;

THE

COMPLETE CABINET MAKER,

AND UPHOLSTERER'S GUIDE:
COMPRISIVG,

THE RUDIMENTS AND

it'-'^'

PRINCIPLES

CABINET-MAKING AND UPHOLSTERY,

WITH

FAMILIAR INSTRUCTIONS, ILLUSTRATED BY EXAMPLES,

FOR AJ'yAINING A PROFICIENCY IN

THE.

ART OP DBAWING:"

*"

THE PROCESSES QF VENEERING, INLAYING, AND BUHL-WORK

~

THE

ART OF JDYINa A^DWBTAINING

BONE, TORTOISESHELI

DIRECTIONS FOR LACKERING. JAPANNING, AND VARNISHING

TO MAKE FRENCH POLISH;

TO PREPARE THE

BEST. GLUES,

CEMENTS, & CO]^P0SITI0N.S

AND

A NUMBER OF RECEIPTS,
PARTICULARLY USEFUL TO THE WORKMEN GENERALLY.

E.MBELLISHEO WITH

SIXTEEN EXPLANATORY AND ILLUSTRATIVE ENGRAVINGS,

BY

Mr.

J.

STOKES,

With the Articles of Furniture elegantly coloured.

HoutJon

PUBLISHED BY DEAN

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MUNDAY.T-HREADNEEDLE- STREET.

'rI7i/i'('

ininUnvs.

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INTRODUCTORY OBSERVATIONS.

The

very great improvement to which the arts

and manufactures of
within the last

fifty

country have attained,

this

years, renders

it

essential

that every person engaged therein should use his

utmost endeavours to obtain a perfect knowledge

of the trade or art which he professes to follow.

^The

workmen

of the last century were,

com-

paratively speaking,

but with few exceptions,

mechanical beings,

who worked by

guided by any
step

the

scientific principles,

by step the beaten track of

workmen

unwound

un-

and followed

their ancestors

of the present day have the road of

science opened for

is

rule,

them

the clue of knowledge

to the enquiring

mind; but unless

industry and perseverence accompany

them

in

the pursuit of information, they will never obtain sufficient to justify a pretension even to a

respective arts.

These remarks apply to

scientific

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mediocre knowledge of the principles of their

and mecha

nical professions generally; but to the cabinet-

a3

INTRODUCTION.

VI

maker and upholsterer they attach with peculiar

force.
It is not enough for a person following

either of these branches of domestic decoration

to have attained the character of a

being

that

phrase,

now

considered a

good workman,

mere negative

implying only that quantum of excel-

lence which consists in following implicitly the

directions of others

and accuracy their

or imitating with neatness

and plans. In a busiwhere change and caprice rule with unbounded sway, in which the fashion of to-day
details

ness

may become

obselete to-morrow, an

"

in

which

novelty forms the greatest recommendation,

inventive
are,

certainly,

the young

an

genius and discriminating judgment

essential

workman

qualifications;

and

if

ever feels the least ambition

to excel, or entertains a wish to rise above the

bench, he will find them to be not only essential,

but actually indispensible.

In this business, as well as in

the

workman who understands

his trade,

many

others,

the principles of

and applies them correctly

in practice,

men; and

if to his

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has a decided advantage over his fellow-worksuperior knowledge he add a

steadiness of manner,

and industrious habits,

his endeavours cannot fail to secure approbation,

INTRODUCTION.

Vll

while his worth will be certainly and duly appreciated.

If,

ment

then, in order to secure constant emplo\^-

the

only means of ensuring comfort to

himself and family

man should

excel,

hove the person

it is

essential that the zoork-

how much more must it bewho superinteiids a business

of the kind, