London.Puilishedby Sherwood, Gihert &.Bper.

lS2

THE

CABINET MAKER'S GUIDE;

Uulc^
antr $tt0t ructions
IN

THE ART OF

VARNISHING, DYING^ STAINING, JAPANNING, POLISHING, LACKERING, AND REAUTIFYING

WOOD, IVORY, TORTOISESHBIX, & RESTAI..

Observations on their

Management and

Ajyplicatidn.

INCLUDING AN APPENDIX,
CONTAINING SEVERAL VALUABLE TABLES.

FIFTH EDITION,
CONSIDERABLY AUGMENTED BY THE ADDITION OF
SEVERAL NEW ARTICLES, RECEIPTS, &C.

By G.

a.

SIDDONS.

LONDON

ADVERTISEMENT
TIFTH EDITION.

The rapid sale of

Four Editions of

this

work has induced the Editor

to offer to

the public a Fifths which, from the

many
will

important additions made, he trusts

now form a complete pocket companion

for the Cabinet

Maker, as well as a necesaddition

to
is
liis

sary
chest

and
:

useful

tool-

and though the price

somewhat

enhanced, from the plates and extra matter

contained in
it, still

that will not be found,

IV

ADVERTISEMENT.

on a comparison with the former work, to

be such as
will

put

it

out of the workman's

power
a book
present

to

avail himself

of

the benefits
like

of
is

general

reference

the

calculated to afford.
in the art of

There are many processes

simple,

Cabinet- Making, which are of themselves

and materially useful

to the

work-

man, though not perhaps generally known.

It
is

therefore the intention in this edition

to

fill

up what was wanting

applying to
this

in a former,

by

introducing some articles, which, though not

strictly
art,

yet will be
will materi-

found of great
ally assist

benefit,

and

him

in his operations.

For which

purpose, besides a variety of new receipts

in the articles already before the public,

three entire
viz.

new ones

will

be introduced,

Lines or

dei-ing.

Drawing, Turning and SolThe value of which, particularly

workman, must be allowed

to the country

ADVERTISEMENT
to oe of

V
as they
will

some consequence,
to

enable

him

perform many

operations

which, without their assistance, would not

only Retard the work in hand, but in
cases prevent
itself.

many

him undertaking the work

As in
tion,

the introduction to the former edilaid

some rules and cautions were

respect to the cliusing and

down with

ma-

nagement of

his tools, so in this I shall give directions, to

;

some further

prove the truth

and correctness of them

and show how

for others,

some may be substituted

the absence of proper

or in

ones,

particularly

adapted to their several purposes, to app.y

other simple means to effect the same ope
rations;

and indeed in every thing

tha*

concerns the Cabinet Maker, or any thing

connected, however remote, with his calling,
it

shall

be our study

to

avail ourselves of

every thing applicable to our purpose from

VI

ADVERTISEMENT.

Other authors, as well as our

experience;

own
to

practica

being
is

careful

set

down
to

nothing but what

available.

in practice

found

be

INTRODUCTION

Nothing
tlie

is

more

calculated to improve

mechanical arts than giving publicity

to the various processes

used among work

;

men

in

therr

several

trades

many have

oeen the publications in which various

receipts

have been given

but in practice
fail,

not a few have been found to

not

perhaps because of themselves they were

inapplicable, but
practical illustrations to enable the

owing to a want of some work-

man

to ascertain, not only the proportion

of the several ingredients, but the method

of properly mixing them,

venience, which, in

and

also the

proper mode of application; another incon-

many

instances, is

VIU

INTRODUCTION.

comDiete bar to the dissemination of practical

knowledge,
in

many works
interspersed.
is;

is the expensive nature of which valuable receipts are The Cabinet Maker's Guide

perhaps, the only work that

may
is

pro-

perly be called a

Manual of the Arts, and

it

the rapid sale which

met with,
it

a proof
held,

of the estimation in which

was

though even there, much room is left for improvement, particularly in the practical
application of the rules

and cautions ne-

cessary to be observed to ensure success

and many
general plan

subjects
still

connected with the

:

remain untouched

the

object of the present

all

work
to

is

to

embody
what is on the a com-

that

is

useful in the Cabinent Maker's

Guide, and
there given
original
;

adapt

practice

as w^ell as to enlarge

plan,

so as to

make

it

pendium of general
various
trades

practical utility.

The

of

the

Cabinet Maker,
that

Chair Maker, Japanner, Gilder, and Lackerer, are so

tliere is scarce

intimately connected,

handsome piece of

furni-

INTRODUCTION.
7jre

IX
their joint

where the combination of

;

efforts is not necessary

and
so

this inconveis
;

nience,

if

it

may be

designated,

particularly felt in country manufactories

and

it is

almost universally the case, that a

in

workman

one branch is entirely ignorant

ueed

of the methods

by

another
is,

for

instance, the Cabinet

Maker

perhaps,

generally speaking, unacquainted with the

method

to

be used in giving his work the

stroke,

finishing

by varnishing or gilding

the several' parts, which are necessary to

add to the beauty of the whole now a knowledge of how these different opeia:

tions are performed, even in case

it is

put

into other

hands to

finish, will

enable

him

to leave his part in such a state that the

utmost perfection will be attained by those

into
tion

whose hands
;

it is

to pass for compleis

the present

work

therefore under-

taken with a view of supplying what was

thought deficient in the Cabinet Maker's

Guide, and applying practical

lo those receipts wJ^eve
it

illustrations

was necessary.

X
cither to the

INTRODUCTION.
thorough understanding of or showing on what its

the receipt

itself,

good or bad quaHties depend.

I
shall

conclude this introduction by

practical rules as

pointing out the characteristics of a good

workman, and give some

qualities

concerns the ascertaining the good or bad

of the tools
necessary for
is

the

trades to which
particularly

this publication

more
it

addressed;

and

first,

is

necessary, in order to form a

good me-

chanic, that he should strive, with unceas-

ing assiduity, to excel in that branch to

which

his labours
;

are

more

particularly

directed

that he should study truth

and

accuracy in the several parts, and beauty

in the finishing strokes
:

in order to attain

these several requisites he should observe

with care the several methods used

othei^ workmen, and if he can note

by

down

the various operations that contribute to

the excellence of his art, by no means to
neglect
it,

as

he

will in time gain a

fund of
;

knowledge necessary

in his labours

with

INTRODUCTION.

Xt

regard to the truth and accuracy of his

work, he should pay particular attention

to keep his tools in proper order, for the

time expended in being careful in that

respect will be amply repaid by the ease and accuracy with which the several pai'ts

of his work will correspond.

this respect,

If careful in

he

will save

a deal of trouble

in the finishing operation,

which must be
its

conducted with great care and attention,

not attempting to hurry
as that, in

complelion
;

many

cases,

would

act in dia;

metrical opposition to his wishes

but nar-

rowly to observe the progress he makes, and if any accident should occur, it will
mostly be soon remedied
if
;

on the contrary,

with hurry, and inattention to any thing

it

but getting the work out of his hands,

willj in

many

cases, cost

him more labour

than
the whole

and trouble
care
to

to

repair,

operation would do
;

when conducted with

these maxims will not only conduce make a good mechanic, but what is of

as greai consequence, a ready

workman.

Wl

INTRODUCTION.
respect to choosing the tools used

Wkli

in the trades to

which

have alluded as the

most necessary, and in which all may be comprehended, are planes, saws, and chisels, and we will consider them with respect to the

wood they
;

are manufactured

from, and the steel which form the cutting

part of them
ral,

and
to

first,

beech

is

in

gene-

and ought

be always used, for the

purpose of the stocks, handles, &c., as it is of a tough texture, and not liable to spUt
or

warp

so

much

as

any other

are two kinds of beech, usually

now there known by

the names of black or red beech, and the

white beech

the former

is

by

far the best

in every respect,

and may be always known

by

its colour, and texture, which is darker and more hard in substance ; the white is also more apt to warp, and soon wears

with use;
rejected as

it

should therefore always be

improper

again, if

you ex-

amine a piece of beech end- ways, you will perceive the grain runs in streaks, which

among workmen,

is

called the heat of the

INTRODUCTION.

Xll

wood

and
is

in all planes this grain or beat,

which

the hard fibrous particles of the

wood, should run in a direction perpendicular to the face of the plane, which in that case appears full of little hard specks whereas, if the beat runs parallel to the
face,
it

will

appear in irregular streaks,

which situation of the grain should always

be avoided, as the face will be apt to weai
uneven, and more subject to warp and
twist
:

again, in

for bits, the beat should direction as the

saw handles, and stocks run in the same

in the laid
is

saw blade, or
stock,

direction as the
side
;

when
it

same on its

in

moulding planes

very fre

quently the case, that pieces of box arc

let into

that part

of the face that forms

the quirk of the mouldings, but that,

possible, should

when

be avoided, as the texture

of
the atmo*

of the two woods are very different, and

the
different temperature

sphere will cause a difference in their contraction,

be

liable to cast

and consequently the plane will if it is at any time in

:

XIV

INTRODUCTION.
I

troduced,

would recommend only a small

piece just at the

mouth of

the plane, firmly

dove-tailed in, which will not be so apt to

derange the accuracy of the plane.

With
edge

respect to saws, chisels, and other

their goodness
steel,

depends upon which should be uniform throughout, and it is always better

tools,

the quality of the

to

have them tempered rather too hard than

use will reduce the temperature ; or
it is

soft, for
if at

any time

necessary to perform the

operation yourself, the best method I can

recommend
tool in

is,

to melt a sufficient quantity

of lead to immerse the cutting part of the

;

having previously brightened

it
till

its

surface, plunge

a few minutes,
to

into the melted lead for its gets sufficiently hot

melt a

candle, with
it

which

rub
a
it it

its

surface, then plunge

it

in again,

and keep
straw
turn
out,
let it

there

till

the steel

assumes

colour, but be careful not to let

])lue
;

when
again
if it

that

is

the case, take

the tallow,
soft,

rub
cool

it
:

with

and

should be too

wipe the

INTRODUCTION.
grease
off,

X/

the tallow, and

and repeat the process ^^tholfi when it is sufficiently hoi,

plunge it into cold spring water, or water and vinegar mixed by a proper attention
;

to

these directions,
will

and a
have
it

little

practice,

every workman

in his

power

to give a proper
:

temper to the tools he

may use if a saw is too hard, it may be tempered by the same means, but as it
would be not only expensive, but, in many cases, impossible to do it at home, a plumber''s shop is mostly at hand, where you

may

repeat

the process
;

when they
is

are

melting a pot of lead

but here, observe

different to
till

that the temper necessary

other cutting tools

steel just

you must wait

it

the
is

begins to turn blue, which

will

temper that

give

more

elasticity,

and

at the

same time
it

sufficient hardness.

With

respect to choosing your brushes

is

for varnishing,
})osse?s elasticity

necessary that they

softness,

combined with

and tnat the hairs aie

sufficiently fixed, so

XVI

INTRODUCTIOK.
it

that taking hold of one hair,

pull out or separate from the

wih not
rest: the

larger brushes are usually

made of bristles,
former

the smaller of camel's-hair: the

and the string well glued the latter are best put into a tin case, and after being used must
must be firmly
tied to the handle,
:

always be cleaned according to the directions given in the course of this work.

By
will

paying proper attention to

these

directions,

and a

little

care,

the

workman

be enabled to keep his

to
select

tools in order,

and

such as are proper for the

ai*e

purpose they

intended.

A.

S.

T2B

CABINET MAKER S GUIDE.

CABINET WORK.

GENERAL OBSERVATIONS.

As

the beauty of Cabinet

work depends on
a

the care with

which

it is

finished, I shall, as

proper introductory

article,

point

out

some
to

methods of proceeding which will add much

its

beauty, and furnish hints to the

workman

for perfecting his art.

The

usual method of
is

cleaning off any piece

of cabinet furniture,
;

simply by scraping and glass-paper

which
is

in

many
ways

instances, particularly if the

soft, will
it

grain

any
is

not produce that face

to bear a
;

which

requisite for
witii

good

polish,
is,

either
it is

wax

or oil

another reason

that

2
difficult at all

CABINET WORK.
times to meet with gooa
is

g;]&^9

paper, which

always requisite.

To make

Glass-pa-per.

Take any
that

quantity of broken window-g-Iass,

which has rather a green appearance on

is

the edge

best,

pound
or

it

in

an iron mortar,
different
;

then

have two

three

sieves of

degrees of fineness, ready for use

when wanted
is

lake any good tough paper, fine cartridge

best,

tho

and having levelled the nobs and bumps

it

from both sides with pumice-stone, take

at

each corner on a board, and with good clear

glue, diluted with about one-third

more water
go
it

than

is

uted

generally

for

wood-work,

quickly over the paper, taking care to spread

even with your brush

ready,
to
sift
it

then,

having your sieve

it

the
in

pounced glass over

every part
it
;

lightly, but
till

cover

let it

remain

the

glue

is set,

take

from the board, and shake

again into the sieve,
:

off the superfluous glass,

and hang
days
it

it

in

the shade to dry

fit

in

two or three

will be

for use.

CABINET WORK.
jSote.

This paper

will be
is

much

better than

any you can buy, as sand

wich the glass, and
purchaser.

frequently

mixed
tiie

coloured to deceive

To make Strong Glue

jit

for Inlaying or

Veneering,

Take

the best glue, which

is

known by

its

transparency, and of rather a light brown, and

being free from clouds and streaks, dissolve

in

it

the usual quantity of water, and to every

quart add one ounce of isinglass and a gill ot

the best vinegar.

To

clean ike face of soft

Mahogany, or

otkei

porous Woods.
After
scraping

and sand-papering

in

the

usual manner, take a sponge and well wet the

surface to raise the grain, and with a piece of

fine

pumice-stone, free from stony particles, and

cut the

way

of the fibres, rub the

wood
it

in the

direction of the grain, keeping

moist

with

B 2

CABINET WOR
water
:

K.

let

the \vork dry, then

if

you wet

it

again, you will tindthe grain much smoother,

and

it

will not raise so

much
will

if

you now
the

re-

peat the

process,

you

find

surface

perfectly smooth, and the texture of the

to appearance,

wood,
means,

much hardened

by

this

common
Note.

soft

Honduras mahogany will have a

face equal to the finest Hispaniola.

If this does not fucceed quite to your

satisfaction,

yoa may

still

improve the surface,

with cold drawn
as

by using the pumice-stone

liaseed
oil, in

the

same manner

you have
will be

proceeded above with uater, and

this

found to put a most beautiful, as we\\ as a

durable face to your work, which
polished or varnished as required.

may

then be

Another way

to

Clean and finish

JVork.

Mahogany

After having scraped and sand-papered your

work

as smooth as possible, go over every part

in the furniture oil,

with a brush dipped

it

and

let

remain

all

night

then have ready the

powder

CABINET

WOllK.
tie

5
up
in

oi the finest red-brick, which

a cotton

slocking and

sift

it

equally over the

work the

next morning, and with a leaden or iron weight,

wrapped up
well the

in

a piece of carpet, rub your work

grain backwards and for;

way
or

of the

wards

till it

has a good gloss

if

if you

think

it

not

sufficient,

the

grain ap[)ears any

ways
to

rough, repeat the process, being careful not

put too

much

of the brick dust, as

it

should not

be rubbed dry, but rather as a paste upon the

cloth
;

after

you have made the surface perfectly

smooth, you

may

clean your

work

oflf

with a

rubber of carpet, and some fine

oust.

mahogany saw-

This process will give not only a good

gloss and face to your work, but will

make

surface that will improve by

this process, soft

wear; indeed, by
will

Honduras mahogany

have

the appearance of

good hard Spanish.

only thing against this process that I

of
is,

The am aware

that

it

tends to darken the mahogany, and,

the present fashion of furniture,

according

to

that process

which

is

most calculated
of the

to

preis

serve

the

light

appearance

wood

s3

CABINET WORK.
is

preferred; but this

tasfe,

and perhaps ere

long

it

may be
to

the fashion
light

to

admire dark

in

preference

coloured wood, ana then

this process will

be as much admired as that of

is

polishing with

wax

at the present day.

To darken

light

Mahogany.

It frequently happens in repairing of old furniture that

we

cannot match the old

wood with

any new of

the

same colour,

therefore, in order

that, after the repairs are

completed, the pieces

it

introduced should not appear as patches,

usual to

is

wash

the

new work with some

dissolve

soap-

lees, or for

want of which,

some quick;

lime in water and use in the same manner

but

here

we

should be careful not to

it

let

either be

too strong, or

will

make
it

the

wood

too dark;
at first,

therefore

it is

best to use

rather

weak

and

if

not dark enough,

till

we have
is

only to repeat
to

the process

the

wood

darkened

our

mind

CABINET WORK.

To

raise old Veneers,

furniture,

In repairing old cabinets, and other

the

workman
to

is

frequently at a loss to

know

how

get rid of those blisters which appear

in

on the face,

consequence of the glue under the

to separate

veneer failing or causing the veneer

from the ground

in patches,

and as these

blisters

are frequently so situated

that,

withoiU separatit

ing the whole veneer from the ground,

is

impossible to introduce any glue between them

to relay
it,

the great difficulty in this case

is

to

separate the veneer from the ground without

injuring
it,

as

it

adheres in

many

places too fast

to separate without breaking

pieces.

the

veneer into
this

I will here, therefore,

show how

operation

may be

easily

performed without

any

difficulty,

and the veneer preserved perfor relaying

fectly

whole and uninjured, ready

as a

the

same

new

piece.

First

wash

the surface

with boiling water and coarse cloth, to remove

any

dirt or grease, then place

it

it

before the

fire,

or heat

with a caul,

oil its

surface with com-

8
mon Unseed
the

CABINET WORK.
oil,

place

it

again lo the
oil

fire,

and

heat

will

make

the

penetrate

quite

through the veneer and soften the glue underneath, then whilst
it is

hot raise the

edge gently
it

with a chisel, and you will find

completely

separate

from

the
to

ground
use too
;

hut

here

you

must be careful not

great force, or
if it

you will

spoil

your work

again,

should get

cold during the operation, you must apply more

oil,

and heat

it

again, repeating this process

;

till

you have entirely separated the veneer

you

may
lay

then wash off the old glue, and proceed to

it

again as a
;

new

veneer, either by hand

is

or with a caul

but a caul

the better

method

Glueing up and

Veneering Card-table-tops

Secretary Fronts, ^c.

It has

always been a desideratum among

to

workmen
manner

veneer
it

this

kind of work in such a

as

that

will

stand,

almost every
the

method commonly used will cause

either to

piece
to get

warp

in

winding, or otherwise
is

hoiiovv, after the

work

finished,

on

its

upper-

CABINET WOEK.
side
in
;

ai>d

however careful

the

workman may be
;

laying his veneer this will frequently happen

I

indeed

have seen table-tops veneered upon

a ground of old seasoned

stood better than
fresh
if it

wood

that

have not

had been on comparatively

prefer cauls for
it is

timber

some workmen

laying their veneer, as they say

to

not so apt

warp, there being no occasion

;

in that case to

wet the veneer

and
will in

but this has

its

disadvantages,

general, I will venture to say, not

succeed so well as
laid

when

the veneer

is
is

carefully

by hand

but which ever

mode

adopted,

more depends upon the manner of preparing the

ground, than in that of laying the veneer.

The

method

of doing

it

is

as follows
freest

select that

piece of deal which

is

from knots, and

is

having

slit

it

down

the middle, or, which

better, take a piece out of the heart,

and place

the boards cut to the required length in a

warm

place for two or three days, then joint them up,

placing
together,

a heart edge and

an outside edge

when

dry, cut your top again between

it

each

joint,

and joint

fresh

then you will have

10

CABINET WORK.

a top glued up of pieces about two inches wide,

and

if

you have been careful

in

making your

joints good,

you will have a top which will not

it is

be liable
Note.

to cast after

veneered.

You may use wainscot or mahogany

making your
joints in the
prefer,

instead of deal,

same
but I

manner, which some workmen

have always found good strait-grained deal and

free

from knots answer very well.

a good plan, after having veneered
to lay
it

It is also

your

top.

&c. by hand,

on the ground

on some shavings, with the veneer downwards,

as
it

then dries gradually, and

is

much

less

likely to cast than by drying too quick.

To

cut Steel Plates for Scrapers.

that part of the blade

Every workman knows

of a broken

saw

is

the best scraper he can use,

it

but as
into the

it

is

very hard

is

difficult to

be cut
very

form required for a scraper, as

to

it is

tedious
ihe

cut

it

with a

file

the best, and at

is

same time

the

most expeditious,

to

mark

out the size

you

wish, and place the piece of

CABINET WOER
the blade or steel plate in a vice

1*
whose chaps
the

shut very close, placing the

mark even with

face of the vice, and the part of the plate that

is to

be cut to waste above the vice, then with

a cold chisel or a
its

common

steel firmer that

it

has

basil

broken

oflf,

holding

close to the vice

at

and rather inclined upw^ards, begin

one end

of the steel plate, and with a sharp blow of the

hammer

it

will cut

it,

keep going on by degrees,

it

and you will with a great deal of ease cut

the

to to

shape required

you have only then

grind
it

the edges of your scraper level,

and rub
it

afterwards on your Turkey-stone, and

is

complete.

To Set and Sharpen

It frequently happens, in

Saivs.

the country parti

is

cularly, that great inconvenience

experienced

from the delay necessary

in

sending your saws

to the tool-makers to be sharpened,

and many a
to

good saw
set
It

is
it

spoiled from not

knowing how
general

as

ought to be
is

the
use

mode

adopted by workmen

to

an instrument

12
with notches

CABINET WORK.
in
it

to receive
;

the

saw blade,
is

and termed a saw-set

to

this

method

very apt

break

oflf

the teeth, particularly if the

it

saw

is

very hard

may not

therefore be unacceptable,
if

particularly to the young mechanic,

I describe

a method easy
to injure

in its

operation and not so liable

I will

the saw.

therefore describe

the

whole process

of sharpening and setting a

saw, which, with

aliitle practice, will enable the

workman,
but do
it

not only to save himself that expence,

equally well with any tool-maker.

thing to be done
is

The
doWn

first

to

run a

file

along the edge of the teeth

till

by looking
in

along the edge you see them range

line,

a direc*

you may then

:

set

your saw

in the follow-

ing manner
lead, or for

lay the blade on a smooth piece of

want

of which, on the end of your

trying plane, then with a square steel

punch

give a gentle tap on

placing
it

it

with a hammer, after

on one of the teeth, do the same with

every alternate tooth; then reverse the saw and

punch the teeth on the other

side,

and look down

your saw

that the teeth are all equally set, thea

CABINET WOEK.
begin with your
nearest the handle
to
it

18
the

file
;

at the part of

saw

to

sharpen or

file

the teeth
so that

a good point you must hold your

shall

file

make an angle with

the saw-blade of

about thirty degrees, or two-thirds that of a

mitre angle, observing to shift the
alternate tuoth in
file

for

every

an opposite inclination, and

bringing each tooth to a very sharp point, and

keep the upper edge

level

of

your

file

very nearly

and horizontal

every tooth will then repreit

sent a sharp chisel and cut as

tearing, as
is

goes, without

often the case, from not paying

attention to these particulars.

'^-,

To make Paste for

laijing

the

Cloth,

or

Leather, or Table-tops,

Sfc.

To

every pint of the best wheaten flour add

rosin, very finely

powdered, about two large

in

spoonfuls, of

alum one spoonful

powder, mix

them

all

well together, put them into a pan,

soft or rain water, carefully

and add by degrees

stirring
it till it is
it

of the consistence of thinnisb

cream, put

into a sauce-pan over

a clear

fire,

14
keeping
it

CABINET WORK.
constantly stirred that
it is
it

may

not ^et

lumpy

when

of a

stiff

consistence, so that
it, it

the spoon will stand upright in

is

done

enough

you must be careful

it

to stir

it

well from
it

the bottom, that

does not burn,

which
;

is

very apt to do

if

not well attended to

it

you have

now
it

only to empty
till

out into a pan, and cover

over

cold^ to prevent a skin forming

it

on She

top,

which would make

lumpy and improper

for use.

Note.

This

paste will be found very supeit

rior for the purpose, as

is

very adhesive.
it

To

use

it

for

cloth or baize, spread

evenly and

smoothly-, or on the top of the table, and lay

your cloth on

it,

pressing and smoothing

;

it

with

flat

piece of wood

let it

remain

till

dry, then
;

trim the edges close to the cros^-banding

as if

you cut

it

close at

first,

it

will in

drying shrink
all

and look bad \>here

round.
If
it

it

meets the banding

is

used for leather, the leather

must be

first

previously
it
;

damped, and then the

is

paste spread over

it

then laid on the table,

and rubbed smooth and

level with

a linen

cioth.

CABINET WORK.

15

and

the edges cut close with a short knife, to

the banding.

Some

lay their table-cover with

glue, instead of paste,

is

and perhaps

for cloth
it

it

the best method, but for leather

is

is
;

not

proper, as the glue

in

apt to run through

and

using

it

for cloth, great care

is

must be taken

that

your glue

not too thin, and that you rub

the cloth well

down

with a thick piece of

for the glue
ojQT

wood
;

made hot
you may

at the tire,

soon

chills

in this

method cut

the edges close

to the border at once.

Glue for Inlaying Brass or Siher Strings,

FatteraSf
Sfc,

To every pint of common glue take about the quantity of two table-spoonfuls of finely powdered rosin, and the like quantity of finely powdered brick-dust, and incorporate the whole well together it will hold the metal much faster than plain glue, which is generally used.
;

To

take out Bruises in Furniture.

Wet
take

the place well with

warm

water, then

brown paper

five or six times

doubIe,well

16

DYING WOOD.
in water,

soaked
that a

lay

it till

on the bruise, apply on

the moisture
is is

hot

flat
if

iron

evapo-

rated,

and

the bruise

not gone, repeat the

same

after

two or

three applications, the dent

;

or bruise will be level with the surface

the bruise
is

or

if

small, soak

it

with

warm

water,

and apply
keeping
it

a red hot poker very near the surface,

continually wetted, and you will soon

find the indentation vanished.

Fur taking Stains out of Mahogany.

six ounces of spirit of salt and half an ounce of powdered salt of lemons. Drop a little on the stains, and rub it with a cork till it disappear, then wash off with cold water.

Mix

Fur Cleaning Mahogany.

a pint of furniture oil (p. 182) mix half a pint of spirit of turpentine, and half a pint of

To

vinegar, with which wet a woollen rag, and rub the wood the way of the grain^ then polish

with a flannel and

soft cloth.

DYING WOOD.
the quality,

It being necessary to say something as to nature, and texture of the wood

DYING WOOD.
most
fit

It
my remarks
to in

for dying, 1 shall state

the following order

First, the

wood mostly used

dye black,
of

is

pear-tree, holly, and beech, all

which will

take a beautiful black

it

should at the same

time be observed, not to take

wood which has

been long

cut, or

aged, but as fresh as possible;

I have likewise found, that after the veneers

have had one hour's boiling, and taken out

cool,

to

that the colour has struck

much

stronger.

It should

likewise be noticed, that after the

veneers are dyed, they should be dried in the

air,

and not by the

it

fire,

or

in

a kiln of any

kind, as

tends to destroy the colour.

