a quarter of a pound, extract of logwood half a pound, aquafortis one
+ounce. When dissolved, it is ready for use. This makes a very bright
+ground. It should be applied in three coats over the whole surface, and
+when dry it is glass-papered down with fine paper to a smooth surface,
+and is then ready for graining. The fibril veins are produced by passing
+a graining tool with a slight vibratory motion, so as to effect the
+natural-looking streaks, using the black stain. A coat of the bichromate
+of potash solution referred to on page 4 will make wildly-figured
+mahogany have the appearance of rosewood.
+
+
+=Imitation Walnut.=--A mixture of two parts of brown umber and one part
+of sulphuric acid, with spirits of wine or methylated spirits added
+until it is sufficiently fluid, will serve for white wood. Showy
+elm-wood, after being delicately darkened with the bichromate solution
+No. 1, page 4, will pass for walnut; it is usually applied on the cheap
+loo-table pillars, which are made of elm-wood. Equal portions of the
+bichromate and carbonate solutions (see page 4), used upon American
+pine, will have a very good effect.
+
+Another method for imitating walnut is as follows: One part (by weight)
+of walnut-shell extract is dissolved in six parts of soft-water, and
+slowly heated to boiling until the solution is complete. The surface to
+be stained is cleaned and dried, and the solution applied once or twice;
+when half-dry, the whole is gone over again with one part of chromate of
+potash boiled in five parts of water. It is then dried, rubbed down, and
+polished in the ordinary way.
+
+The extract of walnut-shells and chromate of potash are procurable at
+any large druggist's establishment. A dark-brown is the result of the
+action of copper salts on the yellow prussiate of potash; the sulphate
+of copper in soft woods gives a pretty reddish-brown colour, in streaks
+and shades, and becomes very rich after polishing or varnishing.
+Different solutions penetrate with different degrees of facility. In
+applying, for instance, acetate of copper and prussiate of potash to
+larch, the sap-wood is coloured most when the acetate is introduced
+first; but when the prussiate is first introduced, the heart-wood is the
+most deeply coloured. Pyrolignite of iron causes a dark-grey colour in
+beech, from the action and tannin in the wood on the oxide of iron;
+while in larch it merely darkens the natural colour. Most of the tints,
+especially those caused by the prussiates of iron and copper, are
+improved by the exposure to light, and the richest colours are produced
+when the process is carried out rapidly.
+
+
+=Imitation Ebony.=--Take half a gallon of strong vinegar, one pound of
+extract of logwood, a quarter of a pound of copperas, two ounces of
+China blue, and one ounce of nut-gall. Put these into an iron pot, and
+boil them over a slow fire till they are well dissolved. When cool, the
+mixture is ready for use. Add a gill of iron filings steeped in vinegar.
+The above makes a perfect jet black, equal to the best black ebony. A
+very good black is obtained by a solution of sulphate of copper and
+nitric acid; when dry, the work should have a coat of strong logwood
+stain.
+
+
+=Imitation Oak.=--To imitate old oak, the process known as "fumigating"
+is the best. This is produced by two ounces of American potash and two
+ounces of pearlash mixed together in a vessel containing one quart of
+hot water.
+
+Another method is by dissolving a lump of bichromate of potash in warm
+water; the tint can be varied by adding more water. This is best done
+out of doors in a good light. Very often in sending for bichromate of
+potash a mistake is made, and chromate of potash is procured instead;
+this is of a yellow colour, and will not answer the purpose. The
+bichromate of potash is the most powerful, and is of a red colour. A
+solution of asphaltum in spirits of turpentine is frequently used to
+darken new oak which is intended for painter's varnish, or a coating
+of boiled oil.
+
+Another method of imitating new oak upon any of the inferior
+light-coloured woods is to give the surface a coat of Stephens's
+satin-wood stain, and to draw a soft graining-comb gently over it, and
+when the streaky appearance is thus produced a camel-hair pencil should
+be taken and the veins formed with white stain. This is made by
+digesting three-quarters of an ounce of flake white (subnitrate of
+bismuth), and about an ounce of isinglass in two gills of boiling water;
+it can be made thinner by adding more water, or can be slightly tinted
+if desired.
+
+Proficients in staining and imitating can make American ash so like oak
+that experienced judges are frequently deceived, the vein and shade of
+the spurious wood looking nearly as natural as the genuine. After the
+veining is done, it should be coated with white hard varnish, made
+rather thin by adding more spirits, after which the ground can be
+delicately darkened if required.
+
+
+=Imitation Satin-wood.=--Take methylated spirits one quart, ground
+turmeric three ounces, powdered gamboge one and a-half ounces. This
+mixture should be steeped to its full strength, and then strained
+through fine muslin, when it will be ready for use. Apply with a sponge,
+and give two coats; when dry, glass-paper down with fine old paper. This
+makes a good imitation for inside work. By the addition of a little
+dragon's blood an orange tint can be produced. A yellow colour can also
+be given to wood by boiling hot solutions of turmeric, Persian berries,
+fustic, etc. but the colour is very fugitive. A more permanent colour
+results from nitric acid, and last of all by the successive introduction
+of acetate of lead and chromate of potash. Sulphate of iron also stains
+wood of a yellowish colour when used as a preservative agent, so much
+so, that the use of corrosive sublimate is recommended for this purpose
+when it is desirable to preserve the light colour.
+
+
+=A Blue Stain.=--This dye can be obtained by dissolving East Indian
+indigo in arsenious acid, which will give a dark blue. A lighter blue
+can be obtained by hot solutions of indigo, of sulphate of copper, and
+by the successive introduction of pyrolignite of iron and prussiate of
+potash.
+
+
+=A Green Stain.=--Dissolve one ounce of Roman vitriol in a quart of
+boiling water, to which is added one ounce of pearlash; the mixture
+should then be forcibly agitated, and a small quantity of pulverised
+yellow arsenic stirred in. A green is also the result of successive
+formations in the pores of the wood of a blue and a yellow as above
+indicated, and by a hot solution of acetate of copper in water. A
+yellowish green may be obtained by the action of copper salts on the red
+prussiate of potash.
+
+
+=A Purple Stain.=--Boil one pound of logwood chips in three quarts of
+water, until the full strength is obtained; then add four ounces of
+pearlash and two ounces of powdered indigo. When these ingredients are
+thoroughly dissolved, it is ready for use, either hot or cold. A purple
+is also obtained by a boiling hot solution of logwood and Brazil-wood,
+one pound of the former and one quarter of a pound of the latter to a
+gallon of water.
+
+
+=A Red Stain.=--Methylated spirits one quart, Brazil-wood three ounces,
+dragon's blood half an ounce, cochineal half an ounce, saffron one
+ounce. Steep the whole to its full strength, and strain. A red can also
+be produced by macerating red-sanders in rectified spirits of naphtha.
+An orange-red colour may be obtained by the successive action of
+bichloride of mercury and iodide of potash, madder, and ammoniacal
+solutions of carmine.
+
+
+=Imitation Purple-wood Stain.=--Grind a piece of green copperas on
+coarse glass-paper, and mix with polish coloured with red-sanders. This
+makes a capital purple stain, and is used by French cabinet-makers.
+
+These dyestuffs may be much improved by the addition of a mordant
+applied after they are dry; this will greatly assist in modifying and
+fixing the tints and shades which the dyes impart. The best thing for
+the purpose, in the writer's opinion, is clear ox-gall, which, besides
+being useful as a mordant, will destroy all unctuous matter.
+
+
+=Chemicals used in Staining.=--It may perhaps be useful here to give the
+common or popular names of the chemicals employed in the operations of
+staining and imitating, as few polishers know them by the scientific
+names used by chemists:--
+
+Nitric acid is but another phrase for aquafortis.
+Sulphuric acid, for oil of vitriol.
+Ammonia, for spirits of hartshorn.
+Sulphate of magnesia, for Epsom salts.
+Nitrate of potass, for sal prunelle.
+Chlorine, for aqua regia.
+Sulphate of copper, for blue vitriol.
+Subborate of soda, for borax.
+Superoxalate of potass, for salts of sorrel.
+Hydrochlorate of ammonia, for sal ammoniac.
+Subnitrate of bismuth, for flake white.
+Acetic acid, for vinegar.
+Acetate of lead, for sugar of lead.
+Sulphate of lime, for gypsum.
+Carbonate of potass, for pearlash.
+Bitartrate of potass, for cream of tartar.
+Nitrate of silver, for lunar caustic.
+Supercarbonate of iron, for plumbago.
+Cyanide of iron, for Prussian blue.
+Subacetate of copper, for common verdigris.
+Susquecarbonate of ammonia, for sal volatile.
+Alcohol, for pure spirit.
+Sulphate of iron, for green copperas.
+Sulphate of zinc, for white copperas.
+
+
+=Process of Staining.=--The natural qualities of woods are very
+variable; so also are the textures of the different sorts usually used
+for staining. It will be readily perceived that there is no fixed
+principle upon which certain peculiar tints or shades can be produced
+with any degree of certainty. In order to arrive at the best results,
+the stainer is recommended to observe the following rules:--
+
+All dry stuffs are best reduced to powder, when it is possible, before
+macerating or dissolving them.
+
+All liquids should be strained or filtered before use.
+
+The requisite ingredients should always be tested before a free use is
+made of them, as the effect produced by a coat of stain cannot be
+accurately ascertained until it is thoroughly dry.
+
+Amateurs in staining had far better coat twice or thrice with a weak
+stain than apply a strong one; for if too dark a tint is first obtained
+it is often irremediable. Flat surfaces will take stain more evenly if a
+small portion of linseed-oil is first wiped over, well rubbed off, and
+allowed to dry, then lightly papered down with fine glass-paper. End-way
+wood which is of a spongy nature should first have a coat of thin
+varnish, and when dry well glass-papered off. For applying stain a flat
+hog-hair tool is the best; and for a softener-down a badger-hair tool is
+used. For mahogany shades and tints a mottler will be found of service,
+as will also a soft piece of Turkey sponge. For oak, the usual steel
+graining-comb is employed for the streaking, and for veining badger
+sash-tools and sable pencils.
+
+
+=Ready-made Wood Stains.=--There are numerous stains suitable for common
+work in the market obtainable at a small cost by residents in London,
+but it is cheaper for those who reside in country towns to make their
+own, if only a small quantity is required. The principal makers of wood
+stains are H. C. Stephens, of 191, Aldersgate-street, E.C., and Jackson,
+213, Union-street, Southwark, S.E. These makers prepare stains in a
+liquid state, and also in powders for oak, walnut, mahogany, satin-wood,
+ebony, and rosewood. The powders are sold in packages at 8s. per lb. or
+1s. for two ounces, and are soluble in boiling water. Judson, of 77,
+Southwark-street, S.E., makes a mahogany powder in sixpenny packets, and
+any reliable oilman will sell a good black stain at 8d. per quart, or a
+superior black stain at 1s. 2d. per quart. Fox, of 109, Bethnal
+Green-road, also prepares stains in a liquid state.
+
+
+
+
+CHAPTER III.
+
+_FRENCH POLISHING._
+
+
+=The Polish Used.=--The oil or wax polish was used for all kinds of
+furniture before the introduction of French polish, the invention of
+which, as its name implies, is due to French cabinet-makers. It was
+first introduced into England about seventy years since; some time
+elapsed, however, before it was brought to a high state of perfection.
+At first apprentices or porters were entrusted with the polishing, they
+having been usually called upon to do the wax polishing; but in course
+of time it was found that its successful adoption implied the possession
+of considerable skill, and it came to be regarded as an art of no little
+importance--so much so, that the early polishers who had perfected
+themselves used to work in a shop with closed doors, lest the secret of
+their success should be discovered. From that time polishing became a
+separate branch of the cabinet business.
+
+The following original recipe as first invented has been extracted from
+a French work, the _Dictionnaire Technologique_, not, however, for its
+usefulness (it having gone into disuse many years ago), but as a matter
+of curiosity:--
+
+  "_French Polish._"
+
+  Gum sandarach                        14 ounces 2 drachms
+  Gum mastic in drops                   7   "    2    "
+  Shellac (the yellower the better)    14   "    2    "
+  Alcohol of 0.8295 specific gravity    3 quarts and 1 pint.
+
+"Pound the resinous gums, and effect their solution by continued
+agitation, without the aid of heat; if the woods are porous, add seven
+ounces one drachm of Venice turpentine. If an equal weight of ground
+glass be added, the solution is more quickly made, and is also otherwise
+benefited by it. Before using, the wood should be made to imbibe a
+little linseed-oil, the excess of which should be removed by an old
+flannel."
+
+Notwithstanding the improvement made upon the old processes by this new
+method, it was by no means considered to be perfect, for the polish was
+found to impart its brown tinge to the light-coloured woods, especially
+in marqueterie work, and to deteriorate their appearance. It will be
+readily seen that it was a great desideratum among polishers to render
+shellac colourless, as, with the exception of its dark-brown hue, it
+possesses all the properties essential to a good polish or spirit
+varnish in a higher degree than any of the other resins.
+
+In 1827 the Society of Arts came forward with its valuable aid and
+offered a premium of a gold medal, or thirty guineas, "for a polish or
+varnish made from shell or seed-lac, equally hard, and as fit for use in
+the arts as that at present prepared from the above substance, but
+deprived of its colouring matter." After numerous experiments, this
+long-felt want was perfectly attained by Dr. Hare, who was awarded the
+premium. His method was as follows: "Dissolve in an iron kettle one part
+of pearlash in about eight parts of water; add one part of shell or
+seed-lac, and heat the whole to ebullition. When the lac is dissolved,
+cool the solution, and impregnate it with chlorine till the lac is all
+precipitated. The precipitate is white, but its colour deepens by
+washing and consolidation; dissolved in alcohol, lac, bleached by the
+process above mentioned, yields a polish or varnish which is as free
+from colour as any copal varnish." At the present time shellac is
+bleached by filtration over animal charcoal.
+
+Numerous experiments were afterwards made in the manufacture of
+polishes; several chemists devoted their attention to its manufacture,
+and an improved polish was soon produced which was used for a number of
+years. The following are its proportions:--
+
+  Shellac                 14 ounces.
+  Sandarach                3/4 ounce.
+  White resin              3/4   "
+  Benzoin                  3/4   "
+  Gum thus                 3/4   "
+  O.P. finishing spirit    1/2 a gallon.
+
+The "filling-in" processes also began to be used, which effected a
+considerable saving in the quantity of polish usually required, and in
+consequence of the expensiveness of spirits of wine rectified spirits of
+naphtha was used as a substitute for the making of polishes, etc.; but
+it was discovered that its continued use soon affected the eyesight of
+the workmen, and it had to be abandoned, the methylic alcohol, pyroxylic
+spirit, or wood spirit, as it has been differently called, taking its
+place. This was first discovered by Mr. Philip Taylor in 1812, and is
+obtained by distilling wood. Messrs. Dumas & Peligot, after analysing
+it, determined that it contained 37.5 per cent. of carbon, 12.5 per
+cent. of hydrogen, and 50 per cent. of oxygen. When pure, it remains
+clear in the atmosphere; but for the sake of economy it is often
+employed in the manufacture of other compounds called methylated. This
+spirit began to be much used in the manufacture of polishes and
+varnishes in the year 1848, and has continued to be much used ever
+since.
+
+The wonderful improvements which have been effected in polishes since
+their first introduction obviously prove that they have now arrived at a
+very high point of perfection, and polishing is now justly acknowledged,
+both by skilled artisans and connoisseurs, to be an important decorative
+art. French polish or varnish at the present time can easily be obtained
+at most chemists or oil shops, or direct from the manufacturers, amongst
+whom may be mentioned Mr. W. Urquhart, 327, Edgware-road, W.; Messrs.
+Turner & Sons, 7 to 9, Broad-street, Bloomsbury, W.C.; Messrs. William
+Fox & Son, Bethnal Green-road, E.; Mr. G. Purdom, 49, Commercial-road,
+E.
+
+The London prices are: Best French polish, 5s. 6d. per gallon; best
+white polish, 9s. per gallon; brown or white hard varnish, 8s. per
+gallon; patent glaze, 10s. per gallon; methylated spirits, 3s. 3d. per
+gallon. For those who prefer to make their own, the following will be
+found an excellent recipe:--
+
+  12 ounces of orange shellac.
+   1 ounce of benzoin.
+   1 ounce of sandarach.
+   1/2 gallon of methylated spirits.
+
+Pound the gums well before mixing with the spirit, as this will hasten
+their dissolution. White polish for white wood and marqueterie work
+should be made with bleached shellac instead of the above. In making
+polishes or varnishes, the mixture will frequently require shaking until
+dissolved.
+
+
+=Rubbers.=--In commencing to polish, the materials required are old
+flannel for the rubbers and clean old linen or cotton rags for the
+coverings, the softer the better; some polishers, however, prefer white
+wadding for rubbers instead of flannel. Rubbers for large surfaces are
+usually made of soft old flannel, firmly and compactly put together
+somewhat in the form of a ball, and the more they possess softness and
+compactness, and are large and solid, the more quickly and
+satisfactorily will they polish extensive surfaces. Small pliable
+rubbers are usually employed for chairs or light frame-work. Perhaps for
+a beginner a rubber made of old flannel may be best, as it takes some
+little practice to obtain the necessary lightness of hand.
+
+The rubber for "spiriting-off" should be made up from a piece of old
+flannel or woollen cloth, and covered with a piece of close rag,
+doubled. Carefully fold the rag and screw it round at the back to make
+it as firm as possible, and sprinkle some spirit on the face of it just
+as it is covered; then give it two or three good smacks with the palm of
+the hand, and begin by laying on as lightly as possible for the first
+few strokes and gradually increase the pressure as the rubber gets dry;
+then take off the first fold of the cover and work it perfectly dry.
+
+The rubber should present to the wood you are about to work on a
+smooth-rounded or convex surface. Have beside you linseed-oil in one
+receptacle, and some French polish in another. Apply one drop of polish
+and one drop of oil, and polish with a circular movement--traversing
+steadily the _whole_ surface to be polished, and from time to time, as
+may be necessary (when the rubber gets sticky and harsh, indicating that
+the inside needs replenishing with more polish), open and apply more of
+it, and again draw over the linen cover, holding it tightly to form the
+convex face proper to do the work. After replenishing, the rubber will
+probably need a little more oil to help it to work smoothly. Having thus
+worked on one coat of polish evenly over all the wood until it has got
+what may best be described as a _full look_, set it aside for two or
+three hours to sink in and become hard, and when completely dry, lightly
+paper off with glass-paper (very finest), afterwards dusting the surface
+to remove any trace of powder, and lay on a second coat of polish in the
+same method. Then allow twenty-four hours to dry. Another light papering
+may possibly be needed--dust off as before recommended and let the wood
+have a _third_ coat of polish.
+
+For this third coat a fresh rubber should be made, the inside being
+sparingly supplied with spirits of wine instead of polish. Put a double
+fold of linen over it, touch it with one drop of oil, and go very
+lightly and speedily over the whole work.
+
+In spiriting-off--the object of which is to remove any trace of smudge
+that may blur the surface unless removed thus by spirit--you should go
+gently to work, using a very light hand, or you may take the polish off
+as well, amateurs more especially.
+
+
+=Position.=--All work should be placed in an easy and accessible
+position while it is being polished, so that the eye may readily
+perceive the effect of the rubber; this will greatly help to relieve the
+difficulties attending the polishing of a fine piece of furniture. It
+should also be kept quite firm, so that it cannot possibly move about.
+The most suitable benches for polishers are the ordinary cabinet-makers'
+benches, with the tops covered with thick, soft cloths; these cloths
+should not be fastened down, it being an advantage to be able to remove
+them when required. When a piece of work too large to be placed upon the
+bench is in hand, pads will be found useful to rest it upon. These can
+be made by covering pieces of wood about two feet in length by three
+inches in width with cloth several times doubled, the work being placed
+so that a good light falls upon it. All thin panelling should be tacked
+down upon a board by the edges while polishing.
+
+
+=Filling-in.=--The first process the wood usually undergoes is
+"filling-in." This consists in rubbing into the pores of the wood
+Russian tallow and plaster of Paris, which have been previously heated
+and mixed together so as to form a thick paste. For rosewood, or to
+darken mahogany, a little rose-pink should be added. After well rubbing
+in, the surface should be cleared from all the surplus paste with the
+end of the scraper, and then rubbed off with shavings or old rags, and
+made quite clean. For birch or oak, some use whiting or soft putty
+moistened with linseed-oil for the filling; this preparation prevents in
+a great measure the rising of the grain. For white delicate woods, such
+as sycamore, maple, or satin-wood, plaster of Paris, mixed with
+methylated spirit, is used. When polishing pine, a coat of Young's
+patent size (2d. per lb.) is used instead of the above mixtures, and
+when dry is rubbed down with fine glass-paper.
+
+Some workmen, who regard their modes of filling-in as important secrets,
+do their work surprisingly quick by the methods here given. The various
+processes are soon acquired by a little practice, and contribute greatly
+to the speedy advancement of a smooth and imporous ground, which is the
+most important point to observe in polishing.
+
+
+=Applying the Polish.=--In commencing to use the polish some are
+provided with a small earthenware dish, into which the polish is poured
+for wetting the rubbers; while others make a slit in the cork of the
+polish bottle, and so let it drip on to the rubber; whichever method is
+adopted, the rubber should not be saturated, but receive just enough to
+make a smear. Every time after wetting the rubber and putting on the
+cover it should be pressed upon the palm of the hand, or if a small
+rubber it can be tested between the thumb and finger. This is an
+important operation, for by it the polisher can easily tell the exact
+state of moisture, and at the same time, by the pressure being applied,
+the moisture is equalised. The tip of the finger should then be just
+dipped into the linseed-oil, and applied to the face of it; if the
+rubber should be rather sappy, the greatest care must be used or a
+coarse streaky roughness will be produced; extreme lightness of hand is
+required until the rubber is nearly dry. (It would be a serious error to
+bear heavily on the rubber while the surface is moist; to do so, and to
+use too much oil on the rubber, are the causes of many failures in
+polishing.)
+
+In commencing to work, pass the rubber a few times gently and lightly
+over the surface in the direction of the grain; then rub across the
+grain in a series of circular movements, all one way, in full and free
+sweeping strokes, until the rubber is dry. Continue this operation until
+the pores are filled in, and the surface assumes a satisfactory
+appearance. It should then be left for about twelve hours; the polish
+will be well into the wood by that time. The polish should then be
+carefully rubbed down with No. glass-paper; this will remove the atomic
+roughness usually caused by the rising of the grain during the sinking
+period. In flat-surface work a paper cork can be used, and the rubbing
+lightly and regularly done in a careful manner, so as to avoid rubbing
+through the outer skin, especially at the edges and corners, or the work
+will be irremediably defaced.
+
+The woods which possess a rising grain are well known to polishers;
+these are the light-coloured woods with a coarse grain, viz., ash,
+birch, and oak. This rising of the grain can in a great measure be
+prevented by passing a damp sponge over the work before commencing the
+polishing, allowing it to dry, and papering it. After the rubbing or
+smoothing-down process is finished, the work should be well dusted; the
+polishing can then recommence. The above operation must be again
+repeated with a rotary motion and gradually increased pressure as the
+rubber gets dry, and finished by lighter rubbings the way of the grain;
+this will remove any slight marks that may be occasioned by the circular
+movements of the rubber.
+
+Working too long on any one part is to be avoided, nor should the rubber
+be allowed to stick even for an instant, or it will pull the coating of
+polish off to the bare wood. The rubber should be covered with a clean
+part of the rag as soon as a shiny appearance becomes apparent upon it,
+or at each time of damping, and less oil should be used towards the end
+of the operation, so as to gradually clear it all off from the surface.
+Rubber marks can be removed by rubbing in a direction the reverse of the
+marks with a half-dry rubber and increased pressure. When the work has
+received a sufficient body, in finishing the drying of the last rubber,
+ply it briskly the way of the grain to produce a clean dry surface for
+the spiriting-off.
+
+The following is the method usually employed on fine carved or turned
+work when finished in the best style. In the first place it is embodied
+with polish, using a small rubber for the operation, after which it
+should have one coat of shellac (two parts by weight of shellac to one
+of spirits) applied with a brush, and when dry it should be carefully
+smoothed down with flour paper, the utmost caution being observed in
+dealing with the sharp edges, or the carving will be spoiled. Then it is
+embodied with polish again, and one coat of glaze applied with the
+greatest care. A few hours should be allowed to harden, and then
+finished off with a rubber slightly damped with thin polish. This is an
+expensive method, but it will pay in appearance for all the time
+bestowed.
+
+For the best class of cabinet and pianoforte work in amboyna or
+burr-walnut it is advisable not to use linseed-oil on the sole of the
+rubber when polishing, but the best hog's lard; the reason for this is
+that these veneers being so extremely thin and porous the oil will
+quickly penetrate through to the groundwork, softening the glue, and
+causing the veneers to rise in a number of small blisters. Of course,
+this is not always the case, but the use of lard instead of oil will be
+found a good preventative. Lard is also used on the above class of work
+when it is desirable to preserve the colour of the wood in its natural
+state.
