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diff --git a/17935.txt b/17935.txt new file mode 100644 index 0000000..6a970a6 --- /dev/null +++ b/17935.txt @@ -0,0 +1,4480 @@ +Project Gutenberg's French Polishing and Enamelling, by Richard Bitmead + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: French Polishing and Enamelling + A Practical Work of Instruction + +Author: Richard Bitmead + +Release Date: March 6, 2006 [EBook #17935] + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK FRENCH POLISHING AND ENAMELLING *** + + + + +Produced by K.D. Thornton and the Online Distributed +Proofreading Team at http://www.pgdp.net + + + + + +FRENCH POLISHING +AND +ENAMELLING + +A Practical Work of Instruction + +INCLUDING +NUMEROUS RECIPES FOR MAKING POLISHES, +VARNISHES, GLAZE-LACQUERS, REVIVERS, ETC. + +BY RICHARD BITMEAD + +AUTHOR OF "THE CABINET-MAKER'S GUIDE," "THE UPHOLSTERER'S GUIDE," ETC. +Fourth Edition + +[Illustration: Capio Lumen] + +LONDON +CROSBY LOCKWOOD AND SON +7, STATIONERS' HALL COURT, LUDGATE HILL +1910 + +[_All rights reserved_] + + +PRINTED BY +WILLIAM CLOWES AND SONS, LIMITED, +LONDON AND BECCLES. + + + + +AUTHOR'S PREFACE. + + +Early in the present century the method generally adopted for polishing +furniture was by rubbing with beeswax and turpentine or with +linseed-oil. That process, however, was never considered to be very +satisfactory, which fact probably led to experiments being made for the +discovery of an improvement. The first intimation of success in this +direction appeared in the _Mechanic's Magazine_ of November 22, 1823, +and ran as follows: "The Parisians have now introduced an entirely new +mode of polishing, which is called _plaque_, and is to wood precisely +what plating is to metal. The wood by some process is made to resemble +marble, and has all the beauty of that article with much of its +solidity. It is even asserted by persons who have made trial of the new +mode that water may be spilled upon it without staining it." Such was +the announcement of an invention which was destined ultimately to become +a new industry. + +The following pages commence with a description of the art of French +Polishing in its earliest infancy, care having been taken by the Author, +to the best of his ability, to note all the new processes and +manipulations, as well as to concisely and perspicuously arrange and +describe the various materials employed, not only for French polishing +but for the improving and preparation of furniture woods, a matter of +great importance to the polisher. The arts of Staining and Imitating, +whereby inferior woods are made to resemble the most costly, are also +fully treated, as well as the processes of Enamelling, both in +oil-varnishes and French polish, together with the method of decorating +the same. The condition of the art of polishing in America is dwelt +upon, and various interesting articles written by practical polishers in +the States, which appeared in their trade journal, _The Cabinet-maker_, +have been revised and printed in this work. + +A number of valuable recipes, and other instructive matter, useful alike +to the amateur and to the practical workman, are also given. + + + + +CONTENTS. + + + CHAPTER I. + _THE IMPROVING AND PREPARATION OF FURNITURE WOODS._ PAGE + Improving 2 + Matching 3 + Painting 5 + Dyed Polishes 6 + + + CHAPTER II. + _STAINS AND IMITATIONS._ + Imitation Mahogany 8 + Imitation Rosewood 8 + Imitation Walnut 9 + Imitation Ebony 10 + Imitation Oak 11 + Imitation Satin-wood 12 + A Blue Stain 13 + A Green Stain 13 + A Purple Stain 13 + A Red Stain 14 + Imitation Purple-wood Stain 14 + Chemicals used in Staining 15 + Process of Staining 16 + Ready-made Wood Stains 17 + + + CHAPTER III. + _FRENCH POLISHING._ + The Polish Used 18 + Rubbers 22 + Position 24 + Filling-in 25 + Applying the Polish 26 + Spiriting-off 30 + Prepared Spirits 32 + Antique Style 32 + Dull or Egg-shell Polish 33 + Polishing in the Lathe 34 + + + CHAPTER IV. + _CHEAP WORK._ + Glazing 37 + Stencilling 39 + Charcoal Polishing 40 + + + CHAPTER V. + _RE-POLISHING OLD WORK_ 42 + + + CHAPTER VI. + _SPIRIT VARNISHING._ + Varnishes 46 + Brushes and Pencils 47 + Mode of Operation 47 + East Indian Varnishes 48 + + + CHAPTER VII. + _GENERAL INSTRUCTIONS._ + Remarks on Polishing 51 + The Polishing Shop 52 + + + CHAPTER VIII. + _ENAMELLING._ + Materials 57 + Tools 58 + Mode of Operation 58 + Polishing 60 + Another Process 61 + Decorations 63 + + + CHAPTER IX. + _AMERICAN POLISHING PROCESSES._ + Use of Fillers 65 + Making Fillers 70 + Japan of the Best Quality 70 + Fillings for Light Woods 70 + Another for Light Woods 70 + For Mahogany or Cherry Wood 71 + For Oak Wood 71 + For Rosewood 71 + For Black Walnut (1) 71 + " (2) 71 + An Oil Colour for Black Walnut (3) 72 + Finishing 73 + Black Walnut Finishing 75 + Finishing Veneered Panels, etc. 78 + Light Woods (Dead Finish) 79 + Mahogany or Cherry Wood 79 + Oak 79 + Rosewood, Coromandel, or Kingwood (a Bright Finish) 79 + Walnut 80 + Finishing Cheap Work 81 + With One Coat of Varnish 81 + Wax Finishing 82 + A Varnish Polish 82 + With Copal or Zanzibar Varnish 83 + Polishing Varnish 85 + An American Polish Reviver 86 + + + CHAPTER X. + _MISCELLANEOUS RECIPES._ + Oil Polish 87 + Wax Polish 87 + Waterproof French Polish 88 + Varnish for Musical Instruments 88 + French Varnish for Cabinet-work 89 + Mastic Varnish 89 + Cabinet-maker's Varnish 90 + Amber Varnish 90 + Colourless Varnish with Copal 90 + Seedlac Varnish 91 + Patent Varnish for Wood or Canvas 91 + Copal Varnish 91 + Carriage Varnish 92 + Transparent Varnish 92 + Crystal Varnish for Maps, etc. 92 + Black Varnish 92 + Black Polish 93 + Varnish for Iron 93 + Varnish for Tools 93 + To Make Labels Adhere to a Polished Surface 94 + To Remove French Polish or Varnish from Old Work 94 + Colouring for Carcase Work 94 + Cheap but Valuable Stain for the Sap of Black Walnut 95 + Polish (American) for Removing Stains, etc., from Furniture 96 + Walnut Stain to be used on Pine and White-wood 96 + Rosewood Stain 97 + Rosewood Stain for Cane Work, etc. 97 + French Polish Reviver 98 + Morocco Leather Reviver 98 + Hair-cloth Reviver 99 + To Remove Grease Stains from Silks, Damasks, Cloth, etc. 99 + To Remove Ink Stains from White Marble 99 + + + CHAPTER XI. + _MATERIALS USED._ + Alkanet-root 100 + Madder-root 100 + Red-sanders 101 + Logwood 101 + Fustic 102 + Turmeric 102 + Indigo 103 + Persian Berries 103 + Nut-galls 103 + Catechu 103 + Thus 104 + Sandarach 104 + Mastic 104 + Benzoin 104 + Copal 105 + Dragon's Blood 106 + Shellac 106 + Amber 107 + Pumice-stone 107 + Linseed-oil 108 + Venice Turpentine 110 + Oil of Turpentine 110 + Methylated Spirits 110 + + + + +FRENCH POLISHING + +AND + +ENAMELLING. + +CHAPTER I. + +_THE IMPROVING AND PREPARATION OF +FURNITURE WOODS._ + + +For a French polisher to be considered a good workman he should, in +addition to his ordinary ability to lay on a good polish, possess +considerable knowledge of the various kinds of wood used for furniture, +as well as the most approved method of bringing out to the fullest +extent their natural tones or tints; he should also be able to improve +the inferior kinds of wood, and to stain, bleach, or match any of the +fancy materials to which his art is applied, in a manner that will +produce the greatest perfection. The following information is given to +facilitate a thorough knowledge of the above processes. + + +=Improving.=--Iron filings added to a decoction of gall-nuts and vinegar +will give to ebony which has been discoloured an intense black, after +brushing over once or twice. Walnut or poor-coloured rosewood can be +improved by boiling half an ounce of walnut-shell extract and the same +quantity of catechu in a quart of soft-water, and applying with a +sponge. Half a pound of walnut husks and a like quantity of oak bark +boiled in half a gallon of water will produce much the same result. +Common mahogany can be improved by rubbing it with powdered red-chalk +(ruddle) and a woollen rag, or by first wiping the surface with liquid +ammonia, and red-oiling afterwards. For a rich mild red colour, +rectified spirits of naphtha, dyed with camwood dust, or an oily +decoction of alkanet-root. Methylated spirits and a small quantity of +dragon's blood will also produce a mild red. Any yellow wood can be +improved by an alcoholic solution of Persian berries, fustic, turmeric, +or gamboge. An aqueous decoction of barberry-root will serve the same +purpose. Birch when preferred a warm tint may be sponged with oil, very +slightly tinted with rose-madder or Venetian red; the greatest care +should be used, or it will be rendered unnatural in appearance by +becoming too red. Maple which is of a dirty-brown colour, or of a cold +grey tint, and mahogany, ash, oak, or any of the light-coloured woods, +can be whitened by the bleaching fluid (see "MATCHING"). Numerous +materials may be improved by the aid of raw linseed-oil mixed with a +little spirits of turpentine. Artificial graining may be given to +various woods by means of a camel-hair pencil and raw oil; two or three +coats should be given, and after standing for some time the ground +should have one coat of oil much diluted with spirits of turpentine, and +then rubbed off. + + +=Matching.=--Old mahogany furniture which has been repaired may be +easily matched by wiping over the new portions with water in which a +nodule of lime has been dissolved, or by common soda and water. The +darkeners for general use are dyed oils, logwood, aquafortis, sulphate +of iron, and nitrate of silver, with exposure to the sun's rays. For new +furniture in oak, ash, maple, etc., the process of matching requires +care and skill. When it is desirable to render all the parts in a piece +of furniture of one uniform tone or tint, bleach the dark parts with a +solution of oxalic acid dissolved in hot water (about two-pennyworth of +acid to half a pint of water is a powerful solution); when dry, if this +should not be sufficient, apply the white stain (see pp. 11, 12) +delicately toned down, or the light parts may be oiled. For preserving +the intermediate tones, coat them with white polish by means of a +camel-hair pencil. On numerous woods, carbonate of soda and bichromate +of potash are very effective as darkeners, as are also other +preparations of an acid or alkaline nature, but the two given above are +the best. + +A good way of preparing these darkeners, says the "French Polisher's +Manual," an excellent little work published in Perth some years since, +is to procure twopennyworth of carbonate of soda in powder, and dissolve +it in half a pint of boiling water; then have ready three bottles, and +label them one, two, three. Into one put half the solution, and into the +other two half a gill each; to number two add an additional gill of +water, and to number three two gills. Then get the same quantity of +bichromate of potash, and prepare it in a like manner; you will then +have six staining fluids for procuring a series of brown and dark tints +suitable for nearly all classes of wood. + +The bichromate of potash is useful to darken oak, walnut, beech, or +mahogany, but if applied to ash it renders it of a greenish cast. If a +sappy piece of walnut should be used either in the solid or veneer, +darken it to match the ground colour, and then fill in the dark markings +with a feather and the black stain (see pp. 10, 11). The carbonate +solutions are generally used for dark surfaces, such as rosewood +represents, and a still darker shade can be given to any one by oiling +over after the stain is dry. The better way of using these chemical +stains is to pour out into a saucer as much as will serve the purpose, +and to apply it quickly with a sponge rubbed rapidly and evenly over the +surface, and rubbed off dry immediately with old rags. Dark and light +portions, between which the contrast is slight, may be made to match by +varnishing the former and darkening the latter with oil, which should +remain on it sufficiently long; by this means the different portions may +frequently be made to match without having recourse to bleaching or +staining. + + +=Painting.=--The next process is painting. It frequently happens in +cabinet work that a faulty place is not discovered until after the work +is cleaned off; the skill of the polisher is then required to paint it +to match the other. A box containing the following colours in powder +will be found of great utility, and when required for use they should be +mixed with French polish and applied with a brush. The pigments most +suitable are: drop black, raw sienna, raw and burnt umber, Vandyke +brown, French Naples yellow (bear in mind that this is a very opaque +pigment), cadmium yellow, madder carmine (these are expensive), flake +white, and light or Venetian red; before mixing, the colours should be +finely pounded. The above method of painting, however, has this +objection for the best class of furniture, that the effects of time will +darken the body of the piece of furniture, whilst the painted portion +will remain very nearly its original colour. In first-class work, +therefore, stained polishes or varnishes should be applied instead of +these pigments. + + +=Dyed Polishes.=--The methods of dyeing polish or +varnish are as follows: for a red, put a little alkanet-root or camwood +dust into a bottle containing polish or varnish; for a bright yellow, a +small piece of aloes; for a yellow, ground turmeric or gamboge; for a +brown, carbonate of soda and a very small quantity of dragon's blood; +and for a black, a few logwood chips, gall-nuts, and copperas, or by the +addition of gas-black. + +The aniline dyes (black excepted) are very valuable for dyeing polishes, +the most useful being Turkey-red, sultan red, purple, and brown. A small +portion is put into the polish, which soon dissolves it, and no +straining is required. The cheapest way to purchase these dyes is by the +ounce or half-ounce. The penny packets sold by chemists are too +expensive, although a little goes a long way. + + + + +CHAPTER II. + +_STAINS AND IMITATIONS._ + + +In consequence of the high price demanded for furniture made of the +costly woods, the art of the chemist has been called into requisition to +produce upon the inferior woods an analogous effect at a trifling +expense. The materials employed in the artificial colouring of wood are +both mineral and vegetable; the mineral is the most permanent, and when +caused by chemical decomposition within the pores it acts as a +preservative agent in a greater or less degree. The vegetable colouring +matters do not penetrate so easily, probably on account of the affinity +of the woody fibre for the colouring matter, whereby the whole of the +latter is taken up by the parts of the wood with which it first comes +into contact. Different intermediate shades, in great variety, may be +obtained by combinations of colouring matters, according to the tint +desired, and the ideas of the stainer. The processes technically known +as "grounding and ingraining" are partly chemical and partly mechanical, +and are designed to teach the various modes of operation whereby the +above effects can be produced. We will commence with + + +=Imitation Mahogany.=--Half a pound of madder-root, and two ounces of +logwood chips boiled in a gallon of water. Brush over while hot; when +dry, go over it with a solution of pearlash, a drachm to a pint. Beech +or birch, brushed with aquafortis in sweeping regular strokes, and +immediately dried in front of a good fire, form very good imitations of +old wood. Venetian red mixed with raw linseed-oil also forms a good +stain. + +The following is a method in common use by French cabinet-makers. The +white wood is first brushed over with a diluted solution of nitrous +acid; next, with a solution made of methylated spirits one gill, +carbonate of soda three-quarters of an ounce, and dragon's blood a +quarter of an ounce; and a little red tint is added to the varnish or +polish used afterwards. Black American walnut can be made to imitate +mahogany by brushing it over with a weak solution of nitric acid. + + +=Imitation Rosewood.=--Boil half a pound of logwood chips in three pints +of water until the decoction is a very dark red; then add an ounce of +salt of tartar. Give the work three coats boiling hot; then with a +graining tool or a feather fill in the dark markings with the black +stain. A stain of a very bright shade can be made with methylated +spirits half a gallon, camwood three-quarters of a pound, red-sanders +a quarter of a pound, extract of logwood half a pound, aquafortis one +ounce. When dissolved, it is ready for use. This makes a very bright +ground. It should be applied in three coats over the whole surface, and +when dry it is glass-papered down with fine paper to a smooth surface, +and is then ready for graining. The fibril veins are produced by passing +a graining tool with a slight vibratory motion, so as to effect the +natural-looking streaks, using the black stain. A coat of the bichromate +of potash solution referred to on page 4 will make wildly-figured +mahogany have the appearance of rosewood. + + +=Imitation Walnut.=--A mixture of two parts of brown umber and one part +of sulphuric acid, with spirits of wine or methylated spirits added +until it is sufficiently fluid, will serve for white wood. Showy +elm-wood, after being delicately darkened with the bichromate solution +No. 1, page 4, will pass for walnut; it is usually applied on the cheap +loo-table pillars, which are made of elm-wood. Equal portions of the +bichromate and carbonate solutions (see page 4), used upon American +pine, will have a very good effect. + +Another method for imitating walnut is as follows: One part (by weight) +of walnut-shell extract is dissolved in six parts of soft-water, and +slowly heated to boiling until the solution is complete. The surface to +be stained is cleaned and dried, and the solution applied once or twice; +when half-dry, the whole is gone over again with one part of chromate of +potash boiled in five parts of water. It is then dried, rubbed down, and +polished in the ordinary way. + +The extract of walnut-shells and chromate of potash are procurable at +any large druggist's establishment. A dark-brown is the result of the +action of copper salts on the yellow prussiate of potash; the sulphate +of copper in soft woods gives a pretty reddish-brown colour, in streaks +and shades, and becomes very rich after polishing or varnishing. +Different solutions penetrate with different degrees of facility. In +applying, for instance, acetate of copper and prussiate of potash to +larch, the sap-wood is coloured most when the acetate is introduced +first; but when the prussiate is first introduced, the heart-wood is the +most deeply coloured. Pyrolignite of iron causes a dark-grey colour in +beech, from the action and tannin in the wood on the oxide of iron; +while in larch it merely darkens the natural colour. Most of the tints, +especially those caused by the prussiates of iron and copper, are +improved by the exposure to light, and the richest colours are produced +when the process is carried out rapidly. + + +=Imitation Ebony.=--Take half a gallon of strong vinegar, one pound of +extract of logwood, a quarter of a pound of copperas, two ounces of +China blue, and one ounce of nut-gall. Put these into an iron pot, and +boil them over a slow fire till they are well dissolved. When cool, the +mixture is ready for use. Add a gill of iron filings steeped in vinegar. +The above makes a perfect jet black, equal to the best black ebony. A +very good black is obtained by a solution of sulphate of copper and +nitric acid; when dry, the work should have a coat of strong logwood +stain. + + +=Imitation Oak.=--To imitate old oak, the process known as "fumigating" +is the best. This is produced by two ounces of American potash and two +ounces of pearlash mixed together in a vessel containing one quart of +hot water. + +Another method is by dissolving a lump of bichromate of potash in warm +water; the tint can be varied by adding more water. This is best done +out of doors in a good light. Very often in sending for bichromate of +potash a mistake is made, and chromate of potash is procured instead; +this is of a yellow colour, and will not answer the purpose. The +bichromate of potash is the most powerful, and is of a red colour. A +solution of asphaltum in spirits of turpentine is frequently used to +darken new oak which is intended for painter's varnish, or a coating +of boiled oil. + +Another method of imitating new oak upon any of the inferior +light-coloured woods is to give the surface a coat of Stephens's +satin-wood stain, and to draw a soft graining-comb gently over it, and +when the streaky appearance is thus produced a camel-hair pencil should +be taken and the veins formed with white stain. This is made by +digesting three-quarters of an ounce of flake white (subnitrate of +bismuth), and about an ounce of isinglass in two gills of boiling water; +it can be made thinner by adding more water, or can be slightly tinted +if desired. + +Proficients in staining and imitating can make American ash so like oak +that experienced judges are frequently deceived, the vein and shade of +the spurious wood looking nearly as natural as the genuine. After the +veining is done, it should be coated with white hard varnish, made +rather thin by adding more spirits, after which the ground can be +delicately darkened if required. + + +=Imitation Satin-wood.=--Take methylated spirits one quart, ground +turmeric three ounces, powdered gamboge one and a-half ounces. This +mixture should be steeped to its full strength, and then strained +through fine muslin, when it will be ready for use. Apply with a sponge, +and give two coats; when dry, glass-paper down with fine old paper. This +makes a good imitation for inside work. By the addition of a little +dragon's blood an orange tint can be produced. A yellow colour can also +be given to wood by boiling hot solutions of turmeric, Persian berries, +fustic, etc. but the colour is very fugitive. A more permanent colour +results from nitric acid, and last of all by the successive introduction +of acetate of lead and chromate of potash. Sulphate of iron also stains +wood of a yellowish colour when used as a preservative agent, so much +so, that the use of corrosive sublimate is recommended for this purpose +when it is desirable to preserve the light colour. + + +=A Blue Stain.=--This dye can be obtained by dissolving East Indian +indigo in arsenious acid, which will give a dark blue. A lighter blue +can be obtained by hot solutions of indigo, of sulphate of copper, and +by the successive introduction of pyrolignite of iron and prussiate of +potash. + + +=A Green Stain.=--Dissolve one ounce of Roman vitriol in a quart of +boiling water, to which is added one ounce of pearlash; the mixture +should then be forcibly agitated, and a small quantity of pulverised +yellow arsenic stirred in. A green is also the result of successive +formations in the pores of the wood of a blue and a yellow as above +indicated, and by a hot solution of acetate of copper in water. A +yellowish green may be obtained by the action of copper salts on the red +prussiate of potash. + + +=A Purple Stain.=--Boil one pound of logwood chips in three quarts of +water, until the full strength is obtained; then add four ounces of +pearlash and two ounces of powdered indigo. When these ingredients are +thoroughly dissolved, it is ready for use, either hot or cold. A purple +is also obtained by a boiling hot solution of logwood and Brazil-wood, +one pound of the former and one quarter of a pound of the latter to a +gallon of water. + + +=A Red Stain.=--Methylated spirits one quart, Brazil-wood three ounces, +dragon's blood half an ounce, cochineal half an ounce, saffron one +ounce. Steep the whole to its full strength, and strain. A red can also +be produced by macerating red-sanders in rectified spirits of naphtha. +An orange-red colour may be obtained by the successive action of +bichloride of mercury and iodide of potash, madder, and ammoniacal +solutions of carmine. + + +=Imitation Purple-wood Stain.=--Grind a piece of green copperas on +coarse glass-paper, and mix with polish coloured with red-sanders. This +makes a capital purple stain, and is used by French cabinet-makers. + +These dyestuffs may be much improved by the addition of a mordant +applied after they are dry; this will greatly assist in modifying and +fixing the tints and shades which the dyes impart. The best thing for +the purpose, in the writer's opinion, is clear ox-gall, which, besides +being useful as a mordant, will destroy all unctuous matter. + + +=Chemicals used in Staining.=--It may perhaps be useful here to give the +common or popular names of the chemicals employed in the operations of +staining and imitating, as few polishers know them by the scientific +names used by chemists:-- + +Nitric acid is but another phrase for aquafortis. +Sulphuric acid, for oil of vitriol. +Ammonia, for spirits of hartshorn. +Sulphate of magnesia, for Epsom salts. +Nitrate of potass, for sal prunelle. +Chlorine, for aqua regia. +Sulphate of copper, for blue vitriol. +Subborate of soda, for borax. +Superoxalate of potass, for salts of sorrel. +Hydrochlorate of ammonia, for sal ammoniac. +Subnitrate of bismuth, for flake white. +Acetic acid, for vinegar. +Acetate of lead, for sugar of lead. +Sulphate of lime, for gypsum. +Carbonate of potass, for pearlash. +Bitartrate of potass, for cream of tartar. +Nitrate of silver, for lunar caustic. +Supercarbonate of iron, for plumbago. +Cyanide of iron, for Prussian blue. +Subacetate of copper, for common verdigris. +Susquecarbonate of ammonia, for sal volatile. +Alcohol, for pure spirit. +Sulphate of iron, for green copperas. +Sulphate of zinc, for white copperas. + + +=Process of Staining.