Secondly, in order to dye blue, green, red,

or

other colours, take

first

clear

holly; put the

veneers

in

a box or trough with clean

or five days,

water, and

let

them remain four

changing the water once, or twice, as you find

occasion
;

the water, acting as

a purgative in

the wood, will bring forth abundance of slime,

&c.;

let

them dry about twelve hours before

;

they are put in the dye

by observing

this,

you

c 3

18
Will
iiiid

DYING WOOD.
the colour strike quicLer, and he of a

brighter hue.

Fi^e Black,

Have
which put

chair-maker's
six

copper fixed,

into

pounds of chip logwood, and as

it

many

veneers as

will conveniently hold, withfill

out pressing too tight;

let
it

it

with water, and

;

boil slowly for about three hours

then

add half a pound of powdered verdigris, half

a pound of copperas, and four ounces of bruised
nut-galls, filling the copper

up with vinegar as
boil gently

the

water evaporates;
till

let it

two
be

hours each day,

you

find

the

wood
to the

to

dyed through
will be in

which, according
less time.

kind,

more or

Another Method for a good Black.

Procure some liquor from a tanner's
pit,

or

make

a strong decoction of oak-bark, and for

liquor take a quarter of a

every gallon of the

pound of green copperas and mix them well

together.

After your veneers are prepared as

DYING WOOD.
above shewn, put the liquid
in

19
your copper and
;

make

it

quite

hot,
in
it

but not to boil

immerse
for

your veneers
hour, take

and

let

them remain

an

them out and

let

them be exposed to

the air

till

nearly dry, then repeat the process be necessary to produce a good

it

as often as

may
till

colour, or

you see

has penetrated

its

sub-

stance

you may then add some logwood

to the
it,

solution,
let the

and place your veneers again

for

in

and
let

whole simmer

two or three hours,

the

whole cool gradually, and dry your ve-

neers in the shade, they will be found to have

acquired a very

fine black.

Fine Blue,

Take a
one

clean glass bottle, into

oil

which put
take four

pound of

of vitriol

then

ounces of best indigo, pounded in a mortar into

small lumps; put them
iuto the
in

phial (taking

care to set the bottle

a basin or earthen
it

glazed pan, as

it

will ferment); after

is

quite dissolved, provide an earthen or

vessel, so constructed that
it

wooden

will conveinently

20
hold
rather
the

DYING WOOD.
veneers you

mean

to

dye;

fill

it

more than one-third with water,

vitriol

into

which pour as much of the

(stirring
it

and indigo
fine

about), as will

make a
it

blue

which you may know by trying

of white paper or

with a piece

wood

put in youi veneers,

the

and

let

them remain

till

dye has struck

through.

Note.

The colour
it
;

will be
is

much

better

if

the

solution of indigo in vitriol

kept a few weeks

before using

also

the best trough you can

of

use, being either

made

common
inches,

stone, like a

stone sink, but of proper dimensions, say about

four feet

by eight or nine
large
for

which will be
to

suflliciently

veneers

intended

be

stained;
ficial

or

you may procure one made

any dimension, which
;

of arti-

stone of
so

will not

cost

much
if,

also

you

will find

the colour

strike better

previous to putting your veneers

into the blue dye,

tii2

you

boil

them

in plain
let

water

completely soaked through, and

for a

them

remain

few hours

to

dry partially, pre-

vious to immersing them in the Aye,

DYING WOOD.

fl

Another Blue,

Take any
settle

quantity of soft water and tifirow

it

in pieces of quick lime, stirring

well

let

it

and strain or pour

this

oif the clear part, then

to

every gallon of

add ten or twelve ounces

of the

best turnsole, put the

whole

into

your

trough with your veneers,

which should be of

white holly, and prepared as usual by boiling

in

water

let

them simmer gently

till

you

find

the colour sufficiently penetrated, but be careful not to let

them

boil in

it,

as

it

would injure

colour.

Fine Yellow.

Take
reduce

of the root of barberry four pounds,

it,

by sawing,
;

to

dust,

which put

in

copper or brass trough

raerick, to

add four ounces of turfour

vvhich put

gallons of water,

then put in as

many

white holly veneers as the

liquor will cover, boil them together for three

hours, often turning them

when

cool,

add two

22

DYING WOOD.
'

ounces of aqua-fortis, and you will find the

dye strike through much sooner.

Another Yellow, much Brighter.

To
in

every gallon of water necessary

to

cover

your veneers, add one pound of French berries,

which

boil

your veneers
;

till

the colour has

penetrated through
liquid,

have ready the following

which add

to the infusion of the

French

berries,

and

let

your veneers remain for two

or three hours,

and you will

find

the colour

very bright.

Liquid for

Brightening
Colours.

and

Setting

the

Take
and
to

strong aqua-fortis, a sufficient quantity,

every pint add one ounce of grain tin

size of

and a piece of sal-ammoniac, of the

walnut^ setting
it

by

to dissolve,

shaking the
to

bottle round, with the cork out, from time

time

in the course of
for use.

two or three days

it

will

be

fit

N, B.

This

will

be

found an admirable

DYING WOOD.
liquid
to

23
it

add
it,

to

any colour, as

not only

brightens

but

makes

it

less

likely to fade

from exposure

to the air.

Bright Green.
Proceed as
in either of the
;

above receipts to

produce a yellow
fortis, or

but instead of adding aqua-

the brightening liquid, add the vitrio-

lated indigo, as

much

as will produce the de-

sired colour.

Another Green.

Take

of the best verdigris four ounces, sap

green half an ounce, and indigo half an ounces

dissolve

them

in three pints of the best vinegar,

till

put in

your veneers and gently boil

is

the

colour

penetrated sufficiently.
the hue of the green

Note.

You may vary

by

altering the proportion

I

of the

ingredient,

and

should advise, unless wanted for a partiit

cular purpose, to leave out the sap green, as

IS

a vegetable colour that

is

apt to change, or

turn

brown wlien exposed

to the air,

24

DYING WOOD.

Bright Red.

Take two pounds

of genuine Brazil dust,

in

aod four gallons of water, put

as

many

veneers as the liquid will cover, boil them for

(hree hours
;

then add two ounces of alum, and

of aqua-forlis, and keep
it

two ounces

luke-

warm

until

it

has struck through.

A?wther Red.

To

every pound of logwood chips add two

gallons of water, put in your veneers, and boil

as in the last

then add a sufficient quantity of

till

the brightening acid

you see the colour

to

your mind, keep the whole as

bear your iSnger in
ciently penetrated.
it,

warm

as

you can
suffi-

till

the colour has

Note.

The logwood

chips should be picked

it

from any extraneous substances uith which

generally abounds, as bark,
dirt,

&c. and

it is

always best when

fresh

cut,

which

may

be

known

by

its

appearing of a bright red colour

DYING WOOD.
for if
it is

25
and will not

stale

it

will look brown,

yield so

much

colouring matter.

Purple,

Take two pounds

a pound of Brazil and after putting
in

of chip

logwood and

half

dust, add four gallons of water,

your veneers, boil them well,

;

for at least three hours

then add srx ounces of

let

pearl-ash and
boil

two ounces of alum,

till

them

two or three hours every day,

you find

the colour struck through.

Note.

The

Brazil dust
it

in this receipt is

perhaps superfluous, as

only contributes tc
cast,
to

make

the purple of a

more red
it,

for the
it

pearl-ash does not act upon

change

from a red

to

a purple.

Another Purple,

Take two pounds

or powder,

of logwood, either in chips

it

and

boil

in four gallons
;

of water
till

along with your veneers

the colour
is

then after boiling

in,

well struck
till

add by degrees
is

some

vitriolated indigo

the purple

of the

256

DriNG WOOD.
may be known by
;

shade required, which

it

tryinfl;

with a piece of paper

let

it

then boil for one

state

hour,
till

and keep the liquid

in

a milk-warm

you find the colour has penetrated the

veneer. This receipt, wiien properly manaojed,

will produce a very brilliant purple,

which

will

not be so likely to fade as the foregoing.

Orange,

Let

the veneers be dyed,

fine

by either of the

methods given, of a
they are
transfer
still

deep yellow, and while

wet and saturated with the dye,

till

them to the bright red dye,

you

find the colour has penetrated

equally through-

out.

Silver Grey,

Take

a cast-iron pot of six or eight gallons,

to time

and from time

hoops,
till

collect
to
;

old iron nails,

the

&e. &c., expose them

weather

they are covered with rust

add one gallon

all

of vinegar, and two of water, boil

well for

ao hour

then have your veneers ready, w'nich

DYING WOOD.
must be air-wood (not too dry), put them
the copper

27
in

you use

to
;

dye black, and pour the

iron liquor over

them

add one pound of chip

logwood, and two ounces of bruised nut-galls;

then boil up another pot of the iron liquor to supply the copper with, keeping the veneers
covered, and boiling two hours a day.

Another Grey.
Expose any quantity of old
better, the

iron, or

what
in

is

borings of gun barrels, &c.

any

convenient vessel, and from time to time sprinkle

them with diluted

spirits
;

of salts

till

they are

very thickly corroded

then to every six pounds

in

add a gallon of water,

dissolved

which has been

tartar
;

two ounces of salt of

in
;

lay your

veneers

tlie

copper, and
it

cover them with

this liquid
till

let

boil for

two or three hours

well

soaked, then add to every gallon of

liquor a quarter of a

pound of green copperas,

till

keep the whole

at

a moderate temperature

the dye has sufficiently penetrated,

d2

28

STAINING.

STAINING.

GENERAL OBSERVATIONS.
Staining
inasmuch as
differs
it

from the process of dying,

merely penetrates just below the

its

surface of the wood, instead of colouring

substance throughout, as
the one the
is
is

it

does in dying

and

used for beautifying the face after

finished, while the other
it is

work

is

employed
in the

on tho wood before

state of veneers, to
to

manufactured,

be cut into strings or bands

be used

for

inlaying borders, patteras, &c.,

late

and which has of

use,

years got
to

much
so

out of

principally
of,

owing

the

fault

much

complained

of the colours flying, or fading,

in

and which was

that care
in

consequence of not taking

the

operation

which

it

required,

and

in not

using any thing but simply the infumaterials, without

sion of different colouring

adding anything

to set the

colour, in the

way

we

have recommended.

STAINING.
Staining
is

29
chair-makers,,

chiefly in use

among

and when properly conducted and varnished,

has a most beautiful appearance, and
likely to meet with injury than japaning.
is

^ess

Black Stain for immediate Use.

Boil half a pound of chip log-wood in two
quarts
ash,

of water, then add one ounce of pearlit

and apply

hot to the

work with a brush;

it

take half a pound of logwood and boil

before
in

as

two quarts of water, adding half an

ounce of verdigris and half an ounce of copperas;

strain
it

off,

and put

in about

half a

pound of

rusty steel filings,

and apply as before.

To

stain Beech a

Mahogany

Colour,
it

Take two ounces

in pieces,

of dragon's blood, break

it

and put wine;

let

into a quart of rectified

spirits of

the bottle stand in a

warm

place, shake jt frequently,

It is fit

and when

disso^'i^

for use.

Another Method for Black Statu,

Take one pound

of logwood, boil

it

in four

D 3

80

STAINING.

quarts of water, add a double handful of walnut

peeling, boil
it

up again, take out the

it

chips,

add a pint of the best vinegar, and

fit

will be

for use

apply

it

boiling hot.

Note.
it is

This
we
in

will be

much improved,

if,

aftci

dry,

take a solution of green copperas

dissolved

water,

in

the
it

proportion of an
hot to the above.

ounce

to

a quart, and apply

To

imitate Rose-wood,
it

Take
to

half a pound of logwood, boil

till

with

ihree pints ox water

it is

of a very dark red,

salt of

which add about

half

an ounce of
stain

tartar,

and when boiling hot

yonr wood
it

with two or three coats, taking care that

nearly dry between each
brush,
;

is

then with a

stiff flat

such

as

is

used

by

the

painters

for

graining,

form

streaks
if

with the black stain

carefully executed, will

above-named, which,

be very near the appearance of dark rosewood.

Another Method.
Stalu your

wood

all

over with the b!ao\

STAINING.
stain,

81

and when dry, with a brush as above,

in the

dipped

brightening liquid, form red veins

grain of rose-wood, which

in imitation of the

will produce,
eflfect.

when

well managed, a beautiful

Note.
be

A handy

brush for the purpose, will

flat

made by taking a

brush, such as

is

used
off

for varnishing, the

hairs,

and cutting the sharp points

irregular,

and making the edge

by

cutting out a few hairs here and ih.ere, you will

have a tool which, without any trouble, will

anitate the grain with great accuracy.

To imitate King or Botany Bay JVood,

Take French
ihem
in

berries half a pound,

till

and

boil

two quarts of water,

it,

you have a

deep yellow, and with

boiling hot, give

;

two

or three coats to your work

let

it

be nearly

dry, then, with the black stain, form the grain

with your brush

to

be used hot.
for variety, after giving
it

N.B,

You may,
liquor,

two or three coats of yellow, give one of strong logwood

and then
which will heighten the colour,

use the black stain as directed.

S2

STAINING.

A common

Red for

Bedsteads and common

Chairs.

Archil, as sold at the shops, will produce a

very good stain of itself when used cold; but
after
if

one or two coats being applied and suf-

fered to get almost dry,

we

brush
in

it

over wiih
it

a hot solution of pearl-ash

water,

will

improve the colour.

Fa stain Horn

in imitation of Tortoise-shell.

Take an equal
red-lead,
it

quantity of quick-lime and

lees,

mix

it

up with strong soap

lay

on the horn with a small brush,

;

in imitation
it is

of the mottle of tortoise-shell

vThen

dry,

repeat

it

two or three times.

Another Method,

Grind one ounce of

ounce of quick-lime,

litharge

with half an

to the consistence of paint,

salt

with a sufficient quantity of liquid

put
'>

of tartar,

on the horn with a brush,

in

imitation of
it

torioise-sheij,

and

in three or four hours

wJlI

STAIKiNG.
have produced the desired
be washed
enough,
it

33
;

effect

it

may

then

off

with clean water

repeated.

if

not deep

may be

Another Method

still bntter.

Take a

piece of lunar caustic, about the size

it

of a pea, and grind

with water on a stone,

and mixing with

arabic to

it

a sufficient portion of
of a proper consistence,

gum
you

make
it

it

may

apply

with

a brush to your

horn, in

imitation of the veins of turtle or tortoise-shell.

Note.

It

would, perhaps, be as well

to

mix

with

it

a portion of red lead,

to give
it

or any other
if

powder,
applied,

a body.
the

This,

properly

will

stain
its

horn

quite

through

without hurting
careful
let it

texture or quality; only be

is sufficiently

when

the horn

stained, to

be soaked for some hours

to finishing

in plain
it.

water*

previous

and polishing

To

stain Ivory or

Bone Red.

Boil shavings of scarlet cloth in water, and

add by degrees pearl-ashes

till

the colour

is

m
extracted,

STAINING.
add a
little

roach alum, which will

it

clear the colour, then strain

cloth.

through a liDen

Steep your ivory or bone in a solution

it

of aqua-fortis, not too strong, then take

out

and put
is

it

into
;

your scarlet dye

till

the colour
to let

to

your mind

you must be careful not

let

your aqua-fortis be too strong, neither

ivory remain too long in
slip
it ;

your

try

it

first

with a

of ivory, and

if

you observe the acid has

roughness on
its

just

caused a

trifling
it

surface,
it

you must take

into the

out immediately, and put

red liquid, which must be

;

warm, but

not too hot

little

practice, with these cautions,

will enable

you

to succeed

according to your
spots or

wishes
to

if

you wish any white

marks

remain on your work, cover the places you

to

wish

remain white with wax, and the stain

will not penetrate in those places, but leave the

ivory of

its

natural colour.

To

stain Ivory or Bo?ie Black,

Make

a pretty strong solution of nitrate of

silver, (lunar caustic) in water,

and steep your

STAINI>JG.
ivory or bone
in
it,

35

take
it

it

out again in about

an hour, and expose

and
it

to the sun-shine to

dry,

will be a perfect black.

Another Method jor Black,

Steep your bone or ivory for three or four

days

in

the following mixture: boil nutgalls

till

bruised in water

all the virtue is

extracted,
;

add

to

this

a small portion of pearl-ash

it

when

you bave taken the ivory out and

somevirhat dry, put

has got

them

into

the black stain

meniioned

in

the

first

part of this article, let

for the

them remain some time

take them out and
let

dye to penetrate,

them dry gradually.

To

stain Ivory or

Bone Green.

Steep your

work
in

in

a solution of verdigris
in

and sal-ammoniac

weakish aqua-fortis,

the

proportion of two parts of the former to one of

the latter, being careful to use the precautions

mentioned for staining red.

S6 TO STAIN MUSICAL 1KSETUMENT8.

To
stain Ivory, Sfc, Blue.
first

Let your materials be

dip them
in

stained green, then

a strong solution of pearl-ashes

and water.

To

stain Ivory, Sfc, Yellow.

Make

a strong solution of allum in water

put in your ivory, &c., and keep the whole

some time near

immerse them
in

boiling,

take them

out and

a hot mixture of turmerick and

of

water, either with or without the addition

French

berries,

letting

them simmer

for about

half an hour, you

will find your ivory stained

of a beautiful yellow.

Note.
to let

In

staining all ivory or bone, be sure

it

your work dry very gradually, or

to split or crack.

wil\

be apt

TO STAIN MUSICAL INSTRUMENTa

Fine Crimson.

Take

one pound of good Brazil, and boil

it

TO STAIN MUSICAL INSTRUMENTS

in three quarts

.57
it,

of water for an hour

strain
;

and add half an ounce of cochineal

again
for half

boil

it
fit

an hour gently, and

it

will

bo

for use.

If you would have a more scarlet

tint,

put

half an ounce of saffron in a quart of water,

boil
it

for

an hour, and pass over the work pre-

I'ous to

the red stain.

Pur-ple,

Take a pound
an hour

of

good chip logwood, to

boil
it

which put three quarts of water,

well for

then add four ounces of pearl-ash,

and two ounces of indigo pounded, and you will

have a good purple.

Fine Slack,
.n general,
instruments,

when black
is

is

required in musical
;

it

produced by japanning
size

the

work being well prepared with

black, take
the varnish polish
it.

and lampis

some black japan (which

sold at

makers), after which, varnish and

3S TO STAIN MUSICAL INSTRUMENTS.

Note.
as for

A black

stain

is

sometimes required,

finger boards, bridges, &c., and flutes

;

a resometimes stained

you may then proceed

as directed in staining, but tho

wood ought
;

to

be either pear, apple, or box-wood

latter is preferable,

but the

which may be rubbed over,

when
oil,

dry, with a rag or flannel dipped in hot

it

Nvhich will give

a gloss equal to ebony.

Fine Bin?.

Take

a pound of

oil

of vitriol in a clean glass

pbialj, into

which put four ounces of indigo, and

in dying.

proceed as before directed

Fine Green*

Take

three pints of tne strongest vinegar, to

which put

four

ounces of the best verdigris

fine, half

pounded or ground

an ounce of sap

green, and half an ounce of indigo.

Note.

Perhaps

distilled vinegar, or verjuice,

would be an improvement.
Bright Yellow.

There

is

no need whatever

to stain the

wood,

VARNISHING.

S9

as a very small bit of aloes put into the varnish

vvHI

make

it

of a good colour,

and Las

the

desired effect.

To

stain

Box-wood Brown.
to

Hold your

work

the

fire

that

it

may
fortis,

receive a gentle warmth, then take aqua

and with a feather, or brush, pass over the

work

till

you

find
it

it

change

to

fine

brown

(always keeping
oil

near the

fire);

you may then

and polish
Note.

it.

The
good

wood most proper

sycamore,

for musical
is

instruments, such as violins, guitars, &c.

air-

wood when

or

without

blemisJi,

varnished, will look rich.

VARNISHING.
GENERAL OBSERVATIC-NS.
It
is

the

custom, in order to

heigliteii

the

beauty of

tine

wood, and give additional

lustre

40
to furniture,

VARNISHING.
&c.
to

varnish

it;

the simplicity

of the process requires but

little to

be saia on
lo

the subject, but that nothing

benefit

may be wanted
endeavour,
rules

the

workman,

shall

as

clearly as possible, to lay

down some

and

cautions necessary to be observed, both in the

making, and method of using varnisb, that the

work may appear

In London
it is

as beautiful as possible.

hardly wortli while to

make

varnish, unless in large quantities, as there are

several shops

where

it

may

be had very good,

and

at a fair price; but in the country,

is

where

the carriage

an

object,

and you cannot depend

of
the
article,
it

upon the genuineness

necessary to be
nic.

is

known by

the practical mecha-

The

varnish ia general sold for varnishing

is

furniture,

white hard varnish.

Vautions respecting the making of Varnish^

As heat in many
tlie

cases

is

necessary to dissolve

gums used

in

making
to use
is

varnish, the best

way,

when practical,

is

what

the chemists call

a sand bath, which

simply placing the vessel

VAaNISHING.
ia
f

41
filled

which ihe varnish

is,

in
;

another

with

and, and placed on the

lire

this will generally

fire;

be sufHcieat to prevent the spirits catching

but
in

case

of

such

accidents
it

(which

not

unfrequently happens),

will be best to take a

vessel sufficiently large that there shall be litt'e

danger of spilling any

indeed the vessel should

filled,

never be more than two-thirds

but in

case of accident, have ready nt hand a piece of

board
vessel

sufficiently large to
in

cover the top of the

fire,

case of
it

its

taking

as also a

wet
fire,

wrapper, in case
as

should be spilt

when on

water by
the

itself

thrown on

it,

would only
person
his

increase

mischief; and

the

who
hands
of

attends the varnish pot should have

covered wdlh gloves, and

leather, and

if

they are
it

made

rather
I

damp,

will

effectually

prevent injury.

would particularly impress

these cautions on tlie

workman, as, from

several

practical

knowledge,

have

times

witnessed

shocking personal injury from the neglect of

these cautions.

42

VARNISHING

neral Directions in choosing the

Spirits used.

Gums and

When
examine

you purchase a quantity of gum,

it,

first

and

see that

it

consists for the

most

part of clear transparent lumps without a mixture of dirt; next,

when you

get

it

home,
for the

select

the clearest and lightest pieces

most

particular kinds of varnish, reserving the others,

when

separated from extraneous matter, for the

coarser varnishes.
the most simple test
in
it,

In choosing
is

spirits of winCc

by immersing the finger

without

and

if

it

burns quickly out

it is

burning the
contrary,
it

finger,
is

good

but

if,

on the

long burning, and leaves any

finger,
it is

dampness remaining on the

with inferior spirit
;

mixed

it

may be

also

compared

with other

spirit,

by comparing the weight of

is

equal quantities; the lightest

the best; the

goodness of

spirits of turpentine

maybe

likewise
it,
it

ascertained in the

same manner by weighing

degree of inflammability
is

and by noticing
possesses; the

tlie

most inflammable

the best*

and

VARNISHING.
a person much
in the habit of

43
il,

using

will
for

tefl

by

the smell

its

good or bad

qualities

good

turpentine has a pungent smell, and the bad a

very disagreeable one, and not so powerful.

To varnish a Piece of Furniture,

First observe the
if

work

to

be clean

then see

any knots or blemishes require filling up,

the

which must be done with cement of

colour
;

same

have your varnish

in

an earthen pot,

with a piece of wire diametrically across the

top, slackened

downwards,

to stroke the
is

brush

against; then see that your brush

free

clean,

and

from loose

hairs,
it

dip your

brush in the

varnish, stroking
the

across the wire, and give

work

a thin and regular coat; soon after

that another,

and another, always taking care

not
let

to
it

pass the brush twice in the

same place

stand to dry in a moderately

warm

place,

that the varnish

may
let it

not chill.

When

you have given your work about six

get quite hard (which you
it,ix

or seven coats,

will prove by pressing your knuckles on

it

44<

VAJBNI3HING.

leaves a

mark
first
it

ft is

not hard enougli);

of your

(.hen

with

the three
varr.ish

fingers

hand rub tha

tiil

chafes,

and proceed over that

to polish, in order to

part of the

work you mean

take out

all

the streaks, or partial lumps

;

made

by the brush
let it

give

it

then another coat, and

stand a day or two to harden.

Note.
varnish

The
;

best

vessel

for

holding

your

is

commonly
it

sold at colour-shops, called

a varnish pan;
false

is

constructed of tin with a

bottom

the

interval

between

the

two

bottoms
over the

is filled

with sand, which being heated

fluid

fire,

keeps the varnish

the brush
false
:

and flows
is

more
handle

readily from
to it,

there

a tin

and the

bottom comes sloping

from one end to the other, which causes the

varnish to run to one end, and
across in the
wi'.h

wire
in

same manner as recommended

the above directions.

To keep your Brushes

The brushes used

in order.

or varnishing are either

at in tin. or round tied firm to the handle, and

VARNISHING.
enher made of camels' hair or very
in the use of

4o
fine bristles,

which

it

is

necessary to be very
aftei"

careful in cleaning
if laid

them

being used, for

by with the varnish

;

in

them they are

soon spoiled

therefore after using them,

spirits

wash

them well

in

of wine

or turpentine,
;

according to the nature of your varnish

after

which you

may wash them

out with hot water

and soap, and they will be as good as new, and

last

a great while with care

and the

spirits

that are used for cleaning,

may be

used to

mix

with varnish
the brushes
Waaler

for the

more common purposes, or

may be

cleaned merely with boiling

and strong yellow soap.

the best white
spirits

To make
Rectified

hard Varnish.
;

of wine, two gallons

;

gum

sandrach,

five

pounds

gum
;

mastic, one
in

pound
a clean
place,
is
it

gum
can,

anime, four ounces

or bottle, to

put these

dissolve, in
it,
it

warm

frequently shaking

if

(when the gum

dis-olved) you strain

is lit

through a law^n sieve

for use.

46

VAENISHING.

To make Mastic Varnish properfor varnisUing

Pictures or Drawings,

To

every quart of

spirits of turpentine,

put

one pound and a quarter of (he cleanest

mastic, set
it

gum

in
it

a sand bath

till it is all

dissolved,
it

then strain

through a fine sieve, and

if

is

ready

for use

too thick,

you may

thin

it

with

spirits of turpentine.

To make

Turpenti?ie Varnish,
spirits

To
five

one gallon of

of turpentine, add
it

pounds of clear rosin pounded; put

on a stove, and
the rosin
for use. let
it

in

tin can,

boil for half

it

au

hour

when
is fit

is all

dissolved, let

cooi,

and

it

To

77take

Varnish for Violins,

4'c.

Take
to

half a gallon of rectified spirits of wine,

six ounces of

which put

gum
;

mastic, and

half a pint of turpentine varnish

in

put the above

tin

can,

keep

it
it,

in

a very
it

warm
is

place,

frequently

shaking

until

di.ssclved

VARNISH! KG.
strain
it
it,

47
Should yon
fi'"id

and keep

it

for use.

harder than you wish, you

varnish.

may add a

little

more turpentine

To varnish Harps and

Di(lci?}iers

in

the

Indian Manner,

Prepare the work with

size

and red ochre

then take ochre, burnt umber, and red lead, weli

ground, and mix up a dark brown colour in

turpentine varnish, adding so
turpentine that you
pass over your
it

much

spirits

of
it,

may just be able to

fair

work

work

and even

and while
sift

is

yet wet, take a muslin sieve, and

as

much Dutch
think

metal
to

(bronze) upon

it

as you
;

requisite

produce
it.

the

effect

aftet

which, varnish and polish

ro Varnish Drawings,
Take some
them
in

or amj kind of Paper

or Card Work,
clear parchment cuttings,
in
boil
till

water

a clean glazed pipkin,

it.

they produce a very clear size, strain

and

keep

it

for use.