+
+The following method is employed for the best work: Immediately on
+receiving the job from the cabinet-maker, a good coating of thin, clean
+glue should be applied with a sponge or brush; this is allowed to dry,
+and thoroughly harden; it is then cleaned off, using the scraper and
+glass-paper, cutting it down to the wood. The bodying-in with white
+polish is the next process, the usual sinking period being allowed; it
+is again cleaned off, but the scraper this time should not quite reach
+the wood. Then embody again, and treat in a like manner. In getting up
+the permanent body, commence with a slight embodying; let this stand,
+and when the sinking period is over rub it down with a felt rubber and
+powdered pumice-stone; continue this several times, till the surface
+presents a satisfactory appearance, and the job is ready for the
+spiriting process. By this means the wood will retain its natural
+colour, and a beautiful transparent polish will result, and remain for a
+number of years. This also is an expensive process, but the result
+cannot be obtained in any other way.
+
+
+=Spiriting-off.=--Most polishers affirm that if an interval of at least
+a couple of hours elapse between the final embodying and the
+spiriting-off the brilliancy of the polish will be improved, and remain
+harder and more durable. The spirit is applied in exactly the same way
+as the polish, and the same rubber can be used, but it should be covered
+with more than one fold of the soft linen rag; care should be taken not
+to make it very wet, or the gum on the surface of the work will be
+redissolved, and a dulness instead of a brilliancy will result. If the
+spirit should be very strong, the rubber should be breathed upon before
+using, and a little more oil taken up; some, however, prefer to mix a
+little polish with the spirit, while others prefer the spirit to be
+weakened by exposure to the air for a few hours; experience alone must
+be the teacher in this particular; but if the spirit should not "bite,"
+as it is termed, all will be well. The last rubber should be worked a
+little longer than usual, and a trifle quicker, so as to remove the
+slight greasy moisture on the surface.
+
+The finishing touch is given to the work by a soft rag loosely rolled up
+and just a few drops of spirit dropped upon it, applied quickly the way
+of the grain. This will remove every defect, and leave it clear and
+brilliant. If, in a short time after finishing, the polish becomes dull
+or rough, it will be owing to too much oil being absorbed in the process
+and working through the surface, combined with dust. It should be
+cleaned off first with a soft cloth, damped with a little warm water,
+and the whole repaired, as at first, with equal parts of polish and
+spirits mixed together, using the least possible damp of oil to make it
+finish clear; there is no danger of its happening again. In all cases
+the work must be rubbed till quite dry, and when nearly so the pressure
+may be increased.
+
+The rubber for spiriting-off should be made up from a piece of old
+flannel, and be covered with a piece of old rag. This is preferable to
+very thin rag, and will give a better finish.
+
+
+=Prepared Spirits.=--This preparation is useful for finishing, as it
+adds to the lustre and durability, as well as removes every defect of
+other polishes, and it gives the surface a most brilliant appearance.
+
+It is made of half a pint of the very best rectified spirits of wine,
+two drachms of shellac, and two drachms of gum benzoin. Put these
+ingredients in a bottle and keep 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.
+
+
+=Antique Style.=--For mediaeval or old English furniture a dull polish is
+generally preferred to a French polish, because it has a gloss rather
+than a brilliant polish, which materially assists in showing up
+mouldings or carvings to the best advantage; it is also more in
+character with the work of the Middle Ages. Another advantage is the
+facility of obtaining a new polish (after being once done) should the
+first one get tarnished, as the finishing process can be performed
+without difficulty by any one, and a new polish obtained each time.
+
+On receiving a job which is required to be done in this style, it should
+be "filled-in" in the usual manner, and afterwards bodied with white
+polish to a good extent; it is then left for a sinking period (say
+twelve hours). The work is then carefully rubbed down with powdered
+pumice-stone and a felt-covered block or rubber, and after well dusting
+it is ready for finishing. The preparation used for this process is
+mainly composed of bees'-wax and turpentine (see Wax Polish, page 87),
+well rubbed in with a piece of felt or a woollen rag, and finished off
+by rubbing briskly with a very soft cloth or an old handkerchief to
+produce a gloss.
+
+
+=Dull or Egg-shell Polish.=--This is another style of finishing for
+mediaeval work; the process is very simple. In commencing a job to be
+finished in this style, the process of "filling-in" and "embodying" are
+first gone through, then a sinking period is allowed, after which it is
+embodied again, till the work is ready for finishing. All the parts
+should be carefully examined to see if there is a good coating of polish
+upon them. This is important, for if the work should be only thinly
+coated it is liable to be spoiled by rubbing through in the last
+process. After allowing a few hours for the surface to harden, a pounce
+bag of powdered pumice-stone should be applied to the work, and a
+felt-covered rubber used, rubbing down in the direction of the grain
+until the work is of the desired dulness.
+
+For the cheaper kind of work done in this style, the first process, of
+course, is the filling-in; then a rubber of wadding is taken and used
+without a cover, made rather sappy with polish and a few drops of oil
+added; and after bodying-in with this sufficiently, the work should be
+stood aside for twelve hours, then rubbed down with some fine worn
+glass-paper. The embodying is then again commenced, a proper rubber and
+cover being used; and when sufficient is put on, and while the surface
+is still soft, the pounce above mentioned should be applied, and rubbed
+down with a piece of wadding slightly moistened with linseed-oil until
+the desired dulness appears. This is becoming the fashionable finish for
+black walnut work.
+
+
+=Polishing in the Lathe.=--The lathe is of more use to a polisher than a
+great many persons outside the trade would imagine. By its aid turned
+work can be finished in a most superior style, and in less time than by
+hand. The articles usually done by the lathe are wood musical
+instruments, such as clarionets, flutes, etc.; also cornice-poles, ends,
+and mahogany rings, the latter being first placed in a hollow chuck and
+the insides done, after which they are finished upon the outside on a
+conical chuck. For table-legs, chair-legs, and all the turnery used in
+the cabinet-work, it will be found of great advantage to finish the
+turned parts before the work is put together.
+
+Most of the best houses in the trade finish their work in this way,
+where all the work is polished out entirely with the rubber. In the
+first place, the filling-in is done. The band is thrown off the pulley
+and the work rubbed in; at the same time the pulley is turned round by
+the left hand. When this is done, the band is replaced and the work
+cleaned off with rags or shavings, the lathe to be driven with speed to
+get a clean surface. When applying the polish the lathe should revolve
+with a very slow motion.
+
+The rubbers best adapted for turned work are made of white wadding, as
+the hollows and other intricacies can be completely finished out with a
+soft rubber. The work should first receive a coating of thick shellac,
+two parts by weight of shellac to one of methylated spirits, and applied
+with a brush or a soft sponge; after a couple of hours this is nicely
+smoothed with fine paper, and the "bodying-in" completed with the soft
+rubber and thin polish. There are numerous hard woods which do not
+require filling-in, amongst which may be mentioned boxwood, cocus,
+ebony, etc.; these may be rapidly polished in the lathe, on account of
+their texture, with the white polish. In spiriting-off a very soft piece
+of chamois leather (if it is hard and creased it will scratch) should be
+damped with methylated spirits, then wrung so that the spirit may be
+equally diffused; the lathe should then be driven at a rapid speed, and
+the leather held softly to the work. In a few minutes, if a dark wood, a
+brilliant surface will be produced.
+
+
+
+
+CHAPTER IV.
+
+_CHEAP WORK._
+
+
+=Glazing.=--Glaze is known to the trade under several names, such as
+slake, finish, and telegraph; it is used only for cheap work, when
+economy of time is a consideration, and is made as follows: mastic, 1
+oz.; benzoin, 5 ozs.; methylated spirit, 5 gills. A superior article can
+be obtained from G. Purdom, 49, Commercial Road, Whitechapel, E., who is
+the manufacturer of a "patent glaze."
+
+First give the work a rubber or two of polish after the "filling-in"; it
+is important to dry the last rubber thoroughly, so that no unctuousness
+remains upon the surface before applying the glaze, otherwise it will be
+of no effect. The way to apply it is as follows: Prepare a rubber as for
+polishing and make it moderately wet, and take only one steady wipe the
+way of the grain, never going over the same surface twice while wet; and
+when dry, if one coat is found not to be enough, apply a second in the
+same manner. For mouldings or the backs and sides of chair-work, this is
+generally considered to be sufficient. Some polishers will persist in
+using glaze to a large extent, even on the best-paid work; but it is not
+recommended, as the surface will not retain its brilliancy for a
+lengthened period, particularly in hot weather. Nothing is so good for
+the best class of work as polishing entirely with French polish.
+
+The way of treating small flat surfaces such as the frames of tables,
+looking-glasses, builders' work, etc., is to first fill in, and give one
+or two rubbers of polish, drying the last rubber thoroughly; then glaze,
+and after a period of two or three hours finish with a rubber slightly
+wetted with thin polish. It is a bad plan to put glaze on newly-spirited
+work, or to re-apply it on old bodies.
+
+The following is another method for cheap work: A coating of clear size
+is first given in a warm state (this can be obtained at most oil-shops),
+and when dry is rubbed down with fine glass-paper, after which a coating
+of varnish is applied with a sponge or a broad camel-hair brush, giving
+long sweeping strokes. The tool should be plied with some degree of
+speed, as spirit varnishes have not the slow setting properties which
+distinguish those of oil, and care should be taken not to go over the
+same part twice. When this is thoroughly hard it is nicely smoothed with
+fine paper, a few rubberfuls of polish is given, and it is then ready
+for spiriting-off.
+
+Another plan is frequently adopted for cheap work: Make a thin paste
+with plaster of Paris, suitably tinted and watered, and well rub in
+across the grain with a piece of felt or old coarse canvas till the
+pores are all full; any superfluity should be instantly wiped off from
+the surface before it has time to set. The succeeding processes are
+papering and oiling. In applying the polish, which should be done
+immediately after oiling, the rubber should be made rather sappy with
+thin polish, and worked without oil. During the embodying a pounce-bag
+containing plaster of Paris is sparingly used; this application tends to
+fill the pores and also to harden the body of polish on the exterior,
+but too much should not be used, or it will impart a semi-opaque
+appearance to the work. This first body is allowed sufficient time to
+harden; it is then rubbed down lightly with flour paper or old worn No.
+1, and then embodied with thicker polish or a mixture of polish and
+varnish, and the smallest quantity of oil applied to the rubber. When a
+sufficient body of polish is given to the work, the surface is rubbed
+very carefully with a lump of moist putty plied in the longitudinal
+direction of the grain; this will bring up a gloss, and very little
+spiriting will be required.
+
+
+=Stencilling.=--An imitation of marqueterie on light-coloured woods can
+be obtained by the following method: Cut a stencil pattern in stout
+cartridge paper (this is best done upon a piece of glass with the point
+of a sharp penknife), and place it on the centre of a panel or wherever
+required, and have ready some gas-black mixed with thin polish; apply
+this with a camel-hair pencil over the cut-out pattern, and when it is
+removed finish the lines and touch up with a finer tool. The work should
+be first bodied-in, and when the pattern is dry rubbed down with a piece
+of hair-cloth (the smooth side down) on a cork rubber to a smooth
+surface, after which the polishing can be proceeded with until finished.
+Upon oak this will have the appearance of inlaid work.
+
+
+=Charcoal Polishing.=--A method known as "charcoal polishing" is now
+much used for producing the beautiful dead-black colour which seems to
+have the density of ebony. Its invention is due to French
+cabinet-makers. The woods used by them are particularly well adapted for
+staining black or any other colour, limetree, beech, cherry, pear, soft
+mahogany, or any wood of a close and compact grain being the woods
+usually selected.
+
+The first process is to give the work a coating of camphor dissolved in
+water and made rather strong; this will soon soak into the wood, and
+immediately afterwards another coat composed of sulphate of iron-water
+with a few nut-galls added. These solutions in blending penetrate the
+wood and give it an indelible tinge, and also prevent insects from
+attacking it. After these coats are dry, rub the surface with a hard
+brush (an old scrubbing-brush will do) the way of the grain, after which
+rub the flat parts with natural stick charcoal, and the carved or
+indented portions with powdered charcoal; the softest portion of the
+charcoal only should be used, because if a single hard grain should be
+applied it would seriously damage the surface. The workman should have
+ready at the same time a preparation of linseed-oil and essence of
+turpentine (linseed-oil one gill, and essence of turpentine one
+teaspoonful), a portion of which should be freely taken up with a piece
+of soft flannel and well rubbed into the work. These rubbings with the
+preparation and charcoal several times will give the article of
+furniture a beautiful dead-black colour and polish. This method of
+polishing is applied to the black-and-gold furniture, cabinets, etc., in
+imitation of ebony.
+
+Another good black polish is obtained by gas-black being applied to the
+rubber after wetting with French polish, the cover being then put on and
+worked in the usual manner.
+
+These black polishes should not be applied if there are coloured woods
+in the piece of furniture. Should the work be already dyed black, or in
+black veneers, it is best to use white polish, which will greatly help
+to preserve the transparent density of the dye.
+
+
+
+
+CHAPTER V.
+
+_RE-POLISHING OLD WORK._
+
+
+If the piece of furniture requiring to be re-polished should be in bad
+condition, it is best to clean off thoroughly, using the liquid ammonia
+(see page 94), or by the scraper and glass-paper. The indentations may
+be erased by dipping into hot water a piece of thick brown paper three
+or four times doubled and applying it to the part; the point of a
+red-hot poker should be immediately placed upon the wet paper, which
+will cause the water to boil into the wood and swell up the bruise; the
+thickness of the paper prevents the wood from being scorched by the hot
+poker. After the moisture is evaporated, the paper should be again
+wetted if required. If only shallow dents, scratches, and broken parts
+of the polish present themselves, carefully coat them two or three times
+with a thick solution of shellac, and when the last coating becomes hard
+carefully paper down with a piece of old glass-paper and a cork rubber.
+
+If the surface should be in good condition, it is necessary only to
+remove the viscid rust; this is done by friction with a felt-covered
+rubber and pure spirits of turpentine; by this means the polish remains
+unsullied. If the surface should not be in very good condition, a
+flannel should be used smeared with a paste of bathbrick-dust and water,
+or a paste made of the finest emery flour and spirits of turpentine.
+After cleansing, and before the polish is applied, it is a good plan to
+just moisten the surface with raw linseed-oil; this will cause the old
+body to unite with the new one.
+
+In order to carry out the process of re-polishing with facility, it is
+necessary to disunite all the various parts, such as panels, carvings,
+etc., before commencing the operation. The polish is applied in the
+usual manner, and when a good body is laid on the work should be set
+aside for twelve hours, after which it can be finished. It should be
+particularly observed that in polishing no job should be finished
+immediately after the rubbing-down process; a sinking period should
+always be allowed. If the work should be immediately finished, the
+consequences are that in a few hours all the marks and scratches of the
+paper, etc., will be discernible, and the polished surface will present
+a very imperfect appearance, although looking perfect when first
+finished.
+
+Holes and crevices may be well filled up with a cement made in the
+following manner: In a large iron spoon place a lump of beeswax about
+the size of a walnut, a pinch of the pigments mentioned on page 5,
+according to the colour required, a piece of common rosin the size of a
+nut, and a piece of tallow as large as a pea; melt, and it is ready for
+use. Some add a little shellac, but much will make it very brittle. A
+similar substance to the above can be bought at the French warehouses.
+
+
+
+
+CHAPTER VI.
+
+_SPIRIT VARNISHING._
+
+
+Most polishers are agreed that to obtain a good surface with varnish it
+is necessary to give the work, where it is possible to do so, a
+rubberful of polish first, and to thoroughly dry the rubber; but in most
+carved work the surface is not accessible, and the brush must be used.
+Sometimes the carving is extremely coarse, and with an open porous
+grain, in which case it is best to oil it first and then to fine-paper
+it down; by this process a thin paste is formed by the attrition, which
+materially assists in filling up the pores. Before commencing to use the
+varnish have ready an earthenware dish or box,--one of the tins used for
+the preserved meats or fish will answer the purpose,--with two holes
+drilled so that a piece of wire can be fastened diametrically across the
+top; this is called a "regulator," and when the brush is passed once or
+twice over this it prevents an unnecessary quantity of varnish being
+transferred to the work.
+
+
+=Varnishes.=--The ingredients for making
+varnish are very similar to those for making polish, but the proportions
+are somewhat different. Furniture varnish consists of two kinds, viz.:
+the brown-hard and the white-hard; the former is used for dark woods,
+such as mahogany, walnut, rosewood, etc.; whilst the latter is used for
+the light-coloured woods, in conjunction with the white polish. A few
+years since the brown-hard varnish was made from these ingredients:
+
+   1 gallon of methylated spirit,
+  40 ozs. of shellac,
+   4 ozs. of rosin,
+   5 ozs. of benzoin,
+   2 ozs. of sandarach,
+   2 ozs. of white rosin.
+
+The brown-hard varnish which is used at the present time is made
+differently, and produces a better result; it is made from the
+following:
+
+   1 gallon of methylated spirit,
+  32 ozs. of shellac,
+   8 ozs. of rosin,
+   8 ozs. of benzoin.
+
+The white-hard or transparent varnish for white wood is made with
+
+   1 gallon of methylated spirit,
+  32 ozs. of bleached shellac,
+  24 ozs. of gum sandarach.
+
+In making either polishes or varnishes, all the gums should be first
+pounded and reduced to powder before mixing with the spirit, and when
+mixed they should be occasionally well shaken or stirred, so as to
+hasten their dissolution.
+
+
+=Brushes and Pencils.=--The brushes used for varnishing are either flat,
+in tin, or round, tied firmly to the handle, and made of camel's-hair;
+but the small white bristle-tools and red-sable pencils will frequently
+be found of service in coating delicate carving, or turned work. Varnish
+brushes can be obtained from a quarter of an inch to four inches and
+upwards in width; the most useful brush, however, for general use is
+about an inch wide. It is important that brushes should be cleaned in
+spirits immediately after use, for if laid by in varnish they lose their
+elasticity and are soon spoiled; but if this preservative principle is
+ever neglected, the hardened brush should be soaked in methylated
+spirit, and if wanted for immediate use the spirit will soften the
+varnish quicker if made luke-warm. The spirit should be gently pressed
+out by the finger and thumb. All varnish brushes when not in use should
+be hung up, or kept in such a position that they do not rest upon their
+hairy ends, either in a box or tin free from dust.
+
+
+=Mode of Operation.=--It is usual in varnishing to give the work three
+coats, and always allow each coat to dry thoroughly before applying the
+next. It should be noted that spirit varnishes begin to dry immediately
+they are laid on; therefore, on no account should they be touched with
+the brush again whilst wet, or when dry they will present a rough
+surface. Always ply the brush quickly, and never go over a second time.
+When giving the first or second coats it is unimportant how they are
+applied, whether across the grain or with the grain, but the finishing
+coat should always be with the grain. If the varnish should appear
+frothy when laid on, it is of no consequence, as it will dry smooth if
+equally and evenly applied before a good fire or in a warm atmosphere.
+
+Coloured varnishes can be made in exactly the same manner as coloured
+polishes (see page 6). The beautiful glossy black varnishes so admired
+on Indian cabinet-work, specimens of which can be seen at the Indian
+Museum, are very difficult to obtain in England, but a description of
+them may be interesting.
+
+
+=East Indian Varnishes.=--The Sylhet varnish is composed of two parts of
+the juice of the bhela (the tree which bears the marking nuts of India),
+and one part of the juice of the jowar. The articles varnished with it
+at Sylhet are of the most beautiful glossy black; and it seems equally
+fitted for varnishing iron, leather, paper, wood, or stone. It has a
+sort of whitish-grey colour when first taken out of the bottle, but in a
+few minutes it becomes perfectly black by exposure to the air. In the
+temperature of this country it is too thick to be laid on alone; but it
+may be rendered more fluid by heat. In this case, however, it is clammy,
+and seems to dry very slowly. When diluted with spirits of turpentine,
+it dries more quickly; but still with less rapidity than is desirable.
+
+The _tsitsi_, or Rangoon varnish, is less known than the Sylhet varnish.
+It is probably made from the juice of the bhela alone. It appears to
+have the same general properties as the Sylhet varnish, but dries more
+rapidly. The varnish from the _kheeso_, or varnish-tree, may be the same
+as the Rangoon varnish, but is at present considered to be very
+different. The kheeso grows particularly in Kubboo, a valley on the
+banks of the Ningtee, between Munnipore and the Burman empire. It
+attains to such a large size, that it affords planks upwards of three
+feet in breadth, and in appearance and grain is very like mahogany. A
+similar tree is found in great abundance and perfection at Martaban.
+
+A poisonous vapour exhales from several of the Indian varnishes,
+especially from that of Sylhet, and is apt to produce over the whole
+skin inflammations, swellings, itchings, and pustules, as if the body
+had been stung by a number of wasps. Its effects, however, go off in a
+few hours. As a preventative the persons who collect the varnish, before
+going to work, smear their faces and hands with greasy matter to prevent
+the varnish poison coming into contact with their skin.
+
+
+
+
+CHAPTER VII.
+
+_GENERAL INSTRUCTIONS._
+
+
+=Remarks on Polishing.=--Amateurs at French polishing will be more
+successful on a large surface than a small one.
+
+When polishing, the rubber-cloth should be changed occasionally, or the
+brightness will not remain when finished.
+
+A most efficacious improver of many kinds of woods is raw linseed-oil
+mixed with a little rectified spirits of turpentine.
+
+French polish can be tinted a light-red with alkanet-root, and a
+dark-red with dragon's blood.
+
+A good Turkey sponge is capable of spreading either stain or varnish
+more smoothly than a camel's-hair brush on a flat surface.
+
+The sub-nitrate of bismuth mentioned on p. 12 is beginning to supersede
+oxalic acid for bleaching processes.
+
+Thin panels for doors should be securely tacked down to a level board,
+and polished with a large round flannel rubber having a very flat sole.
+Fret-work panels should have all the edges entirely finished with
+varnish before they undergo the above operation. To get a good polish
+upon a full-fret panel is considered by polishers to be the most
+difficult part in the work, on account of the extreme delicacy and
+frangibility of the work and the great carefulness required.
+
+Soft spongy wood may be satiated by rubbing a sponge well filled with
+polish across the grain until it becomes dry.
+
+In polishing a very large surface, such as a Loo-table top or a wardrobe
+end, it is best to do only half at a time, or if a large top a quarter
+only.
+
+The approved method of treating dining-table tops is to well body-in
+with French polish, after which thoroughly glass-paper down with fine
+paper, and then use the oil polish (see page 87).
+
+Immediately after using a rubber, it should be kept in an air-tight tin
+canister, where it will always remain fresh and fit for use.
+
+
+=The Polishing Shop.=--A few words as to the polishing shop may be
+acceptable to those who possess ample room and desire the best results.
+
+First in order is the location and arrangement of the finishing rooms.
+Preference is to be given to the upper rooms of a building for several
+reasons, among which may be named the securing of better light, greater
+freedom from dust, and superior ventilation.
+
+A good light in this, as in many other arts, is a very important matter,
+and by a good light we mean all the light that can be obtained without
+the glare of the direct rays of the sun. Light from side windows is
+preferable to that from skylights for three reasons: (1) Skylights are
+very liable to leakage; (2) they are frequently, for greater or less
+periods, covered with snow in winter; (3) the rays of the sun
+transmitted by them in summer are frequently so powerful as to blister
+shellac or varnish.
+
+Good ventilation is at all times of importance, and especially so in
+summer, both as tending to dry the varnish or shellac more evenly and
+rapidly, and as contributing to the comfort of the workmen. The latter
+consideration is of importance even as a matter of economy, as men in a
+room the atmosphere of which is pleasant and wholesome will feel better
+and accomplish more than they could do in the close and forbidding
+apartments in which they sometimes work.
+
+Any suggestion in reference to freedom from dust, as a matter to be
+considered in locating rooms for this business, would seem to be
+entirely superfluous, as it is clear that there is hardly any
+department of mechanical work which is so susceptible to injury from
+dust as the finishing of furniture, including varnishing and polishing.
+
+Finishing rooms may be arranged in three departments. The first should
+include the room devoted to sand-papering and filling. These processes,
+much more than any other part of furniture polishing, produce dirt and
+dust, and it is plain that the room devoted to them should be so far
+isolated from the varnishing room as not to introduce into it these
+injurious elements.
