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| committer | Roger Frank <rfrank@pglaf.org> | 2025-10-15 04:52:11 -0700 |
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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> </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;">" (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>—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>—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>—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>—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>—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>—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>—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>—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>—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>—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>—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>—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>—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>—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>—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>—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:—</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>—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:—</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>—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>—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.</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:—</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> 7 " 2 "</td></tr> +<tr><td>Shellac (the yellower the better) </td><td> 14 " 2 "</td></tr> +<tr><td>Alcohol of 0.8295 specific gravity </td><td> 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:—</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> ¾ ounce.</td></tr> +<tr><td>White resin </td><td> ¾ "</td></tr> +<tr><td>Benzoin </td><td> ¾ "</td></tr> +<tr> + <td>Gum thus </td> + <td> ¾ "</td></tr> +<tr><td>O.P. finishing spirit</td><td> ½ 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 & 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.</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 & Sons, 7 to 9, Broad-street, Bloomsbury, +W.C.; Messrs. William Fox & 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:—</p> + +<p style="margin-left: 25%; margin-right: 25%;"> +12 ounces of orange shellac.<br /> +<span style="margin-left: 0.5em;"> 1 ounce of benzoin.</span><br /> +<span style="margin-left: 0.5em;"> 1 ounce of sandarach.</span><br /> +<span style="margin-left: 0.5em;">½ 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>—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—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—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—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.</p> + + +<p><b>Position.</b>—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>—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>—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>—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>—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>—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 <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>—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 <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>—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>—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>—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>—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,—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. <span class="pagenum">46</span><a name="Page_46" id="Page_46"></a></p> + +<p><b>Varnishes.</b>—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>—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>—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>—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>—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>—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>.—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>.—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.</p> + + +<p><b>Mode of Operation</b>.—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>—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>—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—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>—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.</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—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>—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>—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>—Put ¾ lb. gum shellac into 1 gall. +linseed-oil; take ½ 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>—Take 5 lb. of whiting, 3 lb. calcined +plaster (plaster of Paris), ½ 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>—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, ½ 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>—Take 5 lb. of whiting, 2 lb. of calcined +plaster, 1½ 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>—Take 5 lb. of whiting, 2 lb. calcined plaster, 1 oz. +dry burnt sienna, ½ oz. of dry French yellow, 1 qt. raw linseed-oil, 1 +pt. benzine spirits, and ½ 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>—Take 6 lb. of fine whiting, 2 lb. of calcined plaster, +1 lb. of rose-pink, 2 oz. of Venetian red, ½ lb. of Vandyke brown, ½ +lb. of Brandon red, 1 gall. of boiled linseed-oil, ½ 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).—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, ½ lb. of Venetian red, 1 gall. of boiled +linseed-oil, ½ 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).—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, ½ 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.—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>—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—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>—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>—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>—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>—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>—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>—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>.—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>—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>—<i>With One Coat of Varnish.</i>—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>—Take ½ gall. of turpentine, 1½ lb. yellow +beeswax, 1 lb. white beeswax, ½ 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>—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, ½ 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>—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>—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>—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 ½ 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>—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>—Eight ounces of beeswax, 2 oz. of resin, and ½ 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—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>—Take 2 oz. gum benjamin, ½ oz. gum +sandarach, ½ oz. gum anîme, 1½ 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 ¼ gill of poppy-oil. +Shake well together, and it is ready for use.</p> + + +<p><b>A Varnish for Musical Instruments.</b>—Take one gallon of alcohol, 1 lb. +gum sandarach, ½ 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>—Take of shellac 1½ oz. gum mastic +and gum sandarach, of each ½ 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>—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>—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>—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>—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>—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>—Take 1 gallon spirits of +turpentine, 2¼ 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>—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>—Take 19 oz. gum sandarach, 9½ oz. orange +shellac, 12½ 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>—Take 1 gallon alcohol, 2 lbs. gum sandarach, ½ +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>—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>—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>—Take 2 lbs. pulverised gum asphaltum, ¼ 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>—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>—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>—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>—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.</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 ½ 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.</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—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.</p> + + +<p><b>Cheap but Valuable Stain for the Sap of Black Walnut.