48

VARNISHING.
coats of the above size,

Give ycur work two

passing quickly over the work, not to disturb

the

colours; proceed as beibre directed with

your varnish.

Another Method

still better.

Take one ounce

solve
it
it

of the beyt isinglass,

dis-

in about a pint of
fire
;

water by simmering
through
fine

over the
it

strain

it

muslin,

and keep

for use.

Try

the size

on a piece of paper (heat

if it

it

to

a
;

moderate heat), and

glistens

it is

too thick

then add more water,

it is it

if it

soaks into the paper

isinglass
till

too thin;

add or diminish the

the surface
it
;

merely

dulls

then take your

drawing, and give

two

or three coats, being

first

careful (particularly in the

lightly on the brush

coat) to bear very

flat tin

(which should be a

camel's hair), and plenty of size to flow freely

from

it,

otherwise you

may damage

the drawing.
it

Then

take the best mastic varnish and with

give at least three coats, and the effect will an-

swer your most sanguine wishes.

VARNISHING,
Note,

49

This
artists,

is

the
is

method used by many

found superior to any

emineat

and

that has been tried.

Amber Varnish,
lake amber
of
in

eight ounces, in

powder, and two

heat,

gum

lac; melt the

amber by means of

a glazed pipkin, with half a pint of the be^t

turpentine; and
lac,
it

spirits of

when
fire

melted,
again,
till

add
and
all

the

gum

place

it

on the

keep stirring
dissolved,

with a piece of wood

then add one ounce of the clearest

linseed oil; stir
for use.
it

cold

drawn
it

well together,

and strain

Oil Varnish

Take any
it

quantity of the best linseed

to

oil,

let oil

boil for

an hour, then

every pound of

add a quarter of a pound of the clearest rosin

in
for

powder,

stir

it

well

till

dissolved; then add

every pound of

oil used,
it

one ounce of
bottle for use.

spirits

of turpentine, strain

and

Note.

This

is

a cheap and good varnish for

50
sash

VAH^TSHING.
rames, or any work where economy
;

is re-

quired

it

has besides the property of bearing

is

hot water without being damaged, and

subject to crack or scratch.

not

Copal Varnish

Takes pirils of wine one quart, gum copal one

ounce, and shell-lac half an ounce
;

reduce the

gums
bottle,

to

powder, put the

spirits

in

a jar or
in

add the gums, place the whole

a
;

warm
shake

place, with the cork lightly in the bottle

it

occasionally,

and when the gums are quite

dissolved, strain

and

bottle for use.

To make a

Colourless Copal Varnish.

not
fit

As

all

copal

is

for this purpose, in or-

der to ascertain such pieces as are

gc.id,

each

must be taken separately, and a single dron of

pure essential
oil

of rosemary,
let fall

not alterea by

keeping, must be

on

it.

Those pieces
oil,

that soften at the part that imbibes the

are
sitt

good

reduce

them

to

powder,

which
it

through a very fine hair sieve, and put

into

VARNISHING.
glass,

51
it

on the bottom of which

finger's

must not

lie
it

more than a

breadth thick, pour upon

;

essence of rosemary to a similar height

the whole for a few minutes,

stii

when

the copal
it

will dissolve into a viscous fluid.

Let

stand
it

or two hours, and then pour gently on

two

or three drops of very pure alcohol, which distribute over the oily

mass by inclining the

bottle

in different directions

with a very gentle mo-

tion
till

repeat this operation

is

by

little

and

little,

the incorporation
to

efiected,

and the varnish

It

reduced
then be
clear,

a proper degree of
to

fluidity.

must

left

stand a few days^ and

off.

when

be decanted

This varnish thus made

applied with equal suc-

without heat,

may be

cess to pasteboard,

wood, and metals, and takes

better polish than

any other

it

may be
it

usee

on paintings, the beauty of which

heightens.

greatly

Turpentine Copal Famish.

Take

of

gum
oil

copal, one ounce and

a ha*

the very best

of turpentine,

eight

ounces^

F 2

62

VARNISHING

put the turpentine into a vessel, which place in

a sand bath when

cautious not to let
the

it
it

is

very hot
;

but being

boil
it

then gradually add

gum
all

copal, stirring

with a wooden spa,

tula,

adding fresh

gum

as the other dissolves

when

thoroughly incorporated, take the vessel

off the bath

and

let it cool, let it

remain covered

over for a few days to

clear
off.

settle,

and decant

it

Xote,

In making
which
in

this varnish it frequently

happens that the gum will not melt so readily as

it

ought,

general

is

owing

to the tur-

pentine not being sufficiently rectified, but

that
is

when
best

good

it

will always succeed.

It

is

also to let

your turpentine be exposed

sun
in

for

some

time

in the

a corked

bottle, that the

;

wathe

teiy particles

may be

g:radua!ly dissipated

bottle should not be stopped quite tight.

JAPANUIJJG

53

JAPANNING.
GENERAL OBSERVATIONS.
It frequently happens
receives damage,
that
is

japanned work

when

it

very inconvenient

(either from distance or other circumstances) to

send for a japanner

to

repair it; therefore

it

may

not be improper to lay

down

the

most

simple methods used in that branch.

First,

provide yourself with a small mullei

and

stone, to grind

any colour you

may require.

Secondly, provide yourself with white hard

varnish,

brown
size,

varnish,

turpentine varnish, jaof turpentine, which

pan gold
you

and

spirits

may

keep

in bottles for the purpose.

Thirdly,

provide yourself with flake white,

red-lead, vermiliion, lake, Prussian blue, king's

and patent yellow, orpiment, spruce and brown

ochre, mineral green,
verditer,

burnt umber,

and lamp black, to which may be added raw

sienna and burnt sienna, with the best yeliow

F 3

54

JAPANNING..

ochre and light red (or burnt ochre), aud

Vaa-

Uyke brown.
Observe

That
it

all

your wood-work must be

prepared with

size,

and some coarse material

up and harden the gram of

mixed with
the

to

fill

wood
to

(such as

may
papei'

best suit the colour in-

tended

be laid on), which must be rubbed

smooth with glass

cf accident^
it is

when dry;

but in cases
to re-size the

seldom necessary

damaged

places, unless they are considerable.

the foregoing colours

With

you may match

in

almost any colour

now
to

in use

japanning,

always observing

grind your colours smooth

;

in spirits of turpentine tity of turpentine

then add a small quanit

and spirit-varnish, lay

care-

fully
it

on with a camel-hair brush, and varnish

with brown or white spirit-varnish, accord-

ing to the colour.

Note.
riers*

You
as

will find

a box

filled

with cur-

shavings useful for cleaning your stones

for they should never

and

pallet with,

be laid
de-

by

dirty,

the

beauty of

the
all

work

pends a great deal on keeping

your colours

JAPANNING.

65

separated, and that before you grind anoiber

colour, the
stone.
i^rst

should be

vveii

wipea

ofi

your

For a Black Japan.

Mix

little

gold size and lamp-black,

it

will

bear a good gloss without varnishing over.

To imitate Black Rose-wood.

The work must be grounded

black, after

which

take some red lead, well ground, and mixed up

as before directed,

which lay on with a

flat slifi

brush, in imitation of the streaks in the

after

wood

which
fine,

take

a small quantity
it

of lake,

ground

and mix

with brown spirit-var-

nish, carefully observing not to

have more co;

lour in

it

than will just tinge the varnish

but

should

it

happen on
easily
fine

trial,
it

to

be

still

too red,

you may

assist
;

with a

little

umber

ground very

with which pass over the

to imitate

wh

le

of the

work intended
it

black
effect.

rose wood, and

II well done,

will

have the desired

it is

when

varnished and po-

^'0

JAPANNING.
it

lished,

will scarcely be

known Irom
in the

rose

wood.
Note,

Instead

of the

umber

above,

you may use a small quantity of Vandyke brown,

as
it

is

much more

transparent than the umber.

INDIA JAPANNING.
GENERAL OBSERVATIONS.
This
art has of late been successfully prac-

tised in this country,

and many pieces of cabinet

with
difficulty

work executed

that

could

be
I

distinguished from the real India Japan.

shall,

therefore,

endeavour

to

give some

de-

scription of the art as

now

practiced.

One
the

great

peculiarity in tbe Indian

method

is

embos-

sing, or raising the figures,

&c. above the sur-

face or ground, and the metallic, or bronze-like

hue of the several designs,

also the grotesque

appearance of the several ornaments, whether

figures, landscapes,

or whatever other designs

INDIA JAPANNING.

57

ihev are embellished with, being so totally different from every principle of perspective, so opposite to every idea

and

we have

of correct

drawing.

Nothing but the study of Chinese

to

models themselves will enable the workman

imitate with any degree of precision their several characteristics.

I shall,

therefore, contenl
for

myself with giving such directions

the

preparing

ground, embossing the designs, and proeffect of

ducing the peculiar

Chinese Japan, as

will I trust enable the ingenious

mechanic

to

execute any

work

of the kind, vvith truth

and

accuracy, according to any copy given, while

it

must remain with him

in

to

use

his

taste

and

judgment

producing original designs, charac-

terizing this peculiar manufacture.

Ground for Chinese

Take any
ana mix
it

Ja^pafi.

quantity of the finest whitening,

to the consistence of paint witn

up
;

isinglass size

lay on your
it it

wood two

or three

coats, observing to put

on evenlv and smoothly,

-and not too thick; hi

dry; and rub

it

gently

58
with a
soft

INDIA JAPANNING.
rag and water
;

till

the surface
if

is

quite level

and polished

you may

you please

add a small portion of honey

which
off.

to the mixture,

will render

it

less liable to
is

crack or peel
is

If your ground

to

be black, which
it

the most usual one,

you may give

a coat or

two of

the black japan mentioned in the

of japanning, and
it is

com-

mon method
your
figures,

prepared for

&c.

Another Ground.

Take

fine plaster of Paris,

and mix
it

it

with
it

size not too thick,

and apply
in

quickly, for

soon gets hard

two coats
it is

most instances will

it

be

sufficient:

after

quite dry, polish

it

with
soft

fine glass paper, and rub

cloth;

with a wet

you may now give

oil,
it is

it

two or three ooals of

as
it

drying linseed

or as

much

will soak

up

when dry

ready for japanning.

To make Black Japan.

K^nnd ivorv
or lamp-black
little

very fine with

urpentine, and a

lac varnish or copal var-

INDIA JAPANNING.
nish,

69

and temper

it

to

a laropcr consistence with

varn>sh for laying on yojr ground; you must

give your work two or three coats at

least,

using

a gentle heat as directed

in varnishing.

To

trace your

Design on the Ground.

figures

Having drawn what

rub the back of

you please on a

piece of white paper either with ink or pencil,

it

with
loose

fine

chalk or whiting,
off;

and shake

all the

powder

lay

it

on

your ground, and trace or go over every part of

your outline with the end of a blunt bodkin, or

other similar instrument; you will then have a

sketch in faint outline on your ground

you may

then proceed to put in your figures, &c. with

any colour you wish, or bronze them.

To

raise Figures on your

Work,

Make

a mixture of whiting and size; or

consis-

some prefer the whites of eggs, of a

tence to flow freely from

your pencil, the hairs

of which must be rather long.

Begin with a

figure, or other part, but

do not do too much at a

60
at

INDIA JAPANNING.
and trace the outline correctly with a
;

tjuie,

free

hand

take then a piece of stick pointeii at

it

the end,
fill

and dip

into

your composition, and

to

up the inside of your outline; continue

the mixture on
till

put more of
sufficiently

it
it

is

raised

above the surface,

it

let

get quite

dry, and then polish

with a

soft

camel-hair
it

pencil and clean water, which will

fectly saiooth

make

per-

and

level.

Care must be taken

is

in this process, that

thin,

your composition

not too

or

it

will spread

beyond the bounds of

from

your

outline, but just so thick as to drop

;

the stick

some mix with

the whiting a portion

of flake white, or dry vyhite lead.

This

is

an

improvement,

and

for

very particular

work

should be adopted.

Gold Bronze.
Take any
quantity of ffold leaf,

empty out
little
it

of the book into a stone mortar, add a

honey, and a small portion of water, grind

well
together,
till

the

gold
paste,

seems

dispersed

throughout the

whole

add by degrees

INDIA JAPANNING.
more water
tinually
till

6l
conthe

H b
;

qw'xie thin, keepiiij; it

it

stirred

let

settle,

and pour

water

off*

as near as

you can without wasting

till

your gold, then repeat the washing

the crold in the form of a fine

you see
at the

powder
off,

bottom

then pour the water clean

and turn

the gold out on a piece of blotting paper, keep

it

from the dust, and

it

when
a

all

the moisture

is

evaporated put

into

bottle for use.

Note.

This

is

a very expensive bronze and

used only
ticular
;

for those

works which are very par-

however a very good substitute

in the

may be

had by treating Dutch metal

ner,

same man-

but you must be sure to keep this close

it is

stopped, or

very apt to tarnish.

Silver Bronze,

This may be made with

ai the

silver leaf trealed

for

same manner as above directed

gold

but this must be

bottle

kept also well stopped in a

in paper, as
it

and wrapped

also is as

apt to change as the Dutch metal.

b^

INDIA JAPANNING.

Capjjer Bronze.

Procure some very

fine tilings of copper, pul

them

into

an iron mortar, and beat them the

same as

that of the gold leaf or

Dutch metal,

except, instead of using honey, you

it

may pound
air.

dry with a portion of sal ammoniac, and then

it

wash
Brass

as above

keep

this also

from the

filings

may
'

be treated in the same manner.

Tzn Bronze,
quantity of grain^tin and melt
fire,
it

Take any

in

a ladle over the

when

it is

in

fluid state

add by degrees
will

quicksilver,

and

stir it well, \t

be transformed into a greyish powder,

for the

which

sake of variety you

may

use with

others, either alone or

mixed.

Note.
bronzes

We may, by
together,

mixing these different

a
great variety,

produce

that will

add much

to the beauty of your work,

and we may here remark that

of colours in gold leaf,
all

there

is

a variety

ofw'hichwill proUiice

different coloured

powder.

INDIA JAPANNING.
In London

6S

we
we

can procure a variety of co-

loured bronze at the colour shops, and at less

expence than

can make them, but

for the set

sake of the country workman I have here

down

those that are most generally useful.

Method of applying

the Bronze.

Go
gold

over the part you intend to bronze with

size or varnish,
is,

and when

it is

sufficiently

dry, that

when

it

feels tackey,

as

workmen

term

it,

or does not adhere to the linger, but feels

rolled hard into

clammy, dip a piece of cotton,

a ball, in your bronze powder, and dab on the

places intended to be bronzed
;

or

you may mix

it

your powder with varnish and apply

to the parts intended
prefer, as
it
;

at

once
I

but the

first

method

not only saves material, but your

brilliant.

bronze looks more

To Japan Work-Boxes ^c.

There
is

a very pretty method of ornament

ing boxes, cabinets, <&c. so that the figures,

shall

&c
th

appear of the colour of the wood and

G 2

64

INDIA JAPANNING.
;

ground black
first

this

by many

is

produced by

tracing out your pattern,

those
parts

and then prickshall

ing in

which
black or

appear

as
at

the ground,
fancy.

either
is

any colour

This

a very tedious process, and

even

when

finished with the greatest care will

not appear regular or well defined in the pattern; suppose, for instance,

wo wish

to orna-

ment our work with a

plain trellis pattern, so

that the cross bars shall appear of the colour of

the wood, and the squares

which they enclose

;

of a black or any other colour

here would be
trellis

no great

difficulty in

drawing the
to leave

bars

with any colour, so as

it is

the squares, but

to

extremely troublesome and tedious

prick

in the squares

and leave the bars.

The

follow-

ing method will be found very expeditious, and

at

the

same time very correct;

it is

but very

little

known, and

as such will to the practical

it

japanner be the more acceptable;

be applied to

may

also

many
to.

other purposes than the

one here alluded

tion
is

The

following preparaI shall

necessarv, and

which

denomi-

INDIA JAPANNING.
nate by the term stopping out mixture
;

65
it is

made by

dissolving the best white

till it

bees-wax

in spirits of turpentine

is

of the consis-

tence of varnish

keep
for

this

mixture in a bottle,

and when wanted

use

mix

sufficient for
in

your present purpose with white lead

or flake white, to give
thick,
it

powder,

a body, but not too

only so that
;

it

will flow freely from

your

pencil

having

now

traced your design, go over

to

those parts

which you wish

remain of the
dry
;

colour of your

wood and

let it

then

mix

ivory

black

in very fine

powder with parch-

ment or

isinglass size,

and go over evenly and

;

smoothly every part of your work

it

will

now

appear wholly black, or of whatever colour you

have mixed with your size;

thoroughly dry, then with a
in plain spirits

let the

whole get

stiffish

brush, dipped

of turpentine,

rub the whole

of the

work

well,

and those parts that have been

gone over with the stopping-out mixture will

come
fect;

ofl',

leaving your black or other colour per-

it

will then appear as if yoa had pricked

will

Id

your work, but much more sharp, ana

63

66
if carefully

INDIA JAPANNING.
done, have a beautiful olFect
;

you

iiave

vour

now ^oA,

nothing more to do than

as
in

varnish
it

general, and polish

as di-

rectpd under the article Polishing.

Note.
or

In

finishing

your work

in

the

manner
of

Indian japan, you must not be sparing

it

vour varnish, but give

that
it

eight or ten coats, so

will bear polishing.

Sealing

Wax

Varnish.

For fancy work

this

has of late years been

much
lapan.

used,

and

if

well applied, and your

wax

good, will be a very good imitation of Indian

The method
is

of.

making

the varnish or

'apan

very easy, being simply reducing the

wax

to

a coarse powder and pouring the best

spirits of

wine on

it

in a bottle,

and

letting

it

gradually dissolve without heat, shaking the

bottle occasionally
shilling stick of
till it is

all dissolved.

One

wax

will

be enough for about

a quarter of a pint of
'Note.

spirits

As much depends on the goodness

following
is

of the sealing wax, the

the best

POLISHING.
method of preparing
iEC,
it.

67
of sheTi or seed
the
in

Take

the

shell

is

best,

two ounces,

best
fine

white resin one ounce, and vermillion

powder one ounce, melt

?tirring it

the

whole

into a mass,

well to

make the colour even throughthis

it

out,

you need not for

purpose form

it

into

sticks,

but merely pour

in

out on a piece of
If you wish your
substitute

marble

a cake to cool.
other colour,

wax of any

you must

any

other colour

powdered instead of vermillion

;

thus; for black substitute ivory black

for green,

verdigris or crystals of verdigris

blue, verditer

or smalt; yellow, turpeth mineral or masticoU

jiurple, vermillion

and smalt mixed, and so

fee

any other colour.

POLISHING.
GENERAL OBSERVATIONS,
First, the varnish for cabinet-work should

be very clear and

a dingy shade

bright, otherwise

it

will give

to all light-coloured woods.

68

POLISHING.

Secondly, some persons polish wilU roUeo

stone,

otners with putty- powder, and 1 liave

varnish polished
;

seen

with

common whiting
be
found to

and water
answer the

but

Tripoli will

best.

To Polish Varnish.
It

has been considered by

many

as

a matter

of difficulty,

they have furnished themselves

with a quantity of materials, and as often failed

of success, the process being rather tedious.

Take two ounces

it

of Tripoli powdered, put

io

in

an erthen pot or basin, with water

it;

cover

then take a piece of fine flannel four

it

times doubled, lay

ber,

over a piece of cork rub-

and proceed
it

to polish your varnish,

always
;

wetting
will

with the Tripoli and water

the process
is

you

know when
is

done, by wiping

a part of the work with a sponge, and observe

whether there
bit of

fair

and even
fine flour

gloss

take a
oflf

mutton suet and

and clean

the work.

Caution,

You

itmasI

be careful not to rub

POLISHING.
the
to

69
is

work

too hard, nor longer than

necessary

make

the face perfectly smooth

and even.

The French Method of Polishing.

Take

a piece of fine pumice-stone and water

and pass regularly over the work with the

grain,
until

the

rising of the

grain

is

down

then take powdered Tripoli and boiled linseed

oil,

and polish the work

to

a bright face, which

it

will be far superior to any other polish, but

requires

much more

time.

To Polish Brass Ornaments Inlaid

First, carefully observe to

in

IVooa.
brasS';

have your
file

work

filed

very clean with a smooth

the^
va\T

take some Tripoli, powdered very

it

fine,

and

with linseed^oil, and with a rubber made from

hat, or felt,

a piece of old

you may

polish the
until

work

as

you would

polish varnish,

yoi

have the desired

If the work

eflfect. is

ebony, or black rose -wood,

fine, a!?f!

take some elder-coal powdered very

70
apply
poli
;

POLISHING.
it
it

diy after you nave done with the Triwill

produce a superior

polish.

To Polish Ivory.
Ivory
is

best polished with putty

of hat,

and water,

by means of a rubber made

which

in a

short time produces a fine gloss.

To Polish any Work of Pearl,

Take pumice-stone,
washed
with which ycu
finely

powdered (and
and
dirt),

to separate the impurities

may

polish

it

very smooth;

then take putty-powder as directed for ivory,

and you will have a

colour.

fine gloss

and a good

To Polish Marble.
It frequently happens that the cabinet-maker

has a table-top of marble to remount, wiiich

is

scratched and requires repolishing;

ing
is

the follow-

the process used

by the mason, and will

in

perhaps not be unacceptable

present.

a work like the

Procure a piece of sandstone with a

POLISHING.
very
fine grit,

fl
rub your slab
fine

then with

that

backwards and forward?, using very

and water,
till

sand

your marble appears equally

in scratches; next use

rough and not

stone

finer

and

finer

sand,

till

its

surface

appears

equally gone over, then with fine emery

powder

and a piece of
weight, rub
it

felt
till

or old hat,
all

wrapped round a
left

the

marks
and
it

by the

former process

is

worked

out,

appears with
;

a comparative gloss on
finish

its

surface

afterwards
fine

the polish with putty

powder and

clean rags, taking care as soon as the face ap-

pears of a good gloss not to put

any more

powder on your
short time
it

rags, but

rub

it

well,

and

in

will

appear as fresh as when out

of the mason's hands.

To Polish
After having

Tortoise-shell or

Horn.
perfectly

scraped 'your

work

smooth and

level,

rub

it

with very fine sandbit of feft

paper or Dutch rushes, then with a

dipped
in finely

powdered charcoal with water,

and

lastly

with rotten-stone or putty powder

r^i

tben with a piece of

soft

wash-leather,

damped

with a

little

yweet

oil, to iiujsu it.

FRICTION VARNISHING OR FRENCH POLISHING.

GENERAL OBSERVATIONS
The method
of rubbing
it

of varnishing furuiture,

by means
is

on the surface of the wood,

of

comparatively modern date, though bees-wax

has been used, either by

spirits of

itself,

or

mixed with
considerable
first

turpentine,

for a

very

period, for that purpose, and which at

pro-

duces a very good gloss, though

it

does not
to

wear

well, and

is

particularly liable

spot

with wet, and look smeary when touched with

the
fingers
;

to

remedy these inconveniences,

face,

and put a harder

liable to scratch

which

shall not

be so

as varnish, and yet have

an

equally fine face, the French polish was intro-

FRENCH POLISHING.
duced, and as
it

73
in

would be unpardonable

work

like thi?, to omit a full direction of thd

process,

and

also

the

various preparations
it
is

oi

the different compositions necessary,

hero
to

introduced

that nothing

might be wanting
as possible.

make

this

work as complete

All the polishes are used

much

in the

same

way, therefore a general description will be a

sufficient
is

guide for the workman.

it

If

your work

porous, or the grain coarse,

will
it

be necesa coat of

sary, previous to polishing, to give

clear size previous to
the polish,

your commencing with

it

and when dry, gently go over

will
fill

with

very

fine glass-paper, the size

up the

pores and prevent the waste of the polish, by

being absorbed into the

wood

and

also

saving of considerable time in the operation.

Place your work so

it in

that the light

may
to

shine on

an oblique direction, to enable

you

see,

by looking sideways, how the polishing pro*

ceeds.

Make

wad

with a piece of coarse flannej

it

or drugget, by rolling

round and round, over

74

nilCTtON VARNISHING, OR
to

which, on the side meant

very
fine linen

polish with, put

to

rag several times doubled,

;

be

as soft as
the

possible

put the

wad

or cushion to
the

mouth of the

bottle, containing
it,

prepa-

ration (or polish) and shake

which

will

damp

the rag sufficiently, then

proceed to rub your

work

in

a circular direction, observing not to do

foot at
is

more than about a square

it

a time

rub

lightly

till

the whole surface

covered, re-

peat this three or four times, according to the

texture of the
until the

wood

each coat to be rubbed

rag appears dry, and be careful not

to put too

much on

the rag at a time,

and you
;

will

have a very beautiful and

in

lasting polish

be also very particular

very clean and
soft,

letting

your rags be

as the polish depends, in a

great measure, on the care you take in keeping

it

clean and free from dust during the operation.

The True French Polish,

To one
pint of spirits of wine,

add a quarter

of an ounce of gum-copal, a quarter of an ounce

of gum-arahic^ and one ounce of shed-iac.

FRENCH POLISHING.

Let your gums be well bruised, and sifted

through a piece of muslin.

the

Put the

spirits

and

gums

together in a vessel that can be closo

corked, place them near a

quently shaking them,
will be dissolved
:

warm

stove,

and

fre-

in

two or three days they

it

strain

through a piece of

muslin and keep

it

tight

corked for use.

An Improved
Take a

Polish.
fine

pint of spirits of wine, add, in

powder, one ounce of seed-lac, two drachms of

gum-guaiacum,tvTO drachms of dragon's blood,

and two drachms of gum-mastic; expose them,

in a vessel stopped close, to a moderate heat for

three hours, until

strain
it

you

find

the

gums

dissolved;

off into

a bottle for use, with a quarter

of a

gill

of the best linseed oil to be shaken up

It.

well with

Note.

This

polish

is

more particularly
it is

in-

tended for dark-coloured woods, for

apt to

give a tinge to light ones, as satin-wood, or

airwood, kc. owing to the admixture of the

dragon's blood, which gives
it

a red tinge.

h2

76

FRICTIOX VARNISHING, Ok

Water Proof Polish.

Take a

pint of spirits of wine, two oiinces of

l^um-benzoin,

a quarter of an ounce

ot

gum-

sandrach and a quarter of an ounce of gum-

anime

these must be put into a stopped bottle,

either in a sand-bath or in hot
it
;

and placed
till

water

dissolved, then strain

gill

and

after

adding

about a quarter of a
oil,

of the best clear

for use.

poppy

and well shook up, put by

Bright Polish.

pint of spirits of

wine

to

two ounces of

gum-benzoin and half an ounce ofgum-sandrach,

put in a glass bottle corked, and placed in a
sand-bath, or hot water, until you find all the

gum
$LC.

dissolved,

w^ill

make a

beautiful

clear

polish for
:

Tunbridge-ware goods, tea-caddies,

to time,

it

must be shaken from time

dissolved,

and

when

all

strained

through a fine

muslin sieve and bottled for use.