=--The natural qualities of woods are very +variable; so also are the textures of the different sorts usually used +for staining. It will be readily perceived that there is no fixed +principle upon which certain peculiar tints or shades can be produced +with any degree of certainty. In order to arrive at the best results, +the stainer is recommended to observe the following rules:-- + +All dry stuffs are best reduced to powder, when it is possible, before +macerating or dissolving them. + +All liquids should be strained or filtered before use. + +The requisite ingredients should always be tested before a free use is +made of them, as the effect produced by a coat of stain cannot be +accurately ascertained until it is thoroughly dry. + +Amateurs in staining had far better coat twice or thrice with a weak +stain than apply a strong one; for if too dark a tint is first obtained +it is often irremediable. Flat surfaces will take stain more evenly if a +small portion of linseed-oil is first wiped over, well rubbed off, and +allowed to dry, then lightly papered down with fine glass-paper. End-way +wood which is of a spongy nature should first have a coat of thin +varnish, and when dry well glass-papered off. For applying stain a flat +hog-hair tool is the best; and for a softener-down a badger-hair tool is +used. For mahogany shades and tints a mottler will be found of service, +as will also a soft piece of Turkey sponge. For oak, the usual steel +graining-comb is employed for the streaking, and for veining badger +sash-tools and sable pencils. + + +=Ready-made Wood Stains.=--There are numerous stains suitable for common +work in the market obtainable at a small cost by residents in London, +but it is cheaper for those who reside in country towns to make their +own, if only a small quantity is required. The principal makers of wood +stains are H. C. Stephens, of 191, Aldersgate-street, E.C., and Jackson, +213, Union-street, Southwark, S.E. These makers prepare stains in a +liquid state, and also in powders for oak, walnut, mahogany, satin-wood, +ebony, and rosewood. The powders are sold in packages at 8s. per lb. or +1s. for two ounces, and are soluble in boiling water. Judson, of 77, +Southwark-street, S.E., makes a mahogany powder in sixpenny packets, and +any reliable oilman will sell a good black stain at 8d. per quart, or a +superior black stain at 1s. 2d. per quart. Fox, of 109, Bethnal +Green-road, also prepares stains in a liquid state. + + + + +CHAPTER III. + +_FRENCH POLISHING._ + + +=The Polish Used.=--The oil or wax polish was used for all kinds of +furniture before the introduction of French polish, the invention of +which, as its name implies, is due to French cabinet-makers. It was +first introduced into England about seventy years since; some time +elapsed, however, before it was brought to a high state of perfection. +At first apprentices or porters were entrusted with the polishing, they +having been usually called upon to do the wax polishing; but in course +of time it was found that its successful adoption implied the possession +of considerable skill, and it came to be regarded as an art of no little +importance--so much so, that the early polishers who had perfected +themselves used to work in a shop with closed doors, lest the secret of +their success should be discovered. From that time polishing became a +separate branch of the cabinet business. + +The following original recipe as first invented has been extracted from +a French work, the _Dictionnaire Technologique_, not, however, for its +usefulness (it having gone into disuse many years ago), but as a matter +of curiosity:-- + + "_French Polish._" + + Gum sandarach 14 ounces 2 drachms + Gum mastic in drops 7 " 2 " + Shellac (the yellower the better) 14 " 2 " + Alcohol of 0.8295 specific gravity 3 quarts and 1 pint. + +"Pound the resinous gums, and effect their solution by continued +agitation, without the aid of heat; if the woods are porous, add seven +ounces one drachm of Venice turpentine. If an equal weight of ground +glass be added, the solution is more quickly made, and is also otherwise +benefited by it. Before using, the wood should be made to imbibe a +little linseed-oil, the excess of which should be removed by an old +flannel." + +Notwithstanding the improvement made upon the old processes by this new +method, it was by no means considered to be perfect, for the polish was +found to impart its brown tinge to the light-coloured woods, especially +in marqueterie work, and to deteriorate their appearance. It will be +readily seen that it was a great desideratum among polishers to render +shellac colourless, as, with the exception of its dark-brown hue, it +possesses all the properties essential to a good polish or spirit +varnish in a higher degree than any of the other resins. + +In 1827 the Society of Arts came forward with its valuable aid and +offered a premium of a gold medal, or thirty guineas, "for a polish or +varnish made from shell or seed-lac, equally hard, and as fit for use in +the arts as that at present prepared from the above substance, but +deprived of its colouring matter." After numerous experiments, this +long-felt want was perfectly attained by Dr. Hare, who was awarded the +premium. His method was as follows: "Dissolve in an iron kettle one part +of pearlash in about eight parts of water; add one part of shell or +seed-lac, and heat the whole to ebullition. When the lac is dissolved, +cool the solution, and impregnate it with chlorine till the lac is all +precipitated. The precipitate is white, but its colour deepens by +washing and consolidation; dissolved in alcohol, lac, bleached by the +process above mentioned, yields a polish or varnish which is as free +from colour as any copal varnish." At the present time shellac is +bleached by filtration over animal charcoal. + +Numerous experiments were afterwards made in the manufacture of +polishes; several chemists devoted their attention to its manufacture, +and an improved polish was soon produced which was used for a number of +years. The following are its proportions:-- + + Shellac 14 ounces. + Sandarach 3/4 ounce. + White resin 3/4 " + Benzoin 3/4 " + Gum thus 3/4 " + O.P. finishing spirit 1/2 a gallon. + +The "filling-in" processes also began to be used, which effected a +considerable saving in the quantity of polish usually required, and in +consequence of the expensiveness of spirits of wine rectified spirits of +naphtha was used as a substitute for the making of polishes, etc.; but +it was discovered that its continued use soon affected the eyesight of +the workmen, and it had to be abandoned, the methylic alcohol, pyroxylic +spirit, or wood spirit, as it has been differently called, taking its +place. This was first discovered by Mr. Philip Taylor in 1812, and is +obtained by distilling wood. Messrs. Dumas & Peligot, after analysing +it, determined that it contained 37.5 per cent. of carbon, 12.5 per +cent. of hydrogen, and 50 per cent. of oxygen. When pure, it remains +clear in the atmosphere; but for the sake of economy it is often +employed in the manufacture of other compounds called methylated. This +spirit began to be much used in the manufacture of polishes and +varnishes in the year 1848, and has continued to be much used ever +since. + +The wonderful improvements which have been effected in polishes since +their first introduction obviously prove that they have now arrived at a +very high point of perfection, and polishing is now justly acknowledged, +both by skilled artisans and connoisseurs, to be an important decorative +art. French polish or varnish at the present time can easily be obtained +at most chemists or oil shops, or direct from the manufacturers, amongst +whom may be mentioned Mr. W. Urquhart, 327, Edgware-road, W.; Messrs. +Turner & Sons, 7 to 9, Broad-street, Bloomsbury, W.C.; Messrs. William +Fox & Son, Bethnal Green-road, E.; Mr. G. Purdom, 49, Commercial-road, +E. + +The London prices are: Best French polish, 5s. 6d. per gallon; best +white polish, 9s. per gallon; brown or white hard varnish, 8s. per +gallon; patent glaze, 10s. per gallon; methylated spirits, 3s. 3d. per +gallon. For those who prefer to make their own, the following will be +found an excellent recipe:-- + + 12 ounces of orange shellac. + 1 ounce of benzoin. + 1 ounce of sandarach. + 1/2 gallon of methylated spirits. + +Pound the gums well before mixing with the spirit, as this will hasten +their dissolution. White polish for white wood and marqueterie work +should be made with bleached shellac instead of the above. In making +polishes or varnishes, the mixture will frequently require shaking until +dissolved. + + +=Rubbers.=--In commencing to polish, the materials required are old +flannel for the rubbers and clean old linen or cotton rags for the +coverings, the softer the better; some polishers, however, prefer white +wadding for rubbers instead of flannel. Rubbers for large surfaces are +usually made of soft old flannel, firmly and compactly put together +somewhat in the form of a ball, and the more they possess softness and +compactness, and are large and solid, the more quickly and +satisfactorily will they polish extensive surfaces. Small pliable +rubbers are usually employed for chairs or light frame-work. Perhaps for +a beginner a rubber made of old flannel may be best, as it takes some +little practice to obtain the necessary lightness of hand. + +The rubber for "spiriting-off" should be made up from a piece of old +flannel or woollen cloth, and covered with a piece of close rag, +doubled. Carefully fold the rag and screw it round at the back to make +it as firm as possible, and sprinkle some spirit on the face of it just +as it is covered; then give it two or three good smacks with the palm of +the hand, and begin by laying on as lightly as possible for the first +few strokes and gradually increase the pressure as the rubber gets dry; +then take off the first fold of the cover and work it perfectly dry. + +The rubber should present to the wood you are about to work on a +smooth-rounded or convex surface. Have beside you linseed-oil in one +receptacle, and some French polish in another. Apply one drop of polish +and one drop of oil, and polish with a circular movement--traversing +steadily the _whole_ surface to be polished, and from time to time, as +may be necessary (when the rubber gets sticky and harsh, indicating that +the inside needs replenishing with more polish), open and apply more of +it, and again draw over the linen cover, holding it tightly to form the +convex face proper to do the work. After replenishing, the rubber will +probably need a little more oil to help it to work smoothly. Having thus +worked on one coat of polish evenly over all the wood until it has got +what may best be described as a _full look_, set it aside for two or +three hours to sink in and become hard, and when completely dry, lightly +paper off with glass-paper (very finest), afterwards dusting the surface +to remove any trace of powder, and lay on a second coat of polish in the +same method. Then allow twenty-four hours to dry. Another light papering +may possibly be needed--dust off as before recommended and let the wood +have a _third_ coat of polish. + +For this third coat a fresh rubber should be made, the inside being +sparingly supplied with spirits of wine instead of polish. Put a double +fold of linen over it, touch it with one drop of oil, and go very +lightly and speedily over the whole work. + +In spiriting-off--the object of which is to remove any trace of smudge +that may blur the surface unless removed thus by spirit--you should go +gently to work, using a very light hand, or you may take the polish off +as well, amateurs more especially. + + +=Position.=--All work should be placed in an easy and accessible +position while it is being polished, so that the eye may readily +perceive the effect of the rubber; this will greatly help to relieve the +difficulties attending the polishing of a fine piece of furniture. It +should also be kept quite firm, so that it cannot possibly move about. +The most suitable benches for polishers are the ordinary cabinet-makers' +benches, with the tops covered with thick, soft cloths; these cloths +should not be fastened down, it being an advantage to be able to remove +them when required. When a piece of work too large to be placed upon the +bench is in hand, pads will be found useful to rest it upon. These can +be made by covering pieces of wood about two feet in length by three +inches in width with cloth several times doubled, the work being placed +so that a good light falls upon it. All thin panelling should be tacked +down upon a board by the edges while polishing. + + +=Filling-in.=--The first process the wood usually undergoes is +"filling-in." This consists in rubbing into the pores of the wood +Russian tallow and plaster of Paris, which have been previously heated +and mixed together so as to form a thick paste. For rosewood, or to +darken mahogany, a little rose-pink should be added. After well rubbing +in, the surface should be cleared from all the surplus paste with the +end of the scraper, and then rubbed off with shavings or old rags, and +made quite clean. For birch or oak, some use whiting or soft putty +moistened with linseed-oil for the filling; this preparation prevents in +a great measure the rising of the grain. For white delicate woods, such +as sycamore, maple, or satin-wood, plaster of Paris, mixed with +methylated spirit, is used. When polishing pine, a coat of Young's +patent size (2d. per lb.) is used instead of the above mixtures, and +when dry is rubbed down with fine glass-paper. + +Some workmen, who regard their modes of filling-in as important secrets, +do their work surprisingly quick by the methods here given. The various +processes are soon acquired by a little practice, and contribute greatly +to the speedy advancement of a smooth and imporous ground, which is the +most important point to observe in polishing. + + +=Applying the Polish.=--In commencing to use the polish some are +provided with a small earthenware dish, into which the polish is poured +for wetting the rubbers; while others make a slit in the cork of the +polish bottle, and so let it drip on to the rubber; whichever method is +adopted, the rubber should not be saturated, but receive just enough to +make a smear. Every time after wetting the rubber and putting on the +cover it should be pressed upon the palm of the hand, or if a small +rubber it can be tested between the thumb and finger. This is an +important operation, for by it the polisher can easily tell the exact +state of moisture, and at the same time, by the pressure being applied, +the moisture is equalised. The tip of the finger should then be just +dipped into the linseed-oil, and applied to the face of it; if the +rubber should be rather sappy, the greatest care must be used or a +coarse streaky roughness will be produced; extreme lightness of hand is +required until the rubber is nearly dry. (It would be a serious error to +bear heavily on the rubber while the surface is moist; to do so, and to +use too much oil on the rubber, are the causes of many failures in +polishing.) + +In commencing to work, pass the rubber a few times gently and lightly +over the surface in the direction of the grain; then rub across the +grain in a series of circular movements, all one way, in full and free +sweeping strokes, until the rubber is dry. Continue this operation until +the pores are filled in, and the surface assumes a satisfactory +appearance. It should then be left for about twelve hours; the polish +will be well into the wood by that time. The polish should then be +carefully rubbed down with No. glass-paper; this will remove the atomic +roughness usually caused by the rising of the grain during the sinking +period. In flat-surface work a paper cork can be used, and the rubbing +lightly and regularly done in a careful manner, so as to avoid rubbing +through the outer skin, especially at the edges and corners, or the work +will be irremediably defaced. + +The woods which possess a rising grain are well known to polishers; +these are the light-coloured woods with a coarse grain, viz., ash, +birch, and oak. This rising of the grain can in a great measure be +prevented by passing a damp sponge over the work before commencing the +polishing, allowing it to dry, and papering it. After the rubbing or +smoothing-down process is finished, the work should be well dusted; the +polishing can then recommence. The above operation must be again +repeated with a rotary motion and gradually increased pressure as the +rubber gets dry, and finished by lighter rubbings the way of the grain; +this will remove any slight marks that may be occasioned by the circular +movements of the rubber. + +Working too long on any one part is to be avoided, nor should the rubber +be allowed to stick even for an instant, or it will pull the coating of +polish off to the bare wood. The rubber should be covered with a clean +part of the rag as soon as a shiny appearance becomes apparent upon it, +or at each time of damping, and less oil should be used towards the end +of the operation, so as to gradually clear it all off from the surface. +Rubber marks can be removed by rubbing in a direction the reverse of the +marks with a half-dry rubber and increased pressure. When the work has +received a sufficient body, in finishing the drying of the last rubber, +ply it briskly the way of the grain to produce a clean dry surface for +the spiriting-off. + +The following is the method usually employed on fine carved or turned +work when finished in the best style. In the first place it is embodied +with polish, using a small rubber for the operation, after which it +should have one coat of shellac (two parts by weight of shellac to one +of spirits) applied with a brush, and when dry it should be carefully +smoothed down with flour paper, the utmost caution being observed in +dealing with the sharp edges, or the carving will be spoiled. Then it is +embodied with polish again, and one coat of glaze applied with the +greatest care. A few hours should be allowed to harden, and then +finished off with a rubber slightly damped with thin polish. This is an +expensive method, but it will pay in appearance for all the time +bestowed. + +For the best class of cabinet and pianoforte work in amboyna or +burr-walnut it is advisable not to use linseed-oil on the sole of the +rubber when polishing, but the best hog's lard; the reason for this is +that these veneers being so extremely thin and porous the oil will +quickly penetrate through to the groundwork, softening the glue, and +causing the veneers to rise in a number of small blisters. Of course, +this is not always the case, but the use of lard instead of oil will be +found a good preventative. Lard is also used on the above class of work +when it is desirable to preserve the colour of the wood in its natural +state. + +The following method is employed for the best work: Immediately on +receiving the job from the cabinet-maker, a good coating of thin, clean +glue should be applied with a sponge or brush; this is allowed to dry, +and thoroughly harden; it is then cleaned off, using the scraper and +glass-paper, cutting it down to the wood. The bodying-in with white +polish is the next process, the usual sinking period being allowed; it +is again cleaned off, but the scraper this time should not quite reach +the wood. Then embody again, and treat in a like manner. In getting up +the permanent body, commence with a slight embodying; let this stand, +and when the sinking period is over rub it down with a felt rubber and +powdered pumice-stone; continue this several times, till the surface +presents a satisfactory appearance, and the job is ready for the +spiriting process. By this means the wood will retain its natural +colour, and a beautiful transparent polish will result, and remain for a +number of years. This also is an expensive process, but the result +cannot be obtained in any other way. + + +=Spiriting-off.=--Most polishers affirm that if an interval of at least +a couple of hours elapse between the final embodying and the +spiriting-off the brilliancy of the polish will be improved, and remain +harder and more durable. The spirit is applied in exactly the same way +as the polish, and the same rubber can be used, but it should be covered +with more than one fold of the soft linen rag; care should be taken not +to make it very wet, or the gum on the surface of the work will be +redissolved, and a dulness instead of a brilliancy will result. If the +spirit should be very strong, the rubber should be breathed upon before +using, and a little more oil taken up; some, however, prefer to mix a +little polish with the spirit, while others prefer the spirit to be +weakened by exposure to the air for a few hours; experience alone must +be the teacher in this particular; but if the spirit should not "bite," +as it is termed, all will be well. The last rubber should be worked a +little longer than usual, and a trifle quicker, so as to remove the +slight greasy moisture on the surface. + +The finishing touch is given to the work by a soft rag loosely rolled up +and just a few drops of spirit dropped upon it, applied quickly the way +of the grain. This will remove every defect, and leave it clear and +brilliant. If, in a short time after finishing, the polish becomes dull +or rough, it will be owing to too much oil being absorbed in the process +and working through the surface, combined with dust. It should be +cleaned off first with a soft cloth, damped with a little warm water, +and the whole repaired, as at first, with equal parts of polish and +spirits mixed together, using the least possible damp of oil to make it +finish clear; there is no danger of its happening again. In all cases +the work must be rubbed till quite dry, and when nearly so the pressure +may be increased. + +The rubber for spiriting-off should be made up from a piece of old +flannel, and be covered with a piece of old rag. This is preferable to +very thin rag, and will give a better finish. + + +=Prepared Spirits.=--This preparation is useful for finishing, as it +adds to the lustre and durability, as well as removes every defect of +other polishes, and it gives the surface a most brilliant appearance. + +It is made of half a pint of the very best rectified spirits of wine, +two drachms of shellac, and two drachms of gum benzoin. Put these +ingredients in a bottle and keep in a warm place till the gum is all +dissolved, shaking it frequently; when cold add two teaspoonfuls of the +best clear white poppy oil; shake them well together, and it is fit for +use. + + +=Antique Style.=--For mediaeval or old English furniture a dull polish is +generally preferred to a French polish, because it has a gloss rather +than a brilliant polish, which materially assists in showing up +mouldings or carvings to the best advantage; it is also more in +character with the work of the Middle Ages. Another advantage is the +facility of obtaining a new polish (after being once done) should the +first one get tarnished, as the finishing process can be performed +without difficulty by any one, and a new polish obtained each time. + +On receiving a job which is required to be done in this style, it should +be "filled-in" in the usual manner, and afterwards bodied with white +polish to a good extent; it is then left for a sinking period (say +twelve hours). The work is then carefully rubbed down with powdered +pumice-stone and a felt-covered block or rubber, and after well dusting +it is ready for finishing. The preparation used for this process is +mainly composed of bees'-wax and turpentine (see Wax Polish, page 87), +well rubbed in with a piece of felt or a woollen rag, and finished off +by rubbing briskly with a very soft cloth or an old handkerchief to +produce a gloss. + + +=Dull or Egg-shell Polish.=--This is another style of finishing for +mediaeval work; the process is very simple. In commencing a job to be +finished in this style, the process of "filling-in" and "embodying" are +first gone through, then a sinking period is allowed, after which it is +embodied again, till the work is ready for finishing. All the parts +should be carefully examined to see if there is a good coating of polish +upon them. This is important, for if the work should be only thinly +coated it is liable to be spoiled by rubbing through in the last +process. After allowing a few hours for the surface to harden, a pounce +bag of powdered pumice-stone should be applied to the work, and a +felt-covered rubber used, rubbing down in the direction of the grain +until the work is of the desired dulness. + +For the cheaper kind of work done in this style, the first process, of +course, is the filling-in; then a rubber of wadding is taken and used +without a cover, made rather sappy with polish and a few drops of oil +added; and after bodying-in with this sufficiently, the work should be +stood aside for twelve hours, then rubbed down with some fine worn +glass-paper. The embodying is then again commenced, a proper rubber and +cover being used; and when sufficient is put on, and while the surface +is still soft, the pounce above mentioned should be applied, and rubbed +down with a piece of wadding slightly moistened with linseed-oil until +the desired dulness appears. This is becoming the fashionable finish for +black walnut work. + + +=Polishing in the Lathe.=--The lathe is of more use to a polisher than a +great many persons outside the trade would imagine. By its aid turned +work can be finished in a most superior style, and in less time than by +hand. The articles usually done by the lathe are wood musical +instruments, such as clarionets, flutes, etc.; also cornice-poles, ends, +and mahogany rings, the latter being first placed in a hollow chuck and +the insides done, after which they are finished upon the outside on a +conical chuck. For table-legs, chair-legs, and all the turnery used in +the cabinet-work, it will be found of great advantage to finish the +turned parts before the work is put together. + +Most of the best houses in the trade finish their work in this way, +where all the work is polished out entirely with the rubber. In the +first place, the filling-in is done. The band is thrown off the pulley +and the work rubbed in; at the same time the pulley is turned round by +the left hand. When this is done, the band is replaced and the work +cleaned off with rags or shavings, the lathe to be driven with speed to +get a clean surface. When applying the polish the lathe should revolve +with a very slow motion. + +The rubbers best adapted for turned work are made of white wadding, as +the hollows and other intricacies can be completely finished out with a +soft rubber. The work should first receive a coating of thick shellac, +two parts by weight of shellac to one of methylated spirits, and applied +with a brush or a soft sponge; after a couple of hours this is nicely +smoothed with fine paper, and the "bodying-in" completed with the soft +rubber and thin polish. There are numerous hard woods which do not +require filling-in, amongst which may be mentioned boxwood, cocus, +ebony, etc.; these may be rapidly polished in the lathe, on account of +their texture, with the white polish. In spiriting-off a very soft piece +of chamois leather (if it is hard and creased it will scratch) should be +damped with methylated spirits, then wrung so that the spirit may be +equally diffused; the lathe should then be driven at a rapid speed, and +the leather held softly to the work. In a few minutes, if a dark wood, a +brilliant surface will be produced. + + + + +CHAPTER IV. + +_CHEAP WORK._ + + +=Glazing.=--Glaze is known to the trade under several names, such as +slake, finish, and telegraph; it is used only for cheap work, when +economy of time is a consideration, and is made as follows: mastic, 1 +oz.; benzoin, 5 ozs.; methylated spirit, 5 gills. A superior article can +be obtained from G. Purdom, 49, Commercial Road, Whitechapel, E., who is +the manufacturer of a "patent glaze." + +First give the work a rubber or two of polish after the "filling-in"; it +is important to dry the last rubber thoroughly, so that no unctuousness +remains upon the surface before applying the glaze, otherwise it will be +of no effect. The way to apply it is as follows: Prepare a rubber as for +polishing and make it moderately wet, and take only one steady wipe the +way of the grain, never going over the same surface twice while wet; and +when dry, if one coat is found not to be enough, apply a second in the +same manner. For mouldings or the backs and sides of chair-work, this is +generally considered to be sufficient. Some polishers will persist in +using glaze to a large extent, even on the best-paid work; but it is not +recommended, as the surface will not retain its brilliancy for a +lengthened period, particularly in hot weather. Nothing is so good for +the best class of work as polishing entirely with French polish. + +The way of treating small flat surfaces such as the frames of tables, +looking-glasses, builders' work, etc., is to first fill in, and give one +or two rubbers of polish, drying the last rubber thoroughly; then glaze, +and after a period of two or three hours finish with a rubber slightly +wetted with thin polish. It is a bad plan to put glaze on newly-spirited +work, or to re-apply it on old bodies. + +The following is another method for cheap work: A coating of clear size +is first given in a warm state (this can be obtained at most oil-shops), +and when dry is rubbed down with fine glass-paper, after which a coating +of varnish is applied with a sponge or a broad camel-hair brush, giving +long sweeping strokes. The tool should be plied with some degree of +speed, as spirit varnishes have not the slow setting properties which +distinguish those of oil, and care should be taken not to go over the +same part twice. When this is thoroughly hard it is nicely smoothed with +fine paper, a few rubberfuls of polish is given, and it is then ready +for spiriting-off. + +Another plan is frequently adopted for cheap work: Make a thin paste +with plaster of Paris, suitably tinted and watered, and well rub in +across the grain with a piece of felt or old coarse canvas till the +pores are all full; any superfluity should be instantly wiped off from +the surface before it has time to set. The succeeding processes are +papering and oiling. In applying the polish, which should be done +immediately after oiling, the rubber should be made rather sappy with +thin polish, and worked without oil. During the embodying a pounce-bag +containing plaster of Paris is sparingly used; this application tends to +fill the pores and also to harden the body of polish on the exterior, +but too much should not be used, or it will impart a semi-opaque +appearance to the work. This first body is allowed sufficient time to +harden; it is then rubbed down lightly with flour paper or old worn No. +1, and then embodied with thicker polish or a mixture of polish and +varnish, and the smallest quantity of oil applied to the rubber. When a +sufficient body of polish is given to the work, the surface is rubbed +very carefully with a lump of moist putty plied in the longitudinal +direction of the grain; this will bring up a gloss, and very little +spiriting will be required. + + +=Stencilling.=--An imitation of marqueterie on light-coloured woods can +be obtained by the following method: Cut a stencil pattern in stout +cartridge paper (this is best done upon a piece of glass with the point +of a sharp penknife), and place it on the centre of a panel or wherever +required, and have ready some gas-black mixed with thin polish; apply +this with a camel-hair pencil over the cut-out pattern, and when it is +removed finish the lines and touch up with a finer tool. The work should +be first bodied-in, and when the pattern is dry rubbed down with a piece +of hair-cloth (the smooth side down) on a cork rubber to a smooth +surface, after which the polishing can be proceeded with until finished. +Upon oak this will have the appearance of inlaid work. + + +=Charcoal Polishing.=--A method known as "charcoal polishing" is now +much used for producing the beautiful dead-black colour which seems to +have the density of ebony. Its invention is due to French +cabinet-makers. The woods used by them are particularly well adapted for +staining black or any other colour, limetree, beech, cherry, pear, soft +mahogany, or any wood of a close and compact grain being the woods +usually selected. + +The first process is to give the work a coating of camphor dissolved in +water and made rather strong; this will soon soak into the wood, and +immediately afterwards another coat composed of sulphate of iron-water +with a few nut-galls added. These solutions in blending penetrate the +wood and give it an indelible tinge, and also prevent insects from +attacking it. After these coats are dry, rub the surface with a hard +brush (an old scrubbing-brush will do) the way of the grain, after which +rub the flat parts with natural stick charcoal, and the carved or +indented portions with powdered charcoal; the softest portion of the +charcoal only should be used, because if a single hard grain should be +applied it would seriously damage the surface. The workman should have +ready at the same time a preparation of linseed-oil and essence of +turpentine (linseed-oil one gill, and essence of turpentine one +teaspoonful), a portion of which should be freely taken up with a piece +of soft flannel and well rubbed into the work. These rubbings with the +preparation and charcoal several times will give the article of +furniture a beautiful dead-black colour and polish. This method of +polishing is applied to the black-and-gold furniture, cabinets, etc., in +imitation of ebony. + +Another good black polish is obtained by gas-black being applied to the +rubber after wetting with French polish, the cover being then put on and +worked in the usual manner. + +These black polishes should not be applied if there are coloured woods +in the piece of furniture. Should the work be already dyed black, or in +black veneers, it is best to use white polish, which will greatly help +to preserve the transparent density of the dye. + + + + +CHAPTER V. + +_RE-POLISHING OLD WORK._ + + +If the piece of furniture requiring to be re-polished should be in bad +condition, it is best to clean off thoroughly, using the liquid ammonia +(see page 94), or by the scraper and glass-paper. The indentations may +be erased by dipping into hot water a piece of thick brown paper three +or four times doubled and applying it to the part; the point of a +red-hot poker should be immediately placed upon the wet paper, which +will cause the water to boil into the wood and swell up the bruise; the +thickness of the paper prevents the wood from being scorched by the hot +poker. After the moisture is evaporated, the paper should be again +wetted if required. If only shallow dents, scratches, and broken parts +of the polish present themselves, carefully coat them two or three times +with a thick solution of shellac, and when the last coating becomes hard +carefully paper down with a piece of old glass-paper and a cork rubber. + +If the surface should be in good condition, it is necessary only to +remove the viscid rust; this is done by friction with a felt-covered +rubber and pure spirits of turpentine; by this means the polish remains +unsullied. If the surface should not be in very good condition, a +flannel should be used smeared with a paste of bathbrick-dust and water, +or a paste made of the finest emery flour and spirits of turpentine. +After cleansing, and before the polish is applied, it is a good plan to +just moisten the surface with raw linseed-oil; this will cause the old +body to unite with the new one. + +In order to carry out the process of re-polishing with facility, it is +necessary to disunite all the various parts, such as panels, carvings, +etc., before commencing the operation. The polish is applied in the +usual manner, and when a good body is laid on the work should be set +aside for twelve hours, after which it can be finished. It should be +particularly observed that in polishing no job should be finished +immediately after the rubbing-down process; a sinking period should +always be allowed. If the work should be immediately finished, the +consequences are that in a few hours all the marks and scratches of the +paper, etc., will be discernible, and the polished surface will present +a very imperfect appearance, although looking perfect when first +finished. + +Holes and crevices may be well filled up with a cement made in the +following manner: In a large iron spoon place a lump of beeswax about +the size of a walnut, a pinch of the pigments mentioned on page 5, +according to the colour required, a piece of common rosin the size of a +nut, and a piece of tallow as large as a pea; melt, and it is ready for +use. Some add a little shellac, but much will make it very brittle. A +similar substance to the above can be bought at the French warehouses. + + + + +CHAPTER VI. + +_SPIRIT VARNISHING._ + + +Most polishers are agreed that to obtain a good surface with varnish it +is necessary to give the work, where it is possible to do so, a +rubberful of polish first, and to thoroughly dry the rubber; but in most +carved work the surface is not accessible, and the brush must be used. +Sometimes the carving is extremely coarse, and with an open porous +grain, in which case it is best to oil it first and then to fine-paper +it down; by this process a thin paste is formed by the attrition, which +materially assists in filling up the pores. Before commencing to use the +varnish have ready an earthenware dish or box,--one of the tins used for +the preserved meats or fish will answer the purpose,--with two holes +drilled so that a piece of wire can be fastened diametrically across the +top; this is called a "regulator," and when the brush is passed once or +twice over this it prevents an unnecessary quantity of varnish being +transferred to the work. + + +=Varnishes.=--The ingredients for making +varnish are very similar to those for making polish, but the proportions +are somewhat different. Furniture varnish consists of two kinds, viz.: +the brown-hard and the white-hard; the former is used for dark woods, +such as mahogany, walnut, rosewood, etc.; whilst the latter is used for +the light-coloured woods, in conjunction with the white polish. A few +years since the brown-hard varnish was made from these ingredients: + + 1 gallon of methylated spirit, + 40 ozs. of shellac, + 4 ozs. of rosin, + 5 ozs. of benzoin, + 2 ozs. of sandarach, + 2 ozs. of white rosin. + +The brown-hard varnish which is used at the present time is made +differently, and produces a better result; it is made from the +following: + + 1 gallon of methylated spirit, + 32 ozs. of shellac, + 8 ozs. of rosin, + 8 ozs. of benzoin. + +The white-hard or transparent varnish for white wood is made with + + 1 gallon of methylated spirit, + 32 ozs. of bleached shellac, + 24 ozs. of gum sandarach. + +In making either polishes or varnishes, all the gums should be first +pounded and reduced to powder before mixing with the spirit, and when +mixed they should be occasionally well shaken or stirred, so as to +hasten their dissolution. + + +=Brushes and Pencils.=--The brushes used for varnishing are either flat, +in tin, or round, tied firmly to the handle, and made of camel's-hair; +but the small white bristle-tools and red-sable pencils will frequently +be found of service in coating delicate carving, or turned work. Varnish +brushes can be obtained from a quarter of an inch to four inches and +upwards in width; the most useful brush, however, for general use is +about an inch wide. It is important that brushes should be cleaned in +spirits immediately after use, for if laid by in varnish they lose their +elasticity and are soon spoiled; but if this preservative principle is +ever neglected, the hardened brush should be soaked in methylated +spirit, and if wanted for immediate use the spirit will soften the +varnish quicker if made luke-warm. The spirit should be gently pressed +out by the finger and thumb. All varnish brushes when not in use should +be hung up, or kept in such a position that they do not rest upon their +hairy ends, either in a box or tin free from dust. + + +=Mode of Operation.=--It is usual in varnishing to give the work three +coats, and always allow each coat to dry thoroughly before applying the +next. It should be noted that spirit varnishes begin to dry immediately +they are laid on; therefore, on no account should they be touched with +the brush again whilst wet, or when dry they will present a rough +surface. Always ply the brush quickly, and never go over a second time. +When giving the first or second coats it is unimportant how they are +applied, whether across the grain or with the grain, but the finishing +coat should always be with the grain. If the varnish should appear +frothy when laid on, it is of no consequence, as it will dry smooth if +equally and evenly applied before a good fire or in a warm atmosphere. + +Coloured varnishes can be made in exactly the same manner as coloured +polishes (see page 6). The beautiful glossy black varnishes so admired +on Indian cabinet-work, specimens of which can be seen at the Indian +Museum, are very difficult to obtain in England, but a description of +them may be interesting. + + +=East Indian Varnishes.=--The Sylhet varnish is composed of two parts of +the juice of the bhela (the tree which bears the marking nuts of India), +and one part of the juice of the jowar. The articles varnished with it +at Sylhet are of the most beautiful glossy black; and it seems equally +fitted for varnishing iron, leather, paper, wood, or stone. It has a +sort of whitish-grey colour when first taken out of the bottle, but in a +few minutes it becomes perfectly black by exposure to the air. In the +temperature of this country it is too thick to be laid on alone; but it +may be rendered more fluid by heat. In this case, however, it is clammy, +and seems to dry very slowly. When diluted with spirits of turpentine, +it dries more quickly; but still with less rapidity than is desirable. + +The _tsitsi_, or Rangoon varnish, is less known than the Sylhet varnish. +It is probably made from the juice of the bhela alone. It appears to +have the same general properties as the Sylhet varnish, but dries more +rapidly. The varnish from the _kheeso_, or varnish-tree, may be the same +as the Rangoon varnish, but is at present considered to be very +different. The kheeso grows particularly in Kubboo, a valley on the +banks of the Ningtee, between Munnipore and the Burman empire. It +attains to such a large size, that it affords planks upwards of three +feet in breadth, and in appearance and grain is very like mahogany. A +similar tree is found in great abundance and perfection at Martaban. + +A poisonous vapour exhales from several of the Indian varnishes, +especially from that of Sylhet, and is apt to produce over the whole +skin inflammations, swellings, itchings, and pustules, as if the body +had been stung by a number of wasps. Its effects, however, go off in a +few hours. As a preventative the persons who collect the varnish, before +going to work, smear their faces and hands with greasy matter to prevent +the varnish poison coming into contact with their skin. + + + + +CHAPTER VII. + +_GENERAL INSTRUCTIONS._ + + +=Remarks on Polishing.=--Amateurs at French polishing will be more +successful on a large surface than a small one. + +When polishing, the rubber-cloth should be changed occasionally, or the +brightness will not remain when finished. + +A most efficacious improver of many kinds of woods is raw linseed-oil +mixed with a little rectified spirits of turpentine. + +French polish can be tinted a light-red with alkanet-root, and a +dark-red with dragon's blood. + +A good Turkey sponge is capable of spreading either stain or varnish +more smoothly than a camel's-hair brush on a flat surface. + +The sub-nitrate of bismuth mentioned on p. 12 is beginning to supersede +oxalic acid for bleaching processes. + +Thin panels for doors should be securely tacked down to a level board, +and polished with a large round flannel rubber having a very flat sole. +Fret-work panels should have all the edges entirely finished with +varnish before they undergo the above operation. To get a good polish +upon a full-fret panel is considered by polishers to be the most +difficult part in the work, on account of the extreme delicacy and +frangibility of the work and the great carefulness required. + +Soft spongy wood may be satiated by rubbing a sponge well filled with +polish across the grain until it becomes dry. + +In polishing a very large surface, such as a Loo-table top or a wardrobe +end, it is best to do only half at a time, or if a large top a quarter +only. + +The approved method of treating dining-table tops is to well body-in +with French polish, after which thoroughly glass-paper down with fine +paper, and then use the oil polish (see page 87). + +Immediately after using a rubber, it should be kept in an air-tight tin +canister, where it will always remain fresh and fit for use. + + +=The Polishing Shop.=--A few words as to the polishing shop may be +acceptable to those who possess ample room and desire the best results. + +First in order is the location and arrangement of the finishing rooms. +Preference is to be given to the upper rooms of a building for several +reasons, among which may be named the securing of better light, greater +freedom from dust, and superior ventilation. + +A good light in this, as in many other arts, is a very important matter, +and by a good light we mean all the light that can be obtained without +the glare of the direct rays of the sun. Light from side windows is +preferable to that from skylights for three reasons: (1) Skylights are +very liable to leakage; (2) they are frequently, for greater or less +periods, covered with snow in winter; (3) the rays of the sun +transmitted by them in summer are frequently so powerful as to blister +shellac or varnish. + +Good ventilation is at all times of importance, and especially so in +summer, both as tending to dry the varnish or shellac more evenly and +rapidly, and as contributing to the comfort of the workmen. The latter +consideration is of importance even as a matter of economy, as men in a +room the atmosphere of which is pleasant and wholesome will feel better +and accomplish more than they could do in the close and forbidding +apartments in which they sometimes work. + +Any suggestion in reference to freedom from dust, as a matter to be +considered in locating rooms for this business, would seem to be +entirely superfluous, as it is clear that there is hardly any +department of mechanical work which is so susceptible to injury from +dust as the finishing of furniture, including varnishing and polishing. + +Finishing rooms may be arranged in three departments. The first should +include the room devoted to sand-papering and filling. These processes, +much more than any other part of furniture polishing, produce dirt and +dust, and it is plain that the room devoted to them should be so far +isolated from the varnishing room as not to introduce into it these +injurious elements. + +Another room should be appropriated to the bodying-in, smoothing and +rubbing-down processes. The third room is for spiriting and varnishing, +or the application of the final coats of varnish, which is the most +important of all the processes in finishing. It requires a very light +and clean room, and a greater degree of heat than a general workroom. It +should, as nearly as possible, be uniform, and kept up to _summer heat_; +in no case ought the temperature to fall below fifty nor rise higher +than eighty-five degrees Fahrenheit while the varnishing process is +going on. Varnishing performed under these circumstances will be more +thorough in result, have a brighter appearance and better polish, than +if the drying is slow and under irregular temperature. For drying work, +the best kind of heat is that from a stove or furnace. + +Steam heat is not so good for two reasons: (1), it is too moist and +soft, causing the work to sweat rather than to dry hard, and (2), the +temperature of a room heated by steam is liable to considerable +variation, and especially to becoming lower in the night. This _fire +heat_ is as necessary for the varnishing room in damp and cloudy weather +in summer as it is in winter. At all seasons, and by night as well as by +day, the heat should be as dry as possible, and kept uniformly up to +summer heat, by whatever means this result is secured. Varnished work, +after receiving the last coat, should be allowed to remain one day in +the varnishing room. It may then be removed into the general workroom. + +A remark may be proper here, viz., that there is sometimes a failure to +secure the best and most permanent results from not allowing sufficient +time for and between the several processes. An order is perhaps to be +filled, or for some other reason the goods are "rushed through" at the +cost of thoroughness and excellence of finish. + +The following suggestion is made by way of caution in reference to the +disposal of oily rags and waste made in the various processes of +finishing. These articles are regarded as very dangerous, and are +frequently the cause of much controversy between insurance companies and +parties who are insured. The best way to dispose of this waste is to put +it into the stove and burn it as fast as it is produced. If this rule +is strictly adhered to there will be no danger of fire from this source. +All liquid stock should be kept in close cans or barrels, and as far +from the fire as possible. + + + + +CHAPTER VIII. + +_ENAMELLING._ + + +The process of enamelling in oil varnishes as applied to furniture must +be understood as a smooth, glossy surface of various colours produced by +bodies of paint and varnish skilfully rubbed down, and prepared in a +peculiar way so as to produce a surface equal to French polish. Ornament +can be added by gilding, etc., after the polished surface is finished. + +We will begin with the white or light-tinted enamel. The same process +must be pursued for any colour, the only difference being in the +selection of the materials for the tint required to be produced. + +It should be observed that enamelling requires the exercise of the +greatest care, and will not bear hurrying. Each coat must be allowed +sufficient time for the hardening, and the rubbing down must be +patiently and gently done; heavy pressure will completely spoil the +work. + + +=Materials.