+
+Another room should be appropriated to the bodying-in, smoothing and
+rubbing-down processes. The third room is for spiriting and varnishing,
+or the application of the final coats of varnish, which is the most
+important of all the processes in finishing. It requires a very light
+and clean room, and a greater degree of heat than a general workroom. It
+should, as nearly as possible, be uniform, and kept up to _summer heat_;
+in no case ought the temperature to fall below fifty nor rise higher
+than eighty-five degrees Fahrenheit while the varnishing process is
+going on. Varnishing performed under these circumstances will be more
+thorough in result, have a brighter appearance and better polish, than
+if the drying is slow and under irregular temperature. For drying work,
+the best kind of heat is that from a stove or furnace.
+
+Steam heat is not so good for two reasons: (1), it is too moist and
+soft, causing the work to sweat rather than to dry hard, and (2), the
+temperature of a room heated by steam is liable to considerable
+variation, and especially to becoming lower in the night. This _fire
+heat_ is as necessary for the varnishing room in damp and cloudy weather
+in summer as it is in winter. At all seasons, and by night as well as by
+day, the heat should be as dry as possible, and kept uniformly up to
+summer heat, by whatever means this result is secured. Varnished work,
+after receiving the last coat, should be allowed to remain one day in
+the varnishing room. It may then be removed into the general workroom.
+
+A remark may be proper here, viz., that there is sometimes a failure to
+secure the best and most permanent results from not allowing sufficient
+time for and between the several processes. An order is perhaps to be
+filled, or for some other reason the goods are "rushed through" at the
+cost of thoroughness and excellence of finish.
+
+The following suggestion is made by way of caution in reference to the
+disposal of oily rags and waste made in the various processes of
+finishing. These articles are regarded as very dangerous, and are
+frequently the cause of much controversy between insurance companies and
+parties who are insured. The best way to dispose of this waste is to put
+it into the stove and burn it as fast as it is produced. If this rule
+is strictly adhered to there will be no danger of fire from this source.
+All liquid stock should be kept in close cans or barrels, and as far
+from the fire as possible.
+
+
+
+
+CHAPTER VIII.
+
+_ENAMELLING._
+
+
+The process of enamelling in oil varnishes as applied to furniture must
+be understood as a smooth, glossy surface of various colours produced by
+bodies of paint and varnish skilfully rubbed down, and prepared in a
+peculiar way so as to produce a surface equal to French polish. Ornament
+can be added by gilding, etc., after the polished surface is finished.
+
+We will begin with the white or light-tinted enamel. The same process
+must be pursued for any colour, the only difference being in the
+selection of the materials for the tint required to be produced.
+
+It should be observed that enamelling requires the exercise of the
+greatest care, and will not bear hurrying. Each coat must be allowed
+sufficient time for the hardening, and the rubbing down must be
+patiently and gently done; heavy pressure will completely spoil the
+work.
+
+
+=Materials.=--The materials used for the purpose above named are: white
+lead ground in turpentine and the best white lead in oil; a clear,
+quick, and hard-drying varnish, such as the best copal, or the varnishes
+for enamel manufactured by Mr. W. Urquhart, 327, Edgware Road, W.; or
+white coburg and white enamel varnish, ground and lump pumice-stone, or
+putty-powder, great care being taken in the selection of the
+pumice-stone, as the slightest particle of grit will spoil the surface;
+and rotten-stone, used either with water or oil.
+
+
+=Tools.=--The tools required are several flat wooden blocks, of various
+sizes and forms, suitable for inserting into corners and for
+mouldings--these must be covered with felt on the side you intend to
+use, the felt best adapted for the purpose being the white felt, from a
+quarter to half an inch in thickness, which can be obtained of Messrs.
+Thomas Wallis & Co., Holborn Circus, or at the woollen warehouses; two
+or three bosses (made similar to polish rubbers) of cotton-wool, and
+covered with silk (an old silk handkerchief makes capital coverings);
+wash or chamois leather, and a good sponge.
+
+
+=Mode of Operation.=--If the wood is soft and porous it is best to
+commence with a coating of size and whiting applied in a warm state,
+which is allowed to dry; it is then rubbed down with glass-paper, and
+two coats of common paint given, mixed in the usual way and of the same
+colour as you intend to finish with. In practice this is found to be
+best; after these two coats are thoroughly dry, mix the white-lead
+ground in turps, with only a sufficient quantity of varnish to bind it,
+thinning to a proper consistency with turps. It is as well to add a
+little of the ordinary white-lead ground in oil, as it helps to prevent
+cracking. Give the work four or five coats of this, and allow each coat
+to dry thoroughly. When it is hard and ready for rubbing down, commence
+with a soft piece of pumice-stone and water, and rub just sufficient to
+take off the roughness. Now use the felt-covered rubbers and ground
+pumice-stone, and cut it down, working in a circular manner. The
+greatest care is required to obtain a level surface free from scratches.
+
+After the work is well rubbed down, if it should appear to be
+insufficiently filled up, or if scratched, give it two more coats, laid
+on very smoothly, and rub down as before. If properly done, it will be
+perfectly smooth and free from scratches. Wash it well down, and be
+careful to clean off all the loose pumice-stone. Then mix flake-white
+from the tube with either of the above-named varnishes, till it is of
+the consistency of cream. Give one coat of this, and when dry give it
+another, adding more varnish. Let this dry hard, the time taken for
+which will of course depend upon the drying qualities of the varnish;
+some will polish in eight or nine days, but it is much the best to let
+it stand as long as you possibly can, as the harder it is, the brighter
+and more enduring will be the polish. When sufficiently hard, use the
+felt, and very finely-ground pumice-stone and water; with this cut down
+till it is perfectly smooth; then let it stand for a couple of days, to
+harden the surface.
+
+
+=Polishing.=--In commencing to bring up a polish, first take
+rotten-stone, either in oil or water; use this with the felt rubber for
+a little while, then put some upon the surface of the silk-covered boss,
+and commence to rub very gently in circular strokes; continue this till
+there is a fine equal surface all over. The polish will begin to appear
+as you proceed, but it will be of a dull sort. Clean off: if the
+rotten-stone is in oil, clean off with dry flour; if in water, wash off
+with sponge and leather, taking care that you wash it perfectly clean
+and do not scratch.
+
+You will now, after having washed your hands, use a clean damp chamois
+leather, holding it in the left hand, and using the right to polish
+with, keeping it clean by frequently drawing it over the damp leather.
+With the ball of the right hand press gently upon the work, and draw
+your hand sharply, forward or towards you; this will produce a bright
+polish, and every time you bring your hand forward a sharp shrill sound
+will be heard similar to rubbing on glass. Continue this till the whole
+surface is one bright even polish. It will be some time before you will
+be able to do this perfectly, especially if the skin is dry or hard, as
+it is then liable to scratch the work. A smooth, soft skin will produce
+the best polish.
+
+For the interior of houses, the "Albarine" enamel manufactured by the
+Yorkshire Varnish Company, of Ripon, is recommended. This article
+combines in itself a perfectly hard solid enamel of the purest possible
+colour; and for all interior decorations, where purity of colour and
+brilliancy of finish are desired, it is universally admitted to be the
+most perfect article of the kind hitherto introduced to the trade. It is
+applied in the same manner as ordinary varnish.
+
+_Another Process._--The preceding section describes the process of
+enamelling by oil varnishes, and the directions referring to the
+polishing will be found of value for the "polishing up" on painted
+imitations of woods or marbles. There is another process whereby an
+enamel can be produced upon furniture at a much cheaper rate than the
+preceding, and one too, perhaps, in which a polisher may feel more "at
+home." The work should first have a coating of size and whiting (well
+strained); this will act as a pore-filler. When dry, rub down with fine
+paper, after which use the felt-covered rubber and powdered
+pumice-stone, to remove all the scratches caused by the glass-paper and
+to obtain a smooth and good surface. Then proceed to make a solution for
+the enamel: first procure two ounces of common isinglass from the
+druggist's, and thoroughly dissolve it in about a pint of boiling water;
+when dissolved, stir in two ounces and a-half of subnitrate of
+bismuth--this will be found to be about the right quantity for most
+woods, but it can be varied to suit the requirements. With this give the
+work one coat, boiling hot; apply it with a soft piece of Turkey sponge,
+or a broad camel's-hair brush, and when dry cut down with powdered
+pumice-stone; if a second coat is required, serve in precisely the same
+manner. Then proceed to polish in the ordinary way with white polish.
+After wetting the rubber, sprinkle a small quantity of the subnitrate of
+bismuth upon it; then put on the cover, and work in the usual manner;
+continue this till a sufficient body is obtained, and after allowing a
+sufficient time for the sinking and hardening it can be spirited off.
+
+Enamelled furniture has had, comparatively speaking, rather a dull sale,
+but there is no class of furniture more susceptible of being made to
+please the fancy of the many than this. It can be made in any tint that
+may be required by the application of Judson's dyes, and the exercise of
+a little skill in the decoration will produce very pleasing effects.
+
+
+=Decorations.=--The decorations are usually ornaments drawn in gold. A
+cut-out stencil pattern is generally used, and the surface brushed over
+with a camel's-hair pencil and japanner's gold size, which can be
+obtained at the artist's colourman's, or, if preferred, can be made by
+boiling 4 ozs. of linseed-oil with 1 oz. of gum anime and a little
+vermilion. When the size is tacky, or nearly dry, gold powder or gold
+leaf is applied. The gold is gently pressed down with a piece of
+wadding, and when dry the surplus can be removed with a round
+camel's-hair tool. In all cases where gold has been fixed by this
+process it will bear washing without coming off, which is a great
+advantage.
+
+
+
+
+CHAPTER IX.
+
+_AMERICAN POLISHING PROCESSES_
+
+
+The method of polishing furniture practised by the American
+manufacturers differs considerably from the French polishing processes
+adopted by manufacturers in most European countries. This difference,
+however, is mostly compulsory, and is attributable to the climate. The
+intense heat of summer and the extreme cold of winter will soon render a
+French polish useless, and as a consequence numerous experiments have
+been tried to obtain a polish for furniture that will resist heat or
+cold. The writer has extracted from two American cabinet-trade journals,
+_The Cabinet-maker_ and _The Trade Bureau_, descriptions of the various
+processes now used in the States, which descriptions were evidently
+contributed by practical workmen. The following pages are not, strictly
+speaking, a mere reprint from the above-named journals, the articles
+having been carefully revised and re-written after having been
+practically tested; attention to them is, therefore, strongly
+recommended.
+
+In these processes the work is first filled in with a "putty filler,"
+and after the surface has been thoroughly cleaned it is ready for
+shellac or varnish. Second, a coating of shellac is next applied with a
+brush or a soft piece of Turkey sponge. This mixture is composed of two
+parts (by weight) of shellac to one of methylated spirits, but what is
+called "thin shellac" is composed of one part shellac to two of spirits.
+After the coating is laid on and allowed to dry, which it does very
+soon, it is rubbed carefully with fine flour glass-paper, or powdered
+pumice-stone--about four coats are usually given, each one rubbed down
+as directed. Third, when the surface has received a sufficient body, get
+a felt-covered rubber and apply rotten-stone and sweet oil in the same
+manner as you would clean brass; with this give the work a good rubbing,
+so as to produce a polish. Fourth, clean off with a rag and sweet oil,
+and rub dry; then take a soft rag with a few drops of spirit upon it,
+and vapour up to a fine polish. With these few preliminary remarks, the
+following will be easily understood.
+
+
+=Use Of Fillers.=--The cost of a putty filler consists chiefly in the
+time consumed in applying it. In the matter of walnut-filling much
+expense is saved in the processes of coating and rubbing if the pores of
+the wood be filled to the surface with a substance that will not shrink,
+and will harden quickly. The time occupied in spreading and cleaning a
+thin or fatty mixture of filler, or a stiff and brittle putty made fresh
+every day, is about the same, and while the thin mixture will be subject
+to a great shrinkage, the putty filler will hold its own. It will thus
+be seen that a proper regard to the materials used in making fillers,
+and the consistency and freshness of the same, form an important element
+in the economy of filling.
+
+A principal cause of poor filling is the use of thin material. By some a
+putty-knife is used, and the filling rubbed into the surfaces of
+mouldings with tow, while others use only the tow for all surfaces,
+mostly, however, in cases of dry filling. In the use of the wet filler,
+either with a knife or with tow, workmen are prone to spread it too thin
+because it requires less effort, but experience shows that the greatest
+care should always be taken to spread the putty stiff and thick,
+notwithstanding the complaints of workmen. In fact, this class of work
+does not bring into play so much muscle as to warrant complaints on
+account of it. Nor can there be any reasonable excuse for taking a
+longer time to spread a stiff filler than a thin filler.
+
+Good results are not always obtained by the use of thick fillers,
+because the putty is spread too soon after the application of the first
+coat of oil, which liquid should be quite thin, and reduced either with
+benzine or turpentine, so that when the putty is forced into the pores
+the oil already in them will have the effect of thinning it. As an
+illustration of the idea meant here to be conveyed, we will suppose a
+quantity of thick mud or peat dumped into a cavity containing water, and
+a similar quantity of the same material dumped into another cavity
+having no water; the one fills the bottom of the cavity solid, while the
+other becomes partly liquid at the bottom, and must of necessity shrink
+before it assumes the solidity of the former. Hence it appears that work
+to be filled should be oiled and allowed to stand some time before
+receiving the filler, or until the oil has been absorbed into the pores.
+
+The preparatory coating should not be mixed so as to dry too quickly,
+nor allowed to stand too long before introducing the putty, for in this
+case the putty when forced along by the knife will not slip so easily as
+it should.
+
+The cost of rubbing and sand-papering in the finishing process is very
+much lessened if the cleaning be thorough, and if all the corners and
+mouldings be scraped out, so that pieces of putty do not remain to work
+up into the first coat of shellac, or whatever finish may be used as a
+substitute for shellac.
+
+Another important feature in hard filling is to let the work be well
+dried before applying the first coat of finish. One day is not
+sufficient for the proper drying of putty fillers, and if in consequence
+of insufficient drying a part of the filling washes out, it is so much
+labour lost. As a safeguard against washing out, these fillers should be
+mixed with as much dryer or japan as the case warrants, for it
+frequently occurs that work must be finished, or go into finish, the day
+following the filling, whether it be dry or not.
+
+By observing the main facts here alluded to, good filling may always be
+obtained, and at a cost not exceeding that of poor work.
+
+For the light woods, including ash, chestnut, and oak, the filling is
+similar to that used in walnut, except the colouring material, which, of
+course, must be slight, or just enough to prevent the whiting and
+plaster from showing white in the pores. This colouring may consist of
+raw sienna, burnt sienna, or a trifle raw, or umber; one of these
+ingredients separate, or all three combined, mixed so as to please the
+fancy and suit the prevailing style. The colouring may be used with a
+dry filling, although a wet filling is more likely to give a smooth
+finish and greater satisfaction, and the colour of the filler can be
+seen better in the putty than in the dry powder.
+
+Upon cheap work a filler should be used that requires the least amount
+of labour in its application. For this purpose liquid fillers, like
+japan, are suitable. If, however, a fine finish on fine goods is
+required, the putty compositions of various mixtures are the more
+appropriate. The secret of the process of filling consists in the
+mixing of the compounds and the method of using them. A liquid filler
+or a japan simply spread over the work in one or two coats can hardly be
+called filling, yet this will serve the purpose very well for cheap
+furniture.
+
+Thick compositions or putty fillers are composed of whiting and plaster,
+or similar powders having little or no colour. This material is mixed
+with oil, japan, and benzine, with a sufficient quantity of colouring
+matter to please the fancy. The value of these fillers is in proportion
+to their brittleness or "shortness," as it is termed, and, to give them
+this quality, plaster is used and as much benzine or turpentine as the
+mixture will bear without being too stiff or too hard to clean off.
+Sometimes a little dissolved shellac is used to produce "shortness."
+This desirable feature of a filler is best effected by mixing a small
+quantity of the material at a time. Many workmen mistakenly mix large
+batches at a time with a view of securing uniformity of colour, and this
+is one cause why such fillers work tough and produce a poor surface. An
+oil mixture soon becomes fatty and tough, and must be reduced in
+consistency when used, as it is apt when old to "drag" and leave the
+pores only partly filled. These fillers should be mixed fresh every day,
+and allowed to stiffen and solidify in the wood rather than out of it.
+
+The surface of a pore is the largest part of it, and it is desirable to
+fill it to a level as nearly as possible. This is done by using the
+filler thick or stiff.
+
+
+=Making Fillers.=--In making "fillers," a quantity of the japan which is
+used in the ingredients can be made at one time, and used from as
+occasion may require. It is made in the following manner:
+
+_Japan of the Best Quality._--Put 3/4 lb. gum shellac into 1 gall.
+linseed-oil; take 1/2 lb. each of litharge, burnt umber, and red-lead,
+also 6 oz. sugar of lead. Boil in the mixture of shellac and oil until
+all are dissolved; this will require about four hours. Remove from the
+fire, and stir in 1 gall. of spirits of turpentine, and the work is
+finished.
+
+_Fillings for Light Woods._--Take 5 lb. of whiting, 3 lb. calcined
+plaster (plaster of Paris), 1/2 gall. of raw linseed-oil, 1 qt. of
+spirits of turpentine, 1 qt. of brown japan, and a little French yellow
+to tinge the white. Mix well, and apply with a brush; rub it well with
+excelsior or tow, and clean off with rags. This thoroughly fills the
+pores of the wood and preserves its natural colour.
+
+_Another for Light Woods._--Take 10 lb. of whiting, 5 lb. of calcined
+plaster, 1 lb. of corn starch, 3 oz. calcined magnesia, 1 gall. of raw
+linseed-oil, 1/2 gall. spirits of turpentine, 1 qt. of brown japan, 2
+oz. French yellow. Mix well, and apply with brush; rub in well with
+excelsior or tow, and clean off with rags.
+
+_For Mahogany or Cherry Wood._--Take 5 lb. of whiting, 2 lb. of calcined
+plaster, 11/2 oz. dry burnt sienna, 1 oz. Venetian red, 1 qt. of boiled
+linseed-oil, 1 pt. of spirits of turpentine, and 1 pt. of brown japan.
+Mix well, apply with brush, and rub well in with excelsior or tow. Clean
+off with rags dry.
+
+_For Oak Wood._--Take 5 lb. of whiting, 2 lb. calcined plaster, 1 oz.
+dry burnt sienna, 1/2 oz. of dry French yellow, 1 qt. raw linseed-oil, 1
+pt. benzine spirits, and 1/2 pt. white shellac. Mix well, apply with
+brush, rub in with excelsior or tow, and clean off with rags.
+
+_For Rosewood._--Take 6 lb. of fine whiting, 2 lb. of calcined plaster,
+1 lb. of rose-pink, 2 oz. of Venetian red, 1/2 lb. of Vandyke brown, 1/2
+lb. of Brandon red, 1 gall. of boiled linseed-oil, 1/2 gall. of spirits
+of turpentine, 1 qt. of black japan. Mix well together, apply with
+brush, rub well in with tow, and clean off with rags.
+
+_For Black Walnut_ (1).--For medium and cheap work. Take 10 lb. of
+whiting, 3 lb. dry burnt umber, 4 lb. of Vandyke brown, 3 lb. of
+calcined plaster, 1/2 lb. of Venetian red, 1 gall. of boiled
+linseed-oil, 1/2 gall. of spirits of turpentine, 1 qt. of black japan.
+Mix well and apply with brush; rub well with excelsior or tow, and clean
+off with rags.
+
+_For Black Walnut_ (2).--An improved filling, producing a fine
+imitation of wax finish, may be effected by taking 5 lb. of whiting,
+with 1 lb. of calcined plaster, 6 oz. of calcined magnesia, 1 oz. of dry
+burnt umber, 1 oz. of French yellow to tinge the white. Add 1 qt. of raw
+linseed-oil, 1 qt. of benzine spirits, 1/2 pt. of very thin white
+shellac. Mix well, and apply with a brush; rub well in, and clean off
+with rags.
+
+_An Oil-Colour for Black Walnut_ (3), to be used only on first-class and
+custom work.--Take 3 lb. of burnt umber ground in oil, 1 lb. of burnt
+sienna ground in oil, 1 qt. of spirits of turpentine, 1 pt. of brown
+japan. Mix well and apply with a brush. Sand-paper well; clean off with
+tow and rags. This gives a beautiful chocolate colour to the wood.
+
+Numerous compositions are in the market for filling the pores of wood,
+and in this connection particular attention has been given to walnut,
+for the reason that this wood is used in large quantities in the
+furniture industry, and is nearly, if not quite, as porous as any other
+of the woods used.
+
+A variety of walnut fillings have been recommended to the trade in order
+to meet the demand consequent upon the different grades of finish and
+the method of obtaining the finish, so that it would be difficult to
+pronounce as to the superiority of any one filling for general purposes.
+In treating this subject, attention should be given to the necessities
+for the use of filling, so that each one may determine for himself the
+kind of composition best adapted for the work in hand, and the best
+method of applying it.
+
+
+=Finishing.=--Having described the methods of making and applying the
+"fillings," we will now describe the mode of finishing, and begin with
+the "dead-oil finish." We can remember when a satisfactory oil-finish
+was produced either with a good quality of japan or a fair quality of
+spirits. These materials are recommended to be used by inexperienced
+workmen and those not familiar with the mixing of the various grades of
+japan and varnish with oil, turpentine, benzine, etc. This method of
+oil-finish, too, is scarcely inferior to the shellac or spirit-varnish
+method, and it is cheaper. When the best finish is desired, a sufficient
+number of coats to fill the pores of wood to a level are required, and
+then the whole surface should be subjected to the rubbing process. The
+use of these fillers provides an oil-finish in a simplified form for
+those who are not aware of the difference between hard and soft gum
+compositions as a base for rubbing. In fact, the rubbing process
+constitutes a fine oil-finish, and requires a hard gum, whether it be of
+japan, varnish, or shellac.
+
+The use of varnish or its substitute as a filler and finish is more
+frequent than the use of shellac, and for cheap work it is equally good.
+The surface produced by a hard gum composition must be smooth and dead,
+or but slightly glossed, so as to admit of the pores being filled full
+or to a level. It may be added that a coat or any number of coats of the
+composition referred to above is substantially a filling, and the
+quality of finish depends upon the number of coats, together with the
+amount of rubbing applied.
+
+Thus far we have simply called attention to the best quality of
+oil-finish and the manner of producing it. Possibly three-fourths of all
+wood-finishing, particularly walnut-finishing, is several degrees below
+the best quality. In fact, oil-finish may imply only one coat of any
+composition that will dry, while two coats may be regarded as fair, and
+three coats a very good quality of finish. For the class of finish not
+rubbed down with pumice-stone and water, oil-varnish would be out of
+place on account of its gloss; hence shellac, being in composition
+similar to japan, is the better material, because of its dull appearance
+or lack of gloss as compared with shellac.
+
+In addition to the liquid fillers already mentioned, there is a putty or
+powder filling used for cross-grained woods, or such woods as have a
+deep pore. This filling is forced into the wood previous to the
+application of the other finishing compounds, with the use of which it
+in no way interferes. On the contrary, it economises the use of the
+liquid fillers, and, while constituting a part of an oil-finish, is also
+a finish wholly independent of the other methods mentioned--that is to
+say, the same results can be obtained by the use of either one, although
+the putty or powder filling is attended with greater expense both as to
+time and material. The hard filling is generally used on walnut, ash,
+and all coarse-grained woods.
+
+With regard to oil-finishes, viz., spirit-varnish or oil-varnish,
+shellac is thought by many to be the best for fine work; but others
+think differently. We may say of shellac that it will finish up into any
+degree of polish, and while it will not retain a French polish long in
+this climate, it will replenish easier and cheaper than any other
+finish, and continue to improve under each application. For a common
+finish, however, oil preparation is as good as shellac, and even for a
+fine finish it is only second to shellac, if made of a hard gum. On
+common finish, too, the oil will wear better than shellac in stock or on
+storage, so far as preserving its freshness is concerned.
+
+The cost of oil-finish is governed chiefly by the amount of labour
+expended on it. A suite of walnut furniture can be well rubbed with
+sand-paper in two hours, or even less; while two weeks could be
+profitably employed in rubbing another suite with pumice and water.
+
+
+=Black Walnut Finishing.=--The fashionable finish for black walnut work,
+particularly chamber sets, is what is known to the trade as the
+"dead-oil finish." It is admired, perhaps, because it has a gloss,
+rather than a shine of the varnish stamp. There is no more labour
+required upon it than upon a bright finish, but the process of
+manipulation is different, and harder to the fingers.
+
+It should be premised that the walnut work of the day bears upon its
+surface, to a greater or less extent, raised panels covered with French
+burl veneer. And upon this fact largely depends the beauty of the
+production. And the endeavour is to so finish the article that there
+shall be a contrast between the panel and the groundwork on which it is
+placed. In other words, the former should be of a light colour, while
+the latter is of a darker shade. In that view the palest shellac should
+be used on the panels, and darker pieces, liver coloured, etc., on the
+body of the work. The darker grades of shellac are the cheaper, and will
+answer for the bulk of the work, but the clearest only for the panels.