FKEKCH POLISHING.

T7

Prepared
This preparation
is

Spirits,

useful for finishing after

it

any of the foregoing

lustre

receipts, as

adds to the

and durability, as well as removing every

defect which

may happen

in the other polishes;

and

it

gives the surface a most brilliant appear-

ance.

Half a

pint of the very best rectified spirits of

wine, two drachms of shell-lac, and two drachms

of gum-benzoin.

Put these ingredients

in a bottle,

and keep

it

in

warm
it

place

till

the

gum

is

all dissolved,

shaking

frequently;

when

cold,

add two tea-spoonfuls of the best clear white

poppy
fit

oil,

shake them well together and

it

is

for use.

This preparation

is

used in the same manner

as the foregoing polishes, but, in order to

all dull places,

remove

you

may

increase the

pressure

in rubbing.

Strong Polish.

To

be used in the carved parts of cabinet*

h3

78

FRICTION VARNISHING, kc.

brush,
as
in standards,
pillars,

work with a
claws, &c.
Dissolve

two ounces

of seed-lac and

two

ounces of white rosin in one pint of

wine.

spirits of

This varnish or polish must be laid on warm,

and
so

if

the

work can be warmed,

the
better
;

also,

it

will be

much

at any rate moisture and

dampness must be avoide

Directions for Cleaning and Polishing Old

Fu?milure.

Take a quart
handful of

of stale beer or vinegar, put a

salt,
it

common
it

and a table-spoonful of
an hour
it

spirits of salt, boil

for a quarter of

you may keep wanted

for use

in a bottle,

and

warm

when

having previously washed your

off,

furniture with soft hot water to get the dirt

then polish, according to the directions, with

any of

the foregoing polishes.

CLEANS! XG.

19

CLEANSING.

To Clean and Restore

the Elasticity
Sfc,

of Cane

Chair Bottoms, Couches,

Turn
that
it

up the chair bottom, &c. and with hot

water and a sponge, wash the cane-work well, so

may be
find

well soaked, should

;

it

be dirty

you must add soap

let it

dry in the air, and

you will

it

as tight
is

and firm as when new,

provided the cane

not broken.

To Clean

OU Brass-work for

Lackering:

First boil a strong lye of wood-ashes,

which

you may strengthen by soap-lees

*,

put in your

brass-work, and the lacker will immediately

conae off; then have ready a pickle of aqua-fortis

and water, strong enough to take

off the dirt,

wash

it

immediately
it.

in clean water,

dry

it

well

and lacker

80

CLEANSING.

To

clean Silver Furniture.

Lay
lake
water,

the furniture, piece

fire,

by

piece,

upon a

charcoal

and

when they
boil

are just red,

in tartar

them

oft

and

there
will

and
same

and your

silver

have
*

the

beauty as when

first

made.

Receipt

to

Clean Marblcy Sienna, Jasper,

S^c.

Porphyry, Szcola,

Mix
with

up a quantity of the strongest soap-lees

consistence
of milk,

quick-lime, to the
it

and lay

on the stone, &c. for twenty-four

it

hours, clean

afterwards with soap and water,

and

it

will appear as

new.
be improved by rubbing

Note.

This
it

may

or polishing

afterwards with fine putty-pow-

der and olive

oil.

To

take hik Spots out of

spirits

Mahogany.

Apply

of salts with a rag, until the

spot disappears, immediately

wash with clear

water.

CLEANSING.

81

J other
To
mony
;

Method.

half a pint of soft Vvater, put an ounce of

oxalic-acid,

and half an ounce of butter of

it

anti-

shake

well,

and when dissolved

it

will

be very useful in extracting stains out of

malong

hogany,
standing.

as well as ink,

if

not of too

K. To

take out Spots of Grease or Oil

Cloth,

from

P
Drop on
the spot
left
;

some

oil of tartar
till

or salt of
it

wormwood,
into

in

a damp place

turns

fluid

then immediately

wash

the place

with lukewarm soft water, and then with cold

water, and the spot will disappear.

Note.

This

will be found very useful, as

it

frequently happens that the cloth of card tables,

and

the inside flaps of secretaries, are spotted

and

greasy, which

by

proceeding as above will

com-

pletely take out every spot of grease.

8S

CLEANSINA

To

take out

Wax Spots from

spot

Cloth or Silk.

Put on each
place
fire,
it

a piece of soft soap, and

in the sun, or gently

warm

it

before the
it

let it

remain some time, then wash

off

with

soft water,

and the spot will have disap-

peared.

Another Method.

Drop
on the
repeat

spirits of turpentine or spirits of

wine

spot,
it till

then witli a spunge rub

the spot disappears.

it

gently,

To clean Carpets
Let your carpet be
from dust
;

or Tapestry.

first
it

well beat, and freed

then tack

down

to the
gall
it
it

floor

mix

half a pint of bullock's

with

two

gallons of soft

water, then scrub

let

well with

soap and (his gall mixture;

quite dry, and
it

remain

till

will be perfectly clean:5ed,

and

look like new, as the colours will be restored

to their original brightness
;

the brush

you U86

CLEANSING.
must not be too hard,
hairs, or

83
tli

but rather long in

you

will rub

up the nap and damage

your work.

To

clean

Or Molu Ornaments.
regilding these ornaiji

When
ments
is

the expence of

an object, the following method will

a great measure restore

beauty
;

them

to their original

but

if

very

much worn

the only

way

is

to take off

what remains cf the original

gilding
in

and clean them well, by immersing them

aqua-regia, or a mixture of muriatic acid and

aqua-fortis,

and repeating the original process

of gilding buttons;
if

which

is

similar to that
if

however,

not in a very bad state,

little

you

let

your ornament lay some

time in a weakish

mixture of aqua-fortis, and then

directly in water, lay

wash them
plate,

them on your hot

and when

sufficiently heated

apply very pale gold

lacker, and they will look very well, as

what

remains of the original gilding will not be

injured
parts

by the aqua-fortis, though the other

well as the gold
will be
perfectly

as

cieansen ^rom every

dirt or tarnish

S4i

SILVERING.

SILVERING.

GENERAL OBSERVATIONS

The

art

of

silvering

looking-glasses,
in the large
is

or

plate glass,

when conducted
and

way,

requires great care and practice, and

almost a
is

trade of

itself,

the apparatus

necessary

very expensive, therefore not worth the while of

any one's undertaking without a considerable

business in that

way

but for the sake of the

to

mechanic,

will

endeavour

explain

the

process which

may

be conducted in the small

way,

particularly

when
to

at a

distance

from

London, with advantage by the cabinet-maker,

who by

the

bye ought

combine the several

trades of that with carver and gilder, as well

as japanner and varnislier, for
it is

seldom

in

country town that they are thought of as separate trades,

therefore every thing in the furni-

ture

way

is

sent to the cabinet-maker to be

SILVERING
made
first,

S5

or repaired

the requisites necessary are,

a large stone, or plate of cast iron

made
suffi-

perfectly smooth
cient

and

level.

Secondly, a

number
to

of square lead or iron vveights of

from seven
Thirdly, a

fourteen

pounds weight each.

quantity of tin-foil.

And,

lastly,

good

distilled

quicksilver, free from

it

any impu-

rities, for

on the goodnessof

dependsthe beauty

of the silvering.

Method of Silvering

Looking Glasses and

Plate Glass,

Have your
evenly on

stone or plate fixed firmly on a

foil

strong table, spread your tin

it

smoothly and

to the size

of the plate you intend

it

to silver, then take

your quicksilver and pour

it

on the

foil,

spread

evenly and smoothly with

a hare's

foot, that it

may

adhere

to the foil ia

every part, lay a smooth piece of strong blotting*

paper on

it,

and on that your plate

it

to

be

silvered, shoving
air

on from one end, that the

may
;

not be included betw^een that and the

the ppner gently

glass

now draw

and regu-

86
larly

SILVERING.
from between the plate and
glass,

and
is
:

place your weights side by side, as the paper

withdrawn,

till

the glass

is

entirely covered

elevate the stone at one end,

which

will cause

the superfluous silver to run from between the

glass and
foil, let it

remain

in that position for

about a week or ten days, and taking off your

weights, you will find
(if

the process has been

conducted with care)

Note,

it

silvered to your mind.

The

stone

should

have a groove

round the top, that the superfluous silver can run

to the bottom,

from whence

it

may be

taken to

use for the same purpose again.

To make Liquid Foil for Silvering Glass

G lobes

Bent Mirrors,

^^c.

Take one ounce

of fine
tin,

of clean lead, and one ounce

melt them together in a clean iron

ladle, then

immediately add one ounce of

off the dross,
it

bis-

muth, skim
the
lire,

remove the ladle from

and before
\

sets

add ten ounces of

quicksilver

stir

the whole carefully together.

BRONZE AND PAINTING.

observing not to breathe over
tion of the quicksilver
is
it,

87

as the evapora-

very pernicious.

Another Method.

Take

four

ounces of quicksilver, to which

foil

put as much tin

as to

become barely

fluid

when mixed
clean and
silver

have your globe (or bent mirror)

either
inject

warm, and

the quickat the

by means of a clean earthen pipe

it

aperture, turning
over, or,
if

about

till it
it

is

silvered all
i(,

a bent mirror, pour

till

gfintly into

turn

it

about

the silver adheres all over, let

it

the remainder run out, and hang

up.

BRONZE AND PAINTING-

To Bronze Figures,

For

the ground,

after

it

has been sized and

rubbed down, take Prussian blue, verditer and

I

S8

BORNZE AND PAINTING.

spruce ochre, grind them separately in water,

tujpentiiie, or oil,

according to the work; mix

them together

in

such proportions as will pro;

duce the colour you desire

metal,

then grind
in the

Dutch
same
with
it

commonly

called bronze,
;

material you ground your colour

laying

it

judgment on the prominent parts of the

VAill

figure,

produce a grand

effect.

Note,

There

are several different colours

best
imitated

of bronze,

which are

by the

powders, sold

at almost all colour-shops, called

bronze-powders, independent of the one here

mentioned of Dutch metal, and are made, not

without considerable trouble, by dissolving different metals in aqua-fortis,

and precipitating

the solution by means

of sal-ammoniac,
in water,

and
it

washing the precipitate

on blotting-paper
;

and drying

the ingenious artist will suit

the colour of the bronze, by mixing correspond-

ing colours of paint for a ground.

BEONZE

AXi:

PAINTING

89

To Bronze on Wood,

The
niture

carved and turned work in cabinet furfrequently done in imitation of bronze,

is

wnich

if

well done has a very elegant effect,

:

and adds much to the beauty of the article

thus performed.

it is

Having stained those parts

in-

tended

for

bronzing black,

by any of the
Staming,

methods shewn

under

the article

take japanners' gold

portion of

size,

and mix with a small

Prussian blue
i<

Roman

ochre and

go over the blacked parts

to

lightly, then suffer

dry

till it

feels just

taekey or stickey to the

off,

linger, but not to

come

then with a hard bali

of cotton, dipped in any of the bronze powder;,

rub those places that are prominent, and,

please, give
it

if

you
I

a thin coat of japanners' go

size thinned with spirits of turpentine;

alter the colour of your

you may

bronze by mixing eithei

m re

or less blue, as also other colours, as ver-

diter green

by

itself,

but do not put your colour

it

on

thick over the black stain, but rather glaze

OQ;

I3

90
for
it is

BRONZE AND PAtNTTXG.

not wanted in
it

a body, but should be

rather transparentj as
tallic

makes

it

more

oi

a me-

appearance.
or Ornaments.
in

Tc bronze Brass Figures

After having lackered your brass work

those parts

you wish to look

like gold,

you

must

for those parts that are intended to

appear
either

as bronze take

any quantity of umber,

burnt or in

its

natural state, according to the

it

colour you require, and grind

with a small

quantity of spirits of wine

verditer,

do the same with

and

also spruce ochre,

keep these co-

lours separate for use,

and when wanted take of

it

pale gold lacker, and mix with

these ingredients
till

a portion of
;

jou get

the colour required

then

apply this mixture in the same manner

as you are directed in lackering brass

work
it

you

may

also, if

you

please,

mix with

any

coloured bronze powder for the sake of variety;

little

experience, and a few experiments with

these compositions, will enable the

workman

to

imitate any bronze colour he pleases.

BRONZE AND PAINTING.

91

To Bronze

or

Brown Gun

Barrels,

S^c

Let your work be well cleaned and brightened, then apply aqua-fortis or spirits of salts all

over

it,

and lay

it

by

for

week

till it

appears

covered with

rust,

then with a cloth

damped with
perfectly

boiled lintseed
level

oil,
;

rub

it

well

till it is

and smooth
it

then with a hard brush, and

till it

bees-wax, rub

well

has a good gloss

some put a very thin coat of very pale lacker

over the whole, to preserve
it

more

effectually.

Note.

It is frequently the

practice to
;

make
of

the browning appear in streaks or veins

this is

done by applying the aqua-fortis and

salt

spirits

with a

flat

brush,
;

such as the grainers of

wood

use in painting
either

you

may

also

vary the

colours,

by mixing these two ingredi-

ents together in different proportions, or using

them separately

the aqua-fortis producing a

spirits of salts

kind of grey, and the

a deep

brown or

rust colour.

92

BRONZE AND PAINTING.

Graining or imitatitig Woods, Marble, ^c.

This process, though more properly under
the department of the Painter, than that of the

Cabinet Maker,
latter.

may

not be unacceptae tobl the

I shall, therefore,
;

shew

the

mode

usually

adopted

but at the same time must remark that

nothing but practice, and a close attention to

nature, will enable the
art,

workman

to

excel in hi3

though by pointing out the necessary tools

used, and the various processes

imitate the
natural grain of

made

use of to

wood,

or marble,

will most materially assist the VTorkman in his

operations.

The

chief tools necessary are

com-

mon
and

brushes, as used by house-painters, sash tools

of diflferent sizes, camel hair pencils with long

short hair, camel hair flat brushes in tin for
off;

softening

graining tools,

which are

flat

brushes of a few hairs in thickness, and of different widths, fastened into

lastly,

wooden

handles, and,
for graining;

horn combs made on purpose

and these are

chiefly used for imitating oak, or

wainscot, though they will be found often useful

BRONZE AND PAINTING.

for Other

93

purposes ; they are sometimesfixed into a

in the

wooden handle,
tool,

same manner

as a graining

though generally in the form of a

thin

common

comb; they should be very

and

elastic, so as

to adapt themselves to the several

mouldings they

are

drawn

over, in order to produce the grain so

peculiar to oak or wainscot.

The

first

thing to be attended

to, is to

make
in

a good ground, as much depends on

this,

order that your work shall appear to the greatest

advantage

you must, therefore, after having

first

put on your priming, or

dry, rub
it

colour,

when

it

is

well with pumice stone, in order to

all the

make smooth

lumps

next put on your

colour for the ground^ v^'hich must be adapted to

the colour of the

wood you wish

to represent;

thus having determined upon what

to imitate, procure a piece for a

wood
to

it is

model

work

from, and

let
;

it

be well scraped, sand-papered

is

and polished observe which

of
it,

the lightest parts

which match as near as you can with

paint,

and lay that on evenly and smoothly

it

for

your ground colour, being careful that

has

94)

BRONZE AND PAINTING.

in oil,

been well mixed and finely ground

with

the necessary quantity of drier, or sugar of lead

ground

in oil; let

the ground then remain to

it is

get perfectly hard and dry,

then ready to
is

receive the finish by graining, which

done in

two

different
;

ways,
the

viz. either in oil colour, or

is

in distemper

first

certainly to be pre-

ferred, as it stands better, is

in

more durable, and

most cases much handsomer, though at the

difficult to

same time more

execute, and not so I prefer, in working

expeditiously performed.

by

this

method, to use mixed with the colour,

finely

which should be

ground

in oil,

some

japanner's gold size, to expedite the drying;

and

also to thin your colour to the proper con-

sistence, to use

good

spirits of turpentine, as it

makes

the colour flow freely from your brush,

to

and enables you

ferent

soften

and blend the

together.
is

dif-

shades

of your
in

grain

The

other

method

distemper,

to

have your
very thin

graining
size,

colour

ground either

in
is

or stale beer; this method

very expe-

ditious,

and at the same time enables you very

BRONZE AND PAINTING.

easUy to make any aUerations
in

9o

your work,

as a wet sponge will immediately remove any

parts that are not to

your mind.

There
don
must

is

one particular, which I must men-

in the art of graining,

which

is,

that

you

select

those colours

that are

the

most
suffi-

transparent, and at the

cient

same time, have

if

body

for

your purpose, for

you use

opaque, heavy colours, though they

may

ap-

pear to match the

quired, will,

tint, or

have the hue re-

when

applied, give your

work a

cloudy and

muddy appearance, and

the shades

will not soften or blend with each other.

As an
tion

attempt to give a particular descripparticular

of the methods used for each

itself

wood, would of

form

a volume,

and

swell this much beyond the limits of a pocket

manual, I shall content myself by

giving in

general terms the usual process of applying the

colour for graining, and suppose

we have

the

pattern before us, and the ground prepared as

above directed, as well as the graining colour.

The

first

thing

we do

is

to

go over the grounc

96
in

BRONZE AND PAINTIJ5G.

a
slight

manner, with the grain colour made

with
spirits

very

thin

of turpentine,
oil

and
it,

if

necessary, a

little

drying

mixed with

byit

taking a

little
is,

on your brush and scumbling

on

that

rubbing the brush over

;

it

in

ail

directions as thinly as possible

next, if

it

shouid

be in imitation of oak or wainscot,

it

we

scrape

from top to bottom, or from side

to side, in

according to the

way we have

fixed on

our

minds the grain of the wood should run, going

over repeatedly, gently shaking
that the grain should
strait lines
;

your comb,
as perfectly

not appear

you

will

then have a perfect regrain of your

semblance

to the strait part of the

if

wood

observe next,
light streaks

there

is

any particular
to

dark or
first
is

you wish

imitate, the

done with your colour flowing freely

oflp

from a camel hair pencil, and softened

your
flat tin

with

softener of camel's hair;

if light,

dip your brush in plain spirits of turpentine, and

mark

the light places, then

gently brush them

soft dusting brush,
;

with your softener, or very

and

it

will appear light to

your mind

for

your

BRONZE ANI> PAINTINa.

97

nark irregular grain imitate nature as near as

possible, with your
jn the grain colour,
flat

graining brush dipped

which you may mend and

;

touch up with your camel-hair brush

soften
it

gently

off

and proceed,

if

there

is

irregular

light parts in the grain,

lo imitate

them either

with your graining brush, or camel-hair pencil

dipped

in turpentine,

brushing gently over with

;

your duster or softener

to
finish

you may then proceed

stronger marks with

by putting

in

yOur camel-hair brush.

find
it

Sometimes you
in

will

convenient to rub off the colour

small

patches, to imitate your pattern,

which may b?
;

done with a piece of wash leather

times, as in

at other

imitating yew-tree or knotty

and

curly wood,

you

may

twist

up a piece of
it

bladder or thin parchment, and by giving

turn or twist on the ground,
it

will give a very

curl.

good representation of a knot or

YoiU

work
and
if

is

now

to be

suffered to get quite dry

is

very particular nicety

required,

yoi
it.

way

glaze over those parts which require

98

BKONZK AND TAl^tiSd.

pleasure
;

darken others at your

not very particular, you

if

you are
it

may

at once give

two or three coats of clear copal varnish, or

moro

will

be required

if

the varnish

is

to b&

polished.

Nearly the same methods as above may be

resorted to

when wc grain
same

in

distemper, except

using plain water instead of turpentine.

process
't

The
in the

is

much

the

for

marbling, except

requires great

dexterity in putting

veins,

and there
in

is

no occasion of scumbling in
ground, or even in

the colour

the

many
it

cases in letting the ground dry, but doing

all

at once

with opaque body colours, which one another as required; and

it

you
in

soften into

many

cases

is

necessary to

sprinkle on
as
in
if

different

colours from the brush, such

imitating porphyry, &c.

These
in

f-?w rules,

joined with a close attention

nature,
to
w^ill

studying from

enable the ingenious mechanic soon

make

himself master of an art which adds so

much

to the beautifying of our

apartments/and

which has

lately

become

so

much

in

vogue,

GILDING.
that a

90
said to be

modern room can scarcely be

without
these

finished

decorative

embellish-

ments.

Green Paint for Garden

Stands,
Sfc,

Venetian

Blinds, Trellisses,

Take mineral green and white

in turpentine,

lead ground
to

mix up a quantity

your mind,

with a small quantity of turpentine varnish for

the
first

coat; for the second, you must put as

in the colour as

much varnish
good
gloss.

will produce

Note.
sian

By adding a small
you
will

quantity of Prusthe

blue

have

colour

much

brighter.

GILDING.
GENERAL OBSERVATIONS.
Gilding on wood
ferent ways,
is

performed

in

two

dif-

and

is

called oil gilding

when

the

K 2

00
is

GILDING.
performed by means of oil or varnish,
it

proces.^

and
tvill

is

well calculated for out-door work, as

the weather,
far the

stand

and bear washing:

most beautiful,
is

ihe other,

and bv

that

employed for picture

*nd
is

frames,

furniture,

&c.
well

called burnish gildinoj, which,

when

executed, adds greatly to the ornamental

fiften

work

introduced, either in the internal decora-

Oon of rooms, or the carved work and reeding

furniture.

As

both

these

methods are so

necessary to the workman, 1 shall be particular

in laying

down such

rules

and directions,

that,

with a

little

care and practice, the

ingenious

mechanic

will

soon be able to execute any

piece of work wherein the assistance of gilding

is

necessary, and

where a regular gilder

is

not

at hand.

Necessary Requisites to he provided with.

First,

sufficient

quantity
the
hio-Ii

of

leaf-gold,
it

which
called,

is

of two sorts,

gold, as
is

is

and

the pale gold; the former

much
being

the best, but

the

latter

very

useful,

as

GILDING.
of a different colour, you
necessary, a variety
fore
to
;

101
introduce, if

may

it is

also cheaper, there

is

be

preferred

where expense

an

object.

Secondly,

gilder's

cushion, which

is

an

oblong piece of wood, covered with a piece of

what
is

the bookbinders call rough calf-skin, and

stuffed

with flannel several times doubled,

and a border of parchment, about four inches

deep
at

one end, to prevent the air blowing

the leaves about

when taken from

the

book and

placed on the cushion.

Thirdly,

gilding knife, with a strait and

cut

very smooth

edge, to

your gold

in

the

pieces necessary.

Fourthly, Several camel-hair pencils of different sizes, and

some

tips, as

they are called,

which

is

a few long camel's hairs put between

in the

two cards

same manner

that the hairs

are put into tin cases for brushes, making, as

it

were, a
Lastly,

flat

brush with a very few hairs.

burnisher,

which

is

a crooked
handle.

piece of agate set in a long

wooden

k3

103

GILDING.

To make Sizefo/ -preparing your Frames,

Sfc

Take

halt

a pound of parchment shavings, or

cuttings of white leather;

add three quarts of

till
it

water, and boil

il

in

a proper vessel
;

is

reduced
the
fire

to

nearly half the quantity

it

take
sieve

it

oft

and strain

through
it

be

careful in

the boiling to keep

let it

well stirred,

and do not

burn.

To prepare J/ our Frames

First, with the

or JVood-xvork.

above

size alone,

and boiling;

hot,

go over your frames

in

every part

then

take a sufficient quantity of whiting and mix

with some

size,

to

the

consistence of thick

cream
give
it

go over every part of your frame, and

six or seven coats, carefully letting each

coat dry before you proceed with the next, and

you will have a white ground

nearly, or quite,
thickness.

fit

for gilding

on

the sixteenth of an inch in

Note.
thick,

You
it

must not have your

size

too

and

need not be put on, when mixed

GILDING.
with the vThitjng, so hot as the
itself:
it

103
first

coat

is

by

will

be better, in order to separate

si

the dirt or coarse parts of the whiting, to

it

ram
llie

through a sieve.

Vauxhail

whiting

is

be&t.

Polishing.

When
proceed

the prepared
to clean

frames are quite dry,

;

and polish theiu

wet a small
oi

piece at a time, and take a smooth fine piece

cloth dipped in

water, rub the part

till

all the

bumps and

inequalities

are removed, and for

those parts where ihe fingers will not enter thi

mouldings, &c. wind the wet cloth round a

piece of wood adapted to the moulding or quirk

by

this

means you

will

make

the surface all

smooth and even alike.

Note.
it

Where

there

is

carved work, &c.

to

will

sometimes be necessary
to their original

bring the

mouldings

sharpness, by means

of chisels, gouges, &c. as the preparation will

be apt

to

fill

up

all the

finer parts of the

;

work

which must be thus restored

it

has someiimei

104

GILDING.
to

been the practice, after polishing,

..he

go over

work once with

fine

jellow or
is

Roman

ochre, but in general this

hardly necessary-

Gold-Size,

Take

fine

boll-ammoniac, what quantity you

it

please, grind

fine
little

with a rauller and stone,

scrape into
together
knife
;

ii

beef

suet, grind

all

well

after which, mix in with a pallet

a small proportion of parchment size

with a double proportion of water.

Jnother Gold-Size,

Take a lump
it

of tobacco-pipe clay, and grind

paste with thin size
;

into a

very

stiflf

add a

small quantity of ruddle, and fine black lead

ground very

fine,

and temper the w^hole with a

small piece of tallow.

To

'prepare

your Frames, Sfc.for Gilding,

Take

a small cup, or pipkin, in which put as

much
Work

gold-size as
in hand,

you judge

sufficient for tlio

till it is just

add parchment-size,

GILDING
sufficient

105
;

to flow

from the brush

when

quite
soli

hot,

pass over

your work with a very

to

brush, taking care not

thick; let
it

put the
it

first

coat too

dry, and repeat

twice or three

times more, and

when

quite

dry,

brush

the

whole with a

stiff

brush, to

remove any nobs,

in

Ac.

that

there
is

may have been

lor

the size:

your work

now ready

applying the gold.

Note.

Your

parchment-size should be of

&unh a consistence, when cold, as the

jelly sold in the shops;

common
it

for

if

too thick
it

will

be apt

10 chip,

and

if

too thin

will not have

sufficient

body.

Laying on
This
tion,
is

the Gold.

tie most difficult part of the operashall

and requires some practice; but I

to describe the

endeavour so
a
little

method
it

that,

with

caution and attention,

may be

easily

performed.

Turn your gold

out

of the book on yout

cushion a leaf at a time;

gilding knife under
it

then passing your

it

bring

into a convenient

106

GILDING.
it

part of your cushion for cutting

into the size

of the pieces required; breathe gently on the

centre of the leaf, and
it

will lay flat on your

cushion

then cut

it

to

your mind by bringing

it,

the knife perpendicularly over

and sawing

it

gently

it

will be divided.