=--The materials used for the purpose above named are: white +lead ground in turpentine and the best white lead in oil; a clear, +quick, and hard-drying varnish, such as the best copal, or the varnishes +for enamel manufactured by Mr. W. Urquhart, 327, Edgware Road, W.; or +white coburg and white enamel varnish, ground and lump pumice-stone, or +putty-powder, great care being taken in the selection of the +pumice-stone, as the slightest particle of grit will spoil the surface; +and rotten-stone, used either with water or oil. + + +=Tools.=--The tools required are several flat wooden blocks, of various +sizes and forms, suitable for inserting into corners and for +mouldings--these must be covered with felt on the side you intend to +use, the felt best adapted for the purpose being the white felt, from a +quarter to half an inch in thickness, which can be obtained of Messrs. +Thomas Wallis & Co., Holborn Circus, or at the woollen warehouses; two +or three bosses (made similar to polish rubbers) of cotton-wool, and +covered with silk (an old silk handkerchief makes capital coverings); +wash or chamois leather, and a good sponge. + + +=Mode of Operation.=--If the wood is soft and porous it is best to +commence with a coating of size and whiting applied in a warm state, +which is allowed to dry; it is then rubbed down with glass-paper, and +two coats of common paint given, mixed in the usual way and of the same +colour as you intend to finish with. In practice this is found to be +best; after these two coats are thoroughly dry, mix the white-lead +ground in turps, with only a sufficient quantity of varnish to bind it, +thinning to a proper consistency with turps. It is as well to add a +little of the ordinary white-lead ground in oil, as it helps to prevent +cracking. Give the work four or five coats of this, and allow each coat +to dry thoroughly. When it is hard and ready for rubbing down, commence +with a soft piece of pumice-stone and water, and rub just sufficient to +take off the roughness. Now use the felt-covered rubbers and ground +pumice-stone, and cut it down, working in a circular manner. The +greatest care is required to obtain a level surface free from scratches. + +After the work is well rubbed down, if it should appear to be +insufficiently filled up, or if scratched, give it two more coats, laid +on very smoothly, and rub down as before. If properly done, it will be +perfectly smooth and free from scratches. Wash it well down, and be +careful to clean off all the loose pumice-stone. Then mix flake-white +from the tube with either of the above-named varnishes, till it is of +the consistency of cream. Give one coat of this, and when dry give it +another, adding more varnish. Let this dry hard, the time taken for +which will of course depend upon the drying qualities of the varnish; +some will polish in eight or nine days, but it is much the best to let +it stand as long as you possibly can, as the harder it is, the brighter +and more enduring will be the polish. When sufficiently hard, use the +felt, and very finely-ground pumice-stone and water; with this cut down +till it is perfectly smooth; then let it stand for a couple of days, to +harden the surface. + + +=Polishing.=--In commencing to bring up a polish, first take +rotten-stone, either in oil or water; use this with the felt rubber for +a little while, then put some upon the surface of the silk-covered boss, +and commence to rub very gently in circular strokes; continue this till +there is a fine equal surface all over. The polish will begin to appear +as you proceed, but it will be of a dull sort. Clean off: if the +rotten-stone is in oil, clean off with dry flour; if in water, wash off +with sponge and leather, taking care that you wash it perfectly clean +and do not scratch. + +You will now, after having washed your hands, use a clean damp chamois +leather, holding it in the left hand, and using the right to polish +with, keeping it clean by frequently drawing it over the damp leather. +With the ball of the right hand press gently upon the work, and draw +your hand sharply, forward or towards you; this will produce a bright +polish, and every time you bring your hand forward a sharp shrill sound +will be heard similar to rubbing on glass. Continue this till the whole +surface is one bright even polish. It will be some time before you will +be able to do this perfectly, especially if the skin is dry or hard, as +it is then liable to scratch the work. A smooth, soft skin will produce +the best polish. + +For the interior of houses, the "Albarine" enamel manufactured by the +Yorkshire Varnish Company, of Ripon, is recommended. This article +combines in itself a perfectly hard solid enamel of the purest possible +colour; and for all interior decorations, where purity of colour and +brilliancy of finish are desired, it is universally admitted to be the +most perfect article of the kind hitherto introduced to the trade. It is +applied in the same manner as ordinary varnish. + +_Another Process._--The preceding section describes the process of +enamelling by oil varnishes, and the directions referring to the +polishing will be found of value for the "polishing up" on painted +imitations of woods or marbles. There is another process whereby an +enamel can be produced upon furniture at a much cheaper rate than the +preceding, and one too, perhaps, in which a polisher may feel more "at +home." The work should first have a coating of size and whiting (well +strained); this will act as a pore-filler. When dry, rub down with fine +paper, after which use the felt-covered rubber and powdered +pumice-stone, to remove all the scratches caused by the glass-paper and +to obtain a smooth and good surface. Then proceed to make a solution for +the enamel: first procure two ounces of common isinglass from the +druggist's, and thoroughly dissolve it in about a pint of boiling water; +when dissolved, stir in two ounces and a-half of subnitrate of +bismuth--this will be found to be about the right quantity for most +woods, but it can be varied to suit the requirements. With this give the +work one coat, boiling hot; apply it with a soft piece of Turkey sponge, +or a broad camel's-hair brush, and when dry cut down with powdered +pumice-stone; if a second coat is required, serve in precisely the same +manner. Then proceed to polish in the ordinary way with white polish. +After wetting the rubber, sprinkle a small quantity of the subnitrate of +bismuth upon it; then put on the cover, and work in the usual manner; +continue this till a sufficient body is obtained, and after allowing a +sufficient time for the sinking and hardening it can be spirited off. + +Enamelled furniture has had, comparatively speaking, rather a dull sale, +but there is no class of furniture more susceptible of being made to +please the fancy of the many than this. It can be made in any tint that +may be required by the application of Judson's dyes, and the exercise of +a little skill in the decoration will produce very pleasing effects. + + +=Decorations.=--The decorations are usually ornaments drawn in gold. A +cut-out stencil pattern is generally used, and the surface brushed over +with a camel's-hair pencil and japanner's gold size, which can be +obtained at the artist's colourman's, or, if preferred, can be made by +boiling 4 ozs. of linseed-oil with 1 oz. of gum anime and a little +vermilion. When the size is tacky, or nearly dry, gold powder or gold +leaf is applied. The gold is gently pressed down with a piece of +wadding, and when dry the surplus can be removed with a round +camel's-hair tool. In all cases where gold has been fixed by this +process it will bear washing without coming off, which is a great +advantage. + + + + +CHAPTER IX. + +_AMERICAN POLISHING PROCESSES_ + + +The method of polishing furniture practised by the American +manufacturers differs considerably from the French polishing processes +adopted by manufacturers in most European countries. This difference, +however, is mostly compulsory, and is attributable to the climate. The +intense heat of summer and the extreme cold of winter will soon render a +French polish useless, and as a consequence numerous experiments have +been tried to obtain a polish for furniture that will resist heat or +cold. The writer has extracted from two American cabinet-trade journals, +_The Cabinet-maker_ and _The Trade Bureau_, descriptions of the various +processes now used in the States, which descriptions were evidently +contributed by practical workmen. The following pages are not, strictly +speaking, a mere reprint from the above-named journals, the articles +having been carefully revised and re-written after having been +practically tested; attention to them is, therefore, strongly +recommended. + +In these processes the work is first filled in with a "putty filler," +and after the surface has been thoroughly cleaned it is ready for +shellac or varnish. Second, a coating of shellac is next applied with a +brush or a soft piece of Turkey sponge. This mixture is composed of two +parts (by weight) of shellac to one of methylated spirits, but what is +called "thin shellac" is composed of one part shellac to two of spirits. +After the coating is laid on and allowed to dry, which it does very +soon, it is rubbed carefully with fine flour glass-paper, or powdered +pumice-stone--about four coats are usually given, each one rubbed down +as directed. Third, when the surface has received a sufficient body, get +a felt-covered rubber and apply rotten-stone and sweet oil in the same +manner as you would clean brass; with this give the work a good rubbing, +so as to produce a polish. Fourth, clean off with a rag and sweet oil, +and rub dry; then take a soft rag with a few drops of spirit upon it, +and vapour up to a fine polish. With these few preliminary remarks, the +following will be easily understood. + + +=Use Of Fillers.=--The cost of a putty filler consists chiefly in the +time consumed in applying it. In the matter of walnut-filling much +expense is saved in the processes of coating and rubbing if the pores of +the wood be filled to the surface with a substance that will not shrink, +and will harden quickly. The time occupied in spreading and cleaning a +thin or fatty mixture of filler, or a stiff and brittle putty made fresh +every day, is about the same, and while the thin mixture will be subject +to a great shrinkage, the putty filler will hold its own. It will thus +be seen that a proper regard to the materials used in making fillers, +and the consistency and freshness of the same, form an important element +in the economy of filling. + +A principal cause of poor filling is the use of thin material. By some a +putty-knife is used, and the filling rubbed into the surfaces of +mouldings with tow, while others use only the tow for all surfaces, +mostly, however, in cases of dry filling. In the use of the wet filler, +either with a knife or with tow, workmen are prone to spread it too thin +because it requires less effort, but experience shows that the greatest +care should always be taken to spread the putty stiff and thick, +notwithstanding the complaints of workmen. In fact, this class of work +does not bring into play so much muscle as to warrant complaints on +account of it. Nor can there be any reasonable excuse for taking a +longer time to spread a stiff filler than a thin filler. + +Good results are not always obtained by the use of thick fillers, +because the putty is spread too soon after the application of the first +coat of oil, which liquid should be quite thin, and reduced either with +benzine or turpentine, so that when the putty is forced into the pores +the oil already in them will have the effect of thinning it. As an +illustration of the idea meant here to be conveyed, we will suppose a +quantity of thick mud or peat dumped into a cavity containing water, and +a similar quantity of the same material dumped into another cavity +having no water; the one fills the bottom of the cavity solid, while the +other becomes partly liquid at the bottom, and must of necessity shrink +before it assumes the solidity of the former. Hence it appears that work +to be filled should be oiled and allowed to stand some time before +receiving the filler, or until the oil has been absorbed into the pores. + +The preparatory coating should not be mixed so as to dry too quickly, +nor allowed to stand too long before introducing the putty, for in this +case the putty when forced along by the knife will not slip so easily as +it should. + +The cost of rubbing and sand-papering in the finishing process is very +much lessened if the cleaning be thorough, and if all the corners and +mouldings be scraped out, so that pieces of putty do not remain to work +up into the first coat of shellac, or whatever finish may be used as a +substitute for shellac. + +Another important feature in hard filling is to let the work be well +dried before applying the first coat of finish. One day is not +sufficient for the proper drying of putty fillers, and if in consequence +of insufficient drying a part of the filling washes out, it is so much +labour lost. As a safeguard against washing out, these fillers should be +mixed with as much dryer or japan as the case warrants, for it +frequently occurs that work must be finished, or go into finish, the day +following the filling, whether it be dry or not. + +By observing the main facts here alluded to, good filling may always be +obtained, and at a cost not exceeding that of poor work. + +For the light woods, including ash, chestnut, and oak, the filling is +similar to that used in walnut, except the colouring material, which, of +course, must be slight, or just enough to prevent the whiting and +plaster from showing white in the pores. This colouring may consist of +raw sienna, burnt sienna, or a trifle raw, or umber; one of these +ingredients separate, or all three combined, mixed so as to please the +fancy and suit the prevailing style. The colouring may be used with a +dry filling, although a wet filling is more likely to give a smooth +finish and greater satisfaction, and the colour of the filler can be +seen better in the putty than in the dry powder. + +Upon cheap work a filler should be used that requires the least amount +of labour in its application. For this purpose liquid fillers, like +japan, are suitable. If, however, a fine finish on fine goods is +required, the putty compositions of various mixtures are the more +appropriate. The secret of the process of filling consists in the +mixing of the compounds and the method of using them. A liquid filler +or a japan simply spread over the work in one or two coats can hardly be +called filling, yet this will serve the purpose very well for cheap +furniture. + +Thick compositions or putty fillers are composed of whiting and plaster, +or similar powders having little or no colour. This material is mixed +with oil, japan, and benzine, with a sufficient quantity of colouring +matter to please the fancy. The value of these fillers is in proportion +to their brittleness or "shortness," as it is termed, and, to give them +this quality, plaster is used and as much benzine or turpentine as the +mixture will bear without being too stiff or too hard to clean off. +Sometimes a little dissolved shellac is used to produce "shortness." +This desirable feature of a filler is best effected by mixing a small +quantity of the material at a time. Many workmen mistakenly mix large +batches at a time with a view of securing uniformity of colour, and this +is one cause why such fillers work tough and produce a poor surface. An +oil mixture soon becomes fatty and tough, and must be reduced in +consistency when used, as it is apt when old to "drag" and leave the +pores only partly filled. These fillers should be mixed fresh every day, +and allowed to stiffen and solidify in the wood rather than out of it. + +The surface of a pore is the largest part of it, and it is desirable to +fill it to a level as nearly as possible. This is done by using the +filler thick or stiff. + + +=Making Fillers.=--In making "fillers," a quantity of the japan which is +used in the ingredients can be made at one time, and used from as +occasion may require. It is made in the following manner: + +_Japan of the Best Quality._--Put 3/4 lb. gum shellac into 1 gall. +linseed-oil; take 1/2 lb. each of litharge, burnt umber, and red-lead, +also 6 oz. sugar of lead. Boil in the mixture of shellac and oil until +all are dissolved; this will require about four hours. Remove from the +fire, and stir in 1 gall. of spirits of turpentine, and the work is +finished. + +_Fillings for Light Woods._--Take 5 lb. of whiting, 3 lb. calcined +plaster (plaster of Paris), 1/2 gall. of raw linseed-oil, 1 qt. of +spirits of turpentine, 1 qt. of brown japan, and a little French yellow +to tinge the white. Mix well, and apply with a brush; rub it well with +excelsior or tow, and clean off with rags. This thoroughly fills the +pores of the wood and preserves its natural colour. + +_Another for Light Woods._--Take 10 lb. of whiting, 5 lb. of calcined +plaster, 1 lb. of corn starch, 3 oz. calcined magnesia, 1 gall. of raw +linseed-oil, 1/2 gall. spirits of turpentine, 1 qt. of brown japan, 2 +oz. French yellow. Mix well, and apply with brush; rub in well with +excelsior or tow, and clean off with rags. + +_For Mahogany or Cherry Wood._--Take 5 lb. of whiting, 2 lb. of calcined +plaster, 11/2 oz. dry burnt sienna, 1 oz. Venetian red, 1 qt. of boiled +linseed-oil, 1 pt. of spirits of turpentine, and 1 pt. of brown japan. +Mix well, apply with brush, and rub well in with excelsior or tow. Clean +off with rags dry. + +_For Oak Wood._--Take 5 lb. of whiting, 2 lb. calcined plaster, 1 oz. +dry burnt sienna, 1/2 oz. of dry French yellow, 1 qt. raw linseed-oil, 1 +pt. benzine spirits, and 1/2 pt. white shellac. Mix well, apply with +brush, rub in with excelsior or tow, and clean off with rags. + +_For Rosewood._--Take 6 lb. of fine whiting, 2 lb. of calcined plaster, +1 lb. of rose-pink, 2 oz. of Venetian red, 1/2 lb. of Vandyke brown, 1/2 +lb. of Brandon red, 1 gall. of boiled linseed-oil, 1/2 gall. of spirits +of turpentine, 1 qt. of black japan. Mix well together, apply with +brush, rub well in with tow, and clean off with rags. + +_For Black Walnut_ (1).--For medium and cheap work. Take 10 lb. of +whiting, 3 lb. dry burnt umber, 4 lb. of Vandyke brown, 3 lb. of +calcined plaster, 1/2 lb. of Venetian red, 1 gall. of boiled +linseed-oil, 1/2 gall. of spirits of turpentine, 1 qt. of black japan. +Mix well and apply with brush; rub well with excelsior or tow, and clean +off with rags. + +_For Black Walnut_ (2).--An improved filling, producing a fine +imitation of wax finish, may be effected by taking 5 lb. of whiting, +with 1 lb. of calcined plaster, 6 oz. of calcined magnesia, 1 oz. of dry +burnt umber, 1 oz. of French yellow to tinge the white. Add 1 qt. of raw +linseed-oil, 1 qt. of benzine spirits, 1/2 pt. of very thin white +shellac. Mix well, and apply with a brush; rub well in, and clean off +with rags. + +_An Oil-Colour for Black Walnut_ (3), to be used only on first-class and +custom work.--Take 3 lb. of burnt umber ground in oil, 1 lb. of burnt +sienna ground in oil, 1 qt. of spirits of turpentine, 1 pt. of brown +japan. Mix well and apply with a brush. Sand-paper well; clean off with +tow and rags. This gives a beautiful chocolate colour to the wood. + +Numerous compositions are in the market for filling the pores of wood, +and in this connection particular attention has been given to walnut, +for the reason that this wood is used in large quantities in the +furniture industry, and is nearly, if not quite, as porous as any other +of the woods used. + +A variety of walnut fillings have been recommended to the trade in order +to meet the demand consequent upon the different grades of finish and +the method of obtaining the finish, so that it would be difficult to +pronounce as to the superiority of any one filling for general purposes. +In treating this subject, attention should be given to the necessities +for the use of filling, so that each one may determine for himself the +kind of composition best adapted for the work in hand, and the best +method of applying it. + + +=Finishing.=--Having described the methods of making and applying the +"fillings," we will now describe the mode of finishing, and begin with +the "dead-oil finish." We can remember when a satisfactory oil-finish +was produced either with a good quality of japan or a fair quality of +spirits. These materials are recommended to be used by inexperienced +workmen and those not familiar with the mixing of the various grades of +japan and varnish with oil, turpentine, benzine, etc. This method of +oil-finish, too, is scarcely inferior to the shellac or spirit-varnish +method, and it is cheaper. When the best finish is desired, a sufficient +number of coats to fill the pores of wood to a level are required, and +then the whole surface should be subjected to the rubbing process. The +use of these fillers provides an oil-finish in a simplified form for +those who are not aware of the difference between hard and soft gum +compositions as a base for rubbing. In fact, the rubbing process +constitutes a fine oil-finish, and requires a hard gum, whether it be of +japan, varnish, or shellac. + +The use of varnish or its substitute as a filler and finish is more +frequent than the use of shellac, and for cheap work it is equally good. +The surface produced by a hard gum composition must be smooth and dead, +or but slightly glossed, so as to admit of the pores being filled full +or to a level. It may be added that a coat or any number of coats of the +composition referred to above is substantially a filling, and the +quality of finish depends upon the number of coats, together with the +amount of rubbing applied. + +Thus far we have simply called attention to the best quality of +oil-finish and the manner of producing it. Possibly three-fourths of all +wood-finishing, particularly walnut-finishing, is several degrees below +the best quality. In fact, oil-finish may imply only one coat of any +composition that will dry, while two coats may be regarded as fair, and +three coats a very good quality of finish. For the class of finish not +rubbed down with pumice-stone and water, oil-varnish would be out of +place on account of its gloss; hence shellac, being in composition +similar to japan, is the better material, because of its dull appearance +or lack of gloss as compared with shellac. + +In addition to the liquid fillers already mentioned, there is a putty or +powder filling used for cross-grained woods, or such woods as have a +deep pore. This filling is forced into the wood previous to the +application of the other finishing compounds, with the use of which it +in no way interferes. On the contrary, it economises the use of the +liquid fillers, and, while constituting a part of an oil-finish, is also +a finish wholly independent of the other methods mentioned--that is to +say, the same results can be obtained by the use of either one, although +the putty or powder filling is attended with greater expense both as to +time and material. The hard filling is generally used on walnut, ash, +and all coarse-grained woods. + +With regard to oil-finishes, viz., spirit-varnish or oil-varnish, +shellac is thought by many to be the best for fine work; but others +think differently. We may say of shellac that it will finish up into any +degree of polish, and while it will not retain a French polish long in +this climate, it will replenish easier and cheaper than any other +finish, and continue to improve under each application. For a common +finish, however, oil preparation is as good as shellac, and even for a +fine finish it is only second to shellac, if made of a hard gum. On +common finish, too, the oil will wear better than shellac in stock or on +storage, so far as preserving its freshness is concerned. + +The cost of oil-finish is governed chiefly by the amount of labour +expended on it. A suite of walnut furniture can be well rubbed with +sand-paper in two hours, or even less; while two weeks could be +profitably employed in rubbing another suite with pumice and water. + + +=Black Walnut Finishing.