+
+In commencing to finish a job direct from the cabinet-maker's hand,
+rough and innocent of sand-paper, first cover the panels with a coat of
+shellac to prevent the oil in the filling from colouring them dark.
+Next, cover the body of the work with a wood filling composed of whiting
+and plaster of Paris, mixed with japan, benzine, and raw linseed-oil, or
+the lubricating oil made from petroleum; the whole covered with umber,
+to which, in the rare cases when a reddish shade is wanted, Venetian
+red is also added. This filling is then rubbed off with cloths, and by
+this process tends to close up the grain of the wood and produce an even
+surface. More or less time should be allowed after each of the several
+steps in the finishing process for the work to dry and harden, though
+much less is required in working with shellac than with varnishes
+composed of turpentine, oil, and gums. But the time that should be
+allowed is often lessened by the desire to get the work through as soon
+as possible, so that no standard can be set up as to the number of hours
+required between each of the several processes. It would be well if
+twelve hours intervened, but if work to which ten days could well be
+devoted must be hurried through in three, obviously the processes must
+follow each other in a corresponding haste.
+
+A coating of shellac is then given the whole work, light on the panels
+and dark on the body work, and when it has dried and hardened, which it
+does very soon, it may be rubbed down. This process of "rubbing down"
+should be done evenly and carefully, so as not to rub through the
+shellac at any point, and be done with the finer grades of sand-paper
+for the cheaper class of work, particularly at first, but at a later
+period of the process, and for the better class of articles in all
+cases, hair-cloth should be used, the material for the "rubbing down"
+being pumice-stone moistened with raw linseed-oil for the best work, and
+the lubricating oil, before mentioned, for cheaper work, or the covered
+parts of the better grades. This rubbing down involves labour, wear of
+fingers and finger-nails, and is carried on with an ordinary bit of
+hair-cloth, the smooth surface next the wood, and not made in any
+particular shape, but as a wad, ball, or otherwise. In the corners and
+crevices where the hair-cloth will not enter it will be necessary to use
+sand-paper of the finest grades, and worn pieces only.
+
+Three coats of shellac are put on, followed each time by this
+rubbing-down process, each one giving the work a smoother feeling and a
+more perfect appearance. Afterwards, to complete the whole, a coating of
+japan thinned with benzine is applied, which gives to the work a clean
+appearance and the dead glossy finish.
+
+There is this objection to the above style of finish, that the japan
+catches all the dust which touches it, and holds it permanently, so that
+many of the best workmen will not have work finished in this way for
+their own private houses, preferring the brighter look given by shellac
+and varnish without rubbing down the last coat, believing that the work
+can be kept much cleaner.
+
+
+=Finishing Veneered Panels, etc.=--The large oval panels of desks, etc.,
+covered with French veneer, are generally taken out and finished by
+themselves. The process is similar to that above given, with successive
+coats of shellac and varnish, and the oil and pumice-stone rubbing down;
+but the final part of this latter process is a rubbing down with
+rotten-stone; then the merest trifle of sweet-oil is applied all over
+the surface and wiped off. (See Rosewood, etc., farther on.)
+
+_For Light Woods (Dead Finish)._--Apply two or three coats of white
+shellac; rub down with pumice and raw linseed-oil, and clean off well
+with rags; use varnish-polish on the panels.
+
+_Another._--Finish as in the previous recipe. For a flowing coat of
+varnish-finish apply one flowing coat of light amber varnish. If a
+varnish-polish is desired, apply three coats of Zanzibar polishing
+varnish. Rub down and polish, and the result will be a splendid finish.
+
+_Mahogany or Cherry Wood._--For shellac _dead finish_ apply two coats of
+yellow shellac. Rub down with pumice and raw linseed-oil. If a
+varnish-finish is desired, apply a flowing coat of light amber varnish
+or shellac thus rubbed. The panels should receive two coats of Zanzibar
+polishing varnish.
+
+_Oak._--For a _dead finish_ give three coats of shellac, two-thirds of
+white and one-third of yellow, mixed. Rub down with pumice and raw
+linseed-oil. For a cheap varnish-finish give one flowing coat of light
+amber varnish in the shellac, rubbed as directed. Varnish-polish the
+panels.
+
+_Rosewood, Coromandel, or Kingwood (a Bright Finish)._--Apply two thin
+coats of shellac, sand-papering each coat; then apply three or four
+coats of Zanzibar polishing varnish, laying it on thin, and giving it
+sufficient time to dry thoroughly. When it is perfectly hard, rub down
+with pumice and water. Polish with rotten-stone to a fine lustre, clean
+up with sweet-oil, and vapour up the oil with a damp alcohol rag. The
+result is a splendid mirror-like polish. This is the method employed in
+polishing pianofortes in America.
+
+_Walnut._--For a cheap finish, apply one coat of yellow shellac. When
+dry, sand-paper down. Apply with brush; rub in well; clean off with
+rags. This gives a very fair finish.
+
+For a medium _dead finish_ apply two or three coats of yellow shellac.
+When dry, rub down with pumice and raw linseed-oil; clean up well;
+varnish-polish the panels.
+
+For _finish._ Before using the above filling, give the work one coat of
+white shellac. When dry, sand-paper down, and apply the above filling.
+Give two coats of white shellac; rub down with pumice and raw
+linseed-oil; clean up well with brown japan and spirits of turpentine,
+mixed. Wipe off. This is a good imitation of wax-finish; it is
+waterproof, and will not spot as wax-finish does. The panels are to be
+varnished-polished. This is to be used with the improved filling No. 2.
+
+For _finish._ Apply three coats of yellow shellac; rub down with pumice
+and raw linseed-oil; clean off well. Varnish-polish the panels. Use this
+with the oil colour No. 3.
+
+
+=Finishing Cheap Work.=--_With One Coat of Varnish._--Give the work a
+coat of boiled linseed-oil; immediately sprinkle dry whiting upon it,
+and rub it well in with tow all over the surface. The whiting absorbs
+the oil and completely fills the pores of the wood. For black walnut add
+a little dry burnt umber. For mahogany or cherry add a little Venetian
+red, according to the colour of the wood. The application can be made to
+turned work while in motion in the lathe. Clean off well with rags. The
+work can then be finished with a single coat of varnish, and for cheap
+work makes a very good finish.
+
+For varnishing large surfaces, a two-inch oval varnish brush is to be
+used first to lay out the varnish, and then a two-inch flat badger
+flowing-brush for a softener. The latter lays down moats and bubbles
+left by the large brush. A perfectly smooth glass-like surface is thus
+obtained. When not in use, these tools should be put into a pot
+containing raw linseed-oil and spirits of turpentine. This keeps them in
+a better working condition than if they are kept in varnish, making them
+clean and soft. Standing in varnish they congeal and become hard as the
+spirit evaporates from the varnish. For shellacing a large surface use a
+two-inch bristle brush; for small work, such as carvings and mouldings,
+use a one-and-a-half inch flat brush. These brushes when not in use
+should be taken from the various pots and deposited in an earthen pot
+sufficiently large to hold all the shellac brushes used in the shop. Put
+in enough of raw linseed-oil and thin shellac to cover the bristles of
+the brushes. Kept in this manner, they will remain clean and elastic,
+and will wear much longer.
+
+_Wax Finishing._--Take 1/2 gall. of turpentine, 11/2 lb. yellow
+beeswax, 1 lb. white beeswax, 1/2 lb. white rosin. Pulverise the rosin,
+and shave the wax into fine shavings. Put the whole into the turpentine,
+and dissolve it cold. If dissolved by a fire-heat, the vitality of the
+wax is destroyed. When it is thoroughly dissolved, mix well and apply
+with a stiff brush. Rub well in, and clean off with rags. When dry, it
+is ready for shellac or varnish as may be desired.
+
+_A Varnish Polish._--Take 10 oz. gum shellac, 1 oz. gum sandarach, 1
+drachm Venice turpentine, 1 gall. alcohol. Put the mixture into a jug
+for a day or two, shaking occasionally. When dissolved it is ready for
+use. Apply a few coats. Polish by rubbing smooth.
+
+For the commonest kind of work in black walnut a very cheap polish can
+be made in the following manner: Take 1 gall. of turpentine, 2 lb.
+pulverised asphaltum, 1 qt. boiled linseed-oil, 2 oz. Venetian red. Put
+the mixture in a warm place and shake occasionally. When it is
+dissolved, strain and apply to the wood with a stiff brush. Rub well
+with cloth when dry. Then take 1 pt. of thin shellac, 1/2 pt. boiled
+linseed-oil. Shake it well before using. Apply with cloth, rubbing
+briskly, and you will have a fine polish.
+
+_With Copal or Zanzibar Varnish._--As a substitute for filling, the wood
+may receive one coat of native coal-oil, thinned with benzine-spirits;
+then apply one coat of shellac, and follow with varnish, as desired. The
+time is not far distant when manufacturers must and will use varnish for
+the finishing of all kinds of furniture on account of the high price of
+shellac. Furniture finished in the last-named method may be rubbed with
+either water or oil. Water has a tendency to harden varnish, while oil
+softens it. If water is used there will be a saving of oil and rags. In
+the other case shellac, when rubbed with oil, should be cleaned with
+japan. This removes the greasy and cloudy appearance which is left after
+the rubbing with oil, and the work will have a clean, dry, and brighter
+appearance than otherwise.
+
+We suggest another idea for finishing black walnut for a cheap or a
+medium class of work. In the first place, fill the pores of the wood,
+and apply one thin coat of shellac to hold the filling in the pores of
+the wood. Let this stand one day; sand-paper down with fine paper, then
+with a brush apply a coat of coach japan. Rub well, and clean off with
+rags. Let this stand one day to dry, then, with some sand-paper that has
+been used before, take off the moats from the japan. Go over the whole
+surface with a soft rag saturated with japan; wipe and clean off
+carefully, and the job is finished. This, though a cheap finish, is a
+good one for this class of work.
+
+We give one more method of finishing black walnut, that is, with boiled
+linseed-oil only, and there is no other way of obtaining a genuine
+oil-finish. Sand-paper the wood down smoothly; apply a coat of boiled
+linseed-oil over the whole surface; sand-paper well, and clean up dry
+with rags; let it stand one day to dry, then apply one more coat of oil;
+rub well in with rags, but do not use sand-paper on this coat. Apply
+three, four, or more coats in the same way. When the work has received
+the last coat of oil and is dry, sand-paper down with old paper. Then
+clean up with the best coach japan with rags, and let the work stand one
+day to dry. The panels are to be varnish-polished the same as other
+wood. The work is then finished, and ready for the warerooms.
+
+This method takes a longer time than finishing with either varnish or
+shellac; but the cost is less both for materials and for labour, the
+workman being able to go over a greater surface in the same time. The
+work will stand longer, and the method gives a rich and close finish,
+bringing out the figure and rich colour of the wood better than in any
+other method of finishing. It does not cost so much as shellac finish;
+it only requires a little more time for drying between the coats of oil.
+In finishing in varnish or shellac, to get the body or surface for
+polishing three or four coats are frequently applied, which is liable to
+produce a dull cloudy appearance. For this reason, and having in view
+the high and increasing price of stock, it seems to us that this really
+superior method of finishing in oil must take the place of shellac and
+varnish-finish in good work.
+
+
+=Polishing Varnish.=--This is certainly a tedious process, and
+considered by many a matter of difficulty. The following is the mode of
+procedure: Put two ounces of powdered tripoli into an earthen pot or
+basin, with water sufficient to cover it; then, with a piece of fine
+flannel four times doubled, laid over a piece of cork rubber, proceed to
+polish your varnish, always wetting it well with the tripoli and water.
+You will know when the process is complete by wiping a part of the work
+with a sponge and observing whether there is a fair and even gloss.
+Clean off with a bit of mutton suet and fine flour. Be careful not to
+rub the work too hard, or longer than is necessary to make the face
+perfectly smooth and even. Some workmen polish with rotten-stone, others
+with putty-powder, and others with common whiting and water; but
+tripoli, we think, will be found to answer best.
+
+
+=An American Polish Reviver.=--Take of olive-oil 1 lb., of rectified oil
+of amber 1 lb., spirits of turpentine 1 lb., oil of lavender 1 oz.,
+tincture of alkanet-root 1/2 oz. Saturate a piece of cotton batting with
+this polish, and apply it to the wood; then, with soft and dry cotton
+rags, rub well and wipe off dry. This will make old furniture in private
+dwellings, or that which has been shop-worn in warerooms, look as well
+as when first finished. The articles should be put into a jar or jug,
+well mixed, and afterwards kept tightly corked.
+
+This is a valuable recipe, and is not known, the writer believes,
+outside of his practice.
+
+
+
+
+CHAPTER X.
+
+_MISCELLANEOUS RECIPES._
+
+
+=Oil Polish.=--One quart of cold-drawn linseed-oil to be simmered (not
+boiled) for ten minutes, and strained through flannel; then add
+one-eighth part of spirits of turpentine: to be applied daily with soft
+linen rags, and rubbed off lightly; each time the oil is applied the
+surface should be previously washed with cold water, so as to remove any
+dirt or dust. This method of polishing is particularly useful for
+dining-table tops; it will in about six weeks produce a polish so
+durable as to resist boiling water or hot dishes, and be like a mirror
+for brilliancy.
+
+
+=Wax Polish.=--Eight ounces of beeswax, 2 oz. of resin, and 1/2 oz. of
+Venetian turpentine, to be melted over a slow fire; the mass, when quite
+melted, is poured into a sufficiently large stone-ware pot, and while it
+is still warm 6 oz. of rectified turpentine are stirred in. After the
+lapse of twenty-four hours the mass will have assumed the consistency
+of soft butter, and is ready for use. A small portion of the polish is
+taken up with a woollen rag and rubbed over the surface of the work--at
+first gently, then more strongly. When the polish is uniformly laid on,
+the surface is once more rubbed lightly and quickly with a fresh clean
+rag to produce a gloss.
+
+
+=Waterproof French Polish.=--Take 2 oz. gum benjamin, 1/2 oz. gum
+sandarach, 1/2 oz. gum anime, 11/2 oz. gum benzoin, and 1 pt. alcohol.
+Mix in a closely-stoppered bottle, and put in a warm place till the gums
+are well dissolved. Then strain off, and add 1/4 gill of poppy-oil.
+Shake well together, and it is ready for use.
+
+
+=A Varnish for Musical Instruments.=--Take one gallon of alcohol, 1 lb.
+gum sandarach, 1/2 lb. gum mastic, 2 lbs. best white resin, 3 lbs. gum
+benzoin; cut the gums cold. When they are thoroughly dissolved, strain
+the mixture through fine muslin, and bottle for use; keep the bottle
+tightly corked. This is a beautiful varnish for violins and other
+musical instruments of wood, and for fancy articles, such as those of
+inlaid work. It is also well adapted for panel-work, and all kinds of
+cabinet furniture. There is required only one flowing coat, and it
+produces a very fine mirror-like surface. Apply this varnish with a
+flat camel's-hair or sable brush. In an hour after application the
+surface is perfectly dry.
+
+
+=French Varnish for Cabinet-work.=--Take of shellac 11/2 oz. gum mastic
+and gum sandarach, of each 1/2 oz., spirit of wine by weight 20 oz. The
+gums to be first dissolved in the spirit, and lastly the shellac. This
+may be best effected by means of the water-bath. Place a loosely-corked
+bottle containing the mixture in a vessel of warm water of a temperature
+below the boiling point, and let it remain until the gums are dissolved.
+Should evaporation take place, an equal quantity to the spirit of wine
+so lost must be replaced till the mixture settles, then pour off the
+clear liquid for use, leaving the impurities behind; but do not filter
+it. Greater hardness may be given to the varnish by increasing the
+quantity of shellac, which may be done to the amount of one-twelfth of
+the lac to eleven-twelfths of spirit. But in this latter proportion the
+varnish loses its transparency in some degree, and must be laid on in
+very small quantities at a time.
+
+
+=Mastic Varnish.=--Mastic should be dissolved in oil of turpentine, in
+close glass vessels, by means of a gentle heat. This varnish is
+extensively used in transparencies, etc.
+
+
+=Cabinet-maker's Varnish.=--Take 5 lbs. very pale gum shellac, 7 oz. gum
+mastic, 1 gallon alcohol. Dissolve in a cold atmosphere with frequent
+stirring.
+
+
+=Amber Varnish.=--This is a most difficult varnish to make. It is
+usually prepared by roasting the amber and adding hot linseed-oil, after
+which turpentine can be mixed if required. But for a small quantity,
+dissolve the broken amber, without heat, in the smallest possible
+quantity of chloroform or pure benzine. Heat the linseed-oil, remove it
+from the fire, and pour in the amber solution, stirring all the time.
+Then add the turpentine. If not quite clear, heat again, using the
+utmost caution.
+
+
+=Colourless Varnish with Copal.=--To prepare this varnish the copal must
+be picked; each piece is broken, and a drop of rosemary-oil poured on
+it. Those pieces which, on contact with the oil, become soft are the
+ones used. The pieces being selected, they are ground and passed through
+a sieve, being reduced to a fine powder. It is then placed in a glass,
+and a corresponding volume of rosemary-oil poured over it; the mixture
+is then stirred for a few minutes until it is transformed into a thick
+liquor. It is then left to rest for two hours, when a few drops of
+rectified alcohol are added, and intimately mixed. Repeat the operation
+until the varnish is of a sufficient consistency; leave the rest for a
+few days, and decant the clear. This varnish can be applied to wood and
+metals (_Journal of Applied Chemistry_).
+
+
+=Seedlac Varnish.=--Wash 3 oz. of seedlac in several waters; dry it and
+powder it coarsely. Dissolve it in one pint of rectified spirits of
+wine; submit it to gentle heat, shaking it as often as convenient, until
+it appears dissolved. Pour off the clear part, and strain the remainder.
+
+
+=Patent Varnish for Wood or Canvas.=--Take 1 gallon spirits of
+turpentine, 21/4 lbs. asphaltum. Put them into an iron kettle on a
+stove, and dissolve the gum by heat. When it is dissolved and a little
+cool, add 1 pint copal varnish and 1 pint boiled linseed-oil. When
+entirely cool it is ready for use. For a perfect black add a little
+lamp-black.
+
+
+=Copal Varnish.=--Dissolve the copal, broken in pieces, in linseed-oil,
+by digestion, the heat being almost sufficient to boil the oil. The oil
+should be made drying by the addition of quick-lime. This makes a
+beautiful transparent varnish. It should be diluted with oil of
+turpentine; a very small quantity of copal, in proportion to the oil,
+will be found sufficient.
+
+
+=Carriage Varnish.=--Take 19 oz. gum sandarach, 91/2 oz. orange
+shellac, 121/2 oz. white resin, 18 oz. turpentine, 5 pints alcohol.
+Dissolve and strain. Use for the internal parts of carriages and similar
+purposes. This varnish dries in ten minutes.
+
+
+=Transparent Varnish.=--Take 1 gallon alcohol, 2 lbs. gum sandarach, 1/2
+lb. gum mastic. Place them in a tin can. Cork tight and shake
+frequently, placing the can in a warm place. When dissolved it is ready
+for use.
+
+
+=Crystal Varnish for Maps, etc.=--Mix together 1 oz. Canada balsam and 2
+oz. spirits of turpentine. Before applying this varnish to a drawing or
+a painting in water-colours the paper should be placed on a stretcher,
+sized with a thin solution of isinglass in water, and dried. Apply the
+varnish with a soft camel's-hair brush.
+
+
+=A Black Varnish.=--Mix a small quantity of gas-black with the brown
+hard varnish previously mentioned. The black can be obtained by boiling
+a pot over a gas-burner, so that it almost touches the burner, when a
+fine jet-black will form at the bottom, which remove and mix with the
+varnish, and apply with a brush.
+
+
+=A Black Polish= can be made in the same way: after wetting the rubber,
+just touch it with the black. Place the linen cover over, touch it with
+oil, and it is ready for work.
+
+
+=Varnish for Iron.=--Take 2 lbs. pulverised gum asphaltum, 1/4 lb. gum
+benzoin, 1 gallon spirits of turpentine. To make this varnish quickly,
+keep in a warm place, and shake often till it is dissolved. Shade to
+suit with finely-ground ivory-black. Apply with a brush. This varnish
+should be used on iron-work exposed to the weather. It is also well
+adapted for inside work, such as iron furniture, where a handsome polish
+is desired.
+
+
+=Varnish for Tools.=--Take 2 oz. tallow, 1 oz. resin; melt together, and
+strain while hot to remove the specks which are in the resin. Apply a
+slight coat on the tools with a brush, and it will keep off the rust for
+any length of time.
+
+
+=To Make Labels Adhere to a Polished Surface.=--Brush the back of a
+label over with thin varnish or polish, and press down with a soft rag;
+this must be done quickly, as the polish soon becomes dry. This is the
+way labels are put on pianofortes, and also the paper imitation of fancy
+woods on polished pine-work.
+
+
+=How to Remove French Polish or Varnish from Old Work.=--Cleaning off
+old work for re-polishing or varnishing is usually found difficult, and
+to occupy much time if only the scraper and glass-paper be used. It can
+be easily accomplished in a very short time by washing the surface with
+liquid ammonia, applied with a piece of rag; the polish will peel off
+like a skin, and leave the wood quite bare. In carvings or turned work,
+after applying the ammonia, use a hard brush to remove the varnish.
+Unadulterated spirits of wine used in a tepid state will answer the same
+purpose.
+
+
+=Colouring for Carcase Work.=--In the best class of cabinet-work all the
+inside work--such as carcase backs, shelves, etc.--is made of good
+materials, such as wainscot, soft mahogany, Havannah cedar, or American
+walnut; but for second-class work, pine or white deal is used instead,
+and coloured.
+
+The colouring matter used should match with the exterior wood. For
+mahogany take 1/2 lb. of ground yellow ochre to a quart of water, and
+add about a tablespoonful of Venetian red--a very small quantity of
+red in proportion to the yellow is sufficient for mahogany--and a piece
+of glue about the size of a walnut; the whole to be well stirred and
+boiled. Brush over while hot, and immediately rub off with soft shavings
+or a sponge. For the antique hues of old wainscot mix equal parts of
+burnt umber and brown ochre. For new oak, bird's-eye maple, birch,
+satin-wood, or any similar light yellowish woods, whiting or white-lead,
+tinted with orange chrome, or by yellow ochre and a little size. For
+walnut, brown umber, glue size, and water; or by burnt umber very
+moderately modified with yellow ochre. For rosewood, Venetian red tinted
+with lamp-black. For ebony, ivory-black; but for the common ebonised
+work lamp-black is generally used.
+
+When the colouring is dry, it should be rubbed down with a piece of worn
+fine glass-paper, and polished with beeswax rubbed on a very hard
+brush--a worn-out scrubbing-brush is as good as anything--or it can be
+well rubbed with Dutch rush. In polishing always rub the way of the
+grain. The cheap work seldom gets more than a coat of colour rubbed off
+with shavings.
+
+
+=Cheap but Valuable Stain for the Sap of Black Walnut.=--Take 1 gallon
+of strong vinegar, 1 lb. dry burnt umber, 1/2 lb. fine rose-pink, 1/2
+lb. dry burnt Vandyke brown. Put them into a jug and mix them well; let
+the mixture stand one day, and it will then be ready for use. Apply this
+stain to the sap with a piece of fine sponge; it will dry in half an
+hour. The whole piece is then ready for the filling process. When
+completed, the stained part cannot be detected even by those who have
+performed the work. This recipe is of value, as by it wood of poor
+quality and mostly of sap can be used with good effect.
+
+
+=Polish for Removing Stains, etc., from Furniture (American).=--Take 1/2
+pint alcohol, 1/4 oz. pulverised resin, 1/4 oz. gum shellac, 1/2 pint boiled
+linseed-oil. Shake the mixture well, and apply it with a sponge, brush,
+or cotton flannel, rubbing well after the application.
+
+
+=Walnut Stain to be used on Pine and White-wood.=--Take 1 gallon of very
+thin sized shellac; add 1 lb. of dry burnt umber, 1 lb. of dry burnt
+sienna, and 1/4 lb. of lamp-black. Put these articles into a jug, and
+shake frequently until they are mixed. Apply one coat with a brush. When
+the work is dry, sand-paper down with fine paper, and apply one coat of
+shellac or cheap varnish. It will then be a good imitation of solid
+walnut, and will be adapted for the back-boards of mirror-frames, for
+the backside and inside of case-work, and for similar work.
+
+
+=Rosewood Stain.=--Take 1 lb. of logwood chips, 1/2 lb. of red-sanders,
+1/2 gallon of water. Boil over a fire until the full strength is
+obtained. Apply the mixture, while hot, to the wood with a brush. Use
+one or two coats to obtain a strong red colour. Then take 1 gallon of
+spirits of turpentine and 2 lb. of asphaltum. Dissolve in an iron kettle
+on a stove, stirring constantly. Apply with a brush over the red stain,
+to imitate rosewood. To make a perfect black, add a little lamp-black.