Place your work before you, nearly horizontal,

and with a long-haired camel-hair pencil,

in

dipped

water (some use a small quantity ot

water), go over as

brandy

in the

much

of your
;

work

as you intend the piece of gold to cover

then take up your gold from your cushion by

means of your

tip;

by drawing
it

it

over your
suflaciently

forehead, or cheek,
to

will

damp

it

adhere to the gold, which must then be

carefully transferred to your work,

and gently

breathing on

it, it

will be found to adhere; but

you must mind

sufficiently

that the part

;

you apply

it

to is

wet

indeed,

it

must be
:

floating, or

you
this

will find the gold apt to crack

proceed in

manner by a

little

at

a time, and do not

till

attempt to cover too much at a time,

you

find

by experience you are able

to handle

your gold

GILDING.
with freedom.
if

107

Be

careful in proceeding with

your work,

you find any flaws, or cracks

appear, to take a corresponding piece of gold

and apply
will find
it

it

immediately; sometimes, also, you

necessary,

when your

gold does not

appear

to

adhere
filled

sufficiently tight, to

draw a

pencil quite

with water close to the edge

of the gold, that the water

it,

may run underneath

which will answer your expectation.

Bumishing.

When
by
to dry,

your work
it

is

covered with gold,

in

set

it

will be ready to burnish

it

about

eight or ten hours; but

will

depend on tha
air,

warmth

of the

room or

state of the

and

practice will enable you to judge

the proper time.

when

lo seize

When

it

is

ready, those parts which

you

intend to burnish must be dusted with a soft

brush, and wipey our burnisher with a piece of
soft

wash-leather (quite dry)

begin to burnish

about an inch or two in length at a time, taking

care not to lean too bard, but with a gentle and

108

GILDING.

quick motion apply the tool

til.

you

find

it

all

over equally bright.

Matting,

Those
from not

parts of your

work which look

are

dull

being burnished,
is,

now

to

be

matted, that

are to be
its

made

look like dead

it

gold

for if left in

Datural state

will

have a

shining appearance, \Thich must be thus rectified:

Grind some vermillion, or yellow ochre,

very
fine,

and mix a very small portion either

with the parchment-size or wiih the white of

an egg, and with a very

soft

brush lay

it

even

and smooth on
if

the parts intended to look dull

will

well done,

it

add greatly

to

the beauty

of the work.

Note.

The

work must be well cleared of

by means of a
soft

superfluous gold,

brush,

previous to burnishing or matting.

Finishing,

All that

is

now necessary

is

to

touch the part?

in the hollows with a composition called ver-

GILDING.
milie
;

109

it

is

made

by grinding vermillion,
oil

gamboge, and red

turpentine,

lead, very fine^ with

it

of

and applying
in

carefully with a

small brush

the parts required,

and your

work

is

completed.

Note.

Sometimes the
shell-gold,
it

finishing
is

is

done by
the
best

means of
method
;

which

far

should be diluted with gum-arabic,

and applied with a small brush.

To make Shell Gold.

Take any
quantity of leaf gold, and grind
to
it,

with a small portion of honey,

take a
little

a fine powder;

gum-arabic and sugar-candy, with

it

a
in

little

water, and mix

well together, put

it.

it

a shell to dry against you want

Silver Sise,

Take
little

tobacco-pipe clay, grind

it

fine

with a

black lead

and

Genoa
would

soap, and

add

parchment-size as directed for the gold-size.

Note.

Any
as

soap

most

probably

answer as well as Genoa soap; but I have

made

it

here directed, and found

it

answer

very well.

110

GILDING.

Silvering,
Silvering
is

at present

but

little in

use, thonsrli
stiil

I have seen some old works that

looked

very well, and I think

it

might be introduced
;

with advantage
is,

in

many works
;

the great fault

that

it is

apt to tarnish

but which

maj be
to
its

preserved

with very

little

diminution

beauty, by applying a thin coat of the cleanest

copal
or

mastic
is

varnish.

The

process for
;

silvering the

exactly the same as for gold

but

matting must be done by mixine; a small

little

quantity of flake white in pow-der, with a

Prussian blue (just sutDcient to tinge

it)

along

with plain size or white of egg.

To Gild the Borders of

Glass.

The
many
and
for

art

of gilding upon

glass,

which

is

a revival and improvement upon attempts made

years ago,
is

chiefly used for decorating

the borders of prints, in executing

name

plates,

'nscriptions for various purposes; as also

jrnamenial

decorations

in

a variety of

elegant works, with different coloured grounds;

but as black
shall
first
is

the most general in demand, I

proceed to treat on that, in two ways

it.

of performing

You
isinglass,

are

to

procure

some of the

finest

which you will distinguish by holding

light,
is

between you and the

white and transparent
trary
is

when

that

which

is

the best,

and the con-

totally unfit for this purpose.

it it

You

are

to dissolve

in very clean water, pretty thick,

and

strain

through a linen cloth

then into a

tea cup, full of very clean milk war*n water,

put about the size of a pea of

jelly,

this

isinglass

which
;

let

gently incorporate with the

is

water
gilt

then, having your glass that clear

to

be
or

quite

and free from any

leaf gold, the
better,
it

dirt

grease, get
the

some

less

porous in

beating the

put

it

on a gilding

cushion, and cut

in

pieces sized for your

purpose, according to the breadth you w^ant to

ha\e your work gilt; then touch with a hair

pencil, dipped in

the thin isinglass water^

on

the glass

and while moist, iay on your leaf

L 2

nS
gold, piece

GILDING.

by

piece, until

you have the parts

leaf will instamly
it

you want covered.

adhere
the
to the glass
;

The

then place

within air of
it

fire,

in a slanting position, until

dries,
it is

which will be
gently

in

a few minutes.

While

warm, take a piece

of clean cotton wool,

until

and rub the gold on the glass smartly,

you

not only find the superfluous pieces of leaf gold

gone, but that likewise the part

gilt

receives a

kind of polish

then proceed to lay on a second

coat of gold, in the same

manner

as the

first,

drying

it

as before, and polishing it;

and

so a

third coat,

which

is

fully sufficient,

and

to gild

properly cannot be dispensed with.

the size of your print or drawing,

Then
which

take
is

to

be framed, and laying

glass,

it

on the

gilt

part of the

mark where

the corners are to come,

with
after

hair pencil,

and

some dark colour

which, being provided with a long

ruler,

wooden

and a pointed piece of ivory, dravT two

of your gold, and with a
stick,

parallel lines out

mahogany or

deal

pointed

cautiously,

work away

the superfluous parts, leaving

the

GILDlKft.
gold
fillet

113

which
;

is

to

encompass your picture,

if

sharp and neat

when,

you have a mind

lines,

to

ornament

it

by any other

to

appear

black in the centre, lay on your ruler, and

with your ivory point scribe them, and then

vainish
little
;

having some black japan,

to

which a
to
gilt
it

burnt
its

lamp black has been added

colour.

deepen

Paint

it

all

over the

part of your glass,

and the space between

it

and the edge, then

set

to dry, v\hich will

take

place in a few hours;

the

when you

are to lay out

is

breadth of your

black line that

it

to

be

inside
point,

your gilding, scribe

with a sharp

and cut away the waste black with a

graver or some sharp instrument.

If you want to

cut figures, or any kind of

is

ornament out of your gold, after your glass

gilt,

have a drawing of your design on paper,

at the

back of which rub some powdered red

chalk, and the smallest quantity of fresh butter;

lay the paper on the gold,

and with a bluntish

ivory point, go over the lines of the drawing,

and they

will be nicely transferred

on the gold

lS


n^
when vou
GILDING.
can, with an ivory point, trace

them
to

out ot the gold, and shade

them agreeable

your fancy, or from the drawinsj you have by

you; and

then,

by mixing any colour you

choose with white copal varnish, you

may

vary

your ground as you think proper.

But
gilding,

the most important secret in the glass

is

the

method which only two or three

are acquainted with. In an
is

persons in
instant,

London

after

your glass

blackened, taking
is

away

the parts

where the gold

to appear,

and
by
in

the remainder of the black

to

stand

fast,

which means

the black gilding

work

is

done

one half the time, and with half the gold

leaf.

The

process

is

simple,

and

is

thus performed:

You

are to get the very best black japan varis

nish, such as

used for the roofs of carriages, to

which you may add a very small share of

burned lamp black, very
of turpentine,
finely

ground

in spirits

then, with a large

flat

varnish

brush, give your glass one even

thin coat,

holding
it

it

between you and the

light, observinfif

does not appear a thick dead black, but

GILDING.
exhibits a degree of transparency,

115
and not
too

much, so as

to

prevent

its

appearing a good
After
this,

black on the right side of the glass.

you

are

to

have your letters or ornaments,

as

drawn on paper,
trace
it

before

mentioned, and

in

the

same manner on your black

perfectly dry
;

varnish,

when

it is

the

drawing

will be very critically transferred to the black.

You
it

are then to get a very fine needle, and

fix

in

wooden handle

firmly;

with which

you are
to

to scribe the outlines of

what black

is

come

out, through
to the

the varnish, so as not an

edge hano;s
then take

main body of the black;

it

some thick brown paper, dip

it

in

water, and squeeze

gently, and spread

it

over

the parts of the varnish you wish to detach from

the glass;

and

in

a few minutes, by raising

it

one edge of the black,

will
if it

all

peel

away

as
iu

clean from the glass as

never was on
is

When

all

the black you

to

want

taken out, lay

your glass

the

fire,

and the remaining par*

of the varnish will instantlybecome as hard a*

ever,

and ready

to

have the gold put on.

116

LACKEaiNO.

LACKERING.

GENERAL OBSERVATIONS.

The
that to say

art of lackering

is

so nearly allied to

of japanning, that

it is

scarcely necessary
;

much

as to

its

application

however, as

some

directions

may

be thought necessary? 1

will endeavour to explain shortly the process.

If the

work

is

old, clean

it

according

to the

directions given
if

under the article Cleaning

new,

it

will require nothing but being freed

from dust, and well rubbed with a piece of

wash-leather to

make

it

as bright as possible.

Have
lay

a hot plate, or, for want of which, the

hob of your fire-place will be a good substitute;

your
brass

work on
;

it

till

moderately
will blister

heated, but not too hot

for that
to the

your lacker; then, according

colour you

wish, take any of the following preparations,

and making

it

warm,

lay hold

of your brass-

work with a

pair of pincers or pliers, and with

LACKERING.
soft
.0

117

brush apply the lacker, being careful not

it

ruD

on, but stroke

the

brush gently one

the hot plate
let it

.vay,

and place your work on

till

5gain,

the varnish

is

hard; but do not

remain too long, experience will best

tell

you

when
time);

it

should be removed
it

(some,

indeed,

never place
if it

on the stove or plate a second

should not be quite covered, you

it

may

repeat

carefully,

and

if

pains be taken
to

with your lacker, will look equal

metal

gilt.

To make Gold Lacker for Brass.

Take
of rectified spirits of wine two quarts,

and three pounds of seed-lac (picked particularly clean

and clear of

a!!

black and brown

specks and pieces, as upon that depends entirely

the beauty of the lacker); add

them

together,
:

keep them warm, and shake them often

the lac is dissolved,
it is fit

when

for use.

Another Lacker.

Take
pound,

of the clearest and best seed-lac one

of dragon's-blood

one

ounce,

pound

118

LACKERIis^G.

them well together

add a pint and a half

it

of

the best spirits of wine, set

to dissolve, strain
it

in a

warm

place

and

it is fit

for use.

Pale Gold Lacker.

Dissolve in a pint of spirits of wine as

much

garaboge as will give

it

a bright yellow, then

seed-lac,

add three quarters of a pound of

finely

powdered and
;

sifted, set

it

in a sand-

bath to dissolve

wen

that

is

the case, bottle

and stop

it

well

till

wanted

for use.

Superior Lac A er for Brass.

Take

of seed-lac six ounces,

amber

or copal

ground on porphyry two ounces, dragon's-blood

forty grains, extract of red sandal
grains,

wood

thirty

oriental

saffron

thirty-six

grains,

pounded glass four ounces, very pure alcohol

forty ounces.

To

apply this varnish to orna-

ments or

articles of brass,

expose them to a
into the

gentle heat, and dip

them

vainish;
in this

rwo or three coatings may be applied

manner,
if

necesgary.

The

Tarnish

is

durable.

LACKERINC.
8d has a beautiful colour.
in
this

119

Articles varnished

manner may be cleaned with water

dry rag.
tried this laoKer,

and a

bit of

Note.

Not having myself

its

I cannot speak as to
or

good or bad
is

qualities

why

the

pounded

glass
it

introduced, unless
its
it

it is

under the idea that

it

adds to

hardness,

which

may probably

do, though

appears to

me
is

to

be a useless ingredient, unless the varnish

sufficient

exposed to a degree of heat

the
glass

to

make

run, which
if

would assuredly

very much hurt,

not altogether spoil the other

it

ingredients; however, as
that has

is

a composition
insert
it,

been recommended, I here

that the

workman may judge

for himself.

Lacker, with Spirits of Ttcperntine,

Take
mastic,

seed-lac
four

four

ounces,

sandarac,

or

ounces,

dragon's-blood

half an

ounce,

gum

gutte, thirty or forty grains, clear

turpentine two ounces, and the best spirits of

turpentine thirty-two ounces.

J\oie,

This

lacker, though certainly,

no

120
equal to those

LACKEETXG.
made with
spirits

of wine, {^

from

its

cheapness, often very useful for the

;

more common purposes

quick, nor
as
is it

it

does not dry so

so durable

but for such purposes

lackering

silvered leather.

&c.

it

answers

ver}^

well

we may

here remark, that

we may

vary the colour of our lackers, by using more

or
less,

or altering the proportion of the colour';

ing material
all

and

at the

same time, notice that

that

the

colouring substances
or that will

are

of

resinous quality,

give out their

colouring matter

when

infused in spirits, are

proper to be used in the composition of lacker;

we

may, therefore, make lackers of almost any

colour, by selecting different colouring materials,

and mixing with the other compositions used as

the basis of all lackers, such as seed-lac, shehlac, <&c.

BUHL WORK.
GENERAL OBSERVATIONSIs a term of modern date, applied
to

the

BUHL WOR^.
art of

l^l
or
tortoiseshell,

inlaying with
silver,

turtle

with brass or

and when well executed,

effect.

has a most beautiful

to furnish the

I shall endeavour

workman with

such practical

directions,

that I trust will

soon enable the

ingenious mechanic to accomplish that which

has

hitherto

been

chiefly
in

monopolized

by
only

foreigners,

but

which,

my

opinion,

wants some familiar direction and practical

instruction, to enable
if

British artists to equal,

not outdo, their

rivals.

The
mode
the

chief difficulty seems to be in the proper

of cutting out the pieces for inlaying, and

method of veneering the work when the

several pieces are cut out.

To prepare your

Shell

and Brass ready for

cutting out.

Being furnished with a

thin piece of brass,

of the usual thickness of a veneer, or as thin as

can be conveniently worked, make the faces on

both sides rough with a coarse
file,

or tooth

plane, and also a veneer of shell of the

dimen

122
sions
requisite,

BUHL WORK.
tooth
that

also; then

warm

vour plates and veneers, pass a coat of glue

first

over a plate of brass

place over that a

thin sheet of paper, glue

shell

that

and place your

veneer on the top

place them between

either kept

two smooth and even boards,

down

by a heavy weight, or squeezed

by hand screws
;

tight together
till

let

them remain

dry,

when

they will be found to adhere together sufficiently

tight.

Cutting out your Veneer,

Having drawn
your shell
;

the
it

pattern you

intend on

or, if

will not appear sufficiently

its

plain, paste
let it

a piece of paper on

surface,
;

and

dry, on which

draw your design

being

now

provided with a bow-saw, the blade of

is

which

very thin and narrow, such as

may be
at

made with a watch-spring,

strips,

cut into about six

and the stretcher of the frame

from the blade
to

a suf-

ficient distance

enable you to

turn in any direction, according to your pattern,

and

all

made extremely

light,

begin by making

BUHL WORK.
a small hole
will
in

123
a part where
(uniess

your veneer

in

not so

much be observed
to

tne

pattern

comes quite out

the

edge),

and

invert your
the
lines
,

saw

then very carefully follow

pattern
till it

of your

is

all

cut

through

you

will then

have two pieces, which

may

be again separated by exposing them to

steam or

warm water

then take the two cor-

responding pieces, one of brass and one of

shell,

and when glued together according

direction,

to

the

following

you will have two

veneers, the counterparts in pattern with each

other, only

where the brass

is

in one, the shell

will be in the other.

To

glue up your Pattern,

of sufficient dimensions and
fire,

Take two boards

heat them before the

and rub them well

to
it

with tallow to prevent the glue sticking

take a
sheet of paper,

on

which lay youi

veneer, and having well rubbed some strong

glue into the vacancies where the pattern

is

to

be inserted, put

it

carefully in

its

place, rubbing

M S

m
it

BUHL WORK.
^vitb a

doua

veneering hammer, over which

;

place another sheet of paper

place the whole

between the hot boards, and press or screw

them together with hand screws

quite dry, they will

let

them get

come out

quite clean from

;

the boards,

and appear

as one piece of veneer

you

may

then scrape the paper clean

off, it is

then ready for laying, or applying

to

your

work.
Layi?ig your Veneer.

Having made your work

perfectly

level

with a tooth-plane, apply to your veneer the

glue recommended under the article Cabinet

Work, and by means

till

lay

it

on your work

then with a

hot board, termed a call, fasten

of

it

well
it

down

hand-screws, and
It then only

let

remain

perfectly hard.
off

remains to be
to

cleaned

and polished,

according

the

directions given under the article Polishing.

Note.

In order

to

add

to the beauty of your

in the shade,
it

work, and produce a variety

is

necessaiy, before laying your veneer, to give

BUHL WORK.
that side intended to be glued a coat or

125
two of

some colour ground

by
to

in oil,

or varnish, and set

dry thoroughly before you lay your

as
;

veneer,

red

lead

and vermillion ground

together

king's yellow, Prussian blue, or any

colour you
is

may

fancy; and sometimes the sheet

to lay

gilt

on the side which you intend

;

on

your work

this

produces a very brilliant

effect,

and even the common Dutch metal applied will

have a very good
effect.

The method
brass
is

here given for tortoise-shell and

equally applicable to
colours, only then
in

woods of two

different

you need not use

any other glue but that

must be good.

common

use,

which

InlaT/ing ivith
x\s the

Shaded JVood.

method of cutting out and veneering

in

has

been shewn
;

the

former part

of this

article

we

shall

only here shew the method

used

to

produce that shady brown edge, on

inlaid with white holly,

works
though

and

which,
work,

now

lately revived in our cabinet

lA

126
is

BUHL WORK.
when well
executed,

of very antient date, and

has a very pleasing and ornamental efiect; the

method most commonly adopted

is

as follows

provide yourself with a shallow iron or tin-pot,

in

which put a

sufficieut

quantity of fine dry

it,

sand, to be level with the top edge of

it

place

on the

fire

till

it

is

quite hot,

then having

your veneer cutout of the required pattern, dip

the

edges
till

into

the

hot

sand,

and

let

them

remain

the heat has

made them quite brown

;

but be careful not to burn them

bring

it is

best to

them

to

a proper colour, by repeatedly

all

renewing the operation, than

at

once, as

you then do not injure the texture of the wood, and by immersing more or
less of the

edge, you

produce a shaded appearance

tion.

to

your satisfacthe

I would here
to

recommend

workman,
to

previous

beginning the operation,

have his

pattern before him, shaded with umber, or any

brown

colour, in
to

those

parts

you wish your

wood
to

be stained, as then he will be enabled

of

copy as he proceeds the various shades

pattern, as
the

the

wood when once shaded

BUHL WORK.
cannot be altered
this
;

127

and as much of the beauty of

in

work depends on a proper judgment

it

placing your shadows,

is

best

always to

have a guide

to

go by, that

we may produce
it is

the best possible effect; sometimes

site

requi-

to give a

shadow

in the centre or not

on

the edge of your

wood, and
in
little

as this cannot be

done by dippinc;

it

the sand,

you must do
hot

it

by taking up a
sprinkling
it,

of the
it

sand, and

or

heaping

up on those parts
it

required to be -darkened, letting

shoi't time, then shaking
it off,

remain a
necessary,
not

and,

if

apply more
enough.

where

the

colour

is

deep

To

imitate Inlaying
is

of Silver Strings,

Sfc,

Thic process
stocks,

sometimes employed

in the

&c. of

pistols,
;

and

if

well executed has

thing
is

a very good

ejFect

tlie

first

to deter-

mine
fully

as to your pattern, which you must care-

draw upon your work, and then engrave,

or

cut

away

the

different
to

lines

with sharp

gouges, chisels, &c, so as

appear clean and

BUHL WORK.
even, taking care to cut
rairier

them deep enough, aad

under, Hkc a dovetail, to secure the

com-

posiiion afterwards to be put in the channels.

I he composition to resemble silver,

may be

made
purest

as

follows

take

any quantity of the

it

and

best grain tin, melt

;

in

a ladle or
it,

other
in

convenient rectptacle

add to

while
it

fusion, the purest quicksilver, stirring

it

to

make

incorporate, and
it

when you have added

in

enough that
soft,

remain
tin,
;

stiff

paste,

if

too

add more

and

if

not sufficiently fluid,

add quicksilver
marble slab, or

grind this composition on a

in

a mortar, with a
in

little

size,

and

fill

up the cuttings or grooves

your work,
;

as you

would with a piece of putty

to

let

it

remain some hours

polish
it

dry,

when you may

it

off

with the palm of your hand, and

as
if

will appear
silver,

your work was inlaid with

;

instead of tin

you may make a paste

of silver leaf and quicksilver, and proceed as

above directed

you may

also,

for the sake of

variety in your work, rub in

colours,

wax

of different

and having levelled the surface and

CEMENTS.
fleaned off your work, hold
distance from the
lire,
it

I2J9

at

a moderate

which

will give your

strings a beautil'ul gloss.

CExMENTS.

To make Cement Mahogany Colour.

Take two
ounce of

ounces of bees' wax,

half an

rosin, melt

them together

then add

half an ounce o? Indian red, a small quantity of

yellow ochre,
desire; keep
it

10 in

bring

it

to

the colour you

a pipkin

for use.

Portable Glue, or Bank-note Cemetit,

Take one pound

strain
it

of the best glue, boil

boil

and

very clear
it

likewise four ounces

of isinglass, put
half a

into

a double glue pot, with

boil
it

pound of
;

fine

brown sugar, and

it

pretty thick

then pour

into plates or

moulds:

130
when
cold,

CEMENTS.
you may cut and dry them
for the

pocket.

Note,

This
of
it

glue

is
it

very useful to draftsmen,

architects,

&c. as

immediately dilutes in

warm

water, and fastens the paper without the

process
softening

damping

or

it

may be used by
it

in the mouth, and applying

to the

paper.

Cement for Turners.

Take

bees*

wax
stir

one ounce, rosin half an

half an
in
it

ounce, and

pitch

ounce, melt
fine

iYiem

together, and

some very
if

brick-

dust to give

it

a body

too
:

soft,

add more
cold,
for

rosin, if too hard,

more wax

when nearly

make
use.

it

up into cakes or

rolls,

which keep

Note.

This

will be

found very useful

for

fastening

any piece of wood on your chuck,

done by applying your roller of cement
it

which
to

is

the chuck, while going round;

;

will

meh
yoi

the cement

then apply the piece of

wooa

CEAEENTS.
wish to with
affix to the

131
it

chuck, and

will

adhere

sufficient force.

A
Take
then
let

Cement for Broken Glass,

it

one ounce of isinglass, steep

for

in half

a pint of spirits of wine,

it
it

twenty-four hours,

dissolve over a slow fire (aluays

keeping
rate)
;

covered, or the spirit will evapo-

then take six cloves of garlic, bruise

in

them well
cloth,

a mortar, put them

in

a linen

and squeeze the juice

all

into the isinglass,

it

mix

well together and keep

for use,

it

being excellent to join glass ornaments, &c. &c.

Cement

to stop flaws or cracks in

Wood, of

any Colour,

Take any quantity

same wood your work

of fine saw-dust, of the

is

made

with, put

it

into
it,

an earthen-pan, and pour boiling water on

stir
it

well together, and

or
ten
it

let

it

remain

for

week

days,

occasionally stirring it;

it

then boil

for

some time, and

wih be
it

of the

consistence of pulp or paste, put

into a course

132
cloth,

CEMKKTS.
and squeeze
it

all

the moisture from it'

suffi-

keep

for use,

and when wanted, mix a

cient quantity of thin glue to

make
fill

it

a paste;

rub
in

it

w-ell into the cracks, or

it,

up your holes
till

your work with

;

let

it

remain

quite

hard and dry

a! J

you

may

then clean your work

off together,

and you will scarcely discern

the imperfection, if carefully done.

Cement for Joining China,

S^c.

Take any

quantity of the white of eggs, and

let

beat them well to a froth,

soft

them

settle,
;

add
beat

grated or sliced cheese and quicklime

together,
;

them well

and apply a

little

to the

broken edges
the
fire

it

will

endure both the heat of

and water.

Another Cement.

Take
OR the

rosin half an ounce, gum-mastic four

ounces, pound them, and put them into a pipkiy

fire to

melt, stir

them well

to this

add

about half an ounce of finely powdered

glass,

and half an ounce of auick-Iime

stir

the

whole

CEMENTS.
well together: when nearly cold, form
sticks,
it

135
into

on a stone,

in the

same manner
to

as sealing

wax

is

made

when you want

cement any
suffici-

article,

you must heat the broken edges

ently to melt your stick of cement,

which rub

over thinly on both

rately together,

edges

bring them ac3uclose,

pressing
if

them

and

let

them cool

which,

carefully
in

done,

your

work wilt-sooner break

that

any other part than

where the cement has been applied.

Strong Glue that will
resist

Moisture.

Dissolve gum-sandarac and mastic, of each

half an ounce, in half a pint of spirits of wine,
to

which add half an ounce of clear turpentine,

if

then take strong glue, or,

you please, that

;

in

which some
putting your

isinglass has

been dissolved

then

gums

into

a double glue pot, add

it

by degrees your glue, constantly stirring

the
fire
it
till

over

the whole

is

well

incorporated,
it

strain

through a cloth, and

is

ready

for

use

you

may

return

it

into the glue-pot, an(J

finely

add half an ounce of very

powdered

glass*

1S4
use
it

TURNING.
quite hot,

and

if you
it

join

two pieces
after

of

wood

together with

you may,

it is

perfectly hard and dry, immerse thera in irater,

and your

joint will not separate.

Another Glue for

the

same Purpose.

To two
pound

quarts of

skimmed milk add half a them

together,

of the best glue, melt

taking care they do not boil over, and you will

have a very
or moisture.

stroflg glue

that will resist

damp

TURNING.

GENERAL OBSERVATIONS.
As most
ments,
pieces of cabinet

work are some-

what indebted

to the turner for their embellish-

some few

hints to the cabinet-maker

in
this

may

not

be unacceptable

panicuiar
toe art

br&ncli;

though to

enter

fully

into

TURNING.
itself,

X35
to our purpose,
th
s

would not only be foreign

but would extend our pages

much beyond
by

scheme of the present undertaking; indeed,

much

has been written on this subject

othe*

writers, that a
suflicient to
all I shall

moderate volume would not be

contain every minutia ot the art

be, to

therefore here attempt, will

to those sources

guide the workman

whence he

may
few

be able to gratify his curiosity, and give a

hints in the mechanical operations
;

them-

selves

and I

shall here

suppose the cabinetitself,

maker acquainted with

as the most the art.
First, then,

the lathe

as well

common chucks and

tools used in

with respect to the works already

It is

written on the subject of turning.

some-

what surprizing,

that

we

find

in the

English
at all
;

language very few

authors

who have

written on the elementary part of the art

and,

perhaps, the only work that contains any thing

of the operative part of

common

turning, or

that describes the several kinds of laths, &c. in

u%e,
is

one that has

now become extremely

N 2

J36

TURNING.
it

scarce, but as far as

croes

it

gives

a very

good

insight into the

aifferent

methods, and

shews some curious operations that maybe performed

;

I allude to
in

Moxoirs Mechanical Exthe year

ercises published course, does

1677,

and of

not describe the

many improveto

ments the lathe and apparatus has from time

time undergone, but leaves
at
that
it

in the state

it

was
is

day;

it

is

a work, however, that

rarely to be met with, and

may be
of

considered
utility.

raiher

as

a curiosity than

great
is

The

next work

we

shall mention,

Martin's

Circle of the Mechanical Arts, which, as far as

it

goes, gives a

pretty clear

insight
;

into

the

various operations of turning

there are also

some

short descriptions in

the various Encyclo-

pedias and Dictionaries of Art and Science; the

best

work on

the subject, but which only treats

is

on excentric turning,

one lately published by

an ingenious amateur turner, Mr. Ibbetson, a

new
bv

edition of

which has

lately

been published
;

W.

Wetton of
is

Fleet-street, Kookseller

to

which

added, a very good description of the

TUMNING
construction and application of the

137
excentric

chuck

ar.d slide rest;

and

liere

I must take

occasion to notice (he various useiui purposes

to

which

this species of
;

turning
instance,

maybe

applied

in cabinet-work

for

patteras,

and
be

handles of

drawers, &c. may by

this process

beautifully ornamented, and, to the

workman
time will

who

wishes to advance his

ill

art, his

not be

bestowed in perusing

this useful

pub-

lication, as it will furnish

many

hints that will

materially assist hira in the decorative part of

his business.

But while so few works are

to

be found of modern date in the English lan-

guage, our neighbours, the French, seem

considerably before
us
in

to

be

noting

down and

publishing every thing curious in the art; the

two principal works are L'Art de Tourneur,

and Manuel de Tourneur, the
elaborate one, being
in
last

a very

two volumes quarto,

besides a quarto volume of beautiful plates; the

first
is

folio of

more ancient

date, but well

worth the perusal of the mechanic ; but from

the very expensive

manner

in

which these aad

n3

38
all

TURNING.
others are got up,
it

almost

is

out of the

power

of most mechanics to spare sufficient lor

;

their purchase

and, indeed, the major part of

them are now become extremely scarce; there

are also some minor works that give but short,

and

far

from clear descriptions of the various

in the

methods used by the turner, even

place operations of his art
;

common-

however, from the

I

encouragement

this

work has met with,

pro-

pose to continue a series of guides adapted to

different trades,

and

shall, at

least

it

is

my

present intention, give one

more particularly
various branches,

adapted to the turner in

both in

all its

wood and

metal, should the one which

is

follows this, and which

already

in the press,
it is

meet with the approval of the public;

the Builder's Pocket Manual, the arts of carpentry, joinery,

called

and embraces
masonry, and

bricklaying, and

is

intended as a pocket ma-

nual for the builder in general.

to our subject,

But
the

to return

much depends on

manner of

holding and applying the different tools to our

work

and, also,

we must

take into account the

TURNING.
nature of the
it

1S9
on. whei/.er

wood we
hard
;

are

working

IS

soft or

there
in
is

are two nietrioas ol

reducing our block

required; the
first

the lathe to the

lorm

by shaving, and the

second, by scraping: soft

wood must be formed

by the former method, and hard wood generally by the

elevated
piece
latter
;

for

shaving, the rest must be

the

somewhat above

centre of the

we

are operating on, and the chisel or

in

gouge must be held

as to take off

a slanting direction, so
as the

curly shaving

wood

goes round, and the revolution must be pretty

quick; being careful that the tool does not take

too deep a hold, as
it

will

endanger the
rest

splitting

of the stuff;

for

hard wood, the

must be
height
oi

elevated as near as

may be

to the

the centre of the mandrill,

and the

tool applied
in the lathe,
off

square and horizontal to your wood

making
shavings,

the
till

surface

smooth by scraping
stuff to the

you reduce the

form

required; and the lathe need not revolve so

qiuck. as the
friction

hardness of the wood, and the

would, in that case, soon spoil the

140
temper of your

TUENINC.
tools.

The

basil

edge of your

tools should be nicely

ground on a small stone,

that they

may

be ground rather concave, someit

what

like a razor, that

stuff,

may

the more readily

touch your

particularly in shaving soft

wood

the
to

edge

of your

chisels

should

be

ground

a basil on each side, and in a slanting

direction,

forming an angle

of about thirty

ilegrees; the handle must be long, in order to

have a good purchase,

encounter a hard
gulled, or
in holes

for

otherwise,

if

you

knot,

your work will be

it

and hollows;

requires

some judgment

in the first instance, for

one not

used to the process of turning, to prevent his

tool catching,

and as

it

were digging out a

itself;
is

piece whenever any obstruction presents

to

guard against which, the best method

little

to

take off as

as possible at a time, and to

proceed

cautiously,
rest,

keeping your tool firm

against the

and raising or lowering the

till

handle of your

tool,

you

find

you have
and

it

in

a proper posifion

to

work

easily

freely.

In

general, in turning, your

work revolves

to

TCRNINO
you
:

Hi
it

but you will oftep find

of advantage,

particularly in turning deal, or other

l>5

wooa

that

apt to splinter, to

make
is

it

revolve in a con;

trary direction, that

from you

but,
tool
rest

then,

you must be careful to keep your

firmly

down on

the rest, or

by placing your

someat

what above the centre of your work, and

little

distance from
is

it;

hold your tool so that the

handle
these,

elevated above the edge or point;

to

and similar knacks are, however,

be

attained only by practice and attention to the

different effects observed.

To turn Screws.
In some lathes, there
is-

coijtrivance, for

the purpose of cutting screws,

by holding

the

screw

tool steady

on the

rest,

while the mandril

moves backward and forwards, and forms the

screw; but the best and most usual method,
to
is

move

the screw tool as the mandril revolves;

ibat you

but here great care must be taken

move

or slide the tool on the rest, proportionate

to the velocity of the revolution of the matidriij

HS
the best method,

TURNING^
is

to

have a small pulley on

the axis of the treddle wheel, of less diameter

than

the

mandril

pulley,

which causes the

lathe to revolve very slowly;

by which means,
same worm of

we

are enabled better to guide our tool, and

it

enter

again and again

till it is

in the

the screw,

deep enough.

To turn Black Reeds or Mouldings

Legs,
S;c.

in Chair

In turning chair or table

legs,

&c., where
to

we
them

wish
it

some of the mouldings

would be a
difficult

appear

black,

matter to stain
;

after the

work
is

is

finished

therefore the
first

following method

used: having

turned a

cylinder of the dimensions of the largest part of

your

leg,

&c., turn the mouldings required to

rest of

be stained, leaving the

then, as your

your w^ork rough

work

revolves, apply the black

stain to those parts, and, v^rhen dry, polish

them

with bees* wax, and a few of the shavings from

yoMF
to

turning;

bench

you may then proceed

other
parts,

finish

turninej

the

and your

TURNING.
mouMines
will

143

appear clean and neat, as

they were formed of ebony, ana fixed on tne

other parts of your work.

To make
According
it is

Anti-attrition.

to the specification of the patent,

made

of one part of plumbago or black

lead ground very fine, and four parts of hogslard or other grease

mixed well together

effects of friction,

this

mixture prevents the

much

better than oil or other grease,

and will be
apply to the

found very useful to the turner

mandril, where
it

to

works

in the

puppet as well

as to the different centres, and will be found to

make
grows
while

the lathe

work mnch
oil,

easier, as well as be

a great saving in
stiff,

which, with constant use

and sensibly impedes the motion

last

this

preparation once applied will

long time without requiring renewal.

Polish for Turner'' s Wcrk.
Dissolve your sandarac in
spirits

of wine,^

in the proportion of one ounce of sandarac to

half a pint of spirits

next, shave bees'-wax oae

it

ounce, and dissolve

in

a sufficient qaanfity
it

of spirits of turpentine to make

into a paste
it,

add

the former mixture by degrees to

it

then

with a woollen cloth, apply

to

your work

while

it is

in

motion

in the lathe,
it;
it

and with a
appear as
if

soft linen

rag polish

will

highly varnished.

LINES.

GENERAL OBSERVATIONS

As

a knowledge of some of the principal

essentially

practical problems in geometry are

lecessary to the

mechanic, particularly where

is

,uch nicety exists as

jf

required

in

many

parts

cabinet-making, I have thought proper, in

jrder to

render this edition of the

Cabinet

Makei's Guide as complete as

troduce some

possible, to in-

of the most useful, and

have

CABINET MAKERS GVLDE

fiQ I

J'latc

CABINET >IAKERS GriDE

7^

WE a

2)

d tQ

-Tlatc J.

CABtNET MAKERS

GTJID.

K\

I.

J'/ate

^
CABINIET MAKER'S GUEDE.

LINES
endravoured
to illustrate
;

14,

them by reference to
such
as ascertaining

mechanical operations

the truth or correctness of the tools

itself,

and work
of

and by the assistance of

this kind

knowledge, the workman need never be at a

loss for

a method of setting out

in

his

work, or of
particu-

substituting,
larly

the absence of tools

adapted

to certain purposes, the

compasses

and ruler
particular

for finding bevel lines,

or

drawing

curves.

I have here adopted the

it

the term
difficulty

Lines, as

carries with

it

not that

which the

title

of geometrical pro-

blems do, and because some of the examples,

though depending on geometrical knowledge for
the proof of their accuracy, are

more

in the

nature of mechanical operations, and, hence,

easily understood
tion being

by tne workman

our inten-

more

to

shew how

the thing

may be

done, than endeavouring

correctness of
it

to prove the truth or

by a

scientific
is

demonstration

and as the term Lines

amongst workmen,

common
tion

use, to denote

any mechanical opera-

performed by the help of the rula and com-

146

LINES.
it

passes, I have chosen

in

preference to

any
title,

other that might, from

its

high sounding

deter those unacquainted with

referring to this article.
I

geometry from
perhaps, hence,

may

incur

some censure

but that will not deter

me

from endeavouring

to place in as c.ear a light,

and clothe

in as

simple a garment as possible,

some of the

beautiful truths elicited from the

study of geometry as a science, and apply them

to the w^ants of the practical mechanic.

EXAMPLE
To extend a given
Let
and

I.

strait line at j)leasure.

A
it

B, (^Fig.

1.

PL

\.)

be the given
it

line,

let

be required to extend
strait

towards F,

in the

same

direction.

Fix your
A
B,

com-

passes on an} point of the line

as at C,

and open them

to the distance

B, and strike
the

part of a circle as

B, then with

same

opening, and making the point

describe
circle) as

a centre,
half a

part of a circle, (more

that

C D E

F,

now

place (with the

same

LINES.
opening of the compasses) one point
ihe other over to
i(

347
in

D, turn
;

E, and over again

to

then.

you join the points

and F,

B F

will be a

continuation in the same strait direction of the

line

B, and the three points

A B F will
if

be

all in the
iVo^<?.-

same

strait line.

-This will be found useful

strait line,

youwish
strait

to

draw a

and you have not a

you

edge long enough,

for

may by
first

this

means
it

draw a

line of

any length, by

drawing

the length of your rule

or straight edge, and

then continue

it

at pleasure.

EXAMPLE
To
ascertain
correct.

IT.
strait

whether your

edge

is

Lay your
PI.
1.)

strait

edge

A C B

E, (Fig.

2.

on a smooth level board, and draw a

ine as

ACB

along
at

its

edge, reverse
;

it

in the

position as
still

shewn

A DB
three

then, if
it is

its

edge

coincides with the line

A CB
fine

correct;

or

you may

stick

needle points,

o 2

148
one nearly
at

LINES.
each extremity,
Ifie

A
all

and B, and

another any where near

then,
if llie strait

middle, as at

edge touches
still

three points,

and on being reversed,

touches them, you

is

may be

sure

your instrument

correct.

EXAMPLE
Between two points
shall be in the

III.

to find another point that

strait line
3.

same

with them.

Let

and B, (Fig.
;

PL L)

be the two
to

given points
distance

open your compasses

the

B, and
fix

strike part of a circle as

D, then

one point on B, and set off any

two
other

distances, as
;

BC
C

and

B D

equal to each

then from

as a centre,

and with any

distance or opening of your compasses,

(more

than half the distance from

portion of a circle as
centre,

to D,)

draw a

F; then with

as a

and

the

same opening of your compasses,

strike another portion of a circle as

H, and

where these portions or arches of

circles cross,
is

or lAtersecL each other in I, the point i

the

LINES.
point required, and the points
all in the

149

and

are

same

strait line.

Note.

The
this

same

observation will
the First
;

here

apply, as in

Example

you may also

verify or prove the correctness of your strait-

edge by
line as

method, for having drawn your

this

B, find a point between them by

if this

method, and

point falls in the line

drawn
cor-

bj your
rect
find
;

strait-edge,

you may be sure

sure,

it is

or, to

make surety double

you may
B,

any number of points between

shifting the

A and

by only

opening of your compasses

the

when
each

you
other,

strike for

arches

intersecting

the

wider the opening, the

nearer the point will approach to A, and the

contrary.

EXAMPLE
From any
point
in

IV.
line
to

a give?i

draw

another line which shall be perpendicutar,

or square to
it.

Let

A B

{Fig. 4.

PL
o

1.;

be tue given

line,

50

LINES.

and

the point

of the line from which

line

we
fix

propose to

draw another

square

to

it

the point of your compasses in the point

vsith

B, and

any opening, describe or draw a portion

of a circle as

C E D,

then with

the

same

opening, Sx one point at C, the other will reach

to

E, there make a mark, and turn the leg

at

which was

over

to

D, then
strike

if

from

and

as

two centies,

we

two arches of
of

circles with the

same or any

other opening

the compasses, crossing each other at F, if

we

draw a

line

from

to

B,

that line will be per-

pendicular or square to the line

A B.

Note.

It is

plain,

we

might have taken any

other point than

as
if

in the line, but I chose that

we can draw
line,

a perpendicular from

the

extremny of a
Ofuer meth
to

we
it

siiali

not

want any

draw

iroiu

an\ utner poim.

LINES.

151

EXAMPLE
From any foini above a

V.

sttmit line, to

draw

another strait line that shall be perpendicular to

it.

Let A
line,

B
C

(Fig. 5. PI.

L) be

the given strait

it.

and

the given point

above

From C

as a centre, and with any opening of your

compasses that will

extend
ot

beyond the

line

B, strike a portion

a circle,

cutting the

line

A B
;

in

D and

E, then

make

and

E two
cir-

centres

from which, strike two portions of

cles (with any other opening of the compasses

than that by which you struck

iL,) crossing

each other

in

F;
G,

then, if you lay your ruler or

strait-edge on the points

and F, and draw

the line

C F

it

will be perpendicular or

square

to

the line
the

B.

Note.

If
D

opening of your compasses

had been greater than that by which you struck

the circle

E, the point

would have been

above C, but the truth of

tnis

method would

162
have been
still

LINES.
the same, or you might, without

altering your compasses have struck two arches

below

the line

A B, and

it

would equally have

answered the intended purpose.

EXAMPLE

VI.
is correct.

To ascertain whether your square

Having
v/hich

shot the edge of a board quite strait,

we

will suppose to be represented by the

6.

Ime

B, {Fig.

PL

L) place your square

against the edge, as represented in the plate at

C D

E. and draw a line along the edge of the

blade as

C D,

then reverse the position of your

square, as shewn at

FD
end

corresponds to the line

F D G; then, if the edge C D, it is correct,

;

if not, it

must be altered

thus, supposing the

does not touch the line while the point

it,

meets

you must take

off

a shaving from
it

the blade near the stock, and try

tne square
in the

again

till

two

positions perfectly cor-

responds to the line drawn along the edge of ne blade

;

a^ain

if

the point

overhangs or

LI^ES.
crosses the line

15S

drawn along C D, a shaving

must be taken from the blade near the end D,

till

your instrument

is

properly adjusted.

Note.

It

is

plain that

you may

also adjust

your square, by drawing a correct perpendicular

line

by the two former cases or examples

and,

also, that

you

may
stuff,

by

the help of them, square

any piece of
or

should you not be provided

for the purpose.

have handy a proper square

EXAMPLE
To draw a

VII.

line parallel to, or equally distant

line given,

from another
given point.

and through a

Let
and

AB

[Fig. 7.

PL
to,

1.)

be the given line,

C the

point through which

wc wish

to

draw

another line parallel

or equi-distant from

A B.
point
point,

Fix one point of your compasses on the

B, and extend

the other to C, the given

circle as

and draw the portion of a

the

C D

tnen, with

same opening, and taking any

otner point

as a centre, strike the arch

F E;

It54

LINES.
take the distance
it

now

D C

in

your compasses,

and place

from

to F,

where make a mark,

line

then through
it is

F and

C, draw the

C, and

parallel to, or equi-distant

from the line

AB.
Note.

This
is

problem

is

readily performed
it

by the workman by means of a gauge, but

often

happens,

that

you have not a gauge

whose stock

long enough to reach the re-

quired distance, or you

may

not have a gauge

handy; you will then

find that this will be

ready and useful method of supplying the want

of a tool, which will either not answer your

purpose, or which you have not at the

at

moment

hand

though you may have your compasses

and
the

rule ready, if not a strait-edge,

first

and which
to
shift

example

will

enable

you

without.

EXAMPLE
To make an angle

VIII.

or bevel equal to a given

angle or bevel.

Let

C A B

{Fig, 8. Pi.

1.)

be any angle or

Lf NES.
bevel given, and
it

55

is

required to
it.

make any

other angle or bevel equal to

centre,
strike

From

as

and with any opening of the compasses

an arch as
let

B, cutting

A C and A B in
we
it

and B, and

DE

be a line on which
is

are to

draw another meeting,

the same

angle as

CB

meets

AB

with the same open-

ing of the compasses as the arch

struck,

C B

was

make

a centre, and describe or strike

then take the distance
it

the arch

F,

B C

in

your compasses, and apply

join

from

F D,

then

is

the angle

E F D E

to F,

and

equal the

angle or bevel Note.

CAB.
example may be
is

This

practically

useful to the

workman, when he

unprovided
if

with
the

his tool or

instrument called a bevel, for

to

two ends of a board are

be cut equally

bevelling, he

may

cut the one to the bevel re-

quired

and, by this example, he

the assistance of his bevel,

equally bevelling.

may without make the other

find the bevel of
to
fit

Or, he

may

any angle into which he wishes

stuffy

a piece of
fit

and cut

his

wood he wishes

to

into

it

156
at

LINES.
or angle,

the required bevel

of any

without the
than his

assistance

other
;

instrument
I

square and compasses

and here

would take

occasion to remark, that to the

is

workman who
always
all tools,

at all acquainted with lines, the great utility

and

benefit

he would experience

in

being provided with the most useful of

a pair of compasses, a? he must, I

dent, already have

am

confi-

seen the great assistance

they will be to him, in a great measure, super-

ceding the use

purposes*,

of other tools fitted to particular

at least, they will

ot

furnish

him with

the

moans

proceeding

with

his

work;

though, not perhaps quite so readily as without

their assistance.

EXAMPLE
Tb

IX.

divide a given line into two equal parts, or to bisect a given line.

Let

AB

(Fig.
to

I.

PI. 2.) be the given line,

which we wish

divide into two equal parts;

to

open your compasses

any distance greater

LINES.
than
the
ifce

157

half of the given line, and with

A and B
draw

two extremities of

the line, as centres

two portions of circlescrossing each other in

C and
and

D, then draw a
where
it

straight line from

C
is

to

crosses the line

required, and the or the line

A B in E the point distance A E equal to B E,

is

A B

is

divided into equal parts.

Note.
1

is

It will

be here observed, that the

ne

C D

perpendicular to
is

B, and hence
line

another method

shown of drawing a

square or perpendicular to another, besides that

shown

in

Example

4.

EXAMPLE
To divide any
strait line,

X.
into afiy

number

of equal parts.

Let

AB

[Fig. 2. PI. 2.) be the straight line,

into

to be divided

any number of equal

parts

(say four) from either end of the line, as at

draw another
veiling to
it,

line of

any

length, as

or making any

A A C beangles C A B,
ofl'tbe

take any opening in your compasses and set

158
distance

LINES.

F, then turn the legs over from

F to

E, and from
line

to

D, and from

to

C, then the

AC
DE

will evidently
;

be divided into four

equal parts

now join

the points
lines

and

and

from

and F, draw the

DIE
the

Eland

parallel to

B, and the points

GH

and

I will divide the line

AB

into

required

number of (four)
Note,

parts.

This

Example may

practically be
di-

performed thus; after having drawn and

vided, or set off the line

AC

the

number of

parts required, set your bevel to the angle, the

line

B C
set,

makes with
strait

A
E

B, which we
stuff,

will supit is

pose the
thus

edge of your

and with
then

draw

and

F G,

your edge divided as required.

also observe that by this

We

may

here

method we may divide

that

line into

any number of unequal parts

the

shall

be

in

same proportion
is

to

each other,

as another line line

divided into, for supposing the

into

A C

divided

any numher of un-

eqoal parts, for instance,

A F equal

3 inches,

equal 4 inches,

ED

equal 5 inches, and

LINES.

159

DC

equal 6 inches, that in the whole line

is

A C

of 18 inches
portions

divided unequally in these pro-

we

have only to join

CB

and draw the

parallel lines as

before, and the line

AB

will

be divided into the same number of parts, and

eaoh part bearing the same proportion to each
other as the part the line

A C

is

divided into.

This may be practically

useful to ihe cabinet-

maker in setting out the distances for the partitions

ofachest of drawers, where the drawers diminish
in depth from

the bottom drawer,

if

which

is

the

deepest

for instance,
feet six

we

have a chest of

drawers three

inches high,
to

and

the

drawers are required

diminish gradually,
in

each drawer an inch less than the next

depth;

and suppose there

titions four in

is

four drawers,

and the par-

number, each three quarters of

an inch wide,

we

set out our

work

as follows,

shoot the edge of a board straight, which

we
C,

suppose

A B

in the

figure,

then draw

and
inch
still

set off

A F any number of inches, aa wider, E B another inch wider, and D C

another
inch wider
;

A F E

then will the dis

P 2

160
tances, as

LIKKS.

C, be each an inch wider than the

it,

one next
set

to

we have
it,

onlv to join
I

C B

and

your bevel to
F, then if

and draw

DH

E, and

G
it

AB

is

the height of your drawers,

in

will be divided

the proportion required,

the

whole length

of

A B

must be equal

to the

height of the chest without the partitions.

EXAMPLE
To
divide,

XI.

or bisect a gzve?i angle into two

equal farts*

Let

C A B

[Fig. 3.

PL

2.) be

any angle,

which we wish to divide into two equal parts, with

any opening of the compasses irom
strike an

archC B

as

centre, then

form

and

as

two

centres, strike

two arches with any opening of

other in

the compasses, crossing each

D, and
will

from

draw

the straight line

D, which

divide the angle

CAB

into

two equal

parts.
to

Note.

This

example may be applied

finding the mitre of a cross-band or any pTece

of stuff; thus, divide the angle

the

two edges

LINES.

161

ma^e with each

}ourbeveito

other as here shown, and set

line;

ibis

you may also

prove

the correctness of yonr mitre square

by

this
stuff

method

by accurately
the angle as

squaring

ycur
if
its

and dividing

shown, then

apply-

ing your mitre square to the edge, corresponds to this line,

blade

you may be

assured

your mitre square

is

correct.

EXAMPLE
Tojind
Let
the cerdre of

X.
circle.

any arch of a

ABC
of
;

{Fig. 4.
circle,

PL
and

2.)

be any arch or
at

portion
point,
strike

make a mark

any

then with

B
B

as

two

centres,

two arches crossing each other

in

and

then with

and

as

two

other centres, dein

scribe

two other arches across each other

;

D
;

and

E
is

then

draw
till

the line

and

E, and

produce them
then

they cross each other in

the centre of the circle of

is

which the

arch

A B C

a part of
plain
*

its

circumference.

Note,

It

is

by the same means

wc

162

LINES.
circular

may draw a
through
three

arch, which shall pass

given points, provided these

points are not in the

same

straight line, for if

we
to

proceed as directed in drawing the lines

D
a

E and
the

to

meet

in

H,
it

if

we

set the
if

compasses
strike

distance

HA

will,

we

circle with opening, pass

through the other

point

and C; this will also be found practi;

cally useful in a variety of operations

stance,

for in-

we

frequently, in working, obliterate the

original
circle,

centre,

from
this

which

we

struck
at
to

our

which by

method we can
if

any
fit

time easily find again, or

piece of

we wish
bow

work

into a circular

or recess,

which

we

will suppose to be

A B A B

C,

we

lay

down

the distance

A C

for

the

opening, and

measure the straight distance

and

C,

and make

the triangle

ABC;
AB

we have immedi-

ately the three points

C, to find the length

of a line or lath, to strike an arch which will

enable us to

work by

so as to

fit

the

recess.

We may

also find the centre of a circle, withits

out drawing any lines without

ciroamler

LINES.
ence, thus Iiaviiig

163

drawn two arches from

each other
in

and
the

as centres, crossing
still

G, open

compasses

wider, and

draw two arches

crossing each other in I; do the

and

at

and
is

same from A E and K these lines drawn through E K, will cross each other in H,
;

which

the centre required

this will

be found

useful for recentreing a piece of turned

work,
is

as the pillar of a table,

when

the centre

losi

or cut

off.

EXAMPLE
To draw a tangent or
a
circle in

XIII
meet

line, ivhich shall

any given point.

Let

A B C

{Fig. 5. PI. 2.) be Ine circle,

and

the given point, join

and D, the given

point and the centre of the circle, and

line as

draw a

D BE,
B

making

A B

equal to

then on

as a centre with the opening

AD AD
and
be a

draw a

semi-circle
the
line

DAE; then through E

E A
E, which
point
will
in the

draw

tangent to the circle

A.

164
Note.

LINES.

We

have here another method

or square

of
to

drawing any

line perpendicular
let

another given line, for

line,

A D

be the given

assume any point as B, and with

B A

as

the radius, strike a circle passing through

and cutting
(which

D;

then from where

it

we
a

here suppose at

D) draw
circle

A cuts A D through D
in

and
then

B
if

line, cutting the

drawn

we join E

it

will be perpendicular or

square to

D.

EXAMPLE
To draw
ivithin

XIV.

circle

a polygon, or reguto

lar figure,

whose sides shall be each equal

each other.

Let

AECD

[Fig. 6. PI. 2.) be the circle,

as

draw a diameter

DB

E, and draw another

it

diameter at right angles, a square to

divide

as

A C,
and

A
is

into

two equal parts

in

draw F
C, then

GH

parallel to

E, join

H C and E
and the

the line

the side of a triangle

in the circle,

of equal sides,

drawn

LINES,
line

165

E C

the side

of a square in the circle

now
draw

divide

DB
set

into

two equal

parts in

K, and

C,

one foot of your compasses on

to

K,

and with the opening equal

arch
as

K B
C

draw the

B L
L
C

ag^ain

with one foot of the compasses

to

and the opening equal

L, draw the

arch
to

and join

C, make
is

MN
C

equal

and join

C, then

the line

N C
disI

equal the side of the pentagon or figure of five

eqnal sides
tances

next, vyith the centre

and

C
I

B, draw the arch

and join

C,

then

is

equal the side of the hexagon or

;

figure of six equal sides

again

if

we

divide

the (side of the inscribed triangle) into tv\o

in the point

equal parts

O, and

strike

the arch
it

OP
sides

from the centre

and draw

C P,

will

be the side of the

heptagon or figure of seven

very nearly, for

we have no
it;

perfectly

correct nifthodof doing

however

this is

so

near, that
less

it

approaches the truth by a quantity

than the thousandth part of the radius of

:

the circle

and

lastly,

if

we

bisect or divide th^*

parts,

angle

ABE

into

two equal

and draw

166
the line

LINES.

B Q

and draw

Q,

it

will be the

sides of the octagon required.

Note.

have here shown

all

the methods

of drawing polygons from three to eight sides,

which

is

amply

sufficient for the

workman, and
at large

which I would advise him

in

to drav\

separate figures, that he

at

may always
he

have

them

hand

and

should

ever want

figures of a greater

number of

sides than here

shown, he may

find

them by dividing the side

of a polygon of half the

number of

sides he

wants, into two equal parts, and drawing a

line

through the point of division from the

till it

centre of the circle

cuts

its

circumference,

he will have the length of the sides required.

EXAMPLE
To
ing
IS

XV.

describe any arch whose altitude or opengiven,

and
its

likewise its opening with-

out knowing

centre.
1.

Let

A B

(Jig.

PI. 3.)

be the opening

LINES.
of the arch,

1f)T

its

height or spring

get out

two

laths,

E A C

and

C B

F, whose

length

shall be

each equal at least to

shall

A B,
A C

and fasten

them together so that they

form an angle at

their joining equal to the angle

B, then
;

in

the poinds

and

B fix two nails or pins

will describe

nov\? if

we

slide the

laths along, against

the pins

or

nails, the point

an arch of the

required altitude.

Noie,- This

will be found not only

a very

ready but accurate

very large
circles,

way
where

of striking arches of
it is

either impossible
lath,

or inconvenient to

draw them with a long

;

or string from the centre of the circle

may

also

by

this
is

you means readily ascertain whethe

ther any recess

if w^ith

portion of a circle, for

your bevel or two laths

we

fix

them

to

the angle
close at

A C B, if by keeping the endalwavs A and B the meeting of them in C althe recess,

is

ways touches the concavity of

you

may
a

rest assured

the recess

a portion of

circle

L[NS.

EXAMPLE
To
trisect

XVI.

or

divide any given angle into

three equal parts, or angles.

Let

AB C

[Fig, 2.

PL

3.)

be any angle

which we wish

to divide into three*equal parts,

with any opening; of your compasses

or strike a semi-circle from

describe
;

B as a
line

centre

hav-

ing produced or continued the

F, take a lath of

A B towards

any convenient length, and

having marked a distance from one end equal

to

B, place one end on the line

pin or nail in the

F, and
point C,
till

having placed a
slide the lath

backward and forward

E F
is

the distance on the lath equal to

A B
falls
is

in

such a position that the point

in the

circumference of the semi-circle, then

the

angle

EFD

equal to one-third of the angle

B A; we have only therefore to draw the line G B parallel to C F, and the line G B divides the angle C B A into three parts required.
Note.

This example

will

enable the work-

LINES.

159
in

man mechanically
gon, for

to

draw

any

circle

polygon or figure of nine

if

sides, called

an ennea-

we

have described an equilateral

triangle within the circle,

ihe arch each side includes,

we trisect or divide we shall have the

enneagon required.

EXAMPLE

XVII.

To draw any arch of an ellipse or oval by means of ordinates^ or by finding a numher

of foints through which we
curve by hand.

may draw

the

Let

A B

(Fig. 3.

PI,

3.)

be the opening

of the arch

D.

its

spring or rise, on

as a

centre strike the semi-circle

ED

F, with the
to

opening of your compasses equal

vide

D,

di-

EC

into

any number of equal

parts,

and
and

draw

the perpendiculars a 1, ^ 2, c 3, c?4,

from these points divide also

AC

into the

same
into,

number of equal

parts

you divided

E C

ad draw perpendicular
vls

lines from these points,

g,

*kc.

then

transfer the

lines

170
a
I,

LINES.
b 2, A^c. to
/c

o, I

p, &c., and through the

points 0, p, g,

and draw with a steady hana

elliptic

a curve hoe, which will be the

quired.

arch reother

The same may

be done
or you

in the

half

of the arch

CD B,

may make
it

your mould
on

to half the arch,

is

and turn

over

B, which

the usual method.

EXAMPLE
To draw a

XVIII.
means of
the in-

circular arch by
ter section

of

lines.

Let

AB
B
;

[fig. 4.

PL

3.) be the opening o

the arch on the centre or middle point betweei.

and

at

erect a perpendicular
:

C D E
join

equal to twice the spring of your arch

and

B E

and divide these

lines

into

any

number

of equal parts as 1, 2, 3, 4, &c., and

a, b, c, d,
if

&c.; then join

1 ,

i 2, c 3, &c., and

you have divided the

lines

AE

and

BE

in-

to a

number

of parts pretty close together, their

intersection will

form a neat curve

if it is

line

very
arch.

nearly circular, particularly

flat

LINES.
Note*

171

This kind of

arch amongst builders

isiermed a scheme arch,

EXAMPLE
To

XIX.

draiv an ellipse or oval, with a pair of

compasses of any required length and breadth.

Let
length,

A B P {Fig. 1. PI. 4.) be the C D half the width of the oval

given
;

with

the distance

A D

or

B D

in your compasses,

and with
ting

as a centre,

draw two arches

cut-

AB
E

in the points
foci

and F, which are

called the two

of the oval, next with

and

as centres, strike the arches

E G

and

F F

H, with

the distance in your compasses equal

FG

and

E H,

also
in

with

and F, as

centres,

and the distance

your compasses equal twice

E, or twice F B, strike two arches crossing

A G

and

tance
strike

H F in G and H, again with the disH E or G F, and the centres G and H,

in
I,

two arches crossing each other

join

and

H
C

I,

then with the centre I and dis-

tance 1

strike ihe arch

G C

H, and with

Q 2

17i2

LINES.

K
H,
the

and

as centres,

and distance

KG
B

or

describe the arches

is

G A
;

and

and half

tne ellipse or oval

drawn

you may then do

same on the other

side the line

to

com-

plete the oval.

Note.
lieve,

The method
in

here

shown has not, I be-

been

any other work, shown as a method

it is

of drawing ellipses,

perhaps the most accu-

rate method that can be adopted with the

passes only, as according to the
struction, the points

com-

method of conwill

and

always be

in the circumference of a true ellipse.

EXAMPLE
To find
the centre
ellipse,

XX.

and two diameters of any

the circumference given.

having

onli/

Let A

C B D

[Fig. 2.
ellipse

PL

4.)

be the

cir-

cumference of an
find the

of which

we wish

to

two diameters, draw any two

lines as

FE,
into

and

H G parallel to each other and cutting

Divide

the curve in four points.

F Eand

HG

two

equal parts in the points I and

K, and

' ;

LINES*

17
in

draw

the line I

K, divide

it

two

parts in

L,

and from

as a centre strike any circle that

will cu tthe curve in four points, as at

divide

OP

and

MN
Q
and

in

two

MNOP parts in Q and

straight line,

R, and through

R
in

draw a

which will cut the curve

is

and B, and

AB
then

the largest diameter or length of the oval,

ellipse;

and the point L. the centre of the

if

through I
it

we draw C

perpendicular to

AB

will be the shortest diameter or width of

the oval.

Note.

This example

will be found particuit

larly useful to the cabinet-maker, as

enables

him

at

any time to assertain with accuracy the

or skreen,

two diameters of any elliptic table top

should the
original

diameter be

obliterated,
finishing our
it

which must be the case when

work
to

and

in the case of skreens

enables us

draw a

line,

whereby

to fix
it

on the spring or
shall stand ^UJte

ring, so that

when mounted

perpendicular.

03

174

SOLDERING.

SOLDERING.

GF5NERAL OBSERVATIONS.

It may seem somewhat unconnected with

the business of the cabinet

maker

to

introduce

an

article in this
to the
;

work, that has a reference

in metal, than to those in

more

workers

wood

but having experienced the want of a

to repair

knowledge how

broken brass work by

soldering the parts together, I

am

induced to

give this article a place, that nothing

may be
opeexecute.

wanting

to assist the

workman,
in
his
it

in all the

rations that

may

fall

way

to

And

as in the country

frequently happens
altera

either that ^^our brass

lion, or

work wants some

some accident has happened

in the

carot'

riage, that requires a little repair by

means

soldering,

it is

not only a great saving of time,

it

bat

(expense, to be enabled to do

one's self;

SOLDERING.
particularly

T5

when the operation

is

so easily per-

formed

in fact our tools frequently need,

this

from

accident or otherwise, the help of

ful

most use-

operation.

1 shall therefore, without further

apology, introduce some useful receipts and di

rections for this purpose
;

but

first

must

re-

mark, that the pieces you would join together,

whether

brass, lead or, iron,

fit

must be clean

filed

or scraped, and
ble,

each other as exact as possi-

and that no grease or extraneous substance

to

be on the parts intended

be joined together,
togethe

and that the

joints must be held firm

either by twisting wire round

them, or otherinto the

wise, that they shall not slip

fire, to

when put
is

melt the preparation which

to

hold (he
fire

'oint together: for

many

purposes a

common

or a

little

charcoal will answer our purpose

but in every village

we have a

smith's forge at

hand, w^hich sometimes will be necessary, and

if

the

workman

has at hand, and

is

at all prac-

tised in the use of theblou-pipe, almost all small

"obsmaybe accomplished with

for

its

assistance,
is

many

purposes, a soldering iron, which

176

SOLDERING.

piece of copper like a wedge, but rather pointed

at the end, rivetted into

a piece of iron, which

is

fixed into a

wooden handle,

will be very useful,

particularly

when we are
&c.
,

putting a brass beadit

ing round chairs,

frequently happens
it

that the pins, by which

is

affixed, either

break
ilhem;

off or are not in the exact place vtc

wish

we can

then, with the help of the solder-

ng

iron, either replace

them or

fix

others in the

situation required,

and thus make our work firm

and

neat, without the delay

it

and expense

inci;

dent to sending
again,

again to the brass founders

as the leading

the inside of cellarets,

is

wine

coolers, sarcophagases, &c.,

a part of

the cabinet maker's employ, though often sent to

the

plumber,

who
to the

if

not careful,

often

does

great

damage

work

entrusted to him. I
to solder or

shall therefore

show how

make

the

necessary joinings in the lead used for linings,

as well as jobs and repairs, that often are necessary,

particuarly with the country

workman

for in

London
to

it

is

scarcely necessary for the

workman

attend to anything but merely the

SOLDERING.
particular branch in

1T7

which he works, as the

necessary assistance towards finishing his

s

work

always at hand.

Brass Solderfor Iron.

Thin

plates of brass are to be melted

between

the pieces that are to

be joined

if

the

work be

very

fine,

as

when two

leaves of a broken
it

saw

are to be joined together, cover

with powdered
incorporate

borax, melted with water, that

it

may

with the brass powder or

filings,

which are laid

on the joint.
to

The

piece must then be exposed

the

fire,
till

without touching the coals, and

brass to run, fake

heated
it

you perceive the

immediately- from tie

fire

and leave

it

to

cool gradually.

Common
lead
tin.

Solder for lead or

tin.

Put into a crucible or iron-ladle, two pounds of

;

and when melted throw

This composition
the
is

in

one pound of
'

what

generally

known under
of using
it

name of

solder.

The method
on the
joints.

for lead, is to

pour

it

178

SOLDERING,^
to

which are previously scraped clean,

little

some

distance from the joint, and then with

it

hot iron spreading

evenly and smoothly, and

felt,

with a coarse cloth or piece of

as
level

making
heating

it
it

as possible,

occasionally

with your hot iron,

joint to your mind.

till

you have made your

Note.

This
But

will be found

very useful in

soldering the joints of the lead linings of cellarets,

&c.

as the lead used for that pur-

pose
10 let

is

very thin,

you must be careful not

your solder be poured too hot on your

it

lead, as

may cause

that to

run

or melt,

and you must

also prepare a groove in your

work
shall

to receive the joint, that

all

when

soldered

it

be level on the surface.

Hard Solder.
Melt together two pounds of copper and one

pound

of

tin.
is

The
melted

tin
;

must be added after

you

the copper

may
it

then either

cast

it

into a

flat

plate, to

be

filed into

powder

for use, or

granulated by pouring

through a

SOLDERING.

HQ

Wire sieve into cold water, or else hammered

mlo

tliin

leaves or plates.

Note.

This
much

mixture requires

less

heat to

melt

it,

and, consequently, does not injure your

as using

work

so

brass filings, and has

also a whiter appearance..

Soft Solder.

Melt

in

a pan

of

iron or crucible,

one

pound of lead and two of grain

cakes for use
;

tin, cast it into

this will be

found very useful for

soldering tin plates

or pins

on
;

brass
it is

work,

such as headings and mouldings

best done
s:e-

with a

solderinjj;

iron, as

described in the

neral observations, as

when heated

quite hot,

and applied

to the plate or luajp of solder,

some

of which will adhere to the copper end of the

soldering iron,

which

is

rubbed on the joint

having previously
resin.

intended to be
sprinkled
it

soldered,
little

with a

powdered

To Solder with Tin

This method
is

Foi..

particularly useful for small

J 80

SOLDERING.
work, and mathematical
in-

articles in brass

struments, as

it is

very readily done, and mak&s

a very neat

joint.

The method

is,

after hav-

ing your metal

sible,

filed to as close

a joint as pos-

wet the edges with a solution of borax

or sal

ammoniac
fasten

in

water, and insert a thin leaf

altogether

of

tinfoil,

by

means

of a

piece of wire or a hand vice, and apply the

flame of a candle or lamp, by means of a blowpipe, to the joint, and as soon as the
to run,
foil

appear*

your joint

is

completed

or should the
it

joint be too large,

you may place

over a char-

coal

fire,
till

and by blowing with a pair of belthe solder runs, then take

it

lows

off the fire

and

let

it

cool gradually.

MISCELLANEOUS.
To make Black-wax.

Take
ounce
of

two ounces of bees'-wax.

halt

ac

Bur^andy-pitch, melt them togclber^

MISCELLANEOUS.

181

then Hdd one ounce and a haU' of ivory-black

ground very

line

and dried.
s

Green-wax,

Take two

ounces of bees*-\vax, melt

;

it,

and

add one ounce of verditer

large enough, as
stir it well,
it

let

the pipkin be

v^ill

immediately boil up

and add one quarter of an ounce of

rosin;
use.

it

will be sufficiently hard,

and

for

To make Furniture

Paste.

Scrape four ounces of bees'-wax into a pot or

basin
;

then add as

much

spirits of turpentine
;

as will

moisten

it

through

at the

same time

powder a quarter of an ounce of rosm and add

to it;
paste,
to
fit

when

it is

dissolved to the consistence of

it

add as much Indian red as will bring

:

a deep mahogany colour

for use.

stir it

up and

it is

Another Method.
Scrape four ounces of beos'-wax as before,
ii

18S

MISCELLANEOUS.
spirits

then take a pint of

clean glazed pipkin,

of turpentine in a
of

to
it

which add an ounce

close

alkanet root, cover

and put

it

over a
it

slow

fire,

attending
fire

it

carefully, that

may
the
it

not boil, or catch

and when you perceive

the colour to be drawn from the root,

liquid being of a deep red,
to the

by
of

add as much
it

wax

as will moisten

through

at

the

same time add a quarter of an ounce of powdered rosin, cover

hours, and
it it

close,
fit

and

let it

stand six

will be

for use.

To make Furniture Take

with as
it

Oil.

linseed-oil,

put

it

in a glazed pipkin,
it

much alkanet-root
and you
;

as

will cover
it

let

boil g^nlly,

will find

become of a
il

strong red colour

for use.

lei it cool,

and

will be

fit

Another Method.
Boil together, cold

drawn

linseed-oil

and as
every

much

alkanet-root as
oil

it

will cover,

and

to

quart of

add two ounces of the best rose

all the

pink

when

colour

is

extracted, strain

it

MISCELLANEOUS.
off,

18S
of spirits of

and

for
:

every quart add a

gill

turpentine

and

it

will

be a

very

superior

composition for soft and light mahogany.

To Soften
Slice a

Ivory,
it

pound of mandrake, and put

in

quart of the best vinegar, into v^hich put your

ivory
;

let

it

stand in a

warm

place for forty-

eight hours,

you

will then be able to be-nd the

ivory to your mind.

To Bleach
Take a double handful
by sprinkling
it

Ivory.
of lime,
i

and slack

it

with water, the

add

Ihice
let it

pints of water,
settle

and

stir it

up together;

ten minutes,

and pour
;

the water into

pan

for

your purpose
it

then take your ivory,

tv>-enty-foiir

and steep

in

the

lime-water,
it

hours, after

which

boil
it

in

strong alum-water
air.

one hour, and dry

in the

To

Solder or

Weld

Tortoise-shell or

Rom.

Provide yourself with a pair of pincers a*

tongs, so constructed that you can reach four

R 2

184

MISCELLANEOUS.
;

inches beyond the rivet

toise-shell
filed

then have your toroarefujiy

it
;

clean to a lap-joint,
is

observing that thei^

no grease about
;

wet

the joint with water

apply the pincers hot,

following them with water, and you will find

the shell to be joined as
it

were one

piece.

To

Gild

Leather for

Bordervig
S(c.

Doors,

Folding Screens,

Take any
skins,

quantity

of clear

brown sheep
water,

damp them with a sponge and

them
tight,

and

strain

with tacks, on a board

dry, size

sufiiciently

large;

when

them with

clear double size; then take the whites of eggs,

beat them with a whisk to a foam, and

stand to settle
;

let

them
a

then take books of leaf

silver,

sufficient quantity,

and blow out the leaves of sil-

ver on a gilder's cushion; pass over the leather

carefully with the

egg

size,

and with a

tip

brush lay on the silver, closing any blister with

a bit of cotton

when
till

dry, varnish

them over

with

yellov\ lacker

they are of a fine gold

gilt,

colour;

your skins being thus

you

may

MISCELLANEOUS.

^85

then cut them in strips as you please, and join

Avith paste to

any length.
the foregoing operation the air
is

Observe
in

To perform

the

height of

summmer, when
.he skins

clear, dry,

and warm, that

may dry

well before you size them, and the size

may

have the desired

farther,

effect

upon the pores, and no

and

that

the silver
it.

may

not tarnish

before you lacker

To Damask heather for Table

Covers,

Sfc,

Provide yourself with a blocks glued up, two

feet six inches long,

and two
is

feet wide, faced

still

with pear tree (or box

belter)

five

eighths of an inch thick, upon which have

some
effect

handsome pattern drawn, that has a good

in light

and dark shades only, but

it

it

must be

divided so that
side for side;

will match end for end, and

which pattern must be then cut

relief in the

same manner as
and

the blocks for

printers or paper-stainers,

may

be done by

any one

who knows

little

of chair carving;
A/vilh

thea strain your leather, dry on the block

R 3

186

MISCELLANEOUS.

tacks (face up\Tards), and with a glass ball rub-

ber of about four pounds' weight, pass to arid

fro

over

the

leather,

rubbing hard

till

you

produce the pattern perfectly glazed on the

leather.

Note.

If
may

your cover

is

larger

than

the
it,

block, you must be very careful in shiiting

that you

not injure the pattern.

If from your wood-block you have a pattern

east in brass,

and nicely touched up by an ena block of wood,

it

graver,

and

fixed on
better,

will

answer much
off

and the pattern will come

cleaner.

much sharper and

To make Parchment transparent.

Take a

thin skin of

parchment and soak

it

in
it

a strong lye of wood-ashes, often wringing

out
till
it

you

find

it

become transparent, then

let it

strain

on a frame and

dry.
if

Note.
it is

This

will be
it

much improved,

after

dry you give

a coat, on both sides, of

clear mastic varnish d'luted with spinis of tur-

pentine.

MISCELLANEOUS.

187

To make

Co?nposilion Ornaments, for picture

Frcunes,
S^c,

Take any quantity

you think you
sent use,
sistence
shall

of whiting, as

much

as

have occasion

for, for

pre-

mix

it

up with thinnish glue

to the

con-

of putty,
all

and having a mould ready,

oil,

rub

it

well

over with sweet

in
it ;

and press

your composition

take

it

out and you will

have a good impression, which you

to dry, or if

may
thick

set
it

by

wanted, you may, before

it

gets
glue,
the

hard, apply

to

your

work with

and bend

it

into

the form required for

angles of your frames,

&c.
not a mould at hand, you

Note.

If you have may

may make one

pattern you

of the composition from any leaf or

wish
it

to

copy, and letting

it
it

get quite hard, use

as a mould, first oiling

well.

You
fo>'

will find

this cociposition of great use

copying any

patterr

you may wish from

good moulds.

188

MISCELLANEOUS

To

imitate IFood^

S(c. fo-^

internal or external

Decorations.

Having prepared your ^YOod

ground
with

of

a proper

common

oil-paint,

prepare the
fine,

colour for the graining,

hy

grinding, very

with

stale beer,

the colour

you require, using

in
it

this in the

manner of distemper, or drawing

;

water-colours

let

it

get quite dry,

and give

two of

these coats of clear copal varnish.

An

excellent Receipt for Burnish

Gold Size.

One ounce

of black lead, ground very fine,

one ounce of deer suet, one ounce of red chalk,

and one pound of pipe-clay, gound with weak

parchment-size
to

stiff

consistence, to be used

as directed under the article Gilding,

Note
tical

This receipt
To

is

by an excellent prac-

workman.
clean Picinref.
the picture out of
its

Having taken

frame.

MISCELLANEOUS.
take a clean towel, and making
it

^.89
quite wet, lay
it

it

on the face of your picture, sprinkling

soft

from
it

time to time with clean

water

let

re-

main
off

w^et for

two
it

or three days, take the

cloth

and renew

with a fresh one; after wiping

your picture with a clean wet sponge, repeat

the process
till

you
;

find all

the dirt soaked out

it

of your picture

then wash
;

with a so ft sponge,
it

and

let

it

^et quite dry

oil,

rub
it

with some clear

nut or linseed

and

will look as well as

when

Iresh done.

Another Method.
Put
of a
into

two quarts of strong

lye a quarter
fine,

pound of Genoa soap, rasped very

spirits of

with a pint of

wine

let

them simmer

on the

tire

for half

an hour, then strain them

it

through a cloth^ apply

picture,

with a brush

to

the
it

wipe

it

off

with a sponge, and apply

all dirt
;

a second time, which will remove

then

with a

little

nut-oil,
;

warmed, rub

the picture

and
as

let it

dry

this will

make

it

look as bright

when

it

come

out of the artistes hand.

190

MISCELLANEOUS.

To

silver

Clock Faces, Barometers,

the Scales of
Sfc.

Take

half an ounce of old silver lace, add an

in

ounce of the best aqua-fortis, put them

an
fire

earthen pot and place them over a gentle

till all is

dissolved,

which

will

happen

in

about
it

five

minutes, then take them off and

mix
it
;

in

a pint of clear water, after which pour

another
vessel,

into

and

free

it

from sediment
salt,

then
silver

add a spoonful of common

and the

will be precipitated in the form of a white pow-

der or curd

pour

off the acid,

and mix the

an

curd with two ounces of

salt of tartar, half

ounce of whiting, and a large spoonful of

salt

mix
In

it

up together, and
order to

it is

ready for use.

apply the above composicion,

clean your brass or copper plate with some rot-

ten stone and a piece of old hat

rub

it

with
of

salt and water with your hand, take a

little
it

the composition on your finger and rub

over

your plate, and

pfeUjiy
silvei

it

will firmly

adhere and
well

cova>-

it,

wash

it

with water;

MISCELLANEOUS.
when
nish
it.

191
and var-

dry,

rub

it

with a clean rag,

Note

This

silver

is

not durable, but

may

be improved by heating the article and repeating the operation

till

the

covering seems thick

enough.

Varnish for Clock Faces,

Sfc.
it

Tak-e of spirits of wine one pint, divide

into four parts,

mix one part with half an ounce

by
itself;

of

gum

mastic, in a bottle

one part

of spirits, and half an ounce of

gum

sandrac in

another botile; and one part of spirits and half

an ounce of the whitest part

of

gum

Benjamin,
il'

mix and temper them

to

your mind;

too thick,

add

spirits; if too thin,

some mastic;

if

too soft,
it,

some sandrac or Benjamin when you use

warm
with a

the silvered
flat

plate before

the
it

fire,

and
till

camel-hair pencil, stroke

over

no white streaks appear, and

the silvering for

this will

preserve

many

years.

Cryslalb'sed Tin.

Take

sheet

tin,

the best,

and

thickest covered

592

MISCELLANEOUS.
it

with the metal you can get, clean

whiting and water
till

well with

the taco

is

well polished.;

warm

it,

or lay

it

on a hot plate, and with a

it

sponge or brush wet

well with strong spirits

it

of salts, you will soon see

shoot into beautiful

it

patterns; as soon as this happens, plunge

into
it

cold spring water

you may then varnish

it

with any colour you please, or leave

in

its

natural state and varnish with clear varnish.

Note.

This has of late been much introduced

and when well executed has a
;

into furniture,

beautiful

appearance
a

you may use

it

as

veneer

in
first

manner directed

for buhl

work,

having
to

given the side you intend to be gkied

your work a good coat of paint, Size for Oil Gilding.

Grind calcined red-ochre, with

oldest drying oil,

the best

and
of

and mix with a

little oil

turpentine

when

used.

Note.
first

When you
it

intend to gild your work,

size; then apply

give

a coat of parchment

tbe size wtiere requisite, either

patterns or

miscellakeous.
letters,

198
it

and

let
it

it

remain

till

by touching

with

your finger

will just feel sticky; apply

it

your
lot

gold-leaf and dab

it

with a piece of cotton;

remain for about an hour, and wash the

superfluous gold off with a sponge

and water,

and,

when

dry, varnish

it

with copal varnish.

General Directions for dying Ivory or Bone,

First,
let

them be soaked

for about

twelve

hours

in
in

lime-water: take them out and immerse

them

weak

aqua-fortis for about

two

or three

hours; you

may

then proceed as in dying wood,

let

only be careful not to

your dye be too hot.