=--The fashionable finish for black walnut work, +particularly chamber sets, is what is known to the trade as the +"dead-oil finish." It is admired, perhaps, because it has a gloss, +rather than a shine of the varnish stamp. There is no more labour +required upon it than upon a bright finish, but the process of +manipulation is different, and harder to the fingers. + +It should be premised that the walnut work of the day bears upon its +surface, to a greater or less extent, raised panels covered with French +burl veneer. And upon this fact largely depends the beauty of the +production. And the endeavour is to so finish the article that there +shall be a contrast between the panel and the groundwork on which it is +placed. In other words, the former should be of a light colour, while +the latter is of a darker shade. In that view the palest shellac should +be used on the panels, and darker pieces, liver coloured, etc., on the +body of the work. The darker grades of shellac are the cheaper, and will +answer for the bulk of the work, but the clearest only for the panels. + +In commencing to finish a job direct from the cabinet-maker's hand, +rough and innocent of sand-paper, first cover the panels with a coat of +shellac to prevent the oil in the filling from colouring them dark. +Next, cover the body of the work with a wood filling composed of whiting +and plaster of Paris, mixed with japan, benzine, and raw linseed-oil, or +the lubricating oil made from petroleum; the whole covered with umber, +to which, in the rare cases when a reddish shade is wanted, Venetian +red is also added. This filling is then rubbed off with cloths, and by +this process tends to close up the grain of the wood and produce an even +surface. More or less time should be allowed after each of the several +steps in the finishing process for the work to dry and harden, though +much less is required in working with shellac than with varnishes +composed of turpentine, oil, and gums. But the time that should be +allowed is often lessened by the desire to get the work through as soon +as possible, so that no standard can be set up as to the number of hours +required between each of the several processes. It would be well if +twelve hours intervened, but if work to which ten days could well be +devoted must be hurried through in three, obviously the processes must +follow each other in a corresponding haste. + +A coating of shellac is then given the whole work, light on the panels +and dark on the body work, and when it has dried and hardened, which it +does very soon, it may be rubbed down. This process of "rubbing down" +should be done evenly and carefully, so as not to rub through the +shellac at any point, and be done with the finer grades of sand-paper +for the cheaper class of work, particularly at first, but at a later +period of the process, and for the better class of articles in all +cases, hair-cloth should be used, the material for the "rubbing down" +being pumice-stone moistened with raw linseed-oil for the best work, and +the lubricating oil, before mentioned, for cheaper work, or the covered +parts of the better grades. This rubbing down involves labour, wear of +fingers and finger-nails, and is carried on with an ordinary bit of +hair-cloth, the smooth surface next the wood, and not made in any +particular shape, but as a wad, ball, or otherwise. In the corners and +crevices where the hair-cloth will not enter it will be necessary to use +sand-paper of the finest grades, and worn pieces only. + +Three coats of shellac are put on, followed each time by this +rubbing-down process, each one giving the work a smoother feeling and a +more perfect appearance. Afterwards, to complete the whole, a coating of +japan thinned with benzine is applied, which gives to the work a clean +appearance and the dead glossy finish. + +There is this objection to the above style of finish, that the japan +catches all the dust which touches it, and holds it permanently, so that +many of the best workmen will not have work finished in this way for +their own private houses, preferring the brighter look given by shellac +and varnish without rubbing down the last coat, believing that the work +can be kept much cleaner. + + +=Finishing Veneered Panels, etc.=--The large oval panels of desks, etc., +covered with French veneer, are generally taken out and finished by +themselves. The process is similar to that above given, with successive +coats of shellac and varnish, and the oil and pumice-stone rubbing down; +but the final part of this latter process is a rubbing down with +rotten-stone; then the merest trifle of sweet-oil is applied all over +the surface and wiped off. (See Rosewood, etc., farther on.) + +_For Light Woods (Dead Finish)._--Apply two or three coats of white +shellac; rub down with pumice and raw linseed-oil, and clean off well +with rags; use varnish-polish on the panels. + +_Another._--Finish as in the previous recipe. For a flowing coat of +varnish-finish apply one flowing coat of light amber varnish. If a +varnish-polish is desired, apply three coats of Zanzibar polishing +varnish. Rub down and polish, and the result will be a splendid finish. + +_Mahogany or Cherry Wood._--For shellac _dead finish_ apply two coats of +yellow shellac. Rub down with pumice and raw linseed-oil. If a +varnish-finish is desired, apply a flowing coat of light amber varnish +or shellac thus rubbed. The panels should receive two coats of Zanzibar +polishing varnish. + +_Oak._--For a _dead finish_ give three coats of shellac, two-thirds of +white and one-third of yellow, mixed. Rub down with pumice and raw +linseed-oil. For a cheap varnish-finish give one flowing coat of light +amber varnish in the shellac, rubbed as directed. Varnish-polish the +panels. + +_Rosewood, Coromandel, or Kingwood (a Bright Finish)._--Apply two thin +coats of shellac, sand-papering each coat; then apply three or four +coats of Zanzibar polishing varnish, laying it on thin, and giving it +sufficient time to dry thoroughly. When it is perfectly hard, rub down +with pumice and water. Polish with rotten-stone to a fine lustre, clean +up with sweet-oil, and vapour up the oil with a damp alcohol rag. The +result is a splendid mirror-like polish. This is the method employed in +polishing pianofortes in America. + +_Walnut._--For a cheap finish, apply one coat of yellow shellac. When +dry, sand-paper down. Apply with brush; rub in well; clean off with +rags. This gives a very fair finish. + +For a medium _dead finish_ apply two or three coats of yellow shellac. +When dry, rub down with pumice and raw linseed-oil; clean up well; +varnish-polish the panels. + +For _finish._ Before using the above filling, give the work one coat of +white shellac. When dry, sand-paper down, and apply the above filling. +Give two coats of white shellac; rub down with pumice and raw +linseed-oil; clean up well with brown japan and spirits of turpentine, +mixed. Wipe off. This is a good imitation of wax-finish; it is +waterproof, and will not spot as wax-finish does. The panels are to be +varnished-polished. This is to be used with the improved filling No. 2. + +For _finish._ Apply three coats of yellow shellac; rub down with pumice +and raw linseed-oil; clean off well. Varnish-polish the panels. Use this +with the oil colour No. 3. + + +=Finishing Cheap Work.=--_With One Coat of Varnish._--Give the work a +coat of boiled linseed-oil; immediately sprinkle dry whiting upon it, +and rub it well in with tow all over the surface. The whiting absorbs +the oil and completely fills the pores of the wood. For black walnut add +a little dry burnt umber. For mahogany or cherry add a little Venetian +red, according to the colour of the wood. The application can be made to +turned work while in motion in the lathe. Clean off well with rags. The +work can then be finished with a single coat of varnish, and for cheap +work makes a very good finish. + +For varnishing large surfaces, a two-inch oval varnish brush is to be +used first to lay out the varnish, and then a two-inch flat badger +flowing-brush for a softener. The latter lays down moats and bubbles +left by the large brush. A perfectly smooth glass-like surface is thus +obtained. When not in use, these tools should be put into a pot +containing raw linseed-oil and spirits of turpentine. This keeps them in +a better working condition than if they are kept in varnish, making them +clean and soft. Standing in varnish they congeal and become hard as the +spirit evaporates from the varnish. For shellacing a large surface use a +two-inch bristle brush; for small work, such as carvings and mouldings, +use a one-and-a-half inch flat brush. These brushes when not in use +should be taken from the various pots and deposited in an earthen pot +sufficiently large to hold all the shellac brushes used in the shop. Put +in enough of raw linseed-oil and thin shellac to cover the bristles of +the brushes. Kept in this manner, they will remain clean and elastic, +and will wear much longer. + +_Wax Finishing._--Take 1/2 gall. of turpentine, 11/2 lb. yellow +beeswax, 1 lb. white beeswax, 1/2 lb. white rosin. Pulverise the rosin, +and shave the wax into fine shavings. Put the whole into the turpentine, +and dissolve it cold. If dissolved by a fire-heat, the vitality of the +wax is destroyed. When it is thoroughly dissolved, mix well and apply +with a stiff brush. Rub well in, and clean off with rags. When dry, it +is ready for shellac or varnish as may be desired. + +_A Varnish Polish._--Take 10 oz. gum shellac, 1 oz. gum sandarach, 1 +drachm Venice turpentine, 1 gall. alcohol. Put the mixture into a jug +for a day or two, shaking occasionally. When dissolved it is ready for +use. Apply a few coats. Polish by rubbing smooth. + +For the commonest kind of work in black walnut a very cheap polish can +be made in the following manner: Take 1 gall. of turpentine, 2 lb. +pulverised asphaltum, 1 qt. boiled linseed-oil, 2 oz. Venetian red. Put +the mixture in a warm place and shake occasionally. When it is +dissolved, strain and apply to the wood with a stiff brush. Rub well +with cloth when dry. Then take 1 pt. of thin shellac, 1/2 pt. boiled +linseed-oil. Shake it well before using. Apply with cloth, rubbing +briskly, and you will have a fine polish. + +_With Copal or Zanzibar Varnish._--As a substitute for filling, the wood +may receive one coat of native coal-oil, thinned with benzine-spirits; +then apply one coat of shellac, and follow with varnish, as desired. The +time is not far distant when manufacturers must and will use varnish for +the finishing of all kinds of furniture on account of the high price of +shellac. Furniture finished in the last-named method may be rubbed with +either water or oil. Water has a tendency to harden varnish, while oil +softens it. If water is used there will be a saving of oil and rags. In +the other case shellac, when rubbed with oil, should be cleaned with +japan. This removes the greasy and cloudy appearance which is left after +the rubbing with oil, and the work will have a clean, dry, and brighter +appearance than otherwise. + +We suggest another idea for finishing black walnut for a cheap or a +medium class of work. In the first place, fill the pores of the wood, +and apply one thin coat of shellac to hold the filling in the pores of +the wood. Let this stand one day; sand-paper down with fine paper, then +with a brush apply a coat of coach japan. Rub well, and clean off with +rags. Let this stand one day to dry, then, with some sand-paper that has +been used before, take off the moats from the japan. Go over the whole +surface with a soft rag saturated with japan; wipe and clean off +carefully, and the job is finished. This, though a cheap finish, is a +good one for this class of work. + +We give one more method of finishing black walnut, that is, with boiled +linseed-oil only, and there is no other way of obtaining a genuine +oil-finish. Sand-paper the wood down smoothly; apply a coat of boiled +linseed-oil over the whole surface; sand-paper well, and clean up dry +with rags; let it stand one day to dry, then apply one more coat of oil; +rub well in with rags, but do not use sand-paper on this coat. Apply +three, four, or more coats in the same way. When the work has received +the last coat of oil and is dry, sand-paper down with old paper. Then +clean up with the best coach japan with rags, and let the work stand one +day to dry. The panels are to be varnish-polished the same as other +wood. The work is then finished, and ready for the warerooms. + +This method takes a longer time than finishing with either varnish or +shellac; but the cost is less both for materials and for labour, the +workman being able to go over a greater surface in the same time. The +work will stand longer, and the method gives a rich and close finish, +bringing out the figure and rich colour of the wood better than in any +other method of finishing. It does not cost so much as shellac finish; +it only requires a little more time for drying between the coats of oil. +In finishing in varnish or shellac, to get the body or surface for +polishing three or four coats are frequently applied, which is liable to +produce a dull cloudy appearance. For this reason, and having in view +the high and increasing price of stock, it seems to us that this really +superior method of finishing in oil must take the place of shellac and +varnish-finish in good work. + + +=Polishing Varnish.=--This is certainly a tedious process, and +considered by many a matter of difficulty. The following is the mode of +procedure: Put two ounces of powdered tripoli into an earthen pot or +basin, with water sufficient to cover it; then, with a piece of fine +flannel four times doubled, laid over a piece of cork rubber, proceed to +polish your varnish, always wetting it well with the tripoli and water. +You will know when the process is complete by wiping a part of the work +with a sponge and observing whether there is a fair and even gloss. +Clean off with a bit of mutton suet and fine flour. Be careful not to +rub the work too hard, or longer than is necessary to make the face +perfectly smooth and even. Some workmen polish with rotten-stone, others +with putty-powder, and others with common whiting and water; but +tripoli, we think, will be found to answer best. + + +=An American Polish Reviver.=--Take of olive-oil 1 lb., of rectified oil +of amber 1 lb., spirits of turpentine 1 lb., oil of lavender 1 oz., +tincture of alkanet-root 1/2 oz. Saturate a piece of cotton batting with +this polish, and apply it to the wood; then, with soft and dry cotton +rags, rub well and wipe off dry. This will make old furniture in private +dwellings, or that which has been shop-worn in warerooms, look as well +as when first finished. The articles should be put into a jar or jug, +well mixed, and afterwards kept tightly corked. + +This is a valuable recipe, and is not known, the writer believes, +outside of his practice. + + + + +CHAPTER X. + +_MISCELLANEOUS RECIPES._ + + +=Oil Polish.=--One quart of cold-drawn linseed-oil to be simmered (not +boiled) for ten minutes, and strained through flannel; then add +one-eighth part of spirits of turpentine: to be applied daily with soft +linen rags, and rubbed off lightly; each time the oil is applied the +surface should be previously washed with cold water, so as to remove any +dirt or dust. This method of polishing is particularly useful for +dining-table tops; it will in about six weeks produce a polish so +durable as to resist boiling water or hot dishes, and be like a mirror +for brilliancy. + + +=Wax Polish.=--Eight ounces of beeswax, 2 oz. of resin, and 1/2 oz. of +Venetian turpentine, to be melted over a slow fire; the mass, when quite +melted, is poured into a sufficiently large stone-ware pot, and while it +is still warm 6 oz. of rectified turpentine are stirred in. After the +lapse of twenty-four hours the mass will have assumed the consistency +of soft butter, and is ready for use. A small portion of the polish is +taken up with a woollen rag and rubbed over the surface of the work--at +first gently, then more strongly. When the polish is uniformly laid on, +the surface is once more rubbed lightly and quickly with a fresh clean +rag to produce a gloss. + + +=Waterproof French Polish.=--Take 2 oz. gum benjamin, 1/2 oz. gum +sandarach, 1/2 oz. gum anime, 11/2 oz. gum benzoin, and 1 pt. alcohol. +Mix in a closely-stoppered bottle, and put in a warm place till the gums +are well dissolved. Then strain off, and add 1/4 gill of poppy-oil. +Shake well together, and it is ready for use. + + +=A Varnish for Musical Instruments.=--Take one gallon of alcohol, 1 lb. +gum sandarach, 1/2 lb. gum mastic, 2 lbs. best white resin, 3 lbs. gum +benzoin; cut the gums cold. When they are thoroughly dissolved, strain +the mixture through fine muslin, and bottle for use; keep the bottle +tightly corked. This is a beautiful varnish for violins and other +musical instruments of wood, and for fancy articles, such as those of +inlaid work. It is also well adapted for panel-work, and all kinds of +cabinet furniture. There is required only one flowing coat, and it +produces a very fine mirror-like surface. Apply this varnish with a +flat camel's-hair or sable brush. In an hour after application the +surface is perfectly dry. + + +=French Varnish for Cabinet-work.=--Take of shellac 11/2 oz. gum mastic +and gum sandarach, of each 1/2 oz., spirit of wine by weight 20 oz. The +gums to be first dissolved in the spirit, and lastly the shellac. This +may be best effected by means of the water-bath. Place a loosely-corked +bottle containing the mixture in a vessel of warm water of a temperature +below the boiling point, and let it remain until the gums are dissolved. +Should evaporation take place, an equal quantity to the spirit of wine +so lost must be replaced till the mixture settles, then pour off the +clear liquid for use, leaving the impurities behind; but do not filter +it. Greater hardness may be given to the varnish by increasing the +quantity of shellac, which may be done to the amount of one-twelfth of +the lac to eleven-twelfths of spirit. But in this latter proportion the +varnish loses its transparency in some degree, and must be laid on in +very small quantities at a time. + + +=Mastic Varnish.=--Mastic should be dissolved in oil of turpentine, in +close glass vessels, by means of a gentle heat. This varnish is +extensively used in transparencies, etc. + + +=Cabinet-maker's Varnish.=--Take 5 lbs. very pale gum shellac, 7 oz. gum +mastic, 1 gallon alcohol. Dissolve in a cold atmosphere with frequent +stirring. + + +=Amber Varnish.=--This is a most difficult varnish to make. It is +usually prepared by roasting the amber and adding hot linseed-oil, after +which turpentine can be mixed if required. But for a small quantity, +dissolve the broken amber, without heat, in the smallest possible +quantity of chloroform or pure benzine. Heat the linseed-oil, remove it +from the fire, and pour in the amber solution, stirring all the time. +Then add the turpentine. If not quite clear, heat again, using the +utmost caution. + + +=Colourless Varnish with Copal.=--To prepare this varnish the copal must +be picked; each piece is broken, and a drop of rosemary-oil poured on +it. Those pieces which, on contact with the oil, become soft are the +ones used. The pieces being selected, they are ground and passed through +a sieve, being reduced to a fine powder. It is then placed in a glass, +and a corresponding volume of rosemary-oil poured over it; the mixture +is then stirred for a few minutes until it is transformed into a thick +liquor. It is then left to rest for two hours, when a few drops of +rectified alcohol are added, and intimately mixed. Repeat the operation +until the varnish is of a sufficient consistency; leave the rest for a +few days, and decant the clear. This varnish can be applied to wood and +metals (_Journal of Applied Chemistry_). + + +=Seedlac Varnish.=--Wash 3 oz. of seedlac in several waters; dry it and +powder it coarsely. Dissolve it in one pint of rectified spirits of +wine; submit it to gentle heat, shaking it as often as convenient, until +it appears dissolved. Pour off the clear part, and strain the remainder. + + +=Patent Varnish for Wood or Canvas.=--Take 1 gallon spirits of +turpentine, 21/4 lbs. asphaltum. Put them into an iron kettle on a +stove, and dissolve the gum by heat. When it is dissolved and a little +cool, add 1 pint copal varnish and 1 pint boiled linseed-oil. When +entirely cool it is ready for use. For a perfect black add a little +lamp-black. + + +=Copal Varnish.=--Dissolve the copal, broken in pieces, in linseed-oil, +by digestion, the heat being almost sufficient to boil the oil. The oil +should be made drying by the addition of quick-lime. This makes a +beautiful transparent varnish. It should be diluted with oil of +turpentine; a very small quantity of copal, in proportion to the oil, +will be found sufficient. + + +=Carriage Varnish.=--Take 19 oz. gum sandarach, 91/2 oz. orange +shellac, 121/2 oz. white resin, 18 oz. turpentine, 5 pints alcohol. +Dissolve and strain. Use for the internal parts of carriages and similar +purposes. This varnish dries in ten minutes. + + +=Transparent Varnish.=--Take 1 gallon alcohol, 2 lbs. gum sandarach, 1/2 +lb. gum mastic. Place them in a tin can. Cork tight and shake +frequently, placing the can in a warm place. When dissolved it is ready +for use. + + +=Crystal Varnish for Maps, etc.=--Mix together 1 oz. Canada balsam and 2 +oz. spirits of turpentine. Before applying this varnish to a drawing or +a painting in water-colours the paper should be placed on a stretcher, +sized with a thin solution of isinglass in water, and dried. Apply the +varnish with a soft camel's-hair brush. + + +=A Black Varnish.=--Mix a small quantity of gas-black with the brown +hard varnish previously mentioned. The black can be obtained by boiling +a pot over a gas-burner, so that it almost touches the burner, when a +fine jet-black will form at the bottom, which remove and mix with the +varnish, and apply with a brush. + + +=A Black Polish= can be made in the same way: after wetting the rubber, +just touch it with the black. Place the linen cover over, touch it with +oil, and it is ready for work. + + +=Varnish for Iron.=--Take 2 lbs. pulverised gum asphaltum, 1/4 lb. gum +benzoin, 1 gallon spirits of turpentine. To make this varnish quickly, +keep in a warm place, and shake often till it is dissolved. Shade to +suit with finely-ground ivory-black. Apply with a brush. This varnish +should be used on iron-work exposed to the weather. It is also well +adapted for inside work, such as iron furniture, where a handsome polish +is desired. + + +=Varnish for Tools.=--Take 2 oz. tallow, 1 oz. resin; melt together, and +strain while hot to remove the specks which are in the resin. Apply a +slight coat on the tools with a brush, and it will keep off the rust for +any length of time. + + +=To Make Labels Adhere to a Polished Surface.=--Brush the back of a +label over with thin varnish or polish, and press down with a soft rag; +this must be done quickly, as the polish soon becomes dry. This is the +way labels are put on pianofortes, and also the paper imitation of fancy +woods on polished pine-work. + + +=How to Remove French Polish or Varnish from Old Work.=--Cleaning off +old work for re-polishing or varnishing is usually found difficult, and +to occupy much time if only the scraper and glass-paper be used. It can +be easily accomplished in a very short time by washing the surface with +liquid ammonia, applied with a piece of rag; the polish will peel off +like a skin, and leave the wood quite bare. In carvings or turned work, +after applying the ammonia, use a hard brush to remove the varnish. +Unadulterated spirits of wine used in a tepid state will answer the same +purpose. + + +=Colouring for Carcase Work.=--In the best class of cabinet-work all the +inside work--such as carcase backs, shelves, etc.--is made of good +materials, such as wainscot, soft mahogany, Havannah cedar, or American +walnut; but for second-class work, pine or white deal is used instead, +and coloured. + +The colouring matter used should match with the exterior wood. For +mahogany take 1/2 lb. of ground yellow ochre to a quart of water, and +add about a tablespoonful of Venetian red--a very small quantity of +red in proportion to the yellow is sufficient for mahogany--and a piece +of glue about the size of a walnut; the whole to be well stirred and +boiled. Brush over while hot, and immediately rub off with soft shavings +or a sponge. For the antique hues of old wainscot mix equal parts of +burnt umber and brown ochre. For new oak, bird's-eye maple, birch, +satin-wood, or any similar light yellowish woods, whiting or white-lead, +tinted with orange chrome, or by yellow ochre and a little size. For +walnut, brown umber, glue size, and water; or by burnt umber very +moderately modified with yellow ochre. For rosewood, Venetian red tinted +with lamp-black. For ebony, ivory-black; but for the common ebonised +work lamp-black is generally used. + +When the colouring is dry, it should be rubbed down with a piece of worn +fine glass-paper, and polished with beeswax rubbed on a very hard +brush--a worn-out scrubbing-brush is as good as anything--or it can be +well rubbed with Dutch rush. In polishing always rub the way of the +grain. The cheap work seldom gets more than a coat of colour rubbed off +with shavings. + + +=Cheap but Valuable Stain for the Sap of Black Walnut.=--Take 1 gallon +of strong vinegar, 1 lb. dry burnt umber, 1/2 lb. fine rose-pink, 1/2 +lb. dry burnt Vandyke brown. Put them into a jug and mix them well; let +the mixture stand one day, and it will then be ready for use. Apply this +stain to the sap with a piece of fine sponge; it will dry in half an +hour. The whole piece is then ready for the filling process. When +completed, the stained part cannot be detected even by those who have +performed the work. This recipe is of value, as by it wood of poor +quality and mostly of sap can be used with good effect. + + +=Polish for Removing Stains, etc., from Furniture (American).=--Take 1/2 +pint alcohol, 1/4 oz. pulverised resin, 1/4 oz. gum shellac, 1/2 pint boiled +linseed-oil. Shake the mixture well, and apply it with a sponge, brush, +or cotton flannel, rubbing well after the application. + + +=Walnut Stain to be used on Pine and White-wood.