</b>—Take 1 gallon +of strong <span class="pagenum">96</span><a name="Page_96" id="Page_96"></a>vinegar, 1 lb. dry burnt umber, ½ lb. fine rose-pink, ½ +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>—Take ½ +pint alcohol, ¼ oz. pulverised resin, ¼ oz. gum shellac, ½ 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>—Take 1 gallon of very +thin sized shellac; add 1 lb. of dry burnt umber, 1 lb. of dry burnt +sienna, and ¼ 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>—Take 1 lb. of logwood chips, ½ lb. of red-sanders, +½ 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>—Take 1 gallon alcohol, 1 lb. +red-sanders, 1 lb. dragon's blood, 1 lb. extract logwood, ½ 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>—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, ½ 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>—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, ½ pint; gum benzoin, +2 oz.; shellac, ½ 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>—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>—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>—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>).—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>).—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>).—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>Hæmatoxylon campeachianum</i>).—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>).—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>).—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>).—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>).—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>—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>—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>—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>—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>—or, more properly, <i>gum-lac</i>—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>—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>—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>—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>—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 & 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 <span class="bprice"> 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 — 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</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"> £1 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"> 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"> 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, &c. By +W. <span class="smcap">Graham</span>. Crown 8vo, cloth <span class="bprice"> 2/0</span></p> + + +<p class="outdent"><b>BREAD & BISCUIT BAKER'S & 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"> 1/0</span></p> + +<div class="blockquot"><p>"A large number of wrinkles for the ordinary cook, as well as the + baker." —<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," &c. Twenty-third Edition. F'cap 8vo. Sewed + <span class="bprice"> 1/0</span><br /> +<span style="margin-left: 2.5em;">Or, quarter bound, fancy boards</span> <span class="bprice"> 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 — 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</span>.</p> + +<div class="blockquot"><p>"We have great pleasure in recommending this handy Book." —<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 £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"> 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." —<i>Engineer.</i></p></div> + +<div class="blockquot"><p> "The most perfect work of the kind yet prepared." —<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 Formulæ. By H. C. <span class="smcap">Standage</span>, Crown 8vo, +cloth <span class="bprice"> 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." —<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 — 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</span>.<a name="Page_117" id="Page_117"></a></p> + + +<p class="outdent"><b>CLOCKS, WATCHES, & 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"> 5/6</span></p> + +<div class="blockquot"><p>"The only modern treatise on clock-making." —<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"> 2/6</span></p> + + +<p class="outdent"><b>COKE—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." —<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." —<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—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"> 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—what are far more useful—short passages, + sentences, or phrases expressing the same general idea in various + forms." —<i>Athenæum</i>.</p></div> + + +<p class="outdent"><b>CONFECTIONER, MODERN FLOUR.</b> Containing a large Collection of Recipes +for Cheap Cakes, Biscuits, &c. With remarks on the Ingredients Used in +their Manufacture. By R. <span class="smcap">Wells</span> <span class="bprice"> 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"> 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." —<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, &c. For the Use of Operatives, Overlookers, and Manufacturers. +By J. <span class="smcap">Lister</span>. 8vo, cloth <span class="bprice"> 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, &c. By H. +J. <span class="smcap">Phillips</span>. Crown 8vo, cloth <span class="bprice"> 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"> 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 1¼ to 90 per cent., Tables of Discount from +1¼ to 98¾ per cent., and Tables of Commission, &c., from ⅛ to 10 +per cent. By <span class="smcap">Henry Harben</span>, Accountant. New Edition, Corrected. +Demy 8vo, half-bound <span class="bprice"> £1 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." —<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"> 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, &c., &c. By J. W. +<span class="smcap">Urquhart</span>, C.E. Fifth Edition, Revised. Crown 8vo, cloth <span class="bprice"> 5/0</span></p> + + +<p class="outdent"><b>ELECTRO-PLATING & 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 — 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. <br />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</span>.</p> + +<div class="blockquot"><p>"Eminently a book for the practical worker in + electro-deposition." —<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"> 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"> 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." —<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 — 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</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." —<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"> 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." —<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"> £1 5s.</span></p> + +<div class="blockquot"><p>"This invaluable work is the standard authority on the science of + milling." —<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, &c. By R. +<span class="smcap">Bitmead</span>. Crown 8vo, cloth <span class="bprice"> 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 — 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</span>.</p> + +<div class="blockquot"><p>"The book contains a vast amount of information." —<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"> 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 — 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</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"> 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"> 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, &c. By G. E. <span class="smcap">Gee</span>, Sixth Edition. Crown 8vo, cloth + <span class="bprice"> 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"> 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"> 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., Besançon 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">£2 2s.</span> cloth; half-calf <span class="bprice"> £2 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." —<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 Mediæval 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, 1½, 2, 2½, 3, 3½, 3¾, 4, 4½, 4¾ 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"> 9/0</span></p> + +<div class="blockquot"><p>"A most useful set of tables. Nothing like them before + existed." —<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 ¼ 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 <span class="bprice"> £1 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"> 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"> 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 — 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</span>.</p> + +<div class="blockquot"><p>"A useful and concise epitome of the law." —<i>Law Magazine.</i></p> + +<p> "A complete digest of the most useful facts which constitute + English law." —<i>Globe.</i></p> + +<p> "A dictionary of legal facts well put together. The book is a very + useful one." —<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 — 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</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." —<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," &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"> 15/0</span></p> + +<p class="adpara"><span class="smcap">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</span>.</p> + + +<p class="outdent"><b>MENSURATION AND GAUGING. A POCKET-BOOK</b> containing Tables, Rules, + and Memoranda for Revenue Officers, Brewers, Spirit Merchants, &c. + By J. B. <span class="smcap">Mant</span>. Second Edition. 