T/ie

Method of Gilding

the

Borders of Leather

Tops of

Li^'rary Tables,

Work

Boxes,

Sfc,

The
with a

tops of library tables,

&c. are usually

covered with Morocco leather, and ornamented

gilt

border, and are usually sent to the

for that purpose.
it is

book-binder

The method by

which they perform

go over
that

as follows:
to

They
gilt

first

part intended

be

with a
is

sponge dipped

in the glare of eggs,

which

the

19i

MISCELLANEOUS.
left to settle;

whites beaten up to a froth and

and the longer made or older

it is,

so

much

the

better; then being provided with a brass-roller,

on the edge of which the pattern

is

engraved,
it

and fixed as a wheel

before the
fire till
it

in

a handle, they place

that,

heated so

by applying a
it is

wetted finger,
ing,

will just hiss; while

heat-

rub the part with an oiled rag, or clean

is

tallow, w^here the pattern

intended
it

to be,

and

lay strips of gold on

cotton
;

it,

pressing

down with

then with a steady hand run the roller

along the edge of the leather, and wipe the

superfluous gold off
g-old will
v\'ith

an oiled rag, and the

adhere

in

those parts where the im-

pression of the roller has been, and the rest will

rub

off

with the oiled rag.

To prepare Plaster
Having trimmed your
all

Figures*

figure or
sot

ornament from
it

superfluous knobs,

&c.

fn

warm

place to get thoroughly dry; then have a vessel

large enough to contain

as

it,

which

fill

so mucb,
it, it

when the

plaster figure

is

placed in

will

MlSCELLA5vE0CS.

195

DC quite covered, with the best and clearest

linseed oil just \varm, Jet
it

remain

in the vessel
it

for twelve or fourteen liours; then take

let
it

out,

drain, and set

it

in
is

a place free from

dust;

and when ihe

oil

quite dry, the orna-

ment, or whatever
like

is

thus prepared, will look

wax, and

will bear

washing without

injury.

To make Transparent,

or Tracing Paper.

Dissolve a piece of white bees'-wax, about

the size of a walnut in half a pint of spirits of
turpentine; then having procured

some very

fine

white wove tissue paper, lay

it

on a clean board,
this liquid,
it

and with a
over
it it

soft

brush dipped in

go

on one side, and then turn

to the other;

over,

and

apply

hang

it

up

in a place free

from dust,

to

dry;

it

will be ready for use in a

resin,

few days; some add a small quantity of

or use resin instead of wax.

Note.

This

will be found very useful to the

figures,

vvorkmen for copying any ornaments or

as by merely laying
it

on the work, you can

if

with a pencil trace

every Ime, and

s

you

196
please copy
leisure
;

MISCELLANEOUS.
it

correctly on fair paper, at your

it

or

if

is

a pattern

for

Buhl work,

you may
you wish

paste your tracing paper on the

to cut,

work
as

and follow your

pattern,
:

directed under the article Buhl work

it

will

be also found very handy for copying sketches

or drawings.

Or-Molu.
This beautiful method of preparing brass-

work
till

is

much

in use

amongst the French, and

lately,

scarcely applied to ornamenting of

;

furniture in this country

to the great

perhaps,

more owing

expence

in

doing

it,

when com:

pared with the usual process of lackering

the

method by which

it

is

performed,

is

somewhat

similar to that of gilding metal buttons,

is

which

by

applying
to

an

amalgam
brass- work,

of

gold and
well

quicksilver

your

when

cleaned, burnished &c.. and by means of heat

evaporating; or more properly volatilizing the

quicksilver,

leaving
is

coat of gold on your

work, which

again burnished, and the colour

MISCELLANEOUS.
heie^lened by a chemical process.
is

197
But as
it

not only expensive, but very deleterious to the

health of the

workman,

it

would be

useless to

describe minutely the VThole process.

To Gild Metal by dissolving Gold

Regia.
Dissolve gold in aqua
solution dip linen rags
;

in

Aqua

regia, and

into

the

lake ihem out and dry

to

them gently; then burn them

tinder; alter
this,

you have well polished your work with

a cork .and dipping
it

take

into

common

salt

and

water, and afterwards into the tinder, rub your

work

vYcII,

and

its

surface will be gilt^

is

Note

Aqua

regia

composed of two parls

one part of
together.

of nitroLs acid [aqua fortis) and

marine acid

{spirits

of

salt)

mixed

To

clean Mirrors^
soft

Looking Glasses,
wash
it

S(c.

Take a
dio

sponge,
it

well

in clean
;

water, and squeeze

it

as dry as possible
of wine,

then
tlie

into

some

spiri*-s

rub over

8 3

198
glass, then
rag:,

MISCELLANEOUS.
have some powder blue tied up
it

in

and dust

over your glass. ruD

soft cloth,

it

lightly

and quickly with a

v\^iih

afterwards finish

a silk handkerchief.

To Take a
caustic),

silver Ivory.

small piece of nitrate of silver (lunar

it

and pound
it,

in

a mortar

add
it

soft

water

to

and mix well together; keep

in

phial for use, and when you wish to diver your

ivory,

you must either immerse

it

in this solution

and

let

remain

till

it

turns of a deep yellow

it

colour, and then place

in

clear water, and

;

exposed to the rays of the sun

or if

you wish

any

figures, as cypher,
in

&c. on your ivory, dip

the solution, and
;

a camel-hair pencil

draw
it

what you

desire on

your ivory
it

after
v^-ith

has

turned a deep yellovv, wash

well

water,

and place
wetting
it

it

in the

sun-shine,
;

occasionally

with pure water

in

a short time
if

it

will turn of a black colour,

which

well rubbed

will change to a brilliant silver.

APPENDIX.

In order to render the Cabinet Maker's Guide a complete Pocket

Manual
it

for

the

workman,

as well as a

book of

reference,

has been thought that the addition

in

of some useful Tables would not be unacceptable

work of this nature.

The

following have, therefore, been contrived, and

will show,

by inspection, the

superficial content of

any

board or plank, w ithout having recourse to duodecimals,

or cross-multiplication
;

and will enable any one at

all

acquainted with the simple rules of arithmetic, to find

the content suflBciently accurate for any practical purpose, though they might have been extended to
fractional part of inches

show the

to

any degree of accuracy

required

Explanation of Tables

I.

and

II.

Table
tfi

1,

If we

call the left

hand column

feet,

and

lop

row

incnes, all the other columns will

show

^00

APPENDIX.

TABLE
1

I.

APPENDIX.

201

TABLE

IT.

Parts of Inches in IVidth.

S0^2

APPENDIX

if

Table II. we wish the

Is exactly

upon the same prfnciple;

thus,

content of 11 feet by | of an inch,

wc

shall
it

(by carrying our eye horizontally from 11 to where

meets the perpendicular column marked |) find 6

is

that
I

6 inches and | of an inch superficial.

for parts of inches

might have given another table

by

parts of inches, but in real practice this can be but very

seldom required, and

in

general the mea.5urement of a

board or plank

is

not taken nearer than half or quarter

inches, and that only in the width, as

when

the plank

is

long in comparison to

its

width, the fraction of an inch

would make but

verj- little diflference.

The following example

will

shew the use

of the tables

to those unacquainted with cross-multiplication:

Required the superficial content of a hoard

inches by 5 feet 3j inches.

1 1

feet T

Ft. In.
First, 11 feet multiplied

by 5

feet, is
I, is

55
2

Second,

1 1 feet

by 3 inches, by table

9.

9 5|

Third, 11 feet by J an inch, table II,

is
'^

5}. .0
II
.

Fourth, 5 feet by 7 inches, table

Fifth, 7 inches

I, is

.2 11

by 9 inches, table
is

1, is 1

.0

1^
2^

which added together,

Note.
cation,

equal

61

&

-j?

The same example, worked by cross-multiplito not quite

would be equal

a superficial inc"

more than here given;

magnitude.

a quantity of inconsiderable

APPENDIX.

203

TABLE
c

III.

204

ArPENDIX.
Explanation of Table III.

Table

III.

Is

continued for readily computing the

content of trees according to the

common method
girth
:

of

measuring timber
it

viz.

by taking the
and
is

and dividing
in the

into four equal parts,

thus used

Seeli

first

column

(or the other columns

marked

inches,

and

enclosed between double lines) the length of the quarter

girth
;

take out the opposite number and multi{.ly that

the length of the tree in feet,
(fee.

number by

&c. the product

will be the content in solid feet,

The following example

will

shew

its utility

What is
length

the content in solid feet, ^c. of a tree, whose

is

9 feet,

and

the quarter girth 16| inches. Ft. In.

In the table, opposite

6^,

is

1 10

which, multiplied by 9

9
16

The
Note.

content

is

therefore equal
will, in

The

method here shewn

general, bo

within an inch or

two

of the tniR measure as given

by the

usual method, and will not only be found very ready,

ut sufficienily accurate for most tractictl purposes.

APPENDIX.

205

TABLE

[V.

206

ArPENDix.

Exp^ANATION 0? Table IV,

Table

r\^' will be found ver)- useful for changing feet

decimally divided into inches and parts of an inch, and

tbe contrary
;

by means of which, dimension taken either

way may be

readily changed to tbe other;

its utility.

an example

in

each ease will show

Example

1.

To change 56 himdredih
into inches

parts

of a foot

and parts.
is

In the
0, is

first

column, opposite 50,

0,

and opposite

9,

which added to the former

is

6 inches and 9

twelfths of an inch.

Example

2.

To change 10| inches

parts of afoot.

into hundredth

-..In the column on the right of the double Ime marked

inches and eighth parts,

we

find opposite

10 inches 83,

and opposite | (that

is

six-eighths) is 6,

which added to

83, gives 89 hundifedth parts of a foot.

APPENDIX.

m
Ft.
In.

TABLE
Meas'iies of different Counties.
'

V.
Lin. Pts

Parts

Englisb

1440
133.5

Amsterdam
Berlin
Brussel*
,

China (Imperial Foot).

Constantinople

1428 1299 15)3 1678

loll

Copenhagen
Dantzic

Denmark
Florence

Genoa (the Palm)...,

Hamburgh
Leghorn
Leipsic
.

..*
..

<

Lisbon Madrid

Moscow
Naples (the Pahn)..., Pari.s((he Foot) (the Metre)
,

^iga

Rome

(the

Palm)

Stockholm Venice Vienna

Warsaw

1329 1508 1433 1170 1343 1428 1489 1371 1319 1337 1240 1535 4731 1313 1055 1545 1638 1492 1684

4* 3
4

5
11
1

4 9 6 2 9

10
7

Explanation of Table V.

Table V.

will

be found very useful for changing the

different measures of foreign countries to that of England,

and the contrarj'

and

is

a selection from a very, exterisiv

t2

APPENDIX.
one given by Dr. Button
in his
;

Mathematical Reoreatio,
is

and needs no explanation

but that the second column

calculated on the supposition, tbat the English foot

is di-

vided into 12 inches, and each inch into 12 parts, called

lines,

and each line into lU parts, making 1440 parts in

all

the English foot; and the foot of

the other countries

contains the

number of the same

parts they are equal to,

when compared

to the English foot.

French Measures.

The English

foot

is

to the Paris foot, as 1 to

-065977,

The English square The English cube

foot
is

is

to the Paris, as 1 to 1-136307.

1

foot

to the Paris, as

to 1-21 1277.

Practical Rules, &c. for finding the

Superficial Content or Area of Plain

Figures and Solid Bodies.

1.

T/ie

Diameter of a Circle being given

Circumference.

to

find

Rule. As

is

to 22, or as

113

is

to 355, so is the

diameter taken

in

any dimension, as

feet, inches,

&c. to

the circumference in the like measure.

2.

The Diameter </ a Circle being given

to find the

Area or

superficial Content,
first rule, tliea

Rule. Find

the circumference by the

APPENDIX.

sop

multiply half the circumference by half the diameter, aiK

the product will be the area.

Note.

For

practical purposes

you may measure

the.

circumference with a striog, and half that length multi

plied

by half

the diameter

is

the area.
its

3.

Any
Rule.

Sector of a Circle being given to find

Area.

Measure
a portion)

the arc with a string

then half that

measure multiplied by the radius of the

the arc
4.
is
is

circle (of

which

the area required.

To find the Area of an

Ellipsis or

Oval
shortest,

Rule. Multiply

the longest diameter

by the

and the product by the decimal '7854.

5.

To find the Area of a Trianyle.

RcLE.

Multiply the length of the base by the perpen

is

dicular altitude of the triangle, and half that product

the area.

Rdle
given,

2.

When
;

the length of the three sides are only

sides,

from half the sum of the three

multiply the half
;

subtract each
the three re-

side severally

sum and

mainders continually together

root of the last product,
it

then extract the square

will give the area required.

6.

To find

the

Area or

superficial J^onte7it of a Globe,

RuiiE ]. Multiply the circumference by the diume^\

and the product
is

the sup J^f Is or area

It

210
Rdle
2.

APPENDIX,

Maltiplythe diameter of the^lobe by

for the area,

Itself

and the product by 3-14159

7.

To find

the

Area of a

Cylinder,

Rdle

Multiply

the length

by the circumference*'

this will give the area

of tiie curved surface, to which add

the area of the circle at each end (by

Rule 2) and you

have the whole superficial content of the cylinder.

8.

To find

the Superficial content of

a Cone.
at the base,

Rule.

Multiply half the circumference

it

by the slanting height,

will give the curved surface of

the Cone, to which add the area of the circle at the base'

and you will have the whole superfices

9.

To find the

Solidity of

a Sphere

or Globe.

R[TLE.

Find the surface (by rule 6,) multiply that by

the sixth part of the diameter,

and you have the

solid

content,
10.

To find

the Solid Coyitent

of a Pyramid.

Rule. Multiply the area

content.
1 1

of the base

by the perpen-

dicular height, and divide that product by 3 for the solid

To find

the Solid Content

of a Cylinder.

Rulf.
required.

Multiply the

area
the

of

one end (found by

is

Rale 2) by the length, and

sum

the solid content

APPEND IX.
Ti^BLE
Weight
of a Cubic Foot of

211

VI.

APPENDIX

Explanation of Table VI
The only part that
j.able
is

requires to be explained in

this

the right-hand column, which expresses the

comparative weight of the difierent woods, the weight of

a cubic foot of river water being 1,000, and those numbers also express the

number of avoirdupois ounces

in

cubic foot, supposing the

free

wood

to be well seasoned,

and

from knots.

Pini^

INDEX.

CABINET WORK.
General t^aervationt
..

To make GlRss-paper .. .. ,. ^ .. To make Strong Glueflt for Inlaying or Veneering .. To clean the face of soft Mahogaoy, or other porous Wood Another way to clean and finish Mahogany Work To dajken light Mahogany To raise oH Veneers
.

3
ib.

4 i

Glueing up and Veneering Card Table-tops, Secretary

Fronts,

&c
10

To To

cut Steel Plates for Scrapers

Set and Sharpen

Saws

H
13 15

To make
tops,

Paste for laying the Cloth or Leather of Table-

&c

A
To

Glue for Inlaying Brass or Silver Strings, Patteras, &c;

take out Bruises in Furniture

16

DYING WOOD.
General Obaervattont
Fine Black

..

..

..

..

..18

214

INDEX.
Page
for a

Another Method
Pine Blue

good Black

18 19
,

Another Blue
Fine Yellow

21
)f.

Another Yellow much Brighter

Liquid for Brightening and Setting the Cc lours
..

22
ib.

Bright Green

23
..
,.

Another Green
Bright

..

..

..

.,

..

ib.

Red
..

24
ib.

Another Red
Purple
..
..

..

..

5
ib.

Another Purple Orange

Silver

26
ib.

Grey

Another Gre^

27

STAINING.
General Observations
Black Stain for immediate Use

26
20
ib.
lb.

**
,
.-.

To

Stain Beech a

Mahogany Colour
Black Stain
..

Anuther Method

for

To

imitate

Rose -wood

30
ib.

Another Method

To imitate King or Botany Bay Wood common Red for Bedsteads and common Chairs To Stain Horn in imitation of Tortoise-shell
. .

31
.^ or
-

32
ib.
'h.

Another Method
Another Method
still

Better

<
t-

33
ib'

To To
To

Stain Ivory or

Bone Red

Stain Ivory or

Bone Black

c'-

34
35
i**

Another Method for Black

Stain Ivory ^ Bone Tjreen
..

..

INDEX.

21S

To To

Stain Ivory, &c. Blue

3
ib.

Stain Ivory, &c. Yellow

TO STAIN MUSICAL INSTRUMENTS.

Fine Crimson
ib.

Purple

37
ib.

Fine Black Fine Blue

Fine Green

33
ib.

Bright Yellow

i^

To

Stain Box-wood

Brown

..

39

VARNISHING.
General Observations ,,
.,
,
5|j^

Cautions respecting the making of Varnish

..

..

40

General Directions for choosing the

Gums and

Spirits

used

42
43
in order

To To To To

Varnish a Piece of Furniture

keep your Brushes

44
45
Pictures

make the best white hard Varnish make Mastic Varnish proper for Varnishing
or

Drawings
.. ..

43

To make Turpentine Varnish

,.

jb. ib.

To make Varnish for Violins, &c To Varnisli Harps and Dalcimers in the Indian Manner To Varnish Drawings, or any kind of Paper or Card

47

Work
Another Meth id
still

ib.

better

..

4S

..
,

Amber

Varnish'

,,

49
ib.

Oil Varnish

Copal Varnish

....

.>

50

tl

INDEX.
/aft

To make

a ColourlesB

opal Varn'sh
..
,.

40

Turpentine Copal Varni sh

..

51

JAPANNING.
Creneral Observations
'.
,

..
. .

53
55
ib,

For a Black Japan

. .

To

imitate

Rose-wood

..

INDIA JAPANNING.
General Observations
56
..

Ground

for Chinese

Japan

..
. . . .
,,

67
58
ib

Another Ground

To make Black Japan

To

. .

..

trace your Design on the

raise Figures on your

Ground

59
ib.

To

Work

Gold Bronze
Silver

6o
61

Bronze

Copper Bronze
Tin Bronze
of applying the Bronze

62
ib.

Method

63

To Japan Work-boxes, &c

Sealing-wax Varnish

,,

ib.

66

POLISHING.
General Observations
^7
.. ..

To
To

Polish Varnish
:\;ethod of Polishing

68

French

69
in

Polish Brass

OrnameHts Inlaid

W>od

..

..

ib.

To To

Polish Ivory
Polish any

of Pearl
. .

..

70
ib.

Work

..

..

..

INDEX.

817

Page
To Polish

MarMe

..

..

..

.0 Polish Tortoise-shell or

Horn

..

..

..

7^

FRICTION VARNISHING, OR FRENCH POLISHING.

General Observations
72
74
.
.. ..

The True French Polish . An Improved Polish Water Proof Polish

Bright Polish
Pre] ared Spirits

ss

..

75
/6
ib.

77
ib.
.

Strong Polish
Directions for cleaning and polishing old Fainiture

78

CLEANING.
To
To
clean and restorethe Elasticity ofCane Chair Bottoms,

Couches, &c.

..

79
ib.

clean old Brass-work for Lackering

To

clean Silver Furniture

to clean

SC
ib.

Receiot

Marble,

To To

lake Ink Spots out

&c of Mahogany
-v
. .
.

'^
81
3*.
.

Another Method
take Spots of Grease or Oil from Cloth take out W&s. Spots from Cloth or Silk
..

To
To

tfi

Another Method

iC.
ib.

clean Carpets or Tapestry

To

clean Or-Molu Ornaments

M
S4
frlass
..

SILVERING.
General Observations

method

of Silvering

Looking Glasses and Plate

NDEX.

To make

Liquid Foil for Silvering Glass Globes, Bent

Mirrors,

&e

88
87

Another Method

BRONZE AND PAINTING,

^0 Bronze Figures To Bronze on Wood To Bronze Brass Figures or Ornaments To Bronze, or Brown Gun Barrels, &c
Graining, or imitating Woods, Marbles, &c.
lb.

..

..

89

90
91
..
..

92

Green Paint
Trellises,

for

Garden

Stands,

Venetian

Blinds,

&c

99

GILDING.
General Observations
Necessary Requisites
to
Ije

ib

provided with

lOO

To make Size for preparing your Frames, &c To prepare your Frames or Wood Work
Polishing

102
ib.

103
. . . . . .

Gold Size

104
ib.

Apotber Gold Size

To

prepare your Frames,

..

&c

for Gilding
..

ib.

Laying on the Gold

Burnishing
Matting
Finishing
..

105
107 108
ib.

To make
Silvering

Shell

Gold
..
-..

109

Silver Size

ib.

liO

To

Gild Borders of Glass

..

ft.

INDaX.

219

LACKERING.
Page
GcneraH.'HJfUiSitont

^
t

116

To make Gold Lacker

Another Lacker
Pale Gold Lack,?

for

Brass

..

117
5h.

118
ib.

Superior Lacker for Brass

Lacker with

Spirits of Turpentine

119

BUHL WORK.
General Observations
..
..

..

..

..
..

120
121

To prepare your

Shell and Brass ready for cutting

Cutting out your Veneer

122
123
124

To Glue up your

Pattern

Laying your Veneer

Inlaying with Shaded

Wood
&c

125

To

imitate Inlaying of Silver Strings,

127

CEMENTS.
To make Cement Mahogany Colour Portable Glue, or Bank-note Cement
Cement
for

129
..

..

..

ib.

Turners
broken Glass

130
13l
in

A A

Cement

for

Cement
Colour

to stop

Flaws or Cracks

Wood, of any
ih.

A Cement

for joining China,

&c

<,

\32
ib.
15.?

Another Cement

strong Glue that will resist Moisture

Another Glue for the same purpose

1S4

u 2

SSt

INDEX.

TURNING
General Observations

&c
..

134
141

To tura Screws To turn Black Reeds To make Anti-Attrition

Polish for Turner's

or Mouldings in Chair Legs,

142
143

work

..

ib.

LINES.
General Observations
144
..
is

Example

1.

2.

To To

extend a given line at pleasure

ascertain whether your strait edge

146

correct
3.

1^7

Between

t%vo points, to find another point

that shall be in the

4.

same

strait line

with them
line to

148

Fro-m any point in a given

draw
149

another line which shall be perpendicuJar or square

to
it

5.

From any

point

above a

strait

line

to

draw another
to
it

strait line that shall

be perpendicular
lol

6. 7.

To ascertain whether your square is correct To draw a line parallel to, or equally dis-

152

tant from, another line given, and through a given

point
8

153

To make an To

angle or bevil equal to a given

154

angle or bevil

9.

divide a given line into

two equal pirts,

^

or to bisect a given line

15

INDEX.
Example
To
To
divide any strait line into any numoer.
..

2?l

Peer
10.

of equal parts
11.

^57

bisect or^divide a given angle into

two
1^0

eoual Darts
12.
13.

To find the centre of any arch of a To draw a tangent or line, which

any given point
..
^

circle

IGl

shall
..

meet a

cirCie in
14.

..

163

To draw

within a circle a polygon or

regular figure, whose sides shall be equal to each

other
15.

1G4

To
its

describe an arch

whose

altitude
;

or

spring

is

given,

and likewise

its

opening

without
166

knowing
.

centre
bisect or divide

16.

To

any given angle into

168
ellipse or oval

three equal parts, or angles

17.

To draw
ordinates

any arch of an

by
1

means of
18.

To draw

a circular arch by means of the

170
ellipse or oval,

intersection of lines
19.

To draw an
To

with a pair of
..

compasses of any required length and breadth

171

any

20.

find the centre

and *wo diameters of

..

ellipse

1/2

SOLDERING.
General Observations
Brass Solder for Iron
..

..

74

177
ib.

Common

Soider for Lead or Tin

Hard Soider
Soft Solder

178
)"'.)

To

Solder with Tin-fo'l

..

..

..

ifc.

INDEX.

MfSCELLANEOUS.
Patte

To make Black
Green

Wax
..

..
.. ..

,,

..

180
181

Wax

To make

Furniture Paste

,,

,.

..

ib.
ib.

Another Method

To make

Furniture

on
..

..

..

182
lb.

Another Method

*.

To Soften Ivory To Bleach Ivory To Solder or Weld Tortoise-shell or Horn To Gild Leather for bordering Doors, &c. To Damask Leather for Table Covers, &c To make Parchment transparent To make Composition Ornaments for Picture Frames, &c. To imitate Wood, &c. for internal or external Decorations An excellent Receipt for Burnish Gold Size .. .. To clean Pictures *
. .

183
ib.
ib.

. .

i84

185 186 187 188

ib.
ib.

Another Method

189
190
191
ib.

To

Silver Clock Faces, the Scales of Barometers, &c.

for

Varnish

Clock Faces, &c.

Crystallized Tin

Size for Oil Gilding

192
..

General Directions for Dying Ivory or B^ne

..

193

The Method

of Gilding the

Borders of Leather Tops of

ib.

Library Tables, &e To prepare Plaster Figures .. To make Transparent or Tracing Paper

.,

.. ..

.. ..

194

195
196

Or-Molu

To To To

Gild Metal bv Dissolving Gold in Aqua-Regia

..

197
ib.

Clean Mirrors, Looking Glasses,

Silver Ivory

&e

198

INDEX.

APPENDIX.
Paet
Tables.
&(!.

findinar the

..

..

Prai'tica'i

Rules, &c. tor

Superficial Content
..

or Area of Plain Ficures and Solid Bodies

2 *
2ti

Weight of Jioaiea

..

..

..

NICHOLSON'S

CODE OF MECHANICAL SCIENCE,

Being acomplete Encyclopcedia of Practical Knowledge; containing nearly One Thousand Pages of Print, and
illustrated hy

comprising

One Hundred Copper-plate Engravings, One Thousand Subjects o/" Mechanical

Science.

OPERATIVE
MACHINIST
:

MECHANIC

and
:

BRITISH

comprehending a complete and systematic Development both of the Theory and Practice of the Productive Arts, and exhibiting the present state of unrivalled perfection in tlieir actual Construction and practical Uses of all the Machinery and Imwith real Britain, the Processes adopted in Great plements now used By in perfecting the National Manufactures of every Description. Engineer. Civil large volume. In One JOHN NICHOLSON, Esq. or in Thirty Weekly Octavo, Third Edition, 31s. 6d. half-bound
;

Numbers,

Is.

each.

This work displays in a cheap and succinct tbrm, and in a correct and comprehensive manner, the actual state of Scientific Improvement aa
at present applied to the productive industry of this Empire; not as the same knowledge now exists in Books, but as actually found in Workshops and Manufactories of the highest character, as regards and every branch of the CAEPENTRY, JOINERY, It conveys evei7 desirable information relative to Building Art. Engines and Constructions particularly as MILL

MASONRY,

all

PRINTING MACHINERY, CLOCKS and WATCHES, and to METALLIC. WOOLLEN, COTTON, LINEN, SILK, PAPER, PORCELAIN, and other important Manufactures. To this New Edition of the " Operative Mechanic," the Proprietors
LICS,
Branches of the

WORK, HYDRAU-

have made very consi'lerable additions, by way of Supplement, exhibitof the PUBLIC of this Country, ing a DUPIN. This invaluable Department presents a by the Series of PLANS, ELEVATIONS, SECTIONS, and DETAILS, exquisitely engraved, including the most striking examples of British Science, Skill, Power, Ingenuity, and Perseverance, as exhibited in our BRIDGES, whether of STONE or IRON (including SUSPEN-

COMPLETE VIEW BARON

WORKS

SION BRIDGES). CANALS, LOCKS, PORTS, PIERS, DOCKS, LIGHTHOUSES, RAILWAYS, LOCOMOTIVE ENGINES, &c. &c.
It is
tific

therefore equally valuable to the intelligent

Workman,

the scien-

Master Manufacturer, and the ingenious Projector.

"-).

i>5"

5f%AL

4.

'^ff.-'l

!'

^fcSg>'