=--Take 1 gallon of very +thin sized shellac; add 1 lb. of dry burnt umber, 1 lb. of dry burnt +sienna, and 1/4 lb. of lamp-black. Put these articles into a jug, and +shake frequently until they are mixed. Apply one coat with a brush. When +the work is dry, sand-paper down with fine paper, and apply one coat of +shellac or cheap varnish. It will then be a good imitation of solid +walnut, and will be adapted for the back-boards of mirror-frames, for +the backside and inside of case-work, and for similar work. + + +=Rosewood Stain.=--Take 1 lb. of logwood chips, 1/2 lb. of red-sanders, +1/2 gallon of water. Boil over a fire until the full strength is +obtained. Apply the mixture, while hot, to the wood with a brush. Use +one or two coats to obtain a strong red colour. Then take 1 gallon of +spirits of turpentine and 2 lb. of asphaltum. Dissolve in an iron kettle +on a stove, stirring constantly. Apply with a brush over the red stain, +to imitate rosewood. To make a perfect black, add a little lamp-black. +The addition of a small quantity of varnish with the turpentine will +improve it. This stain applied to birchwood gives as good an imitation +of rosewood as on black walnut, the shade on the birch being a little +brighter. + + +=Rosewood Stain for Cane Work, etc.=--Take 1 gallon alcohol, 1 lb. +red-sanders, 1 lb. dragon's blood, 1 lb. extract logwood, 1/2 lb. gum +shellac. Put the mixture into a jug, and steep well till it obtains its +full strength. Then strain, and it will be ready for use. Apply with +brush, giving one, two, or more coats, according to the depth of colour +desired. Then give one or more coats of varnish. This stain is suitable +for use on cane, willow, or reed work, and produces a good imitation of +rosewood. + + +=French Polish Reviver.=--This recipe will be found a valuable one. If +the work is sweated and dirty, make it tolerably wet, and let it stand a +few minutes; then rub off and polish with a soft rag. It is important +that the ingredients should be mixed in a bottle in the order as given: +Vinegar, 1 gill; methylated spirit, 1 gill; linseed-oil, 1/2 pint; +butter of antimony (poison), 1 oz. Raw linseed-oil, moderately thinned +with turpentine or spirits of wine, will also make a good reviver. Old +furniture, or furniture that has been warehoused for a long time, should +be washed with soda and warm water previous to applying the reviver. + + +=Morocco Leather Reviver.=--The coverings of chairs or sofas in morocco, +roan, or skiver can be much improved by this reviver. If old and greasy, +wash with sour milk first. The reviver should be applied with a piece of +wadding, and wiped one way only, as in glazing. The colour can be +matched by adding red-sanders. Methylated spirit, 1/2 pint; gum benzoin, +2 oz.; shellac, 1/2 oz. Mix, and shake up occasionally until dissolved. + + +=Hair-cloth Reviver.=--Mix equal parts of marrow-oil (neats-foot), +ox-gall. and ivory-black, to be well rubbed with a cloth. This +composition forms a valuable renovator for old hair-cloth. + + +=To Remove Grease Stains from Silks, Damasks, Cloth, etc.=--Pour over +the stain a small quantity of benzoline spirit, and it will soon +disappear without leaving the least mark behind. The most delicate +colours can be so treated without fear of injury. For paint stains +chloroform is very efficacious. + + +=To Remove Ink Stains from White Marble.=--Make a little chloride of +lime into a paste with water, and rub it into the stains, and let it +remain a few hours; then wash off with soap and water. + + + + +CHAPTER XI. + +_MATERIALS USED._ + + +=Alkanet-root= (botanical name, _Anchusa tinctoria_).--This plant is a +native of the Levant, but it is much cultivated in the south of France +and in Germany. The root is the only part used by French polishers to +obtain a rich quiet red; the colouring is chiefly contained in the bark +or outer covering, and is easily obtained by soaking the root in spirits +or linseed-oil. The plant itself is a small herbaceous perennial, and +grows to about a foot in height, with lance-shaped leaves and purple +flowers, and with a long woody root with a deep red bark. + + +=Madder-root= (_Rubia tinctoria_).--This plant is indigenous to the +Levant; but it is much cultivated in Southern Europe, and also in India. +Its uses are for dyeing and staining; it can be procured in a powdered +state, and imparts its red colour when soaked in water or spirits. This +is a creeping plant with a slender stem; almost quadrangular, the +leaves grow four in a bunch; flowers small, fruit yellow, berry double, +one being abortive. The roots are dug up when the plant has attained the +age of two or three years; they are of a long cylindrical shape, about +the thickness of a quill, and of a red-brownish colour, and when +powdered are a bright Turkish-red. Extracts of madder are mostly +obtained by treating the root with boiling water, collecting the +precipitates which separate on cooling, mixing them with gum or starch, +and adding acetate of alumina or iron. This is in fact a mixture of +colouring matter and a mordant. + + +=Red-sanders= (_Pterocarpus santalinus_).--The tree from which this wood +is obtained is a lofty one, and is to be found in many parts of India, +especially about Madras. It yields a dye of a bright garnet-red colour, +and is used by French polishers for dyeing polishes, varnishes, +revivers, etc. + + +=Logwood= (_Haematoxylon campeachianum_).--This is a moderate-sized tree +with a very contorted trunk and branches, which are beset with sharp +thorns, and blooms with a yellow flower. It is a native of Central +America and the West Indies. This valuable dye-wood is imported in logs; +the heart-wood is the most valuable, which is cut up into chips or +ground to powder for the use of dyers by large powerful mills +constructed especially for the purpose. Logwood, when boiled in water, +easily imparts its red colour. If a few drops of acetic acid (vinegar) +is added, a bright red is produced; and when a little alum is added for +a mordant, it forms red ink. If an alkali, such as soda or potash, is +used instead of an acid, the colour changes to a dark blue or purple, +and with a little management every shade of these colours can be +obtained. Logwood put into polish or varnish also imparts its red +colour. + + +=Fustic= (_Maclura tinctoria_).--This tree is a native of the West +Indies, and imparts a yellow dye. Great quantities are used for dyeing +linens, etc. The fustic is a large and handsome evergreen, and is +imported in long sticks. + + +=Turmeric= (_Curcuma longa_).--Turmeric is a stemless plant, with +palmated tuberous roots and smooth lance-shaped leaves. It is imported +from the East Indies and China. The root is the part which affords the +yellow powder for dyeing. It is also a condiment, and is largely used in +Indian curry-powder. Paper stained with turmeric is used by chemists as +a test for alkalies, and it is also used in making Dutch, pink, and +gold-coloured varnishes. + + +=Indigo= (_Indigofera tinctoria_).--Indigo is a shrub which grows from +two to three feet in height, and is cut down just as it begins to +flower. It is cultivated in almost all the countries situated in the +tropics. The dye substance is prepared from the stems and leaves, and is +largely used in calico-printing. + + +=Persian Berries= (_Rhamnus infectorius_).--These berries are the +produce of a shrub of a species of buckthorn common in Persia, whence +they derive their name; but large quantities are also imported into +England from Turkey and the south of France. The berries are gathered in +an unripe state, and furnish a yellow dye. + + +=Nut-galls.=--These are found upon the young twigs of the Turkish dwarf +oak (_Quercus infectoria_), and are produced by the puncture of an +insect called Cynips. The supply is principally from Turkey and Aleppo. +Nut-galls contain a large quantity of tannin and gallic acid, and are +extensively used in dyeing. + + +=Catechu.=--This is obtained from the East Indies, and is the extract of +the _Acacia catechu_, a thorny tree. The wood is cut up into chips +similar to logwood, and after boiling and evaporation the liquor +assumes the consistency of tar; but when cold it hardens, and is formed +into small squares. It is extensively used by tanners in place of oak +bark. + + +=Thus.=--Thus is the resin which exudes from the spruce-fir, and is used +by some polishers in the making of polishes and varnishes. + + +=Sandarach= is the produce of the _Thuya articulata_ of Barbary. It +occurs in small pale yellow scales, slightly acid, and is soluble in +alcohol; it is used in both polishes and varnishes. + + +=Mastic= exudes from the mastic-tree (_Pistacia lentiscus_), and is +principally obtained from Chios, in the Grecian Archipelago. It runs +freely when an incision is made in the body of the tree, but not +otherwise. It occurs in the form of nearly colourless and transparent +tears of a faint smell, and is soluble in alcohol as well as oil of +turpentine, forming a rapidly-drying but alterable varnish, which +becomes brittle and dark-coloured by age. + + +=Benzoin.=--This is the produce of the American tree _Laurus benzoin_, +and also of the _Styrax benzoin_ of Sumatra, which is called "gum +benjamin"; it is used in polishes and varnishes, and as a cosmetic, and +is also burnt as incense in Catholic churches. + + +=Copal= is one of the most valuable of gums, and is furnished by many +countries in the districts of Africa explored by Mr. H. M. Stanley, the +discoverer of Livingstone. Copal is found in a fossil state in very +large quantities. The natives collect the gum by searching in the sandy +soil, mostly in the hilly districts, the country being almost barren, +with no large tree except the Adansonia, and occasionally a few thorny +bushes. + +The gum is dug out of the earth by the copal gatherers at various +depths, from two or three to ten or more feet, in a manner resembling +gold-digging; and great excitement appears when a good amount is +discovered. The gum is found in various shapes and sizes, resembling a +hen's egg, a flat cake, a child's head, etc. There are three kinds, +yellow, red, and whitish; and the first furnishes the best varnish and +fetches the highest price from the dealers. Many of the natives assert +that the copal still grows on different trees, and that it acquires its +excellent qualities as a resin by dropping off and sinking several feet +into the soil, whereby it is cleansed, and obtains, after a lapse of +many years, its hardness, inflammability, and transparency. + + +=Dragon's Blood= is the juice of certain tropical plants of a red +colour, especially of the tree _Pterocarpus draco_. After the juice is +extracted, it is reduced to a powder by evaporation. It is used for +darkening mahogany, colouring varnishes or polishes, etc., and for +staining marble. Chemists also use it in preparing tinctures and tooth +powders. + + +=Shellac=--or, more properly, _gum-lac_--is a resinous substance +obtained from the Bihar-tree, and also from the _Ficus Indica_, or +Banyan-tree. It exudes when the branches are pierced by an insect called +the _Coccus ficus_. The twigs encrusted with the resin in its natural +state is called Stick-lac. When the resin is broken off the twigs, +powdered, and rubbed with water, a good deal of the red colouring matter +is dissolved, and the granular resin left is called seed-lac; and when +melted, strained, and spread into thin plates it is called shellac, and +is prepared in various ways and known by the names of button, garnet, +liver, orange, ruby, thread, etc., and is used for many purposes in the +arts. Shellac forms the principal ingredient for polishes and spirit +varnishes. Red sealing-wax is composed of shellac, Venice turpentine, +and vermilion red; for the black sealing-wax ivory-black is used instead +of the vermilion. Shellac is soluble in alcohol, and in many acids and +alkalies. Lac-dye is the red colour from the stick-lac dissolved by +water and evaporated to dryness. The dye, however, is principally from +the shrivelled-up body of the insect of the Stick-lac. + +Shellac is produced in the largest quantity and the best quality in +Bengal, Assam, and Burmah. The chief seat of manufacture is Calcutta, +where the native manufacturers are accused of adulterating it with resin +to a considerable extent. The best customers are Great Britain and the +United States, though the demand in the Italian markets appears to be on +the increase. + + +=Amber= is a yellow, semi-transparent, fossil resin; hard but brittle, +and easily cut with a knife; tasteless, and without smell, except when +pounded or heated, and then it emits a fragrant odour. It has +considerable lustre; becomes highly electric by friction; and will burn +with a yellow flame. It is found in nodules of various sizes in alluvial +soils, or on the seashore in many places, particularly on the shores of +the Baltic. Amber is much employed for ornamental purposes, and is also +used in the manufacture of amber-varnish. It will not dissolve in +alcohol, but yields to the concentrated action of sulphuric acid, which +will dissolve all resins except caramba wax. + + +=Pumice-stone.=--This well-known light and spongy volcanic substance is +extensively quarried in the small islands that lie off the coast of +Sicily. Its porosity and smooth-cutting properties render it of great +value to painters and polishers for levelling down first coatings. +Ground pumice-stone is the best for cutting down bodies of polish or +varnish that are more advanced towards completion. The best way to get a +surface to a piece of lump pumice-stone is to rub it down on a flat York +stone, or, better still, an old tile that has been well baked. +Pumice-stone should not be allowed to stand in water; it causes the +grain to contract and to harden, thereby deteriorating its cutting +properties. + + +=Linseed-oil.=--This valuable oil is obtained by pressure from the seed +of the flax plant (_Linum usitatissimum_). Linseed contains on an +average about 33 per cent. of oil, though the amount varies materially, +the percentage obtained fluctuating considerably, not being alike on any +two successive days. This is partly due to the varying richness of the +seed, and partly to the manner in which it is manipulated in extracting +the oil, it being a very easy matter to lose a considerable percentage +of the oil by a lack of skill in any of the processes, though they all +seem so simple. + +The first thing done with the seed from which the oil is to be extracted +is to pass it through a screen, to cleanse it from foreign substances. +The seed is received in bags containing from three to four bushels, and +pockets containing one-sixth of that amount. Having been screened it is +passed through a mill, whose large iron-rollers, three in number, grind +it to a coarse meal. Thence it is carried to what are known as the +"mullers," which are two large stones, about eight feet in diameter and +eighteen inches thick, weighing six tons each, standing on their edges, +and rolling around on a stone bed. About five bushels of the meal are +placed in the mullers, and about eight quarts of hot water are added. +The meal is afterwards carried by machinery to the heaters, iron pans +holding about a bushel each. These are heated to an even temperature by +steam, and are partly filled with the meal, which for seven minutes is +submitted to the heat, being carefully stirred in order that all parts +may become evenly heated. At the end of that time the meal is placed in +bags, which in turn are placed in hydraulic presses, iron plates being +placed between the bags. Pressure is applied for about eight minutes, +until, as is supposed, all the oil is pressed out, leaving a hard cake, +known to the trade as oil-cake, or linseed-cake. + +The product of these various processes is known as "raw" oil, a +considerable portion of which is sold without further labour being +expended upon it. There is, however, a demand for "boiled" oil, for +certain purposes where greater drying properties are needed. To supply +this want oil is placed in large kettles, holding from five hundred to +one thousand gallons, where it is heated to a temperature of about 500 +degrees, being stirred continually. This process, when large kettles are +used, requires nearly the entire day. While the boiling process is going +on, oxide of manganese is added, which helps to give the boiled oil +better drying properties. A considerable portion of the oil is bleached, +for the use of manufacturers of white paints. + + +=Venice Turpentine.=--This is obtained from the larch, and is said to be +contained in peculiar sacs in the upper part of the stem, and to be +obtained by puncturing them. It is a ropy liquid, colourless or brownish +green, having a somewhat unpleasant odour and bitter taste. + + +=Oil of Turpentine= is the most plentiful and useful of oils. It is +obtained in America from a species of pine very plentiful in the +Carolinas, Georgia, and Alabama, known as the long-leaved pine (_pinus +Australis_), and found only where the original forest has not been +removed. + + +=Methylated Spirits.=--The methylated spirit of commerce usually +consists of the ordinary mixed grain, or "plain" spirit, as produced by +the large distillers in London and elsewhere, with which are blended, +by simply mixing in various proportions, one part vegetable naphtha and +three parts spirits of wine. The mixing takes place in presence of a +revenue officer, and the spirits so "methylated" are allowed to be used +duty free. The revenue authorities consider the admixture of naphtha, +having so pungent and disagreeable a smell, a sufficient security +against its sale and consumption as a beverage. No process has yet been +discovered of getting rid of this odour. It is illegal for druggists to +use it in the preparation of medicinal tinctures, unless they are for +external use. + + +PRINTED BY WILLIAM CLOWES AND SONS, LIMITED, LONDON AND BECCLES. + + + + +CROSBY LOCKWOOD & SON'S + +LIST OF WORKS + +ON + +TRADES AND MANUFACTURES, THE INDUSTRIAL ARTS, CHEMICAL MANUFACTURES, +COUNTING HOUSE WORK, ETC. + + +A Complete Catalogue of NEW and STANDARD BOOKS relating to CIVIL, +MECHANICAL, MARINE and ELECTRICAL ENGINEERING; MINING, METALLURGY, and +COLLIERY WORKING; ARCHITECTURE and BUILDING; AGRICULTURE and ESTATE +MANAGEMENT, etc. Post Free on Application. + +7, STATIONERS' HALL COURT, LONDON, E.C., +AND +121a, VICTORIA STREET, WESTMINSTER, S.W. + +1910. + + + + +LIST OF WORKS + +ON + +TRADES and MANUFACTURES, THE INDUSTRIAL ARTS, Etc. + + +=ACETYLENE, LIGHTING BY.= Generators, Burners, and Electric Furnaces. By +WILLIAM E. GIBBS, M.E. With 66 Illustrations. Crown 8vo, cloth =7/6= + +=AIR GAS LIGHTING SYSTEMS.= See PETROL GAS. + +=ALCOHOL (INDUSTRIAL): ITS MANUFACTURE AND USES.= A Practical Treatise +based on Dr. Max Maercker's "Introduction to Distillation," as revised +by Drs. DELBRUCK and LANGE. By J. K. BRACHVOGEL. 500 pages, 105 +engravings _Net_ =16/6= + +THE INDUSTRIAL VALUE OF TAX-FREE ALCOHOL AND WHAT IT MEANS TO +AGRICULTURAL INTERESTS--SUMMARY OF THE PROCESSES IN SPIRIT +MANUFACTURE--STARCH, HOW FORMED, ITS CHARACTERISTICS, AND THE CHANGES +IT UNDERGOES--ENZYMES OR FERMENTS--PRODUCTS OF FERMENTATION--STARCHY +AND SACCHARIFEROUS RAW MATERIALS--PREPARATION OF THE MALT--STEAMING +THE RAW MATERIAL--THE MASHING PROCESS--FERMENTING THE MASH--PREPARATION +OF ARTIFICIAL YEAST IN THE DISTILLERY--FERMENTATION IN +PRACTICE--DISTILLATION AND RECTIFICATION--ARRANGEMENT OF THE +DISTILLERY--THE SPENT WASH--DENATURING OF ALCOHOL--ALCOHOL FOR THE +PRODUCTION OF POWER, HEATING AND ILLUMINATION--STATISTICS. + +=ALKALI TRADE MANUAL.= Including the Manufacture of Sulphuric Acid, +Sulphate of Soda, and Bleaching Powder. By JOHN LOMAS, Alkali +Manufacturer. With 232 Illustrations. Super-royal 8vo, cloth. =L1 10s.= + +=BLOWPIPE IN CHEMISTRY, MINERALOGY, Etc.= Containing all known Methods +of Anhydrous Analysis, many Working Examples, and Instructions for +Making Apparatus. By Lieut.-Colonel W. A. Ross, R.A., F.G.S. Second +Edition. Crown 8vo, cloth =5/0= + +=BOOT AND SHOE MAKING=, including Measurement, Last-fitting, +Cutting-out, Closing and Making, with a Description of the most Approved +Machinery employed. By J. B. LENO. Crown 8vo, cloth =2/0= + +=BRASS FOUNDER'S MANUAL.= Modelling, Pattern Making, Moulding, Turning, +&c. By W. GRAHAM. Crown 8vo, cloth =2/0= + +=BREAD & BISCUIT BAKER'S & SUGAR-BOILER'S ASSISTANT.= Including a large +variety of Modern Recipes. By ROBERT WELLS. Fifth Edition. +Crown 8vo, cloth 1/0 + + "A large number of wrinkles for the ordinary cook, as well as the + baker."--_Saturday Review._ + +=BREAKFAST DISHES. For every Morning of Three Months.= By Miss +ALLEN (Mrs. A. MACAIRE). Author of "Savouries and Sweets," &c. +Twenty-third Edition. F'cap 8vo. Sewed 1/0 + Or, quarter bound, fancy boards 1/6 + +=BREWERS, HANDY BOOK FOR.= Being a Practical Guide to the Art of Brewing +and Malting. Embracing the Conclusions of Modern Research which bear +upon the Practice of Brewing. By H. E. WRIGHT, M.A. Third +Edition. Thoroughly Revised and Enlarged. Large Crown 8vo, 578 pp., +cloth _Net_ =12/6= + +BARLEY, MALTING AND MALT--WATER FOR BREWING--HOPS AND SUGARS--THE +BREWING ROOM--CHEMISTRY AS APPLIED TO BREWING--THE LABORATORY--MASHING, +SPARGING, AND BOILING--FERMENTS IN GENERAL--FERMENTATION WITH COMMERCIAL +YEAST--CULTURE FROM A SINGLE CELL WITH YEASTS--TREATMENT OF BEER--THE +BREWERY AND PLANTS. + + "We have great pleasure in recommending this handy Book."--_The + Brewers' Guardian._ + +=CALCULATOR, NUMBER, WEIGHT AND FRACTIONAL.= Containing upwards of +250,000 Separate Calculations, showing at a Glance the Value at 422 +Different Rates, ranging from 1/128th of a Penny to 20s. each, or per +cwt., and L20 per ton, of any number of articles consecutively, from 1 +to 470. Any number of cwts., qrs., and lbs., from 1 cwt. to 470 cwts. +Any number of tons, cwts., qrs., and lbs., from 1 to 1,000 tons. By +WILLIAM CHADWICK, Public Accountant. Fourth Edition, Revised +and Improved. 8vo, strongly bound =18/0= + + "It is as easy of reference for any answer or any number of answers + as a dictionary. For making up accounts or estimates the book must + prove invaluable to all who have any considerable quantity of + calculations involving price and measure in any combination to + do."--_Engineer._ + + "The most perfect work of the kind yet prepared."--_Glasgow + Herald._ + +=CEMENTS, PASTES, GLUES, AND GUMS.= A Guide to the Manufacture and +Application of Agglutinants for Workshop, Laboratory, or Office Use. +With 900 Recipes and Formulae. By H. C. STANDAGE, Crown 8vo, +cloth =2/0= + + "As a revelation of what are considered trade secrets, this book + will arouse an amount of curiosity among the large number of + industries it touches."--_Daily Chronicle._ + +=CHEMISTRY FOR ARMY AND MATRICULATION CANDIDATES.= By GEOFFREY +MARTIN, B.SC., Ph.D. Crown 8vo, cloth. With numerous Illustrations +_Net_ =2/0= + +PREPARATION AND USE OF APPARATUS--PREPARATION AND PROPERTIES OF +CERTAIN GASES AND LIQUIDS--SIMPLE QUANTITATIVE EXPERIMENTS--ANALYTICAL +OPERATIONS--SOLUBILITY--WATER CRYSTALLISATION--NEUTRALISATION OF ACIDS +BY BASES, AND PREPARATION OF SIMPLE SALTS--VOLUMETRIC ANALYSIS--CHEMICAL +EQUIVALENTS--OBSERVATION OF REACTION--MELTING AND BOILING +POINTS--SYMBOLS AND ATOMIC WEIGHTS OF THE ELEMENTS--WEIGHTS AND +MEASURES--HINTS ON REGULATING WORK IN PRACTICAL CHEMISTRY CLASSES. + +=CLOCKS, WATCHES, & BELLS for PUBLIC PURPOSES.= By EDMUND BECKETT, +LORD GRIMTHORPE, LL.D., K.C., F.R.A.S. Eighth Edition, with new +List of Great Bells and an Appendix on Weathercocks. Crown 8vo, cloth +4/6; cloth boards, =5/6= + + "The only modern treatise on clock-making."--_Horological Journal._ + +=COACH-BUILDING.= A Practical Treatise, Historical and Descriptive. By +J. W. BURGESS. Crown 8vo, cloth =2/6= + +=COKE--MODERN COKING PRACTICE.= Including the Analysis of Materials and +Products. A handbook for those engaged or interested in Coke Manufacture +with recovery of By-Products. By T. H. BYROM, F.I.C., F.C.S., +Mem. Soc. of Chem. Industry, Chief Chemist to the Wigan Coal and Iron +Company. For fifteen years Lecturer at the Wigan Technical College. +Author of "The Physics and Chemistry of Mining"; and J. E. +CHRISTOPHER, Mem. Soc. of Chem. Industry, Sub-manager of the +Semet Solvay Coking Plant of the Wigan Coal and Iron Company. Lecturer +on Coke Manufacture at the Wigan Technical College. 168 pages, with +numerous illustrations. Demy 8vo, cloth. [_Just Published Net_] =8/6= + + "The authors have succeeded in treating the subject in a clear and + compact way, giving an easily comprehensible review of the + different processes."--_Mining Journal._ + + "The book will be eagerly read, and the authors may be assured that + their labour will be appreciated. We anticipate that the book will + be a success; at any rate it possesses the necessary + merit."--_Science and Art of Mining._ + +=COMMERCIAL CORRESPONDENT, FOREIGN.= Being Aids to Commercial +Correspondence in Five Languages--English, French, German, Italian, and +Spanish. By CONRAD E. BAKER. Third Edition, Carefully Revised +Throughout. Crown 8vo, cloth 4/6 + + "Whoever wishes to correspond in all the languages mentioned by Mr. + Baker cannot do better than study this work, the materials of which + are excellent and conveniently arranged. They consist not of entire + specimen letters, but--what are far more useful--short passages, + sentences, or phrases expressing the same general idea in various + forms."--_Athenaeum._ + +=CONFECTIONER, MODERN FLOUR.= Containing a large Collection of Recipes +for Cheap Cakes, Biscuits, &c. With remarks on the Ingredients Used in +their Manufacture. By R. WELLS =1/0= + +=CONFECTIONERY, ORNAMENTAL.= A Guide for Bakers, Confectioners and +Pastrycooks; including a variety of Modern Recipes, and Remarks on +Decorative and Coloured Work. With 129 Original Designs. By ROBERT +WELLS. Crown 8vo, cloth =5/0= + + "A valuable work, practical, and should be in the hands of every + baker and confectioner. The illustrative designs are worth treble + the amount charged for the work."--_Bakers' Times._ + +=COTTON MANUFACTURE.= A Manual of Practical Instruction of the Processes +of Opening, Carding, Combing, Drawing, Doubling and Spinning, Methods of +Dyeing, &c. For the Use of Operatives, Overlookers, and Manufacturers. +By J. LISTER. 8vo, cloth =7/6= + +=DANGEROUS GOODS.= Their Sources and Properties, Modes of Storage and +Transport. With Notes and Comments on Accidents arising therefrom. For +the Use of Government and Railway Officials, Steamship Owners, &c. By H. +J. PHILLIPS. Crown 8vo, cloth =9/0= + +=DENTISTRY (MECHANICAL).= A Practical Treatise on the Construction of +the Various Kinds of Artificial Dentures. By C. HUNTER. Crown +8vo, cloth =3/0 + +=DISCOUNT GUIDE.= Comprising several Series of Tables for the Use of +Merchants, Manufacturers, Ironmongers, and Others, by which may be +ascertained the Exact Profit arising from any mode of using Discounts, +either in the Purchase or Sale of Goods, and the method of either +Altering a Rate of Discount, or Advancing a Price, so as to produce, +by one operation, a sum that will realise any required Profit after +allowing one or more Discounts: to which are added Tables of Profit or +Advance from 11/4 to 90 per cent., Tables of Discount from 11/4 to 983/4 per +cent., and Tables of Commission, &c., from 1/8 to 10 per cent. By HENRY +HARBEN, Accountant. New Edition, Corrected. Demy 8vo, half-bound =L1 +5s.= + + "A book such as this can only be appreciated by business men, to + whom the saving of time means saving of money. The work must prove + of great value to merchants, manufacturers, and general + traders."--_British Trade Journal._ + +=DRYING MACHINERY AND PRACTICE.= A Handbook on the Theory and Practice +of Drying and Desiccating, with Classified Description of Installations, +Machinery, and Apparatus, including also a Glossary of Technical Terms +and Bibliography. By THOMAS G. MARLOW, Grinding, Drying, and +Separating Machinery Specialist. Medium 8vo. About 250 pages, with 150 +Illustrations [_In the Press, price about_] =12/6= _net._ + +=ELECTRICITY IN FACTORIES AND WORKSHOPS: ITS COST AND CONVENIENCE.= +A Handbook for Power Producers and Power Users. By A. P. HASLAM, +M.I.E.E. 328 pages, with numerous illustrations. Large crown, 8vo, +cloth _Net_ =7/6= + +=ELECTRO-METALLURGY.= A Practical Treatise. By ALEXANDER WATT. +Tenth Edition, enlarged and revised. Including the most Recent +Processes. Crown 8vo, cloth =3/6= + +=ELECTRO-PLATING.= A Practical Handbook on the Deposition of Copper, +Silver, Nickel, Gold, Aluminium, Brass, Platinum, &c., &c. By J. W. +URQUHART, C.E. Fifth Edition, Revised. Crown 8vo, cloth =5/0= + +=ELECTRO-PLATING & ELECTRO-REFINING OF METALS= Being a new edition of +ALEXANDER WATT'S "ELECTRO-DEPOSITION." Revised and Rewritten by A. +PHILIP, B.Sc., Principal Assistant to the Admiralty Chemist. Crown 8vo, +cloth _Net_ =12/6= + +PART I. ELECTRO-PLATING--PRELIMINARY CONSIDERATIONS--PRIMARY AND +SECONDARY BATTERIES--THERMOPILES--DYNAMOS--COST OF ELECTRICAL +INSTALLATIONS OF SMALL OUTPUT FOR ELECTRO-PLATING--HISTORICAL REVIEW OF +ELECTRO DEPOSITION--ELECTRO DEPOSITION OF COPPER--DEPOSITION OF GOLD BY +SIMPLE IMMERSION--ELECTRO DEPOSITION OF GOLD--VARIOUS GILDING +OPERATIONS--MERCURY GILDING--ELECTRO DEPOSITION OF SILVER--IMITATION +ANTIQUE SILVER--ELECTRO DEPOSITION OF NICKEL, TIN, IRON AND ZINC, +VARIOUS METALS AND ALLOYS--RECOVERY OF GOLD AND SILVER FROM +WASH SOLUTIONS--MECHANICAL OPERATIONS CONNECTED WITH ELECTRO +DEPOSITION--MATERIALS USED IN ELECTRO DEPOSITION. PART II. ELECTRO +METALLURGY--ELECTRO METALLURGY OF COPPER--COST OF ELECTROLYTIC COPPER +REFINING--CURRENT DENSITY AS A FACTOR IN PROFITS--SOME IMPORTANT DETAILS +IN ELECTROLYTIC COPPER REFINERIES--ELECTROLYTIC GOLD AND SILVER BULLION +REFINING--ELECTROLYTIC TREATMENT OF TIN--ELECTROLYTIC REFINING OF +LEAD--ELECTROLYTIC PRODUCTION OF ALUMINIUM AND ELECTROLYTIC REFINING OF +NICKEL--ELECTRO GALVANISING. + + "Eminently a book for the practical worker in + electro-deposition."--_Engineer._ + +=ELECTRO-TYPING.= The Reproduction and Multiplication of Printing +Surfaces and Works of Art by the Electro-Deposition of Metals. By J. W. +URQUHART, C.E. Crown 8vo, cloth =5/0= + +=ENGINEERING CHEMISTRY.= A Practical Treatise for the Use of Analytical +Chemists, Engineers, Iron Masters, Iron Founders, Students and others. +Comprising Methods of Analysis and Valuation of the Principal Materials +used in Engineering Work, with numerous Analyses, Examples and +Suggestions. By H. PHILLIPS. Third Edition, Revised. Crown 8vo, +420 pp., with Illustrations, cloth _Net_ =10/6= + +=EXPLOSIVES, MODERN, A HANDBOOK ON.= A Practical Treatise on the +Manufacture and Use of Dynamite, Gun-Cotton, Nitro-Glycerine and other +Explosive Compounds, including Collodion-Cotton. With Chapters on +Explosives in Practical Application. By M. EISSLER, M.E. Second Edition, +Enlarged. Crown 8vo, cloth =12/6= + + "A veritable mine of information on the subject of explosives + employed for military, mining, and blasting purposes."--_Army and + Navy Gazette._ + +=EXPLOSIVES: NITRO-EXPLOSIVES.= The Properties, Manufacture, and +Analysis of Nitrated Substances, including the Fulminates, Smokeless +Powders, and Celluloid. By P. G. SANFORD, F.I.C., F.C.S., +Public Analyst to the Borough of Penzance. Second Edition, enlarged. +With Illustrations. Demy 8vo, cloth _Net_ =10/6= + +NITRO-GLYCERINE--NITRO-CELLULOSE, ETC.--DYNAMITE--NITRO-BENZOL, +ROBURITE, BELLITE, PICRIC ACID, ETC.--THE FULMINATES--SMOKELESS POWDERS +IN GENERAL--ANALYSIS OF EXPLOSIVES--FIRING POINT, HEAT TESTS, +DETERMINATION OF RELATIVE STRENGTH, ETC. + + "One of the very few text-books in which can be found just what is + wanted. Mr. Sanford goes steadily through the whole list of + explosives commonly used, he names any given explosive, and tells + of what it is composed and how it is manufactured. The book is + excellent."--_Engineer._ + +=FACTORY ACCOUNTS: THEIR PRINCIPLES AND PRACTICE.= A Handbook for +Accountants and Manufacturers, with Appendices on the Nomenclature of +Machine Details, the Income Tax Acts, the Rating of Factories, Fire and +Boiler Insurance, the Factory and Workshop Acts, etc., including a +Glossary of Terms and a large number of Specimen Rulings. By EMILE +GARCKE and J. M. FELLS. Fifth Edition, Revised and +Enlarged. Demy 8vo, cloth =7/6= + + "A very interesting description of the requirements of Factory + Accounts.... The principle of assimilating the Factory Accounts to + the general commercial books is one which we thoroughly agree + with."--_Accountants' Journal._ + +=FLOUR MANUFACTURE.= A Treatise on Milling Science and Practice. By +FRIEDRICH KICK, Imperial Regierungsrath, Professor of +Mechanical Technology in the Imperial German Polytechnic Institute, +Prague. Translated from the Second Enlarged and Revised Edition. By H. +H. P. POWLES, A.M.Inst.C.E. 400 pp., with 28 Folding Plates, +and 167 Woodcuts. Royal 8vo, cloth =L1 5s.= + + "This invaluable work is the standard authority on the science of + milling."--_The Miller._ + +=FRENCH POLISHING AND ENAMELLING.= Including numerous Recipes for making +Polishes, Varnishes, Glaze, Lacquers, Revivers, &c. By R. BITMEAD. Crown +8vo, cloth =1/6= + +=GAS ENGINEER'S POCKET-BOOK.= Comprising Tables, Notes and Memoranda +relating to the Manufacture, Distribution and Use of Coal Gas and the +Construction of Gas Works. By H. O'CONNOR, A.M.Inst.C.E. Third +Edition. Revised. Crown 8vo, leather. _Net_ =10/6= + +GENERAL CONSTRUCTING MEMORANDA--GENERAL MATHEMATICAL +TABLES--UNLOADING MATERIALS AND STORAGE--RETORT +HOUSE--CONDENSERS--BOILERS, ENGINES, PUMPS, AND EXHAUSTERS--SCRUBBERS +AND WASHERS--PURIFIERS--GASHOLDER TANKS--GASHOLDERS--WORKSHOP +NOTES--MANUFACTURING--STORING MATERIALS--RETORT HOUSE +(WORKING)--CONDENSING GAS--EXHAUSTERS, ETC.--WASHING AND +SCRUBBING--PURIFICATION--GASHOLDERS (CARE OF)--DISTRIBUTING +GAS--TESTING--ENRICHING PROCESSES--PRODUCT WORKS--SUPPLEMENTARY. + + "The book contains a vast amount of information."--_Gas World._ + +=GAS ENGINEERING.= See PRODUCER GAS PRACTICE AND INDUSTRIAL GAS +ENGINEERING. =GAS FITTING.= A Practical Handbook. By JOHN BLACK. Revised +Edition. With 130 Illustrations. Crown 8vo, cloth =2/6= + +=GAS LIGHTING.= See ACETYLENE. + +=GAS LIGHTING FOR COUNTRY HOUSES.= See PETROL AIR GAS. + +=GAS MANUFACTURE, CHEMISTRY OF.= A Practical Manual for the use of Gas +Engineers, Gas Managers and Students. By HAROLD M. ROYLE, Chief +Chemical Assistant at the Beckton Gas Works. Demy 8vo, cloth, 340 pages, +with numerous Illustrations and Coloured Plate. _Net_ =12/6= + +PREPARATION OF STANDARD SOLUTIONS--ANALYSIS OF COALS--DESCRIPTION OF +VARIOUS TYPES OF FURNACES--PRODUCTS OF CARBONISATION AT VARIOUS +TEMPERATURES--ANALYSIS OF CRUDE GAS--ANALYSIS OF LIME--ANALYSIS OF +AMMONIACAL LIQUOR--ANALYTICAL VALUATION OF OXIDE OF IRON--ESTIMATION +OF NAPHTHALIN--ANALYSIS OF FIRE-BRICKS AND FIRE-CLAY--ART OF +PHOTOMETRY--CARBURETTED WATER GAS--APPENDIX CONTAINING STATUTORY AND +OFFICIAL REGULATIONS FOR TESTING GAS. VALUABLE EXCERPTS FROM VARIOUS +IMPORTANT PAPERS ON GAS CHEMISTRY, USEFUL TABLES, MEMORANDA, etc. + +=GAS WORKS.= Their Construction and Arrangement, and the Manufacture and +Distribution of Coal Gas. By S. HUGHES, C.E. Ninth Edition. +Revised by H. O'CONNOR, A.M.Inst.C.E. Crown 8vo =6/0= + +=GOLD WORKING. JEWELLER'S ASSISTANT= for Masters and Workmen, Compiled +from the Experience of Thirty Years' Workshop Practice. By G. E. +GEE. Crown 8vo =7/6= + +=GOLDSMITH'S HANDBOOK.= Alloying, Melting, Reducing, Colouring, +Collecting, and Refining. Manipulation, Recovery of Waste, Chemical and +Physical Properties; Solders, Enamels, and other useful Rules and +Recipes, &c. By G. E. GEE, Sixth Edition. Crown 8vo, cloth =3/0= + +=GOLDSMITH'S AND SILVERSMITH'S COMPLETE HANDBOOK.= By G. E. +GEE. Crown 8vo, half bound =7/0= + +=HALL-MARKING OF JEWELLERY.= Comprising an account of all the different +Assay Towns of the United Kingdom, with the Stamps at present employed; +also the Laws relating to the Standards and Hall-marks at the various +Assay Offices. By G. E. GEE. Crown 8vo =3/0= + +=HANDYBOOKS FOR HANDICRAFTS.= By PAUL N. HASLUCK. See page 16. + +=HOROLOGY, MODERN, IN THEORY AND PRACTICE.= Translated from the French +of CLAUDIUS SAUNIER, ex-Director of the School of Horology at +Macon, by JULIEN TRIPPLIN, F.R.A.S., Besancon Watch +Manufacturer, and EDWARD RIGG, M.A., Assayer in the Royal Mint. +With Seventy-eight Woodcuts and Twenty-two Coloured Copper Plates. +Second Edition. Super-royal 8vo, =L2 2s.= cloth; half-calf =L2 10s.= + + "There is no horological work in the English language at all to + be compared to this production of M. Saunier's for clearness and + completeness. It is alike good as a guide for the student and as a + reference for the experienced horologist and skilled + workman."--_Horological Journal._ + +=ILLUMINATING AND MISSAL PAINTING ON PAPER AND VELLUM.= A Practical +Treatise on Manuscript Work, Testimonials, and Herald Painting, with +Chapters on Lettering and Writing, and on Mediaeval Burnished Gold. With +two Coloured Plates. By PHILIP WHITHARD (First-class Diploma +for Illumination and Herald Painting, Printing Trades Exhibition, 1906). +156 pages. Crown 8vo, cloth _Net_ =4/0= + +=INTEREST CALCULATOR.= Containing Tables at 1, 11/2, 2, 21/2, 3, 31/2, 33/4, 4, +41/2, 43/4 and 5 per cent. By A. M. CAMPBELL, Author of "The Concise +Calendar." Crown 8vo, cloth _Net_ =2/6= + +=IRON AND METAL TRADES' COMPANION.= For Expeditiously ascertaining the +Value of any Goods bought or sold by Weight, from 1_s._ per cwt. to +112_s._ per cwt., and from one farthing per pound to one shilling per +pound. By THOMAS DOWNIE. Strongly bound in leather, 396 pp. =9/0= + + "A most useful set of tables. Nothing like them before + existed."--_Building News._ + +=IRON-PLATE WEIGHT TABLES.= For Iron Shipbuilders, Engineers and Iron +Merchants. Containing the Calculated Weights of upwards of 150,000 +different sizes of Iron Plates, from 1 ft. by 6 ins. by 1/4 in. to 10 +ft. by 5 ft. by 1 in. Worked out on the basis of 40 lbs. to the square +foot of iron of 1 in. in thickness. By H. BURLINSON and W. H. +SIMPSON. 4to, half bound =L1 5s.= + +=LABOUR CONTRACTS.= A Popular Handbook on the Law of Contracts or Works +and Services. By DAVID GIBBONS. Fourth Edition, with Appendix +of Statutes by T. F. UTTLEY; Solicitor. F'cap. 8vo, cloth =3/6= + +=LAUNDRY MANAGEMENT.= A Handbook for use in Private and Public +Laundries. Cr. 8vo, cloth =2/0= + +=LAW FOR MANUFACTURERS, EMPLOYERS AND OTHERS, ETC.= See "EVERY MAN'S +OWN LAWYER." A Handy-book of the Principles of Law and Equity. By a +BARRISTER. Forty-seventh (1910) Edition, including the +Legislation of 1909. 830 pp. Large crown 8vo, cloth [_Just Published._] +_Net_ =6/8= + +SUMMARY OF CONTENTS: LANDLORD AND TENANT--VENDORS AND +PURCHASERS--CONTRACTS AND AGREEMENTS--CONVEYANCES AND +MORTGAGES--JOINT-STOCK COMPANIES--PARTNERSHIP--SHIPPING LAW--DEALINGS +WITH MONEY--SURETISHIP--CHEQUES, BILLS AND NOTES--BILLS OF +SALE--BANKRUPTCY--MASTERS, SERVANTS AND WORKMEN--INSURANCE: LIFE, +ACCIDENT, ETC.--COPYRIGHT, PATENTS. TRADE MARKS--HUSBAND AND WIFE, +DIVORCE--INFANCY, CUSTODY OF CHILDREN--TRUSTEES AND EXECUTORS--TAXES AND +DEATH DUTIES--CLERGYMEN, DOCTORS, AND LAWYERS--PARLIAMENTARY +ELECTIONS--LOCAL GOVERNMENT--LIBEL AND SLANDER--NUISANCES--CRIMINAL +LAW--GAME LAWS, GAMING, INNKEEPERS--FORMS OF WILLS, AGREEMENTS, NOTICES, +ETC. + + "A useful and concise epitome of the law."--_Law Magazine._ + + "A complete digest of the most useful facts which constitute + English law."--_Globe._ + + "A dictionary of legal facts well put together. The book is a very + useful one."--_Spectator._ + +=LEATHER MANUFACTURE.= A Practical Handbook of Tanning, Currying, and +Chrome Leather Dressing. By A. WATT. Fifth Edition, Revised and +Enlarged. 8vo, cloth _Net_ =12/6= + +CHEMICAL THEORY OF THE TANNING PROCESS--THE SKIN--HIDES AND +SKINS--TANNIN OR TANNIC ACID--GALLIC ACID--GALLIC FERMENTATION--TANNING +MATERIALS--ESTIMATION OF TANNIN--PRELIMINARY OPERATIONS--DEPILATION OR +UNHAIRING SKINS AND HIDES--DELIMING OR BATING--TANNING BUTTS FOR SOLE +LEATHER--TANNING PROCESSES--TANNING BY PRESSURE--QUICK TANNING--HARNESS +LEATHER TANNING--AMERICAN TANNING--HEMLOCK TANNING--TANNING BY +ELECTRICITY--CHEMICAL TANNING--MISCELLANEOUS PROCESSES--COST OF AMERICAN +TANNING--MANUFACTURE OF LIGHT LEATHERS--DYEING LEATHER--MANUFACTURE OF +WHITE LEATHER--CHROME LEATHER MANUFACTURE--BOX CALF MANUFACTURE--CHAMOIS +OR OIL LEATHER MANUFACTURE--CURRYING--MACHINERY EMPLOYED IN LEATHER +MANUFACTURE--EMBOSSING LEATHER--FELLMONGERING--PARCHMENT, VELLUM, AND +SHAGREEN--GUT DRESSING--GLUE BOILING--UTILISATION OF TANNER'S +WASTE. + + "A sound, comprehensive treatise on tanning and its + accessories."--_Chemical Review._ + +LEATHER MANUFACTURE. PRACTICAL TANNING:= A Handbook of Modern Processes, +Receipts and Suggestions for the Treatment of Hides, Skins, and Pelts of +every description, including various Patents relating to Tanning, with +specifications. By LOUIS A. FLEMMING, American Tanner. Second Edition, +in great part re-written, thoroughly revised, and much enlarged. +Illustrated by six full-page Plates. Medium 8vo, cloth, 630 pages [_Just +published._] _Net_ =28/0= + +=MAGNETOS FOR AUTOMOBILISTS, HOW MADE AND HOW USED.= A Handbook of +Practical Instruction in the Manufacture and Adaptation of the Magneto +to the needs of the Motorist. By S. R. BOTTONE, late of the Collegio del +Carmine, Turin, Author of "The Dynamo," "Ignition Devices," &c. Second +Edition, enlarged. With 52 Illustrations. Crown 8vo, cloth Net =2/0= + +=MARBLE AND MARBLE WORKING.= A Handbook for Architects, Sculptors, +Marble Quarry Owners and Workers, and all engaged in the Building and +Decorative Industries. Containing numerous Illustrations and thirteen +Coloured Plates. By W. G. RENWICK, Author of "The Marble Industry," "The +Working of Marble for Decorative Purposes," etc. 240 pages. Medium 8vo, +cloth =15/0= + +THE CHEMISTRY OF MARBLE--ITS GEOLOGICAL FORMATION--A SHORT +CLASSIFICATION OF MARBLES--ANTIQUITY OF THE MARBLE INDUSTRY--ANCIENT +QUARRIES AND METHODS OF WORKING--MODERN QUARRIES AND QUARRYING +METHODS--MACHINERY USED IN QUARRYING--EUROPEAN AND AMERICAN SYSTEMS +COMPARED--MARBLE AS BUILDING MATERIAL--USES OF MARBLE OTHER THAN FOR +BUILDING PURPOSES-SOURCES OF PRODUCTION: ITALIAN, FRENCH, BELGIAN, AND +GREEK MARBLES, ETC.--MARBLES OF THE UNITED KINGDOM AND BRITISH +COLONIES--CONTINENTAL MARBLE WORKING--MARBLE WORKING MACHINERY--MARBLE +WORKING IN THE UNITED STATES--AMERICAN MACHINERY DESCRIBED AND +COMPARED--MARBLE WORKING: A BRITISH INDUSTRY--MARBLE SUBSTITUTES AND +IMITATIONS--PRACTICAL POINTS FOR THE CONSIDERATION OF ARCHITECTS--HINTS +ON THE SELECTION OF MARBLE--LIST OF MARBLES IN ORDINARY USE, WITH +DESCRIPTIVE NOTES AND INSTANCES OF THEIR APPLICATION. + +=MENSURATION AND GAUGING. A POCKET-BOOK= containing Tables, Rules, and +Memoranda for Revenue Officers, Brewers, Spirit Merchants, &c. By J. B. +MANT. Second Edition. 18mo, leather. =4/0= + + "Should be in the hands of every practical brewer."--_Brewers' + Journal._ + +=METRIC TABLES, A SERIES OF.= In which the British Standard Measures and +Weights are compared with those of the Metric System at present in Use +on the Continent. By C. H. DOWLING, C.E. 8vo, cloth =10/6= + + "Mr. Dowling's tables are well put together as a ready-reckoner for + the conversion of one system into the other."--_Athenaeum._ + +=METROLOGY, MODERN.= A Manual of the Metrical Units and Systems of the +present Century. With an Appendix containing a proposed English System. +By LOWIS d'A. JACKSON, A.M.Inst.C.E., Author of "Aid to Survey +Practice," etc. Large crown 8vo, cloth =12/6= + + "We recommend the work to all interested in the practical reform of + our weights and measures."--_Nature._ + +=MOTOR CAR, THE.= A Practical Manual for the use of Students and Motor +Car Owners, with notes on the Internal Combustion Engine and its fuel. +By ROBERT W. A. BREWER, A.M.Inst.C.E., M.I.M.E., M.I.A.E. 250 pages. +With numerous illustrations. Demy 8vo, cloth _Net_ =5/0= + +=MOTOR CAR CATECHISM.= Containing about 320 Questions and Answers +Explaining the Construction and Working of a Modern Motor Car. For the +Use of Owners, Drivers, and Students. By JOHN HENRY KNIGHT. +Second Edition, revised and enlarged, with an additional chapter on +Motor Cycles. Crown 8vo, with Illustrations _Net_ =1/6= + +THE PETROL ENGINE--TRANSMISSION AND THE CHASSIS--TYRES--DUTIES OF A +CAR DRIVER--MOTOR CYCLES--LAWS AND REGULATIONS. + +=MOTOR CARS FOR COMMON ROADS.= By A. J. WALLIS-TAYLER, +A.M.Inst.C.E. 212 pp., with 76 Illustrations. Crown 8vo. =4/6= + +=MOTOR VEHICLES FOR BUSINESS PURPOSES.= A Practical Handbook for those +interested in the Transport of Passengers and Goods. By A. J. +WALLIS-TAYLER, A.M.Inst.C.E. With 134 Illustrations. Demy 8vo, cloth +_Net_ =9/0= + +RESISTANCE TO TRACTION ON COMMON ROADS--POWER REQUIRED FOR MOTOR +VEHICLES--LIGHT PASSENGER VEHICLES--HEAVY PASSENGER VEHICLES--LIGHT +GOODS VANS--HEAVY FREIGHT VEHICLES--SELF-PROPELLED VEHICLES FOR +MUNICIPAL PURPOSES--MISCELLANEOUS TYPES OF MOTOR VEHICLES--COST OF +RUNNING AND MAINTENANCE. + +=OILS AND ALLIED SUBSTANCES. AN ANALYSIS.= By A. C. WRIGHT, +M.A.Oxon., B.Sc.Lond., formerly Assistant Lecturer in Chemistry at the +Yorkshire College, Leeds, and Lecturer in Chemistry at the Hull +Technical School. Demy 8vo, cloth _Net_ =9/0= + +THE OCCURRENCE AND COMPOSITION OF OILS, FATS AND WAXES--THE +PHYSICAL PROPERTIES OF OILS, FATS, AND WAXES, AND THEIR +DETERMINATION--THE CHEMICAL PROPERTIES OF OILS, FATS, AND WAXES +FROM THE ANALYTICAL STANDPOINT--DETECTION AND DETERMINATION OF +NON-FATTY CONSTITUENTS--METHODS FOR ESTIMATING THE CONSTITUENTS +OF OILS AND FATS--DESCRIPTION AND PROPERTIES OF THE MORE IMPORTANT +OILS, FATS, AND WAXES, WITH THE METHODS FOR THEIR +INVESTIGATION--EXAMINATION OF CERTAIN COMMERCIAL PRODUCTS. + +=ORGAN BUILDING (PRACTICAL).= By W. E. DICKSON, M.A., Precentor +of Ely Cathedral. Second Edition, Crown 8vo =2/6= + +=PAINTS, MIXED. THEIR CHEMISTRY AND TECHNOLOGY.= By MAXIMILIAN +TOCH. With 60 Photomicrographic Plates and other Illustrations +_Net_ =12/6= + +THE PIGMENTS--YELLOW, BLUE, AND GREEN PIGMENTS--THE INERT FILLERS +AND EXTENDERS--PAINT VEHICLES--SPECIAL PAINTS--ANALYTICAL--APPENDIX. + +=PAINTING FOR THE IMITATION OF WOODS AND MARBLES.= As Taught and +Practised by A. R. VAN DER BURG and P. VAN DER BURG, Directors of the +Rotterdam Painting Institution. Royal folio, cloth, 181/2 by 121/2 in. +Illustrated with 24 full-size Coloured Plates; also 12 Plain Plates, +comprising 154 Figures. Fifth Edition _Net_ =25/0= + +=PAINTING, GRAINING, MARBLING, AND SIGN WRITING.= With a Course of +Elementary Drawing and a Collection of Useful Receipts. By E. A. +DAVIDSON. Ninth Edition. Coloured Plates. Crown 8vo, cloth, +=5/0=; cloth boards, =6/0= + +=PAPER-MAKING.= A Practical Manual for Paper Makers and Owners and +Managers of Paper-Mills. With Tables, Calculations, etc. By G. +CLAPPERTON, Paper-Maker. With Illustrations of Fibres from +Micro-Photographs. Second edition, revised and enlarged. Crown 8vo, +cloth _Net_ =5/0= + +CHEMICAL AND PHYSICAL CHARACTERISTICS OF VARIOUS FIBRES--CUTTING AND +BOILING OF RAGS--JUTE BOILING AND BLEACHING--WET PICKING--WASHING, +BREAKING, AND BLEACHING--ELECTROLYTIC BLEACHING--ANTICHLOR--CELLULOSE +FROM WOOD--MECHANICAL WOOD PULP--ESPARTO AND STRAW--BEATING-- +LOADING--STARCHING--COLOURING MATTER--RESIN, SIZE, AND SIZING--THE +FOURDRINIER MACHINE AND ITS MANAGEMENT--ANIMAL SIZING--DRYING--GLAZING +AND BURNISHING--CUTTING, FINISHING--MICROSCOPICAL EXAMINATION OF +PAPER--TESTS FOR INGREDIENTS OF PAPER--RECOVERY OF SODA--TESTING +OF CHEMICALS--TESTING WATER FOR IMPURITIES. + + "The author caters for the requirements of responsible mill hands, + apprentices, etc., whilst his manual will be found of great service + to students of technology, as well as to veteran paper-makers and + mill-owners. The illustrations form an excellent feature."--_The + World's Paper Trade._ + +=PAPER-MAKING.= A Practical Handbook of the Manufacture of Paper from +Rags, Esparto, Straw, and other Fibrous Materials. Including the +Manufacture of Pulp from Wood Fibre, with a Description of the Machinery +and Appliances used. To which are added Details of Processes for +Recovering Soda from Waste Liquors. By A. WATT. With Illustrations. +Crown 8vo =7/6= + +=PAPER MAKING, CHAPTERS ON.= A Series of Volumes dealing in a practical +manner with all the leading questions in connection with the Chemistry +of Paper-Making and the Manufacture of Paper. By CLAYTON BEADLE, +Lecturer on Paper-Making before the Society of Arts, 1898 and 1902, and +at the Battersea Polytechnic Institute, 1902, etc., etc. Each volume is +published separately, at the price of =5/0= _net_ per vol. + + Volume I, comprises a Series of Lectures delivered on behalf of the + Battersea Polytechnic Institute in 1902. Crown 8vo. 151 pp. _Net_ + 5/0 + + Volume II. comprises Answers to Questions on Paper-Making Set by + the Examiners to the City and Guilds of London Institute, + 1901-1903. Crown 8vo, 182 pp. _Net_ =5/0= + + Volume III. comprises a short practical Treatise in which Boiling, + Bleaching, Loading, Colouring, and similar Questions are discussed. + Crown 8vo, 142 pp. _Net_ =5/0= + +CONTENTS:--"BRASS" AND "STEEL" BEATER BARS--THE SIZE AND SPEED OF +BEATER ROLLS--THE FADING OF PRUSSIAN BLUE PAPERS--THE EFFECT OF LOWERING +THE BREAST ROLL--THE EFFECT OF "LOADING" ON THE TRANSPARENCY OF +PAPER--"TERRA ALBA" AS A LOADING FOR PAPER--THE USE OF ALUM IN TUB +SIZING--THE INFLUENCE OF TEMPERATURE ON BLEACHING--THE USE OF REFINING +ENGINES--AGITATION AS AN AUXILIARY TO BLEACHING--THE HEATING OF "STUFF" +FOR THE PAPER MACHINE--THE COMPARATIVE RESULTS OF QUADRUPLE AND OPEN +EFFECT EVAPORATION--HOW TO PREVENT ELECTRIFICATION OF PAPER ON THE +MACHINE--TRANSPARENCY OF PAPERS--THE "LIFE" OF MACHINE WIRES--EDGE +RUNNERS. + + Volume IV. contains discussions upon Water Supplies and the + Management of the Paper Machine and its influence upon the + Qualities of Papers. Crown 8vo, 164 pp. _Net_ =5/0= + +CONTENTS:--THE BULKING OF PAPERS--SPECIAL QUALITIES OF "ART" +PAPERS--THE "AGEING" AND STORAGE OF PAPERS--THE USE OF LIME IN +BOILING--CONTROLLING THE MARK OF THE "DANDY"--"MACHINE" AND "HAND" CUT +RAGS--FROTH ON PAPER MACHINE--SCUM SPOTS IN PAPER--CONSUMPTION OF WATER +IN THE MANUFACTURE OF PAPER--THE MANAGEMENT OF SUCTION-BOXES--THE +SHRINKAGE OF PAPER ON THE MACHINE--PAPER THAT DOES NOT SHRINK OR +EXPAND--THE PRODUCTION OF NON-STRETCHABLE PAPER--THE CONNECTION +BETWEEN "STRETCH" AND "EXPANSION" OF PAPERS--"STRETCH" AND "BREAKING +STRAIN"--PAPER TESTING MACHINES. + + Volume V. concerning THE THEORY AND PRACTICE OF BEATING. Crown 8vo. + With photomicrographs and other Illustrations. _Net_ =5/0= + +CONTENTS:--EARLY BEATING APPLIANCES--THE HOLLANDER--THE ECONOMY OF +BEATING--DIFFICULTIES OF ARRIVING AT DEFINITE RESULTS--BEHAVIOUR OF +DIFFERENT FIBRES--"REFINING"--POWER CONSUMPTION--A COMPARISON OF TWO +DIFFERENT KINDS OF BEATERS--POWER CONSUMED IN THE "BREAKING," "BEATING," +AND "REFINING" OF DIFFERENT MATERIALS--DEALING WITH THE "CIRCULATION" +AND "AGITATION" IN A HOLLANDER--COMPARISONS OF LARGE AND MEDIUM-SIZED +HOLLANDERS WHEN BEATING "HARD" AND "SOFT" STOCK--TRIALS TO DETERMINE THE +RELATIVE MERITS OF STONE AND METAL BEATER-BARS--TRIALS WITH BREAKERS, +REED BEATERS, AND KINGSLAND REFINERS--A SYSTEM OF BEATING COMBINED WITH +A SYSTEM FOR CONTINUOUS BLEACHING--BEATERS AND REFINERS--POWER CONSUMED +IN GRINDING WOOD-PULP--THE REDUCTION IN LENGTH OF FIBRES AT DIFFERENT +STAGES OF BEATING--METHOD FOR DETERMINING THE "WETNESS" OF BEATEN +STUFF--THE POSITION OF BEATERS IN OLD AND MODERN PAPER-MILLS--APPENDIX. + +=PARA RUBBER. ITS CULTIVATION & PREPARATION.= By W. H. JOHNSON, F.L.S., +Ex-Director of Agriculture, Gold Coast Colony, West Africa, Director of +Agriculture, Mozambique Company, East Africa, Commissioned by Government +in 1902 to visit Ceylon to Study the Methods employed there in the +Cultivation and Preparation of Para Rubber and other Agricultural +Staples for Market, with a view to Introduce them into West Africa. +Second Edition, rewritten and greatly enlarged, with numerous +illustrations. Demy 8vo, cloth _Net_ =7/6= + +THE WORLD'S PRODUCTION AND CONSUMPTION OF RUBBER--THE PARA RUBBER +TREE AT HOME AND ABROAD--PROPAGATION--PLANTING AND CULTIVATING--SOILS +AND MANURES--PESTS--LATEX--COLLECTING THE LATEX--RUBBER MANUFACTURE--THE +ANTISEPTICISATION OF RUBBER--DRYING AND PACKING RUBBER FOR EXPORT--YIELD +OF PARA RUBBER FROM CULTIVATED TREES--ESTABLISHMENT AND MAINTENANCE OF A +PARA RUBBER PLANTATION--COMMERCIAL VALUE OF THE OIL IN HEVEA SEEDS. + +=PASTRYCOOK AND CONFECTIONER'S GUIDE.= For Hotels, Restaurants, and the +Trade in general, adapted also for Family Use. By R. WELLS, +Author of "The Bread and Biscuit Baker" =1/0= + +=PETROL AIR GAS.= A Practical Handbook on the Installation and Working +of Air Gas Lighting Systems for Country Houses. By HENRY +O'CONNOR, F.R.S.E., A.M. Inst. C.E., &c., author of "The Gas +Engineer's Pocket Book." 80 pages with illustrations. Crown 8vo, cloth +_Net_ =1/6= + +DESCRIPTION OF PREVIOUS PLANTS AND SYSTEMS FOR COUNTRY-HOUSE +LIGHTING, DIFFICULTIES WITH, OBJECTIONS AND PRICES--HISTORY OF PETROL +GAS, COMPARATIVE COSTS--PETROL, ITS NATURE, DANGERS, AND STORING, NOTES +ON THE LAW REGARDING SAME--BURNERS, DESCRIPTION OF SAME, PIPING, +MANTLES--GENERAL PRINCIPLES OF PARTS OF PLANTS--MOTIVE POWER +METERS--WEIGHT-DRIVEN PLANTS--ROOT'S BLOWERS--HOT-AIR ENGINES--PELTON +WATER-WHEELS--DESCRIPTIONS OF VARIOUS PLANTS--EXTRACT FROM AN ACT FOR +THE SAFE-KEEPING OF PETROLEUM AND OTHER SUBSTANCES OF A LIKE +NATURE--APPENDIX--USEFUL NOTES. + +=PETROLEUM. THE OIL FIELDS OF RUSSIA AND THE RUSSIAN PETROLEUM +INDUSTRY.= A Practical Handbook on the Exploration, Exploitation, and +Management of Russian Oil Properties, the Origin of Petroleum in Russia, +the Theory and Practice of Liquid Fuel. By A. B. THOMPSON, A.M.I.M.E., +F.G.S. 415 pp., with numerous Illustrations and Photographic Plates. +Second Edition Revised. Super-royal 8vo, cloth _Net_ =21/0= + +=PETROLEUM MINING AND OIL-FIELD DEVELOPMENT.= A Guide to the Exploration +of Petroleum Lands, and a Study of the Engineering Problems connected +with the Winning of Petroleum. Including Statistical Data of important +Oil Fields. Notes on the Origin and Distribution of Petroleum, and a +description of the Methods of Utilizing Oil and Gas Fuels. By A. +BEEBY THOMPSON, A.M.I.Mech.E., F.G.S. Author of "The Oil Fields +of Russia." 384 pages, 114 illustrations, including 22 full-page plates. +Demy 8vo, cloth. [_Just Published._] _Net_ =15/0= + + "It is an admirable text-book by a competent authority on an + interesting subject."--_Mining Magazine._ + + "The present effort is likely to receive a warm welcome in + engineering circles, and it can be cordially commended for perusal. + It will doubtless have that large sale to which its merits entitle + it."--_Mining World._ + + "The general aspects of the Petroleum Industry are fully and ably + laid out."--_Engineer._ + +=PIGMENTS, ARTISTS' MANUAL OF.= Showing their Composition, Conditions of +Permanency, Non-Permanency, and Adulterations, etc., with Tests of +Purity. By H. C. STANDAGE. Third Edition. Crown 8vo, cloth =2/6= + +=PORTLAND CEMENT, THE MODERN MANUFACTURE OF.= By PERCY C. H. WEST, +Chemical Engineer and Consulting Chemist. In Three Volumes. Vol. I., +dealing with "Machinery and Kilns." About 200 pages, Medium 8vo. With +numerous Illustrations. [_Nearly ready, price about_] =10/6= + +=PRODUCER GAS PRACTICE (AMERICAN) AND INDUSTRIAL GAS ENGINEERING.= By +NISBET LATTA, M.Amer.Soc.M.E., M.Amer.Gas Inst. 558 pages, with +247 illustrations. Demy 4to, cloth [_Just Published._] _Net_ =25/-= + +PRODUCER OPERATION--CLEANING THE GAS--WORKS DETAILS--PRODUCER +TYPES--MOVING GASES--SOLID FUELS--PHYSICAL PROPERTIES OF GASES--CHEMICAL +PROPERTIES OF GASES--GAS ANALYSIS--GAS POWER--GAS ENGINES--INDUSTRIAL +GAS APPLICATIONS--FURNACES AND KILNS--BURNING LIME AND +CEMENT--PRE-HEATING AIR--DOHERTY COMBUSTION ECONOMISER--COMBUSTION IN +FURNACES--HEAT: TEMPERATURE, RADIATION AND CONDUCTION--HEAT +MEASUREMENTS: PYROMETRY AND CALORIMETRY--PIPES, FLUES, AND +CHIMNEYS--MATERIALS: FIRE CLAY, MASONRY, WEIGHTS AND ROPE--USEFUL +TABLES--OIL FUEL PRODUCER GAS. + +=RECIPES, FORMULAS AND PROCESSES, TWENTIETH CENTURY BOOK OF.= Edited by +GARDNER D. Hiscox, M.E. Nearly 10,000 Scientific, Chemical, Technical, +and Household Recipes, Formulas and Processes for Use in the Laboratory +and the Office, the Workshop and the Home. Medium 8vo, 800 pp., cloth. +_Net_ =12/6= + +SELECTED LIST OF CONTENTS:--ABSINTHE--ACID PROOFING--ADHESIVES-- +ALCOHOL--ALKALI--ALLOYS--ALUMINIUM--AMMONIA--ANILINE--ANTIDOTES FOR +POISON--ANCHOVY PREPARATIONS--ANTISEPTICS--ANTIQUES--BAKING POWDERS-- +AROMETERS--BEVERAGES--BLEACHING--BRASS--BRICK--CARBOLIC ACIDS--CASTING-- +CELLULOID--CHEESE--CERAMICS--CIGARS--COFFEE--CONDIMENTS--COPPER-- +COSMETICS--COTTON--DIAMOND TESTS--DONARITE--DYES--ELECTRO PLATING-- +EMBALMING--ENAMELLING--ENGRAVING--ESSENCES--EXPLOSIVES--FERTILISERS-- +FILTERS--FOOD ADULTERANTS--GELATINE--GLASS--GOLD--GUMS--HARNESS +DRESSINGS--HORN--INKS--INSECTICIDES--IRON--IVORY--JEWELLERS' FORMULAS-- +LACQUERS--LAUNDRY PREPARATIONS--LEATHER--LINOLEUM--LUBRICANTS-- +MATCHES--METALS--MUSIC BOXES--OILS--PAINTS--PAPER--PERFUMES--PETROLEUM-- +PHOTOGRAPHY--PLASTER--PLATING--POLISHES--PORCELAIN--POULTRY--PUTTY--RAT +POISONS--REFRIGERATION--ROPES--RUBBER--RUST PREVENTIVES--SALT--SCREWS-- +SILK--SILVER--SOAPS--SOLDERS--SPIRIT--SPONGES--STEEL--STONE-- +THERMOMETERS--TIN--VALVES--VARNISHES--VETERINARY FORMULAS--WATCHMAKERS' +FORMULAS--WATERPROOFING--WAX--WEIGHTS AND MEASURES--WHITEWASH-- +WOOD--YEAST. + +=RUBBER HAND STAMPS.= And the Manipulation of Rubber. A Practical +Treatise on the Manufacture of Indiarubber Hand Stamps, Small Articles +of Indiarubber, The Hektograph, Special Inks, Cements, and Allied +Subjects. By T. O'CONOR SLOANE A.M., Ph.D. With numerous +Illustrations. Square 8vo, cloth =5/0= + +=SAVOURIES AND SWEETS.= Suitable for Luncheons and Dinners. By Miss M. +L. Allen (Mrs. A. Macaire), Author of "Breakfast Dishes," etc. +Thirty-first Edition. F'cap 8vo, sewed =1/0= Or, quarter bound, fancy +boards =1/6= + +=SHEET METAL-WORKER'S GUIDE.= A Practical Handbook for Tinsmiths, +Coppersmiths, Zincworkers, &c., with 46 Diagrams and Working Patterns. +By W. J. E. CRANE. Crown 8vo, Cloth =1/6= + +=SHEET METAL-WORKER'S INSTRUCTOR.= Comprising Geometrical Problems and +Practical Rules for Describing the Various Patterns Required by Zinc, +Sheet-Iron, Copper, and Tin-Plate Workers. By R. H. WARN. Third +Edition. Revised and Further Enlarged by J. G. HORNER, +A.M.I.M.E. Crown 8vo, 280 pp., with 465 Illustrations, cloth =7/6= + +=SILVERSMITH'S HANDBOOK.= Alloying and Working of Silver, Refining and +Melting, Solders, Imitation Alloys, Manipulation, Prevention of Waste, +Improving and Finishing the Surface of the Work, etc. By GEORGE E. +GEE. Fourth Edition Revised, Crown 8vo, cloth =3/0= + +=SOAP-MAKING.= A Practical Handbook of the Manufacture of Hard and Soft +Soaps, Toilet Soaps, etc. With a Chapter on the Recovery of Glycerine +from Waste Leys. By ALEXANDER WATT. Seventh Edition, including +an Appendix on Modern Candlemaking. Crown 8vo, cloth =7/6= + + "The work will prove very useful, not merely to the technological + student, but to the soap boiler who wishes to understand the theory + of his art."--_Chemical News._ + +=SOAPS, CANDLES, and GLYCERINE.= A Practical Manual of Modern Method +of Utilisation of Fats and Oils in the Manufacture of Soap and Candles, +and of the recovery of Glycerine. By L. L. LAMBORN, Massachusetts +Institute of Technology, M.Am.C.S. Medium 8vo, cloth. Fully Illustrated. +706 pages _Net_ =30/0= + +THE SOAP INDUSTRY--RAW MATERIALS--BLEACHING AND PURIFICATION OF +SOAP-STOCK--THE CHEMICAL CHARACTERISTICS OF SOAP-STOCK AND THEIR +BEHAVIOUR TOWARDS SAPONIFYING AGENTS--MECHANICAL EQUIVALENT OF THE SOAP +FACTORY--COLD PROCESS AND SEMI-BOILED SOAP--GRAINED SOAP--SETTLED ROSIN +SOAP--MILLED SOAP-BASE--FLOATING SOAP--SHAVING SOAP--MEDICATED +SOAP--ESSENTIAL OILS AND SOAP PERFUMERY--MILLED SOAP--CANDLES-- +GLYCERINE--EXAMINATION OF RAW MATERIALS AND FACTORY PRODUCTS. + +=SOLUBILITIES OF INORGANIC AND ORGANIC SUBSTANCES.= A Hand-book of the +most Reliable Quantitative Solubility Determinations. Recalculated and +Compiled by ATHERTON SEIDELL, Ph.D., Chemist, Hygienic Laboratory, U. S. +Public Health Service, Washington, D C. Medium 8vo, cloth, 377 pages +_Net_ =12/6= + +=TEA MACHINERY AND TEA FACTORIES.= Describing the Mechanical Appliances +required in the Cultivation and Preparation of Tea for the Market. By A. +J. WALLIS-TAYLER, A.M.Inst.C.E. Medium 8vo, 468 pp. With 218 +Illustrations _Net_ =25/0= + + "The subject of tea machinery is now one of the first interest to a + large class of people, to whom we strongly commend the + volume."--_Chamber of Commerce Journal._ + +=WAGES TABLES.= At 54, 52, 50, and 48 Hours per Week. Showing the +Amounts of Wages from one quarter of an hour to sixty-four hours, in +each case at Rates of Wages advancing by One Shilling from 4s. to +55s. per week. By THOS. CARBUTT, Accountant. Square crown, 8vo, +half-bound =6/0= + +=WATCH REPAIRING, CLEANING, AND ADJUSTING.= A Practical Handbook dealing +with the Materials and Tools Used, and the Methods of Repairing, +Cleaning, Altering, and Adjusting all kinds of English and Foreign +Watches, Repeaters, Chronographs, and Marine Chronometers. By F. J. +GARRARD, Springer and Adjuster of Marine Chronometers and Deck Watches +for the Admiralty. Second Edition. Revised. With over 200 Illustrations. +Crown 8vo, cloth _Net_ =4/6= + +=WATCHES AND OTHER TIMEKEEPERS, HISTORY OF.= By J. F. KENDAL, +M.B.H. Inst. =1/6= boards; or cloth =2/6= + +=WATCHMAKER'S HANDBOOK.= Intended as a Workshop Companion for those +engaged in Watchmaking and the Allied Mechanical Arts. Translated from +the French of CLAUDIUS SAUNIER, and enlarged by JULIEN TRIPPLIN, +F.R.A.S., and EDWARD RIGG, M.A., Assayer in the Royal Mint. Fourth +Edition. Cr. 8vo, cloth =9/0= + + "Each part is truly a treatise in itself. The arrangement is good + and the language is clear and concise. It is an admirable guide for + the young watchmaker."--_Engineering._ + +=WEIGHT CALCULATOR.= Being a Series of Tables upon a New and +Comprehensive Plan, exhibiting at one Reference the Exact Value of any +Weight from 1 lb. to 15 tons, at 300 Progressive Rates, from 1d. to +168s. per cwt., and containing 186,000 Direct Answers, which, with their +Combinations, consisting of a single addition (mostly to be performed at +sight), will afford an aggregate of 10,266,000 Answers; the whole being +calculated and designed to ensure correctness and promote despatch. By +HENRY HARBEN, Accountant. Sixth edition, carefully corrected. +Royal 8vo, strongly half bound =L1 5s.= + + "A practical and useful work of reference for men of business + generally."--_Ironmonger._ + + "Of priceless value to business men."--_Sheffield Independent._ + +=WOOD ENGRAVING.= A Practical and Easy Introduction to the Study of the +Art. By W. N. BROWN. Crown 8vo, cloth. =1/6= + + + + +HANDYBOOKS FOR HANDICRAFTS. + +BY PAUL N. HASLUCK. + +Author of "Lathe Work," etc. Crown 8vo, 144 pp., price 1s. each. + + +[symbol: right pointing hand]_These_ HANDYBOOKS _have been written to +supply information for_ WORKMEN STUDENTS, _and_ AMATEURS _in the several +Handicrafts, on the actual_ PRACTICE _of the_ WORKSHOP, _and are +intended to convey in plain language_ TECHNICAL KNOWLEDGE _of the +several_ CRAFTS. _In describing the processes employed, and the +manipulation of material, workshop terms are used; workshop practice is +fully explained; and the text is freely illustrated with drawings of +modern tools, appliances, and processes._ + +=METAL TURNER'S HANDYBOOK.= A Practical Manual for Workers at the +Foot-Lathe. With 100 Illustrations =1/0= + + "The book displays thorough knowledge of the subject."--_Scotsman._ + +=WOOD TURNER'S HANDYBOOK.= A Practical Manual for Workers at the Lathe. +With 100 Illustrations =1/0= + + "We recommend the book to young turners and amateurs."--_Mechanical + World._ + +=WATCH JOBBER'S HANDYBOOK.= A Practical Manual of Cleaning, Repairing, +and Adjusting. With 100 Illustrations =1/0= + + "All connected with the trade should acquire and study this + work."--_Clerkenwell Chronicle._ + +=PATTERN MAKER'S HANDYBOOK.= A Practical Manual on the Construction of +Patterns. With 100 Illustrations =1/0= + + "A most valuable, if not indispensable, manual for the + pattern-maker."--_Knowledge._ + +=MECHANIC'S WORKSHOP HANDYBOOK.= A Practical Manual on Mechanical +Manipulation, embracing Information on various Handicraft Processes. +With Useful Notes and Miscellaneous Memoranda. Comprising about 200 +Subjects =1/0= + + "Should be found in every workshop, and in all technical + Schools."--_Saturday Review._ + +=MODEL ENGINEER'S HANDYBOOK.= A Practical Manual on the Construction of +Model Steam Engines. With upwards of 100 Illustrations =1/0= + + "Mr. Hasluck has produced a very good little book."--_Builder._ + +=CLOCK JOBBER'S HANDYBOOK.= A Practical Manual on Cleaning, Repairing, +and Adjusting. With 100 Illustrations =1/0= + + "It is of inestimable service to those commencing the + trade."--_Coventry Standard._ + +=CABINET WORKER'S HANDYBOOK.= A Practical Manual on the Tools, +Materials, Appliances, and Processes employed in Cabinet Work. With +upwards of 100 Illustrations =1/0= + + "Amongst the most practical guides for beginners in + cabinet-work."--_Saturday Review._ + +=WOODWORKER'S HANDYBOOK.= Embracing information on the Tools, +Materials, Appliances and Processes Employed in Woodworking. With 104 +Illustrations =1/0= + + "Written by a man who knows, not only how work ought to be done, + but how to do it, and how to convey his knowledge to + others."--_Engineering._ + + "Mr. Hasluck writes admirably, and gives complete + instructions."--_Engineer._ + + "Mr. Hasluck combines the experience of a practical teacher with + the manipulative skill and scientific knowledge of processes of the + trained mechanician, and the manuals are marvels of what can be + produced at a popular price."--_Schoolmaster._ + + "Helpful to workmen of all ages and degrees of experience."--_Daily + Chronicle._ + +BRADBURY, AGNEW, & CO. LD., LONDON AND TONBRIDGE. (391.25.5.10.) + + + + +_WEALE'S SCIENTIFIC & TECHNICAL SERIES._ + + +MATHEMATICS, ARITHMETIC, &c. + +Geometry, Descriptive. J. F. HEATHER 2/- +Practical Plane Geometry. J. F. HEATHER 2/- +Analytical Geometry. J. HANN & J. R. YOUNG 2/- +Geometry. Part I. (Euclid, Bks. I.--III.) H. LAW 1/6 + Part II. (Euclid, Books IV., V., VI., XI., + XII.). H. LAW 1/6 +Geometry, in 1 vol. (Euclid's Elements) 2/6 +Plane Trigonometry. J. HANN 1/6 +Spherical Trigonometry. J. HANN 1/- + The above 2 vols., bound together 2/6 +Differential Calculus. W. S. B. WOOLHOUSE 1/6 +Integral Calculus. H. COX 1/6 +Algebra. J. HADDON 2/- +Key to ditto 1/6 +Book-keeping. J. HADDON 1/6 +Arithmetic. J. R. YOUNG 1/6 +Key to ditto 1/6 +Equational Arithmetic. W. HIPSLEY 1/6 +Arithmetic. J. HADDON 1/6 +Mathematical Instruments. HEATHER & WALMISLEY 2/- +Drawing & Measuring Instruments. J. F. HEATHER 1/6 +Optical Instruments, J. F. HEATHER 1/6 +Surveying & Astronomical Instruments. J. F. HEATHER 1/6 + The above 3 vols., bound together 4/6 +Mensuration and Measuring. T. BAKER 1/6 +Slide Rule, & How to Use it. C. HOARE 2/6 +Measures, Weights, & Moneys. W. S. B. WOOLHOUSE 2/6 +Logarithms, Treatise on, with Tables. H. LAW 3/- +Compound Interest and Annuities. F. THOMAN 4/- +Compendious Calculator. D. O'GORMAN 2/6 +Mathematics. F. CAMPIN 3/- +Astronomy. R. MAIN & W. T. LYNN 2/- +Statics and Dynamics. T. BAKER 1/6 +Superficial Measurement. J. HAWKINGS 3/6 + + +BUILDING & ARCHITECTURE. + +Building Estates. F. MAITLAND 2/- +Science of Building. E. W. TARN 3/6 +Building, Art of. E. DOBSON and J. P. ALLEN 2/- +Book on Building. Sir E. BECKETT 4/6 +Dwelling Houses, Erection of. S. H. BROOKS 2/6 +Cottage Building. C. B. ALLEN 2/- +Acoustics of Public Buildings. Prof. T. R. SMITH. 1/6 +Practical Bricklaying. A. HAMMOND 1/6 +Practical Brick Cutting & Setting. A. HAMMOND 1/6 +Brickwork. F. WALKER 1/6 +Brick and Tile Making. E. DOBSON 3/- +Practical Brick & Tile Book. DOBSON & HAMMOND 6/- +Carpentry and Joinery. T. TREDGOLD & E. W. TARN 3/6 + Atlas of 35 plates to the above 6/- +Handrailing, and Staircasing. G. COLLINGS 2/6 +Circular Work in Carpentry. G. COLLINGS 2/6 +Roof Carpentry. G. COLLINGS 2/- +Construction of Roofs. E. W. TARN 1/6 +Joints used by Builders. J. W. CHRISTY 3/- +Shoring. G. H. BLAGROVE 1/6 +Timber Importer's & Builder's Guide. R. E. GRANDY 2/- +Plumbing. W. P. BUCHAN 3/6 +Ventilation of Buildings. W. P. BUCHAN 3/6 +Practical Plasterer. W. KEMP 2/- +House-Painting. E. A. DAVIDSON 5/- +Elementary Decoration. J. W. FACEY 2/- +Practical House Decoration. J. W. FACEY 2/6 +Gas-Fitting. J. BLACK 2/6 +Portland Cement for Users. H. FAIJA & D. B. BUTLER 3/- +Limes, Cements, & Mortars. G. R. BURNELL 1/6 +Masonry and Stone Cutting. E. DOBSON 2/6 +Arches, Piers, and Buttresses. W. BLAND 1/6 +Quantities and Measurements. A. C. BEATON 1/6 +Complete Measurer. R. HORTON 4/- +Superficial Measurement. J. HAWKINGS 3/6 +Light, for use of Architects. E. W. TARN 1/6 +Hints to Young Architects. WIGHTWICK & GUILLAUME 3/6 +Dictionary of Architectural Terms. J. WEALE 5/- +Architecture, Orders. W. H. LEEDS 1/6 +Architecture, Styles. T. T. BURY 2/- + The above 2 vols., bound together 3/6 +Architecture, Design. E. L. GARBETT 2/6 + The above 3 vols., bound together 6/- +Architectural Modelling. T. A. RICHARDSON 1/6 +Vitruvius' Architecture. J. GWILT 5/- +Grecian Architecture. Lord ABERDEEN 1/- + The above 2 vols., bound together 6/- + + +FINE ARTS. + +Dictionary of Painters. P. DARYL 2/6 +Painting, Fine Art. T. J. GULLICK & J. TIMBS 5/- +Grammar of Colouring. G. FIELD & E. A. DAVIDSON 3/- +Perspective. G. PYNE 2/- +Glass Staining & Painting on Glass 2/6 +Music. C. C. SPENCER 2/6 +Pianoforte Instruction. C. C. SPENCER 1/6 + + +INDUSTRIAL & USEFUL ARTS. + +Cements, Pastes, Glues & Gums. H. C. STANDAGE 2/- +Clocks, Watches and Bells. Lord GRIMTHORPE 4/6 +Goldsmith's Handbook. G. E. GEE 3/- +Silversmith's Handbook. G. E. GEE 3/- +Goldsmith's & Silversmith's Handbook. G. E. GEE 7/- +Hall-Marking of Jewelry. G. E. GEE 2/- +Cabinet Maker's Guide. R. BITMEAD 2/6 +Practical Organ Building. W. E. DICKSON 2/6 +Coach Building. J. W. BURGESS 2/6 +Brass Founder's Manual. W. GRAHAM 2/- +French Polishing and Enamelling. R. BITMEAD 1/6 +House Decoration. J. W. FACEY 5/- +Letter-Painting Made Easy. J. G. BADENOCH 1/6 +Boot and Shoemaking. J. B. LENO 2/- +Mechanical Dentistry. C. HUNTER 3/- +Wood Engraving. W. N. BROWN 1/6 +Laundry Management 2/- + + +CROSBY LOCKWOOD & SON, 7, Stationers' Hall Court, E.C. + + +[Transcriber's note: the following advertisements were moved from +the front of the book.] + +_WEALE'S SCIENTIFIC & TECHNICAL SERIES._ + + +CIVIL ENGINEERING & SURVEYING. + +Civil Engineering. H. LAW & D. K. CLARK 6/6 +Pioneer Engineering. E. DOBSON 4/6 +Iron Bridges of Moderate Span. H. W. PENDRED 2/- +Iron and Steel Bridges & Viaducts. F. CAMPIN 3/6 +Constructional Steel & Ironwork. F. CAMPIN 3/6 +Tubular & Girder Bridges. G. D. DEMPSEY 2/- +Materials and Construction. F. CAMPIN 3/- +Sanitary Work. C. SLAGG 3/- +Roads & Streets. LAW, CLARK, & WALLIS-TAYLER 6/- +Construction of Gasworks. S. HUGHES & H. O'CONNOR 6/- +Well-Sinking. J. G. SWINDELL & G. R. BURNELL 2/- +Drainage. G. D. DEMPSEY & D. K. CLARK 4/6 +Blasting and Quarrying. J. BURGOYNE 1/6 +Foundations and Concrete Work. E. DOBSON 1/6 +Pneumatics. C. TOMLINSON 1/6 +Surveying. T. BAKER & F. E. DIXON 2/- + + +MECHANICAL ENGINEERING, &c. + +Engineering Drawing. J. MAXTON 3/6 +Fuels, Analysis and Valuation. H. J. PHILLIPS 2/- +Fuel. C. W. WILLIAMS & D. K. CLARK 3/6 +Boilermaker's Assistant. J. COURTNEY 2/- +Boilermaker's Ready Reckoner. J. COURTNEY 4/- +Boilermaker's Ready Reckoner and Assistant 7/- +Steam Boilers. R. ARMSTRONG 1/6 +Steam and Machinery Management. M. P. BALE 2/6 +Steam and the Steam Engine. D. K. CLARK 3/6 +Steam Engine, Theory of. T. BAKER 1/6 +Steam Engine. Dr. LARDNER 1/6 +Locomotive Engines. G. D. DEMPSEY & D. K. CLARK 3/- +Locomotive Engine Driving. M. REYNOLDS 3/6 +Stationary Engine Driving. M. REYNOLDS 3/6 +Model Locomotive Engineer. M. REYNOLDS 3/6 +Modern Workshop Practice. J. G. WINTON 3/6 +Mechanical Engineering. F. CAMPIN 2/6 +Details of Machinery. F. CAMPIN 3/- +Elementary Marine Engineering. J. S. BREWER 1/6 +Power of Water. J. GLYNN 2/- +Mechanism and Machines. T. BAKER & J. NASMYTH 2/6 +Mechanics. C. TOMLINSON 1/6 +Cranes and Machinery. J. GLYNN 1/6 +Smithy and Forge. W. J. E. CRANE 2/6 +Sheet-Metal Worker's Guide. W. J. E. CRANE 1/6 +Elementary Electric Lighting. A. A. C. SWINTON 1/6 + + +MINING & METALLURGY. + +Mining Calculations. T. A. O'DONAHUE 3/6 +Mineralogy. A. RAMSAY 3/6 +Coal Mining. Sir W. W. SMYTH & T. F. BROWN 3/6 +Metallurgy of Iron. H. BAUERMAN 5/- +Mineral Surveyor's Guide. W. LINTERN 3/6 +Slate and Slate Quarrying. D. C. DAVIES 3/- +Mining and Quarrying. J. H. COLLINS 1/6 +Subterraneous Surveying. T. FENWICK & T. BAKER 2/6 +Mining Tools. W. MORGANS 2/6 +Plates to ditto. 4to 4/6 +Physical Geology. PORTLOCK & TATE 2/- +Historical Geology. R. TATE 2/6 + The above 2 vols., bound together. 4/6 +Electro-Metallurgy. A. WATT 3/6 + + +NAVIGATION, SHIPBUILDING, &c. + +Navigation. J. GREENWOOD & W. H. ROSSER 2/6 +Practical Navigation. GREENWOOD, ROSSER & LAW 7/- +Navigation and Nautical Astronomy. J. R. YOUNG 2/6 +Mathematical & Nautical Tables. LAW & YOUNG 4/- +Masting and Rigging. R. KIPPING 2/- +Sails and Sailmaking. R. KIPPING 2/6 +Marine Engines. R. MURRAY & G. CARLISLE 4/6 +Naval Architecture. J. PEAKE 3/6 +Ships, Construction of. H. A. SOMMERFELDT 1/6 +Plates to ditto. 4to 7/6 +Ships and Boats. W. BLAND 1/6 + + +=AGRICULTURE & GARDENING.= + +Fertilisers & Feeding Stuffs. DR. B. DYER _net_ 1/- +Draining and Embanking. PROF. J. SCOTT 1/6 +Irrigation and Water Supply. PROF. J. SCOTT 1/6 +Farm Roads, Fences, and Gates. PROF. J. SCOTT 1/6 +Farm Buildings. PROF. J. SCOTT 2/- +Barn Implements and Machines. PROF. J. SCOTT 2/- +Field Implements and Machines. PROF. J. SCOTT 2/- +Agricultural Surveying. PROF. J. SCOTT 1/6 + The above 7 vols., bound together 12/- +Farm Management. R. S. BURN 2/6 +Landed Estates Management. R. S. BURN 2/6 +Farming--Soils, Manures, and Crops. R. S. BURN 2/- +Farming--Outlines--Farming Economy. R. S. BURN 3/- +Farming--Cattle, Sheep, and Horses. R. S. BURN 2/6 +Farming--Dairy, Pigs, and Poultry. R. S. BURN 2/- +Farming--Sewage & Irrigation. R. S. BURN 2/6 + The above 5 vols., bound together 12/- +Book-keeping for Farmers. J. M. WOODMAN 2/6 +Ready Reckoner for Land. A. ARMAN 2/- +Miller's & Farmer's Ready Reckoner 2/- +Hay and Straw Measurer. J. STEELE 2/- +Meat Production. J. EWART 2/6 +The Sheep. W. C. SPOONER 3/6 +Multum-in-Parvo Gardening. S. WOOD 1/- +Forcing Garden. S. WOOD 3/6 +Market and Kitchen Gardening. C. W. SHAW 3/- +Kitchen Gardening. G. M. F. GLENNY 1/6 +Cottage Gardening. E. HOBDAY 1/6 +Garden Receipts. C. W. QUIN 1/6 +Potatoes: How to Grow. J. PINK 2/- +Culture of Fruit Trees. M. DU BREUIL 3/6 +Tree Planter & Plant Propagator. S. WOOD 2/- +Tree Pruner. S. WOOD 1/6 +Tree Planter, Propagator, & Pruner. S. WOOD 3/6 +Grafting and Budding. C. BALTET 2/6 +Bees for Pleasure & Profit. G. G. SAMSON _net_ 1/- + +CROSBY LOCKWOOD & SON, 7, Stationers' Hall Court, E.C. + + +Transcriber's notes: +page + 14. add period after "the above processes" + 29. varnsh corrected to varnish + 31. from corrected + 32. closing quote added after Polish + 44. polish aud spirits changed to and + 93. added parens close after "finish + 95. earthern corrected to earthen + 97. boiled-linseed oil corrected to boiled linseed-oil +104. period after coarsely +114. campeachiaum corrected to campeachianum +130. published net added right bracket +131. net added right bracket +131. OF METALS added period +134. added right bracket ] +135. Material [added right bracket] Uses of +137. "Refining"--Power Consumption added dashes +138. added ] in 3 places + + + + + + +End of Project Gutenberg's French Polishing and Enamelling, by Richard Bitmead + +*** END OF THIS PROJECT GUTENBERG EBOOK FRENCH POLISHING AND ENAMELLING *** + +***** This file should be named 17935.txt or 17935.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/1/7/9/3/17935/ + +Produced by K.D. Thornton and the Online Distributed +Proofreading Team at http://www.pgdp.net + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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