18mo, leather. <span class="bprice"> 4/0</span></p> + +<div class="blockquot"><p>"Should be in the hands of every practical brewer." —<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"> 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." —<i>Athenæum.</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"> 12/6</span></p> + +<div class="blockquot"><p>"We recommend the work to all interested in the practical reform of + our weights and measures." —<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—Transmission and the Chassis—Tyres—Duties of a +Car Driver—Motor Cycles—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"> 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 — 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</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 — 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</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"> 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 — Yellow, Blue, and Green Pigments — The Inert Fillers +and Extenders — Paint Vehicles — Special +Paints — Analytical — 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, +18½ by 12½ 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"> 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 — 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.</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." —<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"> 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: — "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</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: — 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</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: — 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</span>.</p> + + +<p class="outdent"><b>PARA RUBBER. ITS CULTIVATION & 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 — 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</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"> 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., &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 — 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.</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." —<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." —<i>Mining World.</i></p> + +<p> "The general aspects of the Petroleum Industry are fully and ably + laid out." —<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"> 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>] <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—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.</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: — Absinthe — Acid +Proofing — Adhesives — Alcohol — Alkali — Alloys — Aluminium — Ammonia — Aniline — Antidotes +for Poison — Anchovy Preparations — Antiseptics — Antiques — Baking +powders — Barometers — 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.</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"> 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"> 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, &c., with 46 Diagrams and Working Patterns. +By W. J. E. <span class="smcap">Crane</span>. Crown 8vo, Cloth <span class="bprice"> 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"> 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"> 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"> 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." —<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 — 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.</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." —<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"> 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"> 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"> 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." —<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"> £1 5s.</span></p> + +<div class="blockquot"><p>"A practical and useful work of reference for men of business + generally." —<i>Ironmonger.</i></p> + +<p> "Of priceless value to business men." —<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"> 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;">☞</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"> 1/0</span></p> + +<div class="blockquot"><p>"The book displays thorough knowledge of the subject." —<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"> 1/0</span></p> + +<div class="blockquot"><p>"We recommend the book to young turners and amateurs." —<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"> 1/0</span></p> + +<div class="blockquot"><p>"All connected with the trade should acquire and study this + work." —<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"> 1/0</span></p> + +<div class="blockquot"><p>"A most valuable, if not indispensable, manual for the + pattern-maker." —<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"> 1/0</span></p> + +<div class="blockquot"><p>"Should be found in every workshop, and in all technical + Schools." —<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"> 1/0</span></p> + +<div class="blockquot"><p>"Mr. Hasluck has produced a very good little book." —<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"> 1/0</span></p> + +<div class="blockquot"><p>"It is of inestimable service to those commencing the + trade." —<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"> 1/0</span></p> + +<div class="blockquot"><p>"Amongst the most practical guides for beginners in + cabinet-work." —<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"> 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." —<i>Engineering.</i></p> + +<p> "Mr. Hasluck writes admirably, and gives complete + instructions." —<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." —<i>Schoolmaster.</i></p> + +<p> "Helpful to workmen of all ages and degrees of experience." —<i>Daily + Chronicle.</i></p></div> + + +<p class="center">BRADBURY, AGNEW, & 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 & TECHNICAL SERIES.</span></td></tr> + + +<tr><td colspan="2" align="center"><h4>MATHEMATICS, ARITHMETIC, &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> & <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.—III.) <span class="smcap">H. 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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> & <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 & 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 & TECHNICAL SERIES.</span></td></tr> + + +<tr><td colspan="2" align="center"><h4>BUILDING & ARCHITECTURE—<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> & <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> & <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. 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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 & 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. 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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 & 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 & 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 & TECHNICAL SERIES.</span></td></tr> + + +<tr><td colspan="2" align="center"><h4>MECHANICAL ENGINEERING, &c.—<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 & 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 & 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 & 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 & 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 & 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, &c.</h4></td></tr> + + +<tr><td><span class="adtitle">Navigation</span>. <span class="smcap">J. Greenwood & 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 & 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 & Nautical Tables</span>. <span class="smcap">Law & 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 & 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 & 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 & TECHNICAL SERIES</span>.</td></tr> + +<tr><td colspan="2" align="center"><h4><b>AGRICULTURE & GARDENING.</b></h4></td></tr> + + +<tr><td><span class="adtitle">Fertilisers & Feeding Stuffs</span>. Dr. <span class="smcap">B. Dyer</span></td><td><span class="price"><i>net</i> 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—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—Outlines—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—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—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—Sewage & 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 & 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 & 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, & 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 & Profit</span>. <span class="smcap">G. G. Samson</span> </td><td><span class="price"><i>net</i> 1/-</span><br /></td></tr> +<tr><td colspan="2" class="bt"> +<h4>CROSBY LOCKWOOD & 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 /> + <a href="#Page_1">1</a>. add period after "the above processes"<br /> + <a href="#Page_16">16</a>. varnsh corrected to varnish<br /> + <a href="#Page_17">17</a>. from corrected<br /> + <a href="#Page_18">18</a>. closing quote added after Polish<br /> + <a href="#Page_31">31</a>. "polish aud spirits" changed to and<br /> + <a href="#Page_79">79</a>. added parens close after "finish<br /> + <a href="#Page_81">81</a>. earthern corrected to earthen<br /> + <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. 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