+The addition of a small quantity of varnish with the turpentine will
+improve it. This stain applied to birchwood gives as good an imitation
+of rosewood as on black walnut, the shade on the birch being a little
+brighter.
+
+
+=Rosewood Stain for Cane Work, etc.=--Take 1 gallon alcohol, 1 lb.
+red-sanders, 1 lb. dragon's blood, 1 lb. extract logwood, 1/2 lb. gum
+shellac. Put the mixture into a jug, and steep well till it obtains its
+full strength. Then strain, and it will be ready for use. Apply with
+brush, giving one, two, or more coats, according to the depth of colour
+desired. Then give one or more coats of varnish. This stain is suitable
+for use on cane, willow, or reed work, and produces a good imitation of
+rosewood.
+
+
+=French Polish Reviver.=--This recipe will be found a valuable one. If
+the work is sweated and dirty, make it tolerably wet, and let it stand a
+few minutes; then rub off and polish with a soft rag. It is important
+that the ingredients should be mixed in a bottle in the order as given:
+Vinegar, 1 gill; methylated spirit, 1 gill; linseed-oil, 1/2 pint;
+butter of antimony (poison), 1 oz. Raw linseed-oil, moderately thinned
+with turpentine or spirits of wine, will also make a good reviver. Old
+furniture, or furniture that has been warehoused for a long time, should
+be washed with soda and warm water previous to applying the reviver.
+
+
+=Morocco Leather Reviver.=--The coverings of chairs or sofas in morocco,
+roan, or skiver can be much improved by this reviver. If old and greasy,
+wash with sour milk first. The reviver should be applied with a piece of
+wadding, and wiped one way only, as in glazing. The colour can be
+matched by adding red-sanders. Methylated spirit, 1/2 pint; gum benzoin,
+2 oz.; shellac, 1/2 oz. Mix, and shake up occasionally until dissolved.
+
+
+=Hair-cloth Reviver.=--Mix equal parts of marrow-oil (neats-foot),
+ox-gall. and ivory-black, to be well rubbed with a cloth. This
+composition forms a valuable renovator for old hair-cloth.
+
+
+=To Remove Grease Stains from Silks, Damasks, Cloth, etc.=--Pour over
+the stain a small quantity of benzoline spirit, and it will soon
+disappear without leaving the least mark behind. The most delicate
+colours can be so treated without fear of injury. For paint stains
+chloroform is very efficacious.
+
+
+=To Remove Ink Stains from White Marble.=--Make a little chloride of
+lime into a paste with water, and rub it into the stains, and let it
+remain a few hours; then wash off with soap and water.
+
+
+
+
+CHAPTER XI.
+
+_MATERIALS USED._
+
+
+=Alkanet-root= (botanical name, _Anchusa tinctoria_).--This plant is a
+native of the Levant, but it is much cultivated in the south of France
+and in Germany. The root is the only part used by French polishers to
+obtain a rich quiet red; the colouring is chiefly contained in the bark
+or outer covering, and is easily obtained by soaking the root in spirits
+or linseed-oil. The plant itself is a small herbaceous perennial, and
+grows to about a foot in height, with lance-shaped leaves and purple
+flowers, and with a long woody root with a deep red bark.
+
+
+=Madder-root= (_Rubia tinctoria_).--This plant is indigenous to the
+Levant; but it is much cultivated in Southern Europe, and also in India.
+Its uses are for dyeing and staining; it can be procured in a powdered
+state, and imparts its red colour when soaked in water or spirits. This
+is a creeping plant with a slender stem; almost quadrangular, the
+leaves grow four in a bunch; flowers small, fruit yellow, berry double,
+one being abortive. The roots are dug up when the plant has attained the
+age of two or three years; they are of a long cylindrical shape, about
+the thickness of a quill, and of a red-brownish colour, and when
+powdered are a bright Turkish-red. Extracts of madder are mostly
+obtained by treating the root with boiling water, collecting the
+precipitates which separate on cooling, mixing them with gum or starch,
+and adding acetate of alumina or iron. This is in fact a mixture of
+colouring matter and a mordant.
+
+
+=Red-sanders= (_Pterocarpus santalinus_).--The tree from which this wood
+is obtained is a lofty one, and is to be found in many parts of India,
+especially about Madras. It yields a dye of a bright garnet-red colour,
+and is used by French polishers for dyeing polishes, varnishes,
+revivers, etc.
+
+
+=Logwood= (_Haematoxylon campeachianum_).--This is a moderate-sized tree
+with a very contorted trunk and branches, which are beset with sharp
+thorns, and blooms with a yellow flower. It is a native of Central
+America and the West Indies. This valuable dye-wood is imported in logs;
+the heart-wood is the most valuable, which is cut up into chips or
+ground to powder for the use of dyers by large powerful mills
+constructed especially for the purpose. Logwood, when boiled in water,
+easily imparts its red colour. If a few drops of acetic acid (vinegar)
+is added, a bright red is produced; and when a little alum is added for
+a mordant, it forms red ink. If an alkali, such as soda or potash, is
+used instead of an acid, the colour changes to a dark blue or purple,
+and with a little management every shade of these colours can be
+obtained. Logwood put into polish or varnish also imparts its red
+colour.
+
+
+=Fustic= (_Maclura tinctoria_).--This tree is a native of the West
+Indies, and imparts a yellow dye. Great quantities are used for dyeing
+linens, etc. The fustic is a large and handsome evergreen, and is
+imported in long sticks.
+
+
+=Turmeric= (_Curcuma longa_).--Turmeric is a stemless plant, with
+palmated tuberous roots and smooth lance-shaped leaves. It is imported
+from the East Indies and China. The root is the part which affords the
+yellow powder for dyeing. It is also a condiment, and is largely used in
+Indian curry-powder. Paper stained with turmeric is used by chemists as
+a test for alkalies, and it is also used in making Dutch, pink, and
+gold-coloured varnishes.
+
+
+=Indigo= (_Indigofera tinctoria_).--Indigo is a shrub which grows from
+two to three feet in height, and is cut down just as it begins to
+flower. It is cultivated in almost all the countries situated in the
+tropics. The dye substance is prepared from the stems and leaves, and is
+largely used in calico-printing.
+
+
+=Persian Berries= (_Rhamnus infectorius_).--These berries are the
+produce of a shrub of a species of buckthorn common in Persia, whence
+they derive their name; but large quantities are also imported into
+England from Turkey and the south of France. The berries are gathered in
+an unripe state, and furnish a yellow dye.
+
+
+=Nut-galls.=--These are found upon the young twigs of the Turkish dwarf
+oak (_Quercus infectoria_), and are produced by the puncture of an
+insect called Cynips. The supply is principally from Turkey and Aleppo.
+Nut-galls contain a large quantity of tannin and gallic acid, and are
+extensively used in dyeing.
+
+
+=Catechu.=--This is obtained from the East Indies, and is the extract of
+the _Acacia catechu_, a thorny tree. The wood is cut up into chips
+similar to logwood, and after boiling and evaporation the liquor
+assumes the consistency of tar; but when cold it hardens, and is formed
+into small squares. It is extensively used by tanners in place of oak
+bark.
+
+
+=Thus.=--Thus is the resin which exudes from the spruce-fir, and is used
+by some polishers in the making of polishes and varnishes.
+
+
+=Sandarach= is the produce of the _Thuya articulata_ of Barbary. It
+occurs in small pale yellow scales, slightly acid, and is soluble in
+alcohol; it is used in both polishes and varnishes.
+
+
+=Mastic= exudes from the mastic-tree (_Pistacia lentiscus_), and is
+principally obtained from Chios, in the Grecian Archipelago. It runs
+freely when an incision is made in the body of the tree, but not
+otherwise. It occurs in the form of nearly colourless and transparent
+tears of a faint smell, and is soluble in alcohol as well as oil of
+turpentine, forming a rapidly-drying but alterable varnish, which
+becomes brittle and dark-coloured by age.
+
+
+=Benzoin.=--This is the produce of the American tree _Laurus benzoin_,
+and also of the _Styrax benzoin_ of Sumatra, which is called "gum
+benjamin"; it is used in polishes and varnishes, and as a cosmetic, and
+is also burnt as incense in Catholic churches.
+
+
+=Copal= is one of the most valuable of gums, and is furnished by many
+countries in the districts of Africa explored by Mr. H. M. Stanley, the
+discoverer of Livingstone. Copal is found in a fossil state in very
+large quantities. The natives collect the gum by searching in the sandy
+soil, mostly in the hilly districts, the country being almost barren,
+with no large tree except the Adansonia, and occasionally a few thorny
+bushes.
+
+The gum is dug out of the earth by the copal gatherers at various
+depths, from two or three to ten or more feet, in a manner resembling
+gold-digging; and great excitement appears when a good amount is
+discovered. The gum is found in various shapes and sizes, resembling a
+hen's egg, a flat cake, a child's head, etc. There are three kinds,
+yellow, red, and whitish; and the first furnishes the best varnish and
+fetches the highest price from the dealers. Many of the natives assert
+that the copal still grows on different trees, and that it acquires its
+excellent qualities as a resin by dropping off and sinking several feet
+into the soil, whereby it is cleansed, and obtains, after a lapse of
+many years, its hardness, inflammability, and transparency.
+
+
+=Dragon's Blood= is the juice of certain tropical plants of a red
+colour, especially of the tree _Pterocarpus draco_. After the juice is
+extracted, it is reduced to a powder by evaporation. It is used for
+darkening mahogany, colouring varnishes or polishes, etc., and for
+staining marble. Chemists also use it in preparing tinctures and tooth
+powders.
+
+
+=Shellac=--or, more properly, _gum-lac_--is a resinous substance
+obtained from the Bihar-tree, and also from the _Ficus Indica_, or
+Banyan-tree. It exudes when the branches are pierced by an insect called
+the _Coccus ficus_. The twigs encrusted with the resin in its natural
+state is called Stick-lac. When the resin is broken off the twigs,
+powdered, and rubbed with water, a good deal of the red colouring matter
+is dissolved, and the granular resin left is called seed-lac; and when
+melted, strained, and spread into thin plates it is called shellac, and
+is prepared in various ways and known by the names of button, garnet,
+liver, orange, ruby, thread, etc., and is used for many purposes in the
+arts. Shellac forms the principal ingredient for polishes and spirit
+varnishes. Red sealing-wax is composed of shellac, Venice turpentine,
+and vermilion red; for the black sealing-wax ivory-black is used instead
+of the vermilion. Shellac is soluble in alcohol, and in many acids and
+alkalies. Lac-dye is the red colour from the stick-lac dissolved by
+water and evaporated to dryness. The dye, however, is principally from
+the shrivelled-up body of the insect of the Stick-lac.
+
+Shellac is produced in the largest quantity and the best quality in
+Bengal, Assam, and Burmah. The chief seat of manufacture is Calcutta,
+where the native manufacturers are accused of adulterating it with resin
+to a considerable extent. The best customers are Great Britain and the
+United States, though the demand in the Italian markets appears to be on
+the increase.
+
+
+=Amber= is a yellow, semi-transparent, fossil resin; hard but brittle,
+and easily cut with a knife; tasteless, and without smell, except when
+pounded or heated, and then it emits a fragrant odour. It has
+considerable lustre; becomes highly electric by friction; and will burn
+with a yellow flame. It is found in nodules of various sizes in alluvial
+soils, or on the seashore in many places, particularly on the shores of
+the Baltic. Amber is much employed for ornamental purposes, and is also
+used in the manufacture of amber-varnish. It will not dissolve in
+alcohol, but yields to the concentrated action of sulphuric acid, which
+will dissolve all resins except caramba wax.
+
+
+=Pumice-stone.=--This well-known light and spongy volcanic substance is
+extensively quarried in the small islands that lie off the coast of
+Sicily. Its porosity and smooth-cutting properties render it of great
+value to painters and polishers for levelling down first coatings.
+Ground pumice-stone is the best for cutting down bodies of polish or
+varnish that are more advanced towards completion. The best way to get a
+surface to a piece of lump pumice-stone is to rub it down on a flat York
+stone, or, better still, an old tile that has been well baked.
+Pumice-stone should not be allowed to stand in water; it causes the
+grain to contract and to harden, thereby deteriorating its cutting
+properties.
+
+
+=Linseed-oil.=--This valuable oil is obtained by pressure from the seed
+of the flax plant (_Linum usitatissimum_). Linseed contains on an
+average about 33 per cent. of oil, though the amount varies materially,
+the percentage obtained fluctuating considerably, not being alike on any
+two successive days. This is partly due to the varying richness of the
+seed, and partly to the manner in which it is manipulated in extracting
+the oil, it being a very easy matter to lose a considerable percentage
+of the oil by a lack of skill in any of the processes, though they all
+seem so simple.
+
+The first thing done with the seed from which the oil is to be extracted
+is to pass it through a screen, to cleanse it from foreign substances.
+The seed is received in bags containing from three to four bushels, and
+pockets containing one-sixth of that amount. Having been screened it is
+passed through a mill, whose large iron-rollers, three in number, grind
+it to a coarse meal. Thence it is carried to what are known as the
+"mullers," which are two large stones, about eight feet in diameter and
+eighteen inches thick, weighing six tons each, standing on their edges,
+and rolling around on a stone bed. About five bushels of the meal are
+placed in the mullers, and about eight quarts of hot water are added.
+The meal is afterwards carried by machinery to the heaters, iron pans
+holding about a bushel each. These are heated to an even temperature by
+steam, and are partly filled with the meal, which for seven minutes is
+submitted to the heat, being carefully stirred in order that all parts
+may become evenly heated. At the end of that time the meal is placed in
+bags, which in turn are placed in hydraulic presses, iron plates being
+placed between the bags. Pressure is applied for about eight minutes,
+until, as is supposed, all the oil is pressed out, leaving a hard cake,
+known to the trade as oil-cake, or linseed-cake.
+
+The product of these various processes is known as "raw" oil, a
+considerable portion of which is sold without further labour being
+expended upon it. There is, however, a demand for "boiled" oil, for
+certain purposes where greater drying properties are needed. To supply
+this want oil is placed in large kettles, holding from five hundred to
+one thousand gallons, where it is heated to a temperature of about 500
+degrees, being stirred continually. This process, when large kettles are
+used, requires nearly the entire day. While the boiling process is going
+on, oxide of manganese is added, which helps to give the boiled oil
+better drying properties. A considerable portion of the oil is bleached,
+for the use of manufacturers of white paints.
+
+
+=Venice Turpentine.=--This is obtained from the larch, and is said to be
+contained in peculiar sacs in the upper part of the stem, and to be
+obtained by puncturing them. It is a ropy liquid, colourless or brownish
+green, having a somewhat unpleasant odour and bitter taste.
+
+
+=Oil of Turpentine= is the most plentiful and useful of oils. It is
+obtained in America from a species of pine very plentiful in the
+Carolinas, Georgia, and Alabama, known as the long-leaved pine (_pinus
+Australis_), and found only where the original forest has not been
+removed.
+
+
+=Methylated Spirits.=--The methylated spirit of commerce usually
+consists of the ordinary mixed grain, or "plain" spirit, as produced by
+the large distillers in London and elsewhere, with which are blended,
+by simply mixing in various proportions, one part vegetable naphtha and
+three parts spirits of wine. The mixing takes place in presence of a
+revenue officer, and the spirits so "methylated" are allowed to be used
+duty free. The revenue authorities consider the admixture of naphtha,
+having so pungent and disagreeable a smell, a sufficient security
+against its sale and consumption as a beverage. No process has yet been
+discovered of getting rid of this odour. It is illegal for druggists to
+use it in the preparation of medicinal tinctures, unless they are for
+external use.
+
+
+PRINTED BY WILLIAM CLOWES AND SONS, LIMITED, LONDON AND BECCLES.
+
+
+
+
+CROSBY LOCKWOOD & SON'S
+
+LIST OF WORKS
+
+ON
+
+TRADES AND MANUFACTURES, THE INDUSTRIAL ARTS, CHEMICAL MANUFACTURES,
+COUNTING HOUSE WORK, ETC.
+
+
+A Complete Catalogue of NEW and STANDARD BOOKS relating to CIVIL,
+MECHANICAL, MARINE and ELECTRICAL ENGINEERING; MINING, METALLURGY, and
+COLLIERY WORKING; ARCHITECTURE and BUILDING; AGRICULTURE and ESTATE
+MANAGEMENT, etc. Post Free on Application.
+
+7, STATIONERS' HALL COURT, LONDON, E.C.,
+AND
+121a, VICTORIA STREET, WESTMINSTER, S.W.
+
+1910.
+
+
+
+
+LIST OF WORKS
+
+ON
+
+TRADES and MANUFACTURES, THE INDUSTRIAL ARTS, Etc.
+
+
+=ACETYLENE, LIGHTING BY.= Generators, Burners, and Electric Furnaces. By
+WILLIAM E. GIBBS, M.E. With 66 Illustrations. Crown 8vo, cloth =7/6=
+
+=AIR GAS LIGHTING SYSTEMS.= See PETROL GAS.
+
+=ALCOHOL (INDUSTRIAL): ITS MANUFACTURE AND USES.= A Practical Treatise
+based on Dr. Max Maercker's "Introduction to Distillation," as revised
+by Drs. DELBRUCK and LANGE. By J. K. BRACHVOGEL. 500 pages, 105
+engravings _Net_ =16/6=
+
+THE INDUSTRIAL VALUE OF TAX-FREE ALCOHOL AND WHAT IT MEANS TO
+AGRICULTURAL INTERESTS--SUMMARY OF THE PROCESSES IN SPIRIT
+MANUFACTURE--STARCH, HOW FORMED, ITS CHARACTERISTICS, AND THE CHANGES
+IT UNDERGOES--ENZYMES OR FERMENTS--PRODUCTS OF FERMENTATION--STARCHY
+AND SACCHARIFEROUS RAW MATERIALS--PREPARATION OF THE MALT--STEAMING
+THE RAW MATERIAL--THE MASHING PROCESS--FERMENTING THE MASH--PREPARATION
+OF ARTIFICIAL YEAST IN THE DISTILLERY--FERMENTATION IN
+PRACTICE--DISTILLATION AND RECTIFICATION--ARRANGEMENT OF THE
+DISTILLERY--THE SPENT WASH--DENATURING OF ALCOHOL--ALCOHOL FOR THE
+PRODUCTION OF POWER, HEATING AND ILLUMINATION--STATISTICS.
+
+=ALKALI TRADE MANUAL.= Including the Manufacture of Sulphuric Acid,
+Sulphate of Soda, and Bleaching Powder. By JOHN LOMAS, Alkali
+Manufacturer. With 232 Illustrations. Super-royal 8vo, cloth. =L1 10s.=
+
+=BLOWPIPE IN CHEMISTRY, MINERALOGY, Etc.= Containing all known Methods
+of Anhydrous Analysis, many Working Examples, and Instructions for
+Making Apparatus. By Lieut.-Colonel W. A. Ross, R.A., F.G.S. Second
+Edition. Crown 8vo, cloth =5/0=
+
+=BOOT AND SHOE MAKING=, including Measurement, Last-fitting,
+Cutting-out, Closing and Making, with a Description of the most Approved
+Machinery employed. By J. B. LENO. Crown 8vo, cloth =2/0=
+
+=BRASS FOUNDER'S MANUAL.= Modelling, Pattern Making, Moulding, Turning,
+&c. By W. GRAHAM. Crown 8vo, cloth =2/0=
+
+=BREAD & BISCUIT BAKER'S & SUGAR-BOILER'S ASSISTANT.= Including a large
+variety of Modern Recipes. By ROBERT WELLS. Fifth Edition.
+Crown 8vo, cloth 1/0
+
+     "A large number of wrinkles for the ordinary cook, as well as the
+     baker."--_Saturday Review._
+
+=BREAKFAST DISHES. For every Morning of Three Months.= By Miss
+ALLEN (Mrs. A. MACAIRE). Author of "Savouries and Sweets," &c.
+Twenty-third Edition. F'cap 8vo. Sewed   1/0
+     Or, quarter bound, fancy boards     1/6
+
+=BREWERS, HANDY BOOK FOR.= Being a Practical Guide to the Art of Brewing
+and Malting. Embracing the Conclusions of Modern Research which bear
+upon the Practice of Brewing. By H. E. WRIGHT, M.A. Third
+Edition. Thoroughly Revised and Enlarged. Large Crown 8vo, 578 pp.,
+cloth _Net_ =12/6=
+
+BARLEY, MALTING AND MALT--WATER FOR BREWING--HOPS AND SUGARS--THE
+BREWING ROOM--CHEMISTRY AS APPLIED TO BREWING--THE LABORATORY--MASHING,
+SPARGING, AND BOILING--FERMENTS IN GENERAL--FERMENTATION WITH COMMERCIAL
+YEAST--CULTURE FROM A SINGLE CELL WITH YEASTS--TREATMENT OF BEER--THE
+BREWERY AND PLANTS.
+
+     "We have great pleasure in recommending this handy Book."--_The
+     Brewers' Guardian._
+
+=CALCULATOR, NUMBER, WEIGHT AND FRACTIONAL.= Containing upwards of
+250,000 Separate Calculations, showing at a Glance the Value at 422
+Different Rates, ranging from 1/128th of a Penny to 20s. each, or per
+cwt., and L20 per ton, of any number of articles consecutively, from 1
+to 470. Any number of cwts., qrs., and lbs., from 1 cwt. to 470 cwts.
+Any number of tons, cwts., qrs., and lbs., from 1 to 1,000 tons. By
+WILLIAM CHADWICK, Public Accountant. Fourth Edition, Revised
+and Improved. 8vo, strongly bound =18/0=
+
+     "It is as easy of reference for any answer or any number of answers
+     as a dictionary. For making up accounts or estimates the book must
+     prove invaluable to all who have any considerable quantity of
+     calculations involving price and measure in any combination to
+     do."--_Engineer._
+
+     "The most perfect work of the kind yet prepared."--_Glasgow
+     Herald._
+
+=CEMENTS, PASTES, GLUES, AND GUMS.= A Guide to the Manufacture and
+Application of Agglutinants for Workshop, Laboratory, or Office Use.
+With 900 Recipes and Formulae. By H. C. STANDAGE, Crown 8vo,
+cloth =2/0=
+
+     "As a revelation of what are considered trade secrets, this book
+     will arouse an amount of curiosity among the large number of
+     industries it touches."--_Daily Chronicle._
+
+=CHEMISTRY FOR ARMY AND MATRICULATION CANDIDATES.= By GEOFFREY
+MARTIN, B.SC., Ph.D. Crown 8vo, cloth. With numerous Illustrations
+_Net_ =2/0=
+
+PREPARATION AND USE OF APPARATUS--PREPARATION AND PROPERTIES OF
+CERTAIN GASES AND LIQUIDS--SIMPLE QUANTITATIVE EXPERIMENTS--ANALYTICAL
+OPERATIONS--SOLUBILITY--WATER CRYSTALLISATION--NEUTRALISATION OF ACIDS
+BY BASES, AND PREPARATION OF SIMPLE SALTS--VOLUMETRIC ANALYSIS--CHEMICAL
+EQUIVALENTS--OBSERVATION OF REACTION--MELTING AND BOILING
+POINTS--SYMBOLS AND ATOMIC WEIGHTS OF THE ELEMENTS--WEIGHTS AND
+MEASURES--HINTS ON REGULATING WORK IN PRACTICAL CHEMISTRY CLASSES.
+
+=CLOCKS, WATCHES, & BELLS for PUBLIC PURPOSES.= By EDMUND BECKETT,
+LORD GRIMTHORPE, LL.D., K.C., F.R.A.S. Eighth Edition, with new
+List of Great Bells and an Appendix on Weathercocks. Crown 8vo, cloth
+4/6; cloth boards, =5/6=
+
+     "The only modern treatise on clock-making."--_Horological Journal._
+
+=COACH-BUILDING.= A Practical Treatise, Historical and Descriptive. By
+J. W. BURGESS. Crown 8vo, cloth =2/6=
+
+=COKE--MODERN COKING PRACTICE.= Including the Analysis of Materials and
+Products. A handbook for those engaged or interested in Coke Manufacture
+with recovery of By-Products. By T. H. BYROM, F.I.C., F.C.S.,
+Mem. Soc. of Chem. Industry, Chief Chemist to the Wigan Coal and Iron
+Company. For fifteen years Lecturer at the Wigan Technical College.
+Author of "The Physics and Chemistry of Mining"; and J. E.
+CHRISTOPHER, Mem. Soc. of Chem. Industry, Sub-manager of the
+Semet Solvay Coking Plant of the Wigan Coal and Iron Company. Lecturer
+on Coke Manufacture at the Wigan Technical College. 168 pages, with
+numerous illustrations. Demy 8vo, cloth. [_Just Published Net_] =8/6=
+
+     "The authors have succeeded in treating the subject in a clear and
+     compact way, giving an easily comprehensible review of the
+     different processes."--_Mining Journal._
+
+     "The book will be eagerly read, and the authors may be assured that
+     their labour will be appreciated. We anticipate that the book will
+     be a success; at any rate it possesses the necessary
+     merit."--_Science and Art of Mining._
+
+=COMMERCIAL CORRESPONDENT, FOREIGN.= Being Aids to Commercial
+Correspondence in Five Languages--English, French, German, Italian, and
+Spanish. By CONRAD E. BAKER. Third Edition, Carefully Revised
+Throughout. Crown 8vo, cloth 4/6
+
+     "Whoever wishes to correspond in all the languages mentioned by Mr.
+     Baker cannot do better than study this work, the materials of which
+     are excellent and conveniently arranged. They consist not of entire
+     specimen letters, but--what are far more useful--short passages,
+     sentences, or phrases expressing the same general idea in various
+     forms."--_Athenaeum._
+
+=CONFECTIONER, MODERN FLOUR.= Containing a large Collection of Recipes
+for Cheap Cakes, Biscuits, &c. With remarks on the Ingredients Used in
+their Manufacture. By R. WELLS =1/0=
+
+=CONFECTIONERY, ORNAMENTAL.= A Guide for Bakers, Confectioners and
+Pastrycooks; including a variety of Modern Recipes, and Remarks on
+Decorative and Coloured Work. With 129 Original Designs. By ROBERT
+WELLS. Crown 8vo, cloth =5/0=
+
+     "A valuable work, practical, and should be in the hands of every
+     baker and confectioner. The illustrative designs are worth treble
+     the amount charged for the work."--_Bakers' Times._
+
+=COTTON MANUFACTURE.= A Manual of Practical Instruction of the Processes
+of Opening, Carding, Combing, Drawing, Doubling and Spinning, Methods of
+Dyeing, &c. For the Use of Operatives, Overlookers, and Manufacturers.
+By J. LISTER. 8vo, cloth =7/6=
+
+=DANGEROUS GOODS.= Their Sources and Properties, Modes of Storage and
+Transport. With Notes and Comments on Accidents arising therefrom. For
+the Use of Government and Railway Officials, Steamship Owners, &c. By H.
+J. PHILLIPS. Crown 8vo, cloth =9/0=
+
+=DENTISTRY (MECHANICAL).= A Practical Treatise on the Construction of
+the Various Kinds of Artificial Dentures. By C. HUNTER. Crown
+8vo, cloth =3/0
+
+=DISCOUNT GUIDE.= Comprising several Series of Tables for the Use of
+Merchants, Manufacturers, Ironmongers, and Others, by which may be
+ascertained the Exact Profit arising from any mode of using Discounts,
+either in the Purchase or Sale of Goods, and the method of either
+Altering a Rate of Discount, or Advancing a Price, so as to produce,
+by one operation, a sum that will realise any required Profit after
+allowing one or more Discounts: to which are added Tables of Profit or
+Advance from 11/4 to 90 per cent., Tables of Discount from 11/4 to 983/4 per
+cent., and Tables of Commission, &c., from 1/8 to 10 per cent. By HENRY
+HARBEN, Accountant. New Edition, Corrected. Demy 8vo, half-bound =L1
+5s.=
+
+     "A book such as this can only be appreciated by business men, to
+     whom the saving of time means saving of money. The work must prove
+     of great value to merchants, manufacturers, and general
+     traders."--_British Trade Journal._
+
+=DRYING MACHINERY AND PRACTICE.= A Handbook on the Theory and Practice
+of Drying and Desiccating, with Classified Description of Installations,
+Machinery, and Apparatus, including also a Glossary of Technical Terms
+and Bibliography. By THOMAS G. MARLOW, Grinding, Drying, and
+Separating Machinery Specialist. Medium 8vo. About 250 pages, with 150
+Illustrations [_In the Press, price about_] =12/6= _net._
+
+=ELECTRICITY IN FACTORIES AND WORKSHOPS: ITS COST AND CONVENIENCE.=
+A Handbook for Power Producers and Power Users. By A. P. HASLAM,
+M.I.E.E. 328 pages, with numerous illustrations. Large crown, 8vo,
+cloth _Net_ =7/6=
+
+=ELECTRO-METALLURGY.= A Practical Treatise. By ALEXANDER WATT.
+Tenth Edition, enlarged and revised. Including the most Recent
+Processes. Crown 8vo, cloth =3/6=
+
+=ELECTRO-PLATING.= A Practical Handbook on the Deposition of Copper,
+Silver, Nickel, Gold, Aluminium, Brass, Platinum, &c., &c. By J. W.
+URQUHART, C.E. Fifth Edition, Revised. Crown 8vo, cloth =5/0=
+
+=ELECTRO-PLATING & ELECTRO-REFINING OF METALS= Being a new edition of
+ALEXANDER WATT'S "ELECTRO-DEPOSITION." Revised and Rewritten by A.
+PHILIP, B.Sc., Principal Assistant to the Admiralty Chemist. Crown 8vo,
+cloth _Net_ =12/6=
+
+PART I. ELECTRO-PLATING--PRELIMINARY CONSIDERATIONS--PRIMARY AND
+SECONDARY BATTERIES--THERMOPILES--DYNAMOS--COST OF ELECTRICAL
+INSTALLATIONS OF SMALL OUTPUT FOR ELECTRO-PLATING--HISTORICAL REVIEW OF
+ELECTRO DEPOSITION--ELECTRO DEPOSITION OF COPPER--DEPOSITION OF GOLD BY
+SIMPLE IMMERSION--ELECTRO DEPOSITION OF GOLD--VARIOUS GILDING
+OPERATIONS--MERCURY GILDING--ELECTRO DEPOSITION OF SILVER--IMITATION
+ANTIQUE SILVER--ELECTRO DEPOSITION OF NICKEL, TIN, IRON AND ZINC,
+VARIOUS METALS AND ALLOYS--RECOVERY OF GOLD AND SILVER FROM
+WASH SOLUTIONS--MECHANICAL OPERATIONS CONNECTED WITH ELECTRO
+DEPOSITION--MATERIALS USED IN ELECTRO DEPOSITION. PART II. ELECTRO
+METALLURGY--ELECTRO METALLURGY OF COPPER--COST OF ELECTROLYTIC COPPER
+REFINING--CURRENT DENSITY AS A FACTOR IN PROFITS--SOME IMPORTANT DETAILS
+IN ELECTROLYTIC COPPER REFINERIES--ELECTROLYTIC GOLD AND SILVER BULLION
+REFINING--ELECTROLYTIC TREATMENT OF TIN--ELECTROLYTIC REFINING OF
+LEAD--ELECTROLYTIC PRODUCTION OF ALUMINIUM AND ELECTROLYTIC REFINING OF
+NICKEL--ELECTRO GALVANISING.
+
+     "Eminently a book for the practical worker in
+     electro-deposition."--_Engineer._
+
+=ELECTRO-TYPING.= The Reproduction and Multiplication of Printing
+Surfaces and Works of Art by the Electro-Deposition of Metals. By J. W.
+URQUHART, C.E. Crown 8vo, cloth =5/0=
+
+=ENGINEERING CHEMISTRY.= A Practical Treatise for the Use of Analytical
+Chemists, Engineers, Iron Masters, Iron Founders, Students and others.
+Comprising Methods of Analysis and Valuation of the Principal Materials
+used in Engineering Work, with numerous Analyses, Examples and
+Suggestions. By H. PHILLIPS. Third Edition, Revised. Crown 8vo,
+420 pp., with Illustrations, cloth _Net_ =10/6=
+
+=EXPLOSIVES, MODERN, A HANDBOOK ON.= A Practical Treatise on the
+Manufacture and Use of Dynamite, Gun-Cotton, Nitro-Glycerine and other
+Explosive Compounds, including Collodion-Cotton. With Chapters on
+Explosives in Practical Application. By M. EISSLER, M.E. Second Edition,
+Enlarged. Crown 8vo, cloth =12/6=
+
+     "A veritable mine of information on the subject of explosives
+     employed for military, mining, and blasting purposes."--_Army and
+     Navy Gazette._
+
+=EXPLOSIVES: NITRO-EXPLOSIVES.= The Properties, Manufacture, and
+Analysis of Nitrated Substances, including the Fulminates, Smokeless
+Powders, and Celluloid. By P. G. SANFORD, F.I.C., F.C.S.,
+Public Analyst to the Borough of Penzance. Second Edition, enlarged.
+With Illustrations. Demy 8vo, cloth _Net_ =10/6=
+
+NITRO-GLYCERINE--NITRO-CELLULOSE, ETC.--DYNAMITE--NITRO-BENZOL,
+ROBURITE, BELLITE, PICRIC ACID, ETC.--THE FULMINATES--SMOKELESS POWDERS
+IN GENERAL--ANALYSIS OF EXPLOSIVES--FIRING POINT, HEAT TESTS,
+DETERMINATION OF RELATIVE STRENGTH, ETC.
+
+     "One of the very few text-books in which can be found just what is
+     wanted. Mr. Sanford goes steadily through the whole list of
+     explosives commonly used, he names any given explosive, and tells
+     of what it is composed and how it is manufactured. The book is
+     excellent."--_Engineer._
+
+=FACTORY ACCOUNTS: THEIR PRINCIPLES AND PRACTICE.= A Handbook for
+Accountants and Manufacturers, with Appendices on the Nomenclature of
+Machine Details, the Income Tax Acts, the Rating of Factories, Fire and
+Boiler Insurance, the Factory and Workshop Acts, etc., including a
+Glossary of Terms and a large number of Specimen Rulings. By EMILE
+GARCKE and J. M. FELLS. Fifth Edition, Revised and
+Enlarged. Demy 8vo, cloth =7/6=
+
+     "A very interesting description of the requirements of Factory
+     Accounts.... The principle of assimilating the Factory Accounts to
+     the general commercial books is one which we thoroughly agree
+     with."--_Accountants' Journal._
+
+=FLOUR MANUFACTURE.= A Treatise on Milling Science and Practice. By
+FRIEDRICH KICK, Imperial Regierungsrath, Professor of
+Mechanical Technology in the Imperial German Polytechnic Institute,
+Prague. Translated from the Second Enlarged and Revised Edition. By H.
+H. P. POWLES, A.M.Inst.C.E. 400 pp., with 28 Folding Plates,
+and 167 Woodcuts. Royal 8vo, cloth =L1 5s.=
+
+     "This invaluable work is the standard authority on the science of
+     milling."--_The Miller._
+
+=FRENCH POLISHING AND ENAMELLING.= Including numerous Recipes for making
+Polishes, Varnishes, Glaze, Lacquers, Revivers, &c. By R. BITMEAD. Crown
+8vo, cloth =1/6=
+
+=GAS ENGINEER'S POCKET-BOOK.= Comprising Tables, Notes and Memoranda
+relating to the Manufacture, Distribution and Use of Coal Gas and the
+Construction of Gas Works. By H. O'CONNOR, A.M.Inst.C.E. Third
+Edition. Revised. Crown 8vo, leather. _Net_ =10/6=
+
+GENERAL CONSTRUCTING MEMORANDA--GENERAL MATHEMATICAL
+TABLES--UNLOADING MATERIALS AND STORAGE--RETORT
+HOUSE--CONDENSERS--BOILERS, ENGINES, PUMPS, AND EXHAUSTERS--SCRUBBERS
+AND WASHERS--PURIFIERS--GASHOLDER TANKS--GASHOLDERS--WORKSHOP
+NOTES--MANUFACTURING--STORING MATERIALS--RETORT HOUSE
+(WORKING)--CONDENSING GAS--EXHAUSTERS, ETC.--WASHING AND
+SCRUBBING--PURIFICATION--GASHOLDERS (CARE OF)--DISTRIBUTING
+GAS--TESTING--ENRICHING PROCESSES--PRODUCT WORKS--SUPPLEMENTARY.
+
+     "The book contains a vast amount of information."--_Gas World._
+
+=GAS ENGINEERING.= See PRODUCER GAS PRACTICE AND INDUSTRIAL GAS
+ENGINEERING. =GAS FITTING.= A Practical Handbook. By JOHN BLACK. Revised
+Edition. With 130 Illustrations. Crown 8vo, cloth =2/6=
+
+=GAS LIGHTING.= See ACETYLENE.
+
+=GAS LIGHTING FOR COUNTRY HOUSES.= See PETROL AIR GAS.
+
+=GAS MANUFACTURE, CHEMISTRY OF.= A Practical Manual for the use of Gas
+Engineers, Gas Managers and Students. By HAROLD M. ROYLE, Chief
+Chemical Assistant at the Beckton Gas Works. Demy 8vo, cloth, 340 pages,
+with numerous Illustrations and Coloured Plate. _Net_ =12/6=
+
+PREPARATION OF STANDARD SOLUTIONS--ANALYSIS OF COALS--DESCRIPTION OF
+VARIOUS TYPES OF FURNACES--PRODUCTS OF CARBONISATION AT VARIOUS
+TEMPERATURES--ANALYSIS OF CRUDE GAS--ANALYSIS OF LIME--ANALYSIS OF
+AMMONIACAL LIQUOR--ANALYTICAL VALUATION OF OXIDE OF IRON--ESTIMATION
+OF NAPHTHALIN--ANALYSIS OF FIRE-BRICKS AND FIRE-CLAY--ART OF
+PHOTOMETRY--CARBURETTED WATER GAS--APPENDIX CONTAINING STATUTORY AND
+OFFICIAL REGULATIONS FOR TESTING GAS. VALUABLE EXCERPTS FROM VARIOUS
+IMPORTANT PAPERS ON GAS CHEMISTRY, USEFUL TABLES, MEMORANDA, etc.
+
+=GAS WORKS.= Their Construction and Arrangement, and the Manufacture and
+Distribution of Coal Gas. By S. HUGHES, C.E. Ninth Edition.
+Revised by H. O'CONNOR, A.M.Inst.C.E. Crown 8vo =6/0=
+
+=GOLD WORKING. JEWELLER'S ASSISTANT= for Masters and Workmen, Compiled
+from the Experience of Thirty Years' Workshop Practice. By G. E.
+GEE. Crown 8vo =7/6=
+
+=GOLDSMITH'S HANDBOOK.= Alloying, Melting, Reducing, Colouring,
+Collecting, and Refining. Manipulation, Recovery of Waste, Chemical and
+Physical Properties; Solders, Enamels, and other useful Rules and
+Recipes, &c. By G. E. GEE, Sixth Edition. Crown 8vo, cloth =3/0=
+
+=GOLDSMITH'S AND SILVERSMITH'S COMPLETE HANDBOOK.= By G. E.
+GEE. Crown 8vo, half bound =7/0=
+
+=HALL-MARKING OF JEWELLERY.= Comprising an account of all the different
+Assay Towns of the United Kingdom, with the Stamps at present employed;
+also the Laws relating to the Standards and Hall-marks at the various
+Assay Offices. By G. E. GEE. Crown 8vo =3/0=
+
+=HANDYBOOKS FOR HANDICRAFTS.= By PAUL N. HASLUCK. See page 16.
+
+=HOROLOGY, MODERN, IN THEORY AND PRACTICE.= Translated from the French
+of CLAUDIUS SAUNIER, ex-Director of the School of Horology at
+Macon, by JULIEN TRIPPLIN, F.R.A.S., Besancon Watch
+Manufacturer, and EDWARD RIGG, M.A., Assayer in the Royal Mint.
+With Seventy-eight Woodcuts and Twenty-two Coloured Copper Plates.
+Second Edition. Super-royal 8vo, =L2 2s.= cloth; half-calf =L2 10s.=
+
+    "There is no horological work in the English language at all to
+     be compared to this production of M. Saunier's for clearness and
+     completeness. It is alike good as a guide for the student and as a
+     reference for the experienced horologist and skilled
+     workman."--_Horological Journal._
+
+=ILLUMINATING AND MISSAL PAINTING ON PAPER AND VELLUM.= A Practical
+Treatise on Manuscript Work, Testimonials, and Herald Painting, with
+Chapters on Lettering and Writing, and on Mediaeval Burnished Gold. With
+two Coloured Plates. By PHILIP WHITHARD (First-class Diploma
+for Illumination and Herald Painting, Printing Trades Exhibition, 1906).
+156 pages. Crown 8vo, cloth _Net_ =4/0=
+
+=INTEREST CALCULATOR.= Containing Tables at 1, 11/2, 2, 21/2, 3, 31/2, 33/4, 4,
+41/2, 43/4 and 5 per cent. By A. M. CAMPBELL, Author of "The Concise
+Calendar." Crown 8vo, cloth _Net_ =2/6=
+
+=IRON AND METAL TRADES' COMPANION.= For Expeditiously ascertaining the
+Value of any Goods bought or sold by Weight, from 1_s._ per cwt. to
+112_s._ per cwt., and from one farthing per pound to one shilling per
+pound. By THOMAS DOWNIE. Strongly bound in leather, 396 pp. =9/0=
+
+     "A most useful set of tables. Nothing like them before
+      existed."--_Building News._
+
+=IRON-PLATE WEIGHT TABLES.= For Iron Shipbuilders, Engineers and Iron
+Merchants. Containing the Calculated Weights of upwards of 150,000
+different sizes of Iron Plates, from 1 ft. by 6 ins. by 1/4 in. to 10
+ft. by 5 ft. by 1 in. Worked out on the basis of 40 lbs. to the square
+foot of iron of 1 in. in thickness. By H. BURLINSON and W. H.
+SIMPSON. 4to, half bound =L1 5s.=
+
+=LABOUR CONTRACTS.= A Popular Handbook on the Law of Contracts or Works
+and Services. By DAVID GIBBONS. Fourth Edition, with Appendix
+of Statutes by T. F. UTTLEY; Solicitor. F'cap. 8vo, cloth =3/6=
+
+=LAUNDRY MANAGEMENT.= A Handbook for use in Private and Public
+Laundries. Cr. 8vo, cloth =2/0=
+
+=LAW FOR MANUFACTURERS, EMPLOYERS AND OTHERS, ETC.= See "EVERY MAN'S
+OWN LAWYER." A Handy-book of the Principles of Law and Equity. By a
+BARRISTER. Forty-seventh (1910) Edition, including the
+Legislation of 1909. 830 pp. Large crown 8vo, cloth [_Just Published._]
+_Net_ =6/8=
+
+SUMMARY OF CONTENTS: LANDLORD AND TENANT--VENDORS AND
+PURCHASERS--CONTRACTS AND AGREEMENTS--CONVEYANCES AND
+MORTGAGES--JOINT-STOCK COMPANIES--PARTNERSHIP--SHIPPING LAW--DEALINGS
+WITH MONEY--SURETISHIP--CHEQUES, BILLS AND NOTES--BILLS OF
+SALE--BANKRUPTCY--MASTERS, SERVANTS AND WORKMEN--INSURANCE: LIFE,
+ACCIDENT, ETC.--COPYRIGHT, PATENTS. TRADE MARKS--HUSBAND AND WIFE,
+DIVORCE--INFANCY, CUSTODY OF CHILDREN--TRUSTEES AND EXECUTORS--TAXES AND
+DEATH DUTIES--CLERGYMEN, DOCTORS, AND LAWYERS--PARLIAMENTARY
+ELECTIONS--LOCAL GOVERNMENT--LIBEL AND SLANDER--NUISANCES--CRIMINAL
+LAW--GAME LAWS, GAMING, INNKEEPERS--FORMS OF WILLS, AGREEMENTS, NOTICES,
+ETC.
+
+     "A useful and concise epitome of the law."--_Law Magazine._
+
+     "A complete digest of the most useful facts which constitute
+      English law."--_Globe._
+
+     "A dictionary of legal facts well put together. The book is a very
+      useful one."--_Spectator._
+
+=LEATHER MANUFACTURE.= A Practical Handbook of Tanning, Currying, and
+Chrome Leather Dressing. By A. WATT. Fifth Edition, Revised and
+Enlarged. 8vo, cloth _Net_ =12/6=
+
+CHEMICAL THEORY OF THE TANNING PROCESS--THE SKIN--HIDES AND
+SKINS--TANNIN OR TANNIC ACID--GALLIC ACID--GALLIC FERMENTATION--TANNING
+MATERIALS--ESTIMATION OF TANNIN--PRELIMINARY OPERATIONS--DEPILATION OR
+UNHAIRING SKINS AND HIDES--DELIMING OR BATING--TANNING BUTTS FOR SOLE
+LEATHER--TANNING PROCESSES--TANNING BY PRESSURE--QUICK TANNING--HARNESS
+LEATHER TANNING--AMERICAN TANNING--HEMLOCK TANNING--TANNING BY
+ELECTRICITY--CHEMICAL TANNING--MISCELLANEOUS PROCESSES--COST OF AMERICAN
+TANNING--MANUFACTURE OF LIGHT LEATHERS--DYEING LEATHER--MANUFACTURE OF
+WHITE LEATHER--CHROME LEATHER MANUFACTURE--BOX CALF MANUFACTURE--CHAMOIS
+OR OIL LEATHER MANUFACTURE--CURRYING--MACHINERY EMPLOYED IN LEATHER
+MANUFACTURE--EMBOSSING LEATHER--FELLMONGERING--PARCHMENT, VELLUM, AND
+SHAGREEN--GUT DRESSING--GLUE BOILING--UTILISATION OF TANNER'S
+WASTE.
+
+     "A sound, comprehensive treatise on tanning and its
+      accessories."--_Chemical Review._
+
+LEATHER MANUFACTURE. PRACTICAL TANNING:= A Handbook of Modern Processes,
+Receipts and Suggestions for the Treatment of Hides, Skins, and Pelts of
+every description, including various Patents relating to Tanning, with
+specifications. By LOUIS A. FLEMMING, American Tanner. Second Edition,
+in great part re-written, thoroughly revised, and much enlarged.
+Illustrated by six full-page Plates. Medium 8vo, cloth, 630 pages [_Just
+published._] _Net_ =28/0=
+
+=MAGNETOS FOR AUTOMOBILISTS, HOW MADE AND HOW USED.= A Handbook of
+Practical Instruction in the Manufacture and Adaptation of the Magneto
+to the needs of the Motorist. By S. R. BOTTONE, late of the Collegio del
+Carmine, Turin, Author of "The Dynamo," "Ignition Devices," &c. Second
+Edition, enlarged. With 52 Illustrations. Crown 8vo, cloth Net =2/0=
+
+=MARBLE AND MARBLE WORKING.= A Handbook for Architects, Sculptors,
+Marble Quarry Owners and Workers, and all engaged in the Building and
+Decorative Industries. Containing numerous Illustrations and thirteen
+Coloured Plates. By W. G. RENWICK, Author of "The Marble Industry," "The
+Working of Marble for Decorative Purposes," etc. 240 pages. Medium 8vo,
+cloth =15/0=
+
+THE CHEMISTRY OF MARBLE--ITS GEOLOGICAL FORMATION--A SHORT
+CLASSIFICATION OF MARBLES--ANTIQUITY OF THE MARBLE INDUSTRY--ANCIENT
+QUARRIES AND METHODS OF WORKING--MODERN QUARRIES AND QUARRYING
+METHODS--MACHINERY USED IN QUARRYING--EUROPEAN AND AMERICAN SYSTEMS
+COMPARED--MARBLE AS BUILDING MATERIAL--USES OF MARBLE OTHER THAN FOR
+BUILDING PURPOSES-SOURCES OF PRODUCTION: ITALIAN, FRENCH, BELGIAN, AND
+GREEK MARBLES, ETC.--MARBLES OF THE UNITED KINGDOM AND BRITISH
+COLONIES--CONTINENTAL MARBLE WORKING--MARBLE WORKING MACHINERY--MARBLE
+WORKING IN THE UNITED STATES--AMERICAN MACHINERY DESCRIBED AND
+COMPARED--MARBLE WORKING: A BRITISH INDUSTRY--MARBLE SUBSTITUTES AND
+IMITATIONS--PRACTICAL POINTS FOR THE CONSIDERATION OF ARCHITECTS--HINTS
+ON THE SELECTION OF MARBLE--LIST OF MARBLES IN ORDINARY USE, WITH
+DESCRIPTIVE NOTES AND INSTANCES OF THEIR APPLICATION.
+
+=MENSURATION AND GAUGING. A POCKET-BOOK= containing Tables, Rules, and
+Memoranda for Revenue Officers, Brewers, Spirit Merchants, &c. By J. B.
+MANT. Second Edition. 18mo, leather. =4/0=
+
+     "Should be in the hands of every practical brewer."--_Brewers'
+     Journal._
+
+=METRIC TABLES, A SERIES OF.= In which the British Standard Measures and
+Weights are compared with those of the Metric System at present in Use
+on the Continent. By C. H. DOWLING, C.E. 8vo, cloth =10/6=
+
+     "Mr. Dowling's tables are well put together as a ready-reckoner for
+     the conversion of one system into the other."--_Athenaeum._
+
+=METROLOGY, MODERN.= A Manual of the Metrical Units and Systems of the
+present Century. With an Appendix containing a proposed English System.
+By LOWIS d'A. JACKSON, A.M.Inst.C.E., Author of "Aid to Survey
+Practice," etc. Large crown 8vo, cloth =12/6=
+
+     "We recommend the work to all interested in the practical reform of
+     our weights and measures."--_Nature._
+
+=MOTOR CAR, THE.= A Practical Manual for the use of Students and Motor
+Car Owners, with notes on the Internal Combustion Engine and its fuel.
+By ROBERT W. A. BREWER, A.M.Inst.C.E., M.I.M.E., M.I.A.E. 250 pages.
+With numerous illustrations. Demy 8vo, cloth _Net_ =5/0=
+
+=MOTOR CAR CATECHISM.= Containing about 320 Questions and Answers
+Explaining the Construction and Working of a Modern Motor Car. For the
+Use of Owners, Drivers, and Students. By JOHN HENRY KNIGHT.
+Second Edition, revised and enlarged, with an additional chapter on
+Motor Cycles. Crown 8vo, with Illustrations _Net_ =1/6=
+
+THE PETROL ENGINE--TRANSMISSION AND THE CHASSIS--TYRES--DUTIES OF A
+CAR DRIVER--MOTOR CYCLES--LAWS AND REGULATIONS.
+
+=MOTOR CARS FOR COMMON ROADS.= By A. J. WALLIS-TAYLER,
+A.M.Inst.C.E. 212 pp., with 76 Illustrations. Crown 8vo. =4/6=
+
+=MOTOR VEHICLES FOR BUSINESS PURPOSES.= A Practical Handbook for those
+interested in the Transport of Passengers and Goods. By A. J.
+WALLIS-TAYLER, A.M.Inst.C.E. With 134 Illustrations. Demy 8vo, cloth
+_Net_ =9/0=
+
+RESISTANCE TO TRACTION ON COMMON ROADS--POWER REQUIRED FOR MOTOR
+VEHICLES--LIGHT PASSENGER VEHICLES--HEAVY PASSENGER VEHICLES--LIGHT
+GOODS VANS--HEAVY FREIGHT VEHICLES--SELF-PROPELLED VEHICLES FOR
+MUNICIPAL PURPOSES--MISCELLANEOUS TYPES OF MOTOR VEHICLES--COST OF
+RUNNING AND MAINTENANCE.
+
+=OILS AND ALLIED SUBSTANCES. AN ANALYSIS.= By A. C. WRIGHT,
+M.A.Oxon., B.Sc.Lond., formerly Assistant Lecturer in Chemistry at the
+Yorkshire College, Leeds, and Lecturer in Chemistry at the Hull
+Technical School. Demy 8vo, cloth _Net_ =9/0=
+
+THE OCCURRENCE AND COMPOSITION OF OILS, FATS AND WAXES--THE
+PHYSICAL PROPERTIES OF OILS, FATS, AND WAXES, AND THEIR
+DETERMINATION--THE CHEMICAL PROPERTIES OF OILS, FATS, AND WAXES
+FROM THE ANALYTICAL STANDPOINT--DETECTION AND DETERMINATION OF
+NON-FATTY CONSTITUENTS--METHODS FOR ESTIMATING THE CONSTITUENTS
+OF OILS AND FATS--DESCRIPTION AND PROPERTIES OF THE MORE IMPORTANT
+OILS, FATS, AND WAXES, WITH THE METHODS FOR THEIR
+INVESTIGATION--EXAMINATION OF CERTAIN COMMERCIAL PRODUCTS.
+
+=ORGAN BUILDING (PRACTICAL).= By W. E. DICKSON, M.A., Precentor
+of Ely Cathedral. Second Edition, Crown 8vo =2/6=
+
+=PAINTS, MIXED. THEIR CHEMISTRY AND TECHNOLOGY.= By MAXIMILIAN
+TOCH. With 60 Photomicrographic Plates and other Illustrations
+_Net_ =12/6=
+
+THE PIGMENTS--YELLOW, BLUE, AND GREEN PIGMENTS--THE INERT FILLERS
+AND EXTENDERS--PAINT VEHICLES--SPECIAL PAINTS--ANALYTICAL--APPENDIX.
+
+=PAINTING FOR THE IMITATION OF WOODS AND MARBLES.= As Taught and
+Practised by A. R. VAN DER BURG and P. VAN DER BURG, Directors of the
+Rotterdam Painting Institution. Royal folio, cloth, 181/2 by 121/2 in.
+Illustrated with 24 full-size Coloured Plates; also 12 Plain Plates,
+comprising 154 Figures. Fifth Edition _Net_ =25/0=
+
+=PAINTING, GRAINING, MARBLING, AND SIGN WRITING.= With a Course of
+Elementary Drawing and a Collection of Useful Receipts. By E. A.
+DAVIDSON. Ninth Edition. Coloured Plates. Crown 8vo, cloth,
+=5/0=; cloth boards, =6/0=
+
+=PAPER-MAKING.= A Practical Manual for Paper Makers and Owners and
+Managers of Paper-Mills. With Tables, Calculations, etc. By G.
+CLAPPERTON, Paper-Maker. With Illustrations of Fibres from
+Micro-Photographs. Second edition, revised and enlarged. Crown 8vo,
+cloth _Net_ =5/0=
+
+CHEMICAL AND PHYSICAL CHARACTERISTICS OF VARIOUS FIBRES--CUTTING AND
+BOILING OF RAGS--JUTE BOILING AND BLEACHING--WET PICKING--WASHING,
+BREAKING, AND BLEACHING--ELECTROLYTIC BLEACHING--ANTICHLOR--CELLULOSE
+FROM WOOD--MECHANICAL WOOD PULP--ESPARTO AND STRAW--BEATING--
+LOADING--STARCHING--COLOURING MATTER--RESIN, SIZE, AND SIZING--THE
+FOURDRINIER MACHINE AND ITS MANAGEMENT--ANIMAL SIZING--DRYING--GLAZING
+AND BURNISHING--CUTTING, FINISHING--MICROSCOPICAL EXAMINATION OF
+PAPER--TESTS FOR INGREDIENTS OF PAPER--RECOVERY OF SODA--TESTING
+OF CHEMICALS--TESTING WATER FOR IMPURITIES.
+
+     "The author caters for the requirements of responsible mill hands,
+     apprentices, etc., whilst his manual will be found of great service
+     to students of technology, as well as to veteran paper-makers and
+     mill-owners. The illustrations form an excellent feature."--_The
+     World's Paper Trade._
+
+=PAPER-MAKING.= A Practical Handbook of the Manufacture of Paper from
+Rags, Esparto, Straw, and other Fibrous Materials. Including the
+Manufacture of Pulp from Wood Fibre, with a Description of the Machinery
+and Appliances used. To which are added Details of Processes for
+Recovering Soda from Waste Liquors. By A. WATT. With Illustrations.
+Crown 8vo =7/6=
+
+=PAPER MAKING, CHAPTERS ON.= A Series of Volumes dealing in a practical
+manner with all the leading questions in connection with the Chemistry
+of Paper-Making and the Manufacture of Paper. By CLAYTON BEADLE,
+Lecturer on Paper-Making before the Society of Arts, 1898 and 1902, and
+at the Battersea Polytechnic Institute, 1902, etc., etc. Each volume is
+published separately, at the price of =5/0= _net_ per vol.
+
+     Volume I, comprises a Series of Lectures delivered on behalf of the
+     Battersea Polytechnic Institute in 1902. Crown 8vo. 151 pp. _Net_
+     5/0
+
+     Volume II. comprises Answers to Questions on Paper-Making Set by
+     the Examiners to the City and Guilds of London Institute,
+     1901-1903. Crown 8vo, 182 pp. _Net_ =5/0=
+
+     Volume III. comprises a short practical Treatise in which Boiling,
+     Bleaching, Loading, Colouring, and similar Questions are discussed.
+     Crown 8vo, 142 pp. _Net_ =5/0=
+
+CONTENTS:--"BRASS" AND "STEEL" BEATER BARS--THE SIZE AND SPEED OF
+BEATER ROLLS--THE FADING OF PRUSSIAN BLUE PAPERS--THE EFFECT OF LOWERING
+THE BREAST ROLL--THE EFFECT OF "LOADING" ON THE TRANSPARENCY OF
+PAPER--"TERRA ALBA" AS A LOADING FOR PAPER--THE USE OF ALUM IN TUB
+SIZING--THE INFLUENCE OF TEMPERATURE ON BLEACHING--THE USE OF REFINING
+ENGINES--AGITATION AS AN AUXILIARY TO BLEACHING--THE HEATING OF "STUFF"
+FOR THE PAPER MACHINE--THE COMPARATIVE RESULTS OF QUADRUPLE AND OPEN
+EFFECT EVAPORATION--HOW TO PREVENT ELECTRIFICATION OF PAPER ON THE
+MACHINE--TRANSPARENCY OF PAPERS--THE "LIFE" OF MACHINE WIRES--EDGE
+RUNNERS.
+
+     Volume IV. contains discussions upon Water Supplies and the
+     Management of the Paper Machine and its influence upon the
+     Qualities of Papers. Crown 8vo, 164 pp. _Net_ =5/0=
+
+CONTENTS:--THE BULKING OF PAPERS--SPECIAL QUALITIES OF "ART"
+PAPERS--THE "AGEING" AND STORAGE OF PAPERS--THE USE OF LIME IN
+BOILING--CONTROLLING THE MARK OF THE "DANDY"--"MACHINE" AND "HAND" CUT
+RAGS--FROTH ON PAPER MACHINE--SCUM SPOTS IN PAPER--CONSUMPTION OF WATER
+IN THE MANUFACTURE OF PAPER--THE MANAGEMENT OF SUCTION-BOXES--THE
+SHRINKAGE OF PAPER ON THE MACHINE--PAPER THAT DOES NOT SHRINK OR
+EXPAND--THE PRODUCTION OF NON-STRETCHABLE PAPER--THE CONNECTION
+BETWEEN "STRETCH" AND "EXPANSION" OF PAPERS--"STRETCH" AND "BREAKING
+STRAIN"--PAPER TESTING MACHINES.
+
+     Volume V. concerning THE THEORY AND PRACTICE OF BEATING. Crown 8vo.
+     With photomicrographs and other Illustrations. _Net_ =5/0=
+
+CONTENTS:--EARLY BEATING APPLIANCES--THE HOLLANDER--THE ECONOMY OF
+BEATING--DIFFICULTIES OF ARRIVING AT DEFINITE RESULTS--BEHAVIOUR OF
+DIFFERENT FIBRES--"REFINING"--POWER CONSUMPTION--A COMPARISON OF TWO
+DIFFERENT KINDS OF BEATERS--POWER CONSUMED IN THE "BREAKING," "BEATING,"
+AND "REFINING" OF DIFFERENT MATERIALS--DEALING WITH THE "CIRCULATION"
+AND "AGITATION" IN A HOLLANDER--COMPARISONS OF LARGE AND MEDIUM-SIZED
+HOLLANDERS WHEN BEATING "HARD" AND "SOFT" STOCK--TRIALS TO DETERMINE THE
+RELATIVE MERITS OF STONE AND METAL BEATER-BARS--TRIALS WITH BREAKERS,
+REED BEATERS, AND KINGSLAND REFINERS--A SYSTEM OF BEATING COMBINED WITH
+A SYSTEM FOR CONTINUOUS BLEACHING--BEATERS AND REFINERS--POWER CONSUMED
+IN GRINDING WOOD-PULP--THE REDUCTION IN LENGTH OF FIBRES AT DIFFERENT
+STAGES OF BEATING--METHOD FOR DETERMINING THE "WETNESS" OF BEATEN
+STUFF--THE POSITION OF BEATERS IN OLD AND MODERN PAPER-MILLS--APPENDIX.
+
+=PARA RUBBER. ITS CULTIVATION & PREPARATION.= By W. H. JOHNSON, F.L.S.,
+Ex-Director of Agriculture, Gold Coast Colony, West Africa, Director of
+Agriculture, Mozambique Company, East Africa, Commissioned by Government
+in 1902 to visit Ceylon to Study the Methods employed there in the
+Cultivation and Preparation of Para Rubber and other Agricultural
+Staples for Market, with a view to Introduce them into West Africa.
+Second Edition, rewritten and greatly enlarged, with numerous
+illustrations. Demy 8vo, cloth _Net_ =7/6=
+
+THE WORLD'S PRODUCTION AND CONSUMPTION OF RUBBER--THE PARA RUBBER
+TREE AT HOME AND ABROAD--PROPAGATION--PLANTING AND CULTIVATING--SOILS
+AND MANURES--PESTS--LATEX--COLLECTING THE LATEX--RUBBER MANUFACTURE--THE
+ANTISEPTICISATION OF RUBBER--DRYING AND PACKING RUBBER FOR EXPORT--YIELD
+OF PARA RUBBER FROM CULTIVATED TREES--ESTABLISHMENT AND MAINTENANCE OF A
+PARA RUBBER PLANTATION--COMMERCIAL VALUE OF THE OIL IN HEVEA SEEDS.
+
+=PASTRYCOOK AND CONFECTIONER'S GUIDE.= For Hotels, Restaurants, and the
+Trade in general, adapted also for Family Use. By R. WELLS,
+Author of "The Bread and Biscuit Baker" =1/0=
+
+=PETROL AIR GAS.= A Practical Handbook on the Installation and Working
+of Air Gas Lighting Systems for Country Houses. By HENRY
+O'CONNOR, F.R.S.E., A.M. Inst. C.E., &c., author of "The Gas
+Engineer's Pocket Book." 80 pages with illustrations. Crown 8vo, cloth
+_Net_ =1/6=
+
+DESCRIPTION OF PREVIOUS PLANTS AND SYSTEMS FOR COUNTRY-HOUSE
+LIGHTING, DIFFICULTIES WITH, OBJECTIONS AND PRICES--HISTORY OF PETROL
+GAS, COMPARATIVE COSTS--PETROL, ITS NATURE, DANGERS, AND STORING, NOTES
+ON THE LAW REGARDING SAME--BURNERS, DESCRIPTION OF SAME, PIPING,
+MANTLES--GENERAL PRINCIPLES OF PARTS OF PLANTS--MOTIVE POWER
+METERS--WEIGHT-DRIVEN PLANTS--ROOT'S BLOWERS--HOT-AIR ENGINES--PELTON
+WATER-WHEELS--DESCRIPTIONS OF VARIOUS PLANTS--EXTRACT FROM AN ACT FOR
+THE SAFE-KEEPING OF PETROLEUM AND OTHER SUBSTANCES OF A LIKE
+NATURE--APPENDIX--USEFUL NOTES.
+
+=PETROLEUM. THE OIL FIELDS OF RUSSIA AND THE RUSSIAN PETROLEUM
+INDUSTRY.= A Practical Handbook on the Exploration, Exploitation, and
+Management of Russian Oil Properties, the Origin of Petroleum in Russia,
+the Theory and Practice of Liquid Fuel. By A. B. THOMPSON, A.M.I.M.E.,
+F.G.S. 415 pp., with numerous Illustrations and Photographic Plates.
+Second Edition Revised. Super-royal 8vo, cloth _Net_ =21/0=
+
+=PETROLEUM MINING AND OIL-FIELD DEVELOPMENT.= A Guide to the Exploration
+of Petroleum Lands, and a Study of the Engineering Problems connected
+with the Winning of Petroleum. Including Statistical Data of important
+Oil Fields. Notes on the Origin and Distribution of Petroleum, and a
+description of the Methods of Utilizing Oil and Gas Fuels. By A.
+BEEBY THOMPSON, A.M.I.Mech.E., F.G.S. Author of "The Oil Fields
+of Russia." 384 pages, 114 illustrations, including 22 full-page plates.
+Demy 8vo, cloth. [_Just Published._] _Net_ =15/0=
+
+     "It is an admirable text-book by a competent authority on an
+     interesting subject."--_Mining Magazine._
+
+     "The present effort is likely to receive a warm welcome in
+     engineering circles, and it can be cordially commended for perusal.
+     It will doubtless have that large sale to which its merits entitle
+     it."--_Mining World._
+
+     "The general aspects of the Petroleum Industry are fully and ably
+     laid out."--_Engineer._
+
+=PIGMENTS, ARTISTS' MANUAL OF.= Showing their Composition, Conditions of
+Permanency, Non-Permanency, and Adulterations, etc., with Tests of
+Purity. By H. C. STANDAGE. Third Edition. Crown 8vo, cloth =2/6=
+
+=PORTLAND CEMENT, THE MODERN MANUFACTURE OF.= By PERCY C. H. WEST,
+Chemical Engineer and Consulting Chemist. In Three Volumes. Vol. I.,
+dealing with "Machinery and Kilns." About 200 pages, Medium 8vo. With
+numerous Illustrations. [_Nearly ready, price about_] =10/6=
+
+=PRODUCER GAS PRACTICE (AMERICAN) AND INDUSTRIAL GAS ENGINEERING.= By
+NISBET LATTA, M.Amer.Soc.M.E., M.Amer.Gas Inst. 558 pages, with
+247 illustrations. Demy 4to, cloth [_Just Published._] _Net_ =25/-=
+
+PRODUCER OPERATION--CLEANING THE GAS--WORKS DETAILS--PRODUCER
+TYPES--MOVING GASES--SOLID FUELS--PHYSICAL PROPERTIES OF GASES--CHEMICAL
+PROPERTIES OF GASES--GAS ANALYSIS--GAS POWER--GAS ENGINES--INDUSTRIAL
+GAS APPLICATIONS--FURNACES AND KILNS--BURNING LIME AND
+CEMENT--PRE-HEATING AIR--DOHERTY COMBUSTION ECONOMISER--COMBUSTION IN
+FURNACES--HEAT: TEMPERATURE, RADIATION AND CONDUCTION--HEAT
+MEASUREMENTS: PYROMETRY AND CALORIMETRY--PIPES, FLUES, AND
+CHIMNEYS--MATERIALS: FIRE CLAY, MASONRY, WEIGHTS AND ROPE--USEFUL
+TABLES--OIL FUEL PRODUCER GAS.
+
+=RECIPES, FORMULAS AND PROCESSES, TWENTIETH CENTURY BOOK OF.= Edited by
+GARDNER D. Hiscox, M.E. Nearly 10,000 Scientific, Chemical, Technical,
+and Household Recipes, Formulas and Processes for Use in the Laboratory
+and the Office, the Workshop and the Home. Medium 8vo, 800 pp., cloth.
+_Net_ =12/6=
+
+SELECTED LIST OF CONTENTS:--ABSINTHE--ACID PROOFING--ADHESIVES--
+ALCOHOL--ALKALI--ALLOYS--ALUMINIUM--AMMONIA--ANILINE--ANTIDOTES FOR
+POISON--ANCHOVY PREPARATIONS--ANTISEPTICS--ANTIQUES--BAKING POWDERS--
+AROMETERS--BEVERAGES--BLEACHING--BRASS--BRICK--CARBOLIC ACIDS--CASTING--
+CELLULOID--CHEESE--CERAMICS--CIGARS--COFFEE--CONDIMENTS--COPPER--
+COSMETICS--COTTON--DIAMOND TESTS--DONARITE--DYES--ELECTRO PLATING--
+EMBALMING--ENAMELLING--ENGRAVING--ESSENCES--EXPLOSIVES--FERTILISERS--
+FILTERS--FOOD ADULTERANTS--GELATINE--GLASS--GOLD--GUMS--HARNESS
+DRESSINGS--HORN--INKS--INSECTICIDES--IRON--IVORY--JEWELLERS' FORMULAS--
+LACQUERS--LAUNDRY PREPARATIONS--LEATHER--LINOLEUM--LUBRICANTS--
+MATCHES--METALS--MUSIC BOXES--OILS--PAINTS--PAPER--PERFUMES--PETROLEUM--
+PHOTOGRAPHY--PLASTER--PLATING--POLISHES--PORCELAIN--POULTRY--PUTTY--RAT
+POISONS--REFRIGERATION--ROPES--RUBBER--RUST PREVENTIVES--SALT--SCREWS--
+SILK--SILVER--SOAPS--SOLDERS--SPIRIT--SPONGES--STEEL--STONE--
+THERMOMETERS--TIN--VALVES--VARNISHES--VETERINARY FORMULAS--WATCHMAKERS'
+FORMULAS--WATERPROOFING--WAX--WEIGHTS AND MEASURES--WHITEWASH--
+WOOD--YEAST.
+
+=RUBBER HAND STAMPS.= And the Manipulation of Rubber. A Practical
+Treatise on the Manufacture of Indiarubber Hand Stamps, Small Articles
+of Indiarubber, The Hektograph, Special Inks, Cements, and Allied
+Subjects. By T. O'CONOR SLOANE A.M., Ph.D. With numerous
+Illustrations. Square 8vo, cloth =5/0=
+
+=SAVOURIES AND SWEETS.= Suitable for Luncheons and Dinners. By Miss M.
+L. Allen (Mrs. A. Macaire), Author of "Breakfast Dishes," etc.
+Thirty-first Edition. F'cap 8vo, sewed =1/0= Or, quarter bound, fancy
+boards =1/6=
+
+=SHEET METAL-WORKER'S GUIDE.= A Practical Handbook for Tinsmiths,
+Coppersmiths, Zincworkers, &c., with 46 Diagrams and Working Patterns.
+By W. J. E. CRANE. Crown 8vo, Cloth =1/6=
+
+=SHEET METAL-WORKER'S INSTRUCTOR.= Comprising Geometrical Problems and
+Practical Rules for Describing the Various Patterns Required by Zinc,
+Sheet-Iron, Copper, and Tin-Plate Workers. By R. H. WARN. Third
+Edition. Revised and Further Enlarged by J. G. HORNER,
+A.M.I.M.E. Crown 8vo, 280 pp., with 465 Illustrations, cloth =7/6=
+
+=SILVERSMITH'S HANDBOOK.= Alloying and Working of Silver, Refining and
+Melting, Solders, Imitation Alloys, Manipulation, Prevention of Waste,
+Improving and Finishing the Surface of the Work, etc. By GEORGE E.
+GEE. Fourth Edition Revised, Crown 8vo, cloth =3/0=
+
+=SOAP-MAKING.= A Practical Handbook of the Manufacture of Hard and Soft
+Soaps, Toilet Soaps, etc. With a Chapter on the Recovery of Glycerine
+from Waste Leys. By ALEXANDER WATT. Seventh Edition, including
+an Appendix on Modern Candlemaking. Crown 8vo, cloth =7/6=
+
+     "The work will prove very useful, not merely to the technological
+     student, but to the soap boiler who wishes to understand the theory
+     of his art."--_Chemical News._
+
+=SOAPS, CANDLES, and GLYCERINE.= A Practical Manual of Modern Method
+of Utilisation of Fats and Oils in the Manufacture of Soap and Candles,
+and of the recovery of Glycerine. By L. L. LAMBORN, Massachusetts
+Institute of Technology, M.Am.C.S. Medium 8vo, cloth. Fully Illustrated.
+706 pages _Net_ =30/0=
+
+THE SOAP INDUSTRY--RAW MATERIALS--BLEACHING AND PURIFICATION OF
+SOAP-STOCK--THE CHEMICAL CHARACTERISTICS OF SOAP-STOCK AND THEIR
+BEHAVIOUR TOWARDS SAPONIFYING AGENTS--MECHANICAL EQUIVALENT OF THE SOAP
+FACTORY--COLD PROCESS AND SEMI-BOILED SOAP--GRAINED SOAP--SETTLED ROSIN
+SOAP--MILLED SOAP-BASE--FLOATING SOAP--SHAVING SOAP--MEDICATED
+SOAP--ESSENTIAL OILS AND SOAP PERFUMERY--MILLED SOAP--CANDLES--
+GLYCERINE--EXAMINATION OF RAW MATERIALS AND FACTORY PRODUCTS.
+
+=SOLUBILITIES OF INORGANIC AND ORGANIC SUBSTANCES.= A Hand-book of the
+most Reliable Quantitative Solubility Determinations. Recalculated and
+Compiled by ATHERTON SEIDELL, Ph.D., Chemist, Hygienic Laboratory, U. S.
+Public Health Service, Washington, D C. Medium 8vo, cloth, 377 pages
+_Net_ =12/6=
+
+=TEA MACHINERY AND TEA FACTORIES.= Describing the Mechanical Appliances
+required in the Cultivation and Preparation of Tea for the Market. By A.
+J. WALLIS-TAYLER, A.M.Inst.C.E. Medium 8vo, 468 pp. With 218
+Illustrations _Net_ =25/0=
+
+     "The subject of tea machinery is now one of the first interest to a
+     large class of people, to whom we strongly commend the
+     volume."--_Chamber of Commerce Journal._
+
+=WAGES TABLES.= At 54, 52, 50, and 48 Hours per Week. Showing the
+Amounts of Wages from one quarter of an hour to sixty-four hours, in
+each case at Rates of Wages advancing by One Shilling from 4s. to
+55s. per week. By THOS. CARBUTT, Accountant. Square crown, 8vo,
+half-bound =6/0=
+
+=WATCH REPAIRING, CLEANING, AND ADJUSTING.= A Practical Handbook dealing
+with the Materials and Tools Used, and the Methods of Repairing,
+Cleaning, Altering, and Adjusting all kinds of English and Foreign
+Watches, Repeaters, Chronographs, and Marine Chronometers. By F. J.
+GARRARD, Springer and Adjuster of Marine Chronometers and Deck Watches
+for the Admiralty. Second Edition. Revised. With over 200 Illustrations.
+Crown 8vo, cloth _Net_ =4/6=
+
+=WATCHES AND OTHER TIMEKEEPERS, HISTORY OF.= By J. F. KENDAL,
+M.B.H. Inst. =1/6= boards; or cloth =2/6=
+
+=WATCHMAKER'S HANDBOOK.= Intended as a Workshop Companion for those
+engaged in Watchmaking and the Allied Mechanical Arts. Translated from
+the French of CLAUDIUS SAUNIER, and enlarged by JULIEN TRIPPLIN,
+F.R.A.S., and EDWARD RIGG, M.A., Assayer in the Royal Mint. Fourth
+Edition. Cr. 8vo, cloth =9/0=
+
+     "Each part is truly a treatise in itself. The arrangement is good
+     and the language is clear and concise. It is an admirable guide for
+     the young watchmaker."--_Engineering._
+
+=WEIGHT CALCULATOR.= Being a Series of Tables upon a New and
+Comprehensive Plan, exhibiting at one Reference the Exact Value of any
+Weight from 1 lb. to 15 tons, at 300 Progressive Rates, from 1d. to
+168s. per cwt., and containing 186,000 Direct Answers, which, with their
+Combinations, consisting of a single addition (mostly to be performed at
+sight), will afford an aggregate of 10,266,000 Answers; the whole being
+calculated and designed to ensure correctness and promote despatch. By
+HENRY HARBEN, Accountant. Sixth edition, carefully corrected.
+Royal 8vo, strongly half bound =L1 5s.=
+
+     "A practical and useful work of reference for men of business
+     generally."--_Ironmonger._
+
+     "Of priceless value to business men."--_Sheffield Independent._
+
+=WOOD ENGRAVING.= A Practical and Easy Introduction to the Study of the
+Art. By W. N. BROWN. Crown 8vo, cloth. =1/6=
+
+
+
+
+HANDYBOOKS FOR HANDICRAFTS.
+
+BY PAUL N. HASLUCK.
+
+Author of "Lathe Work," etc. Crown 8vo, 144 pp., price 1s. each.
+
+
+[symbol: right pointing hand]_These_ HANDYBOOKS _have been written to
+supply information for_ WORKMEN STUDENTS, _and_ AMATEURS _in the several
+Handicrafts, on the actual_ PRACTICE _of the_ WORKSHOP, _and are
+intended to convey in plain language_ TECHNICAL KNOWLEDGE _of the
+several_ CRAFTS. _In describing the processes employed, and the
+manipulation of material, workshop terms are used; workshop practice is
+fully explained; and the text is freely illustrated with drawings of
+modern tools, appliances, and processes._
+
+=METAL TURNER'S HANDYBOOK.= A Practical Manual for Workers at the
+Foot-Lathe. With 100 Illustrations =1/0=
+
+     "The book displays thorough knowledge of the subject."--_Scotsman._
+
+=WOOD TURNER'S HANDYBOOK.= A Practical Manual for Workers at the Lathe.
+With 100 Illustrations =1/0=
+
+     "We recommend the book to young turners and amateurs."--_Mechanical
+     World._
+
+=WATCH JOBBER'S HANDYBOOK.= A Practical Manual of Cleaning, Repairing,
+and Adjusting. With 100 Illustrations =1/0=
+
+     "All connected with the trade should acquire and study this
+     work."--_Clerkenwell Chronicle._
+
+=PATTERN MAKER'S HANDYBOOK.= A Practical Manual on the Construction of
+Patterns. With 100 Illustrations =1/0=
+
+     "A most valuable, if not indispensable, manual for the
+     pattern-maker."--_Knowledge._
+
+=MECHANIC'S WORKSHOP HANDYBOOK.= A Practical Manual on Mechanical
+Manipulation, embracing Information on various Handicraft Processes.
+With Useful Notes and Miscellaneous Memoranda. Comprising about 200
+Subjects =1/0=
+
+     "Should be found in every workshop, and in all technical
+     Schools."--_Saturday Review._
+
+=MODEL ENGINEER'S HANDYBOOK.= A Practical Manual on the Construction of
+Model Steam Engines. With upwards of 100 Illustrations =1/0=
+
+     "Mr. Hasluck has produced a very good little book."--_Builder._
+
+=CLOCK JOBBER'S HANDYBOOK.= A Practical Manual on Cleaning, Repairing,
+and Adjusting. With 100 Illustrations =1/0=
+
+     "It is of inestimable service to those commencing the
+     trade."--_Coventry Standard._
+
+=CABINET WORKER'S HANDYBOOK.= A Practical Manual on the Tools,
+Materials, Appliances, and Processes employed in Cabinet Work. With
+upwards of 100 Illustrations =1/0=
+
+     "Amongst the most practical guides for beginners in
+     cabinet-work."--_Saturday Review._
+
+=WOODWORKER'S HANDYBOOK.= Embracing information on the Tools,
+Materials, Appliances and Processes Employed in Woodworking. With 104
+Illustrations =1/0=
+
+     "Written by a man who knows, not only how work ought to be done,
+     but how to do it, and how to convey his knowledge to
+     others."--_Engineering._
+
+     "Mr. Hasluck writes admirably, and gives complete
+     instructions."--_Engineer._
+
+     "Mr. Hasluck combines the experience of a practical teacher with
+     the manipulative skill and scientific knowledge of processes of the
+     trained mechanician, and the manuals are marvels of what can be
+     produced at a popular price."--_Schoolmaster._
+
+     "Helpful to workmen of all ages and degrees of experience."--_Daily
+     Chronicle._
+
+BRADBURY, AGNEW, & CO. LD., LONDON AND TONBRIDGE. (391.25.5.10.)
+
+
+
+
+_WEALE'S SCIENTIFIC & TECHNICAL SERIES._
+
+
+MATHEMATICS, ARITHMETIC, &c.
+
+Geometry, Descriptive. J. F. HEATHER                         2/-
+Practical Plane Geometry. J. F. HEATHER                      2/-
+Analytical Geometry. J. HANN & J. R. YOUNG                   2/-
+Geometry. Part I. (Euclid, Bks. I.--III.) H. LAW             1/6
+          Part II. (Euclid, Books IV., V., VI., XI.,
+                   XII.). H. LAW                             1/6
+Geometry, in 1 vol. (Euclid's Elements)                      2/6
+Plane Trigonometry. J. HANN                                  1/6
+Spherical Trigonometry. J. HANN                              1/-
+       The above 2 vols., bound together                     2/6
+Differential Calculus. W. S. B. WOOLHOUSE                    1/6
+Integral Calculus. H. COX                                    1/6
+Algebra. J. HADDON                                           2/-
+Key to ditto                                                 1/6
+Book-keeping. J. HADDON                                      1/6
+Arithmetic. J. R. YOUNG                                      1/6
+Key to ditto                                                 1/6
+Equational Arithmetic. W. HIPSLEY                            1/6
+Arithmetic. J. HADDON                                        1/6
+Mathematical Instruments. HEATHER & WALMISLEY                2/-
+Drawing & Measuring Instruments. J. F. HEATHER               1/6
+Optical Instruments, J. F. HEATHER                           1/6
+Surveying & Astronomical Instruments. J. F. HEATHER          1/6
+      The above 3 vols., bound together                      4/6
+Mensuration and Measuring. T. BAKER                          1/6
+Slide Rule, & How to Use it. C. HOARE                        2/6
+Measures, Weights, & Moneys. W. S. B. WOOLHOUSE              2/6
+Logarithms, Treatise on, with Tables. H. LAW                 3/-
+Compound Interest and Annuities. F. THOMAN                   4/-
+Compendious Calculator. D. O'GORMAN                          2/6
+Mathematics. F. CAMPIN                                       3/-
+Astronomy. R. MAIN & W. T. LYNN                              2/-
+Statics and Dynamics. T. BAKER                               1/6
+Superficial Measurement. J. HAWKINGS                         3/6
+
+
+BUILDING & ARCHITECTURE.
+
+Building Estates. F. MAITLAND                                2/-
+Science of Building. E. W. TARN                              3/6
+Building, Art of. E. DOBSON and J. P. ALLEN                  2/-
+Book on Building. Sir E. BECKETT                             4/6
+Dwelling Houses, Erection of. S. H. BROOKS                   2/6
+Cottage Building. C. B. ALLEN                                2/-
+Acoustics of Public Buildings. Prof. T. R. SMITH.            1/6
+Practical Bricklaying. A. HAMMOND                            1/6
+Practical Brick Cutting & Setting. A. HAMMOND                1/6
+Brickwork. F. WALKER                                         1/6
+Brick and Tile Making. E. DOBSON                             3/-
+Practical Brick & Tile Book. DOBSON & HAMMOND                6/-
+Carpentry and Joinery. T. TREDGOLD & E. W. TARN              3/6
+      Atlas of 35 plates to the above                        6/-
+Handrailing, and Staircasing. G. COLLINGS                    2/6
+Circular Work in Carpentry. G. COLLINGS                      2/6
+Roof Carpentry. G. COLLINGS                                  2/-
+Construction of Roofs. E. W. TARN                            1/6
+Joints used by Builders. J. W. CHRISTY                       3/-
+Shoring. G. H. BLAGROVE                                      1/6
+Timber Importer's & Builder's Guide. R. E. GRANDY            2/-
+Plumbing. W. P. BUCHAN                                       3/6
+Ventilation of Buildings. W. P. BUCHAN                       3/6
+Practical Plasterer. W. KEMP                                 2/-
+House-Painting. E. A. DAVIDSON                               5/-
+Elementary Decoration. J. W. FACEY                           2/-
+Practical House Decoration. J. W. FACEY                      2/6
+Gas-Fitting. J. BLACK                                        2/6
+Portland Cement for Users. H. FAIJA & D. B. BUTLER           3/-
+Limes, Cements, & Mortars. G. R. BURNELL                     1/6
+Masonry and Stone Cutting. E. DOBSON                         2/6
+Arches, Piers, and Buttresses. W. BLAND                      1/6
+Quantities and Measurements. A. C. BEATON                    1/6
+Complete Measurer. R. HORTON                                 4/-
+Superficial Measurement. J. HAWKINGS                         3/6
+Light, for use of Architects. E. W. TARN                     1/6
+Hints to Young Architects. WIGHTWICK & GUILLAUME             3/6
+Dictionary of Architectural Terms. J. WEALE                  5/-
+Architecture, Orders. W. H. LEEDS                            1/6
+Architecture, Styles. T. T. BURY                             2/-
+       The above 2 vols., bound together                     3/6
+Architecture, Design. E. L. GARBETT                          2/6
+       The above 3 vols., bound together                     6/-
+Architectural Modelling. T. A. RICHARDSON                    1/6
+Vitruvius' Architecture. J. GWILT                            5/-
+Grecian Architecture. Lord ABERDEEN                          1/-
+       The above 2 vols., bound together                     6/-
+
+
+FINE ARTS.
+
+Dictionary of Painters. P. DARYL                             2/6
+Painting, Fine Art. T. J. GULLICK & J. TIMBS                 5/-
+Grammar of Colouring. G. FIELD & E. A. DAVIDSON              3/-
+Perspective. G. PYNE                                         2/-
+Glass Staining & Painting on Glass                           2/6
+Music. C. C. SPENCER                                         2/6
+Pianoforte Instruction. C. C. SPENCER                        1/6
+
+
+INDUSTRIAL & USEFUL ARTS.
+
+Cements, Pastes, Glues & Gums. H. C. STANDAGE                2/-
+Clocks, Watches and Bells. Lord GRIMTHORPE                   4/6
+Goldsmith's Handbook. G. E. GEE                              3/-
+Silversmith's Handbook. G. E. GEE                            3/-
+Goldsmith's & Silversmith's Handbook. G. E. GEE              7/-
+Hall-Marking of Jewelry. G. E. GEE                           2/-
+Cabinet Maker's Guide. R. BITMEAD                            2/6
+Practical Organ Building. W. E. DICKSON                      2/6
+Coach Building. J. W. BURGESS                                2/6
+Brass Founder's Manual. W. GRAHAM                            2/-
+French Polishing and Enamelling. R. BITMEAD                  1/6
+House Decoration. J. W. FACEY                                5/-
+Letter-Painting Made Easy. J. G. BADENOCH                    1/6
+Boot and Shoemaking. J. B. LENO                              2/-
+Mechanical Dentistry. C. HUNTER                              3/-
+Wood Engraving. W. N. BROWN                                  1/6
+Laundry Management                                           2/-
+
+
+CROSBY LOCKWOOD & SON, 7, Stationers' Hall Court, E.C.
+
+
+[Transcriber's note: the following advertisements were moved from
+the front of the book.]
+
+_WEALE'S SCIENTIFIC & TECHNICAL SERIES._
+
+
+CIVIL ENGINEERING & SURVEYING.
+
+Civil Engineering. H. LAW & D. K. CLARK                      6/6
+Pioneer Engineering. E. DOBSON                               4/6
+Iron Bridges of Moderate Span. H. W. PENDRED                 2/-
+Iron and Steel Bridges & Viaducts. F. CAMPIN                 3/6
+Constructional Steel & Ironwork. F. CAMPIN                   3/6
+Tubular & Girder Bridges. G. D. DEMPSEY                      2/-
+Materials and Construction. F. CAMPIN                        3/-
+Sanitary Work. C. SLAGG                                      3/-
+Roads & Streets. LAW, CLARK, & WALLIS-TAYLER                 6/-
+Construction of Gasworks. S. HUGHES & H. O'CONNOR            6/-
+Well-Sinking. J. G. SWINDELL & G. R. BURNELL                 2/-
+Drainage. G. D. DEMPSEY & D. K. CLARK                        4/6
+Blasting and Quarrying. J. BURGOYNE                          1/6
+Foundations and Concrete Work. E. DOBSON                     1/6
+Pneumatics. C. TOMLINSON                                     1/6
+Surveying. T. BAKER & F. E. DIXON                            2/-
+
+
+MECHANICAL ENGINEERING, &c.
+
+Engineering Drawing. J. MAXTON                               3/6
+Fuels, Analysis and Valuation. H. J. PHILLIPS                2/-
+Fuel. C. W. WILLIAMS & D. K. CLARK                           3/6
+Boilermaker's Assistant. J. COURTNEY                         2/-
+Boilermaker's Ready Reckoner. J. COURTNEY                    4/-
+Boilermaker's Ready Reckoner and Assistant                   7/-
+Steam Boilers. R. ARMSTRONG                                  1/6
+Steam and Machinery Management. M. P. BALE                   2/6
+Steam and the Steam Engine. D. K. CLARK                      3/6
+Steam Engine, Theory of. T. BAKER                            1/6
+Steam Engine. Dr. LARDNER                                    1/6
+Locomotive Engines. G. D. DEMPSEY & D. K. CLARK              3/-
+Locomotive Engine Driving. M. REYNOLDS                       3/6
+Stationary Engine Driving. M. REYNOLDS                       3/6
+Model Locomotive Engineer. M. REYNOLDS                       3/6
+Modern Workshop Practice. J. G. WINTON                       3/6
+Mechanical Engineering. F. CAMPIN                            2/6
+Details of Machinery. F. CAMPIN                              3/-
+Elementary Marine Engineering. J. S. BREWER                  1/6
+Power of Water. J. GLYNN                                     2/-
+Mechanism and Machines. T. BAKER & J. NASMYTH                2/6
+Mechanics. C. TOMLINSON                                      1/6
+Cranes and Machinery. J. GLYNN                               1/6
+Smithy and Forge. W. J. E. CRANE                             2/6
+Sheet-Metal Worker's Guide. W. J. E. CRANE                   1/6
+Elementary Electric Lighting. A. A. C. SWINTON               1/6
+
+
+MINING & METALLURGY.
+
+Mining Calculations. T. A. O'DONAHUE                         3/6
+Mineralogy. A. RAMSAY                                        3/6
+Coal Mining. Sir W. W. SMYTH & T. F. BROWN                   3/6
+Metallurgy of Iron. H. BAUERMAN                              5/-
+Mineral Surveyor's Guide. W. LINTERN                         3/6
+Slate and Slate Quarrying. D. C. DAVIES                      3/-
+Mining and Quarrying. J. H. COLLINS                          1/6
+Subterraneous Surveying. T. FENWICK & T. BAKER               2/6
+Mining Tools. W. MORGANS                                     2/6
+Plates to ditto. 4to                                         4/6
+Physical Geology. PORTLOCK & TATE                            2/-
+Historical Geology. R. TATE                                  2/6
+    The above 2 vols., bound together.                       4/6
+Electro-Metallurgy. A. WATT                                  3/6
+
+
+NAVIGATION, SHIPBUILDING, &c.
+
+Navigation. J. GREENWOOD & W. H. ROSSER                      2/6
+Practical Navigation. GREENWOOD, ROSSER & LAW                7/-
+Navigation and Nautical Astronomy. J. R. YOUNG               2/6
+Mathematical & Nautical Tables. LAW & YOUNG                  4/-
+Masting and Rigging. R. KIPPING                              2/-
+Sails and Sailmaking. R. KIPPING                             2/6
+Marine Engines. R. MURRAY & G. CARLISLE                      4/6
+Naval Architecture. J. PEAKE                                 3/6
+Ships, Construction of. H. A. SOMMERFELDT                    1/6
+Plates to ditto. 4to                                         7/6
+Ships and Boats. W. BLAND                                    1/6
+
+
+=AGRICULTURE & GARDENING.=
+
+Fertilisers & Feeding Stuffs. DR. B. DYER             _net_  1/-
+Draining and Embanking. PROF. J. SCOTT                       1/6
+Irrigation and Water Supply. PROF. J. SCOTT                  1/6
+Farm Roads, Fences, and Gates. PROF. J. SCOTT                1/6
+Farm Buildings. PROF. J. SCOTT                               2/-
+Barn Implements and Machines. PROF. J. SCOTT                 2/-
+Field Implements and Machines. PROF. J. SCOTT                2/-
+Agricultural Surveying. PROF. J. SCOTT                       1/6
+    The above 7 vols., bound together                       12/-
+Farm Management. R. S. BURN                                  2/6
+Landed Estates Management. R. S. BURN                        2/6
+Farming--Soils, Manures, and Crops. R. S. BURN               2/-
+Farming--Outlines--Farming Economy. R. S. BURN               3/-
+Farming--Cattle, Sheep, and Horses. R. S. BURN               2/6
+Farming--Dairy, Pigs, and Poultry. R. S. BURN                2/-
+Farming--Sewage & Irrigation. R. S. BURN                     2/6
+    The above 5 vols., bound together                       12/-
+Book-keeping for Farmers. J. M. WOODMAN                      2/6
+Ready Reckoner for Land. A. ARMAN                            2/-
+Miller's & Farmer's Ready Reckoner                           2/-
+Hay and Straw Measurer. J. STEELE                            2/-
+Meat Production. J. EWART                                    2/6
+The Sheep. W. C. SPOONER                                     3/6
+Multum-in-Parvo Gardening. S. WOOD                           1/-
+Forcing Garden. S. WOOD                                      3/6
+Market and Kitchen Gardening. C. W. SHAW                     3/-
+Kitchen Gardening. G. M. F. GLENNY                           1/6
+Cottage Gardening. E. HOBDAY                                 1/6
+Garden Receipts. C. W. QUIN                                  1/6
+Potatoes: How to Grow. J. PINK                               2/-
+Culture of Fruit Trees. M. DU BREUIL                         3/6
+Tree Planter & Plant Propagator. S. WOOD                     2/-
+Tree Pruner. S. WOOD                                         1/6
+Tree Planter, Propagator, & Pruner. S. WOOD                  3/6
+Grafting and Budding. C. BALTET                              2/6
+Bees for Pleasure & Profit. G. G. SAMSON              _net_  1/-
+
+CROSBY LOCKWOOD & SON, 7, Stationers' Hall Court, E.C.
+
+
+Transcriber's notes:
+page
+ 14.  add period after "the above processes"
+ 29.  varnsh corrected to varnish
+ 31.  from corrected
+ 32.  closing quote added after Polish
+ 44.  polish aud spirits changed to and
+ 93.  added parens close after "finish
+ 95.  earthern corrected to earthen
+ 97.  boiled-linseed oil corrected to boiled linseed-oil
+104.  period after coarsely
+114.  campeachiaum corrected to campeachianum
+130.  published net added right bracket
+131.  net added right bracket
+131.  OF METALS added period
+134.  added right bracket ]
+135.  Material [added right bracket] Uses of
+137.  "Refining"--Power Consumption added dashes
+138.  added ] in 3 places
+
+
+
+
+
+
+End of Project Gutenberg's French Polishing and Enamelling, by Richard Bitmead
+
+*** END OF THIS PROJECT GUTENBERG EBOOK FRENCH POLISHING AND ENAMELLING ***
+
+***** This file should be named 17935.txt or 17935.zip *****
+This and all associated files of various formats will be found in:
+        http://www.gutenberg.org/1/7/9/3/17935/
+
+Produced by K.D. Thornton and the Online Distributed
+Proofreading Team at http://www.pgdp.net
+
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties.  Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License (available with this file or online at
+http://gutenberg.org/license).
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement.  If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B.  "Project Gutenberg" is a registered trademark.  It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement.  There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement.  See
+paragraph 1.C below.  There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed.  Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work.  You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D.  The copyright laws of the place where you are located also govern
+what you can do with this work.  Copyright laws in most countries are in
+a constant state of change.  If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E.  Unless you have removed all references to Project Gutenberg:
+
+1.E.1.  The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges.  If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder.  Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5.  Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6.  You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form.  However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7.  Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8.  You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm trademark, but he
+     has agreed to donate royalties under this paragraph to the
+     Project Gutenberg Literary Archive Foundation.  Royalty payments
+     must be paid within 60 days following each date on which you
+     prepare (or are legally required to prepare) your periodic tax
+     returns.  Royalty payments should be clearly marked as such and
+     sent to the Project Gutenberg Literary Archive Foundation at the
+     address specified in Section 4, "Information about donations to
+     the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+     you in writing (or by e-mail) within 30 days of receipt that s/he
+     does not agree to the terms of the full Project Gutenberg-tm
+     License.  You must require such a user to return or
+     destroy all copies of the works possessed in a physical medium
+     and discontinue all use of and all access to other copies of
+     Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+     money paid for a work or a replacement copy, if a defect in the
+     electronic work is discovered and reported to you within 90 days
+     of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+     distribution of Project Gutenberg-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH F3.  YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need, is critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at http://www.pglaf.org.
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Its 501(c)(3) letter is posted at
+http://pglaf.org/fundraising.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at http://pglaf.org
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit http://pglaf.org
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including checks, online payments and credit card
+donations.  To donate, please visit: http://pglaf.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart is the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+Most people start at our Web site which has the main PG search facility:
+
+     http://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
+
+*** END: FULL LICENSE ***
+
diff --git a/17935.zip b/17935.zip
new file mode 100644
index 0000000..399e7a4
--- /dev/null
+++ b/17935.zip
diff --git a/LICENSE.txt b/LICENSE.txt
new file mode 100644
index 0000000..6312041
--- /dev/null
+++ b/LICENSE.txt
@@ -0,0 +1,11 @@
+This eBook, including all associated images, markup, improvements,
+metadata, and any other content or labor, has been confirmed to be
+in the PUBLIC DOMAIN IN THE UNITED STATES.
+
+Procedures for determining public domain status are described in
+the "Copyright How-To" at https://www.gutenberg.org.
+
+No investigation has been made concerning possible copyrights in
+jurisdictions other than the United States. Anyone seeking to utilize
+this eBook outside of the United States should confirm copyright
+status under the laws that apply to them.
diff --git a/README.md b/README.md
new file mode 100644
index 0000000..19e9d96
--- /dev/null
+++ b/README.md
@@ -0,0 +1,2 @@
+Project Gutenberg (https://www.gutenberg.org) public repository for
+eBook #17935 (https://www.gutenberg.org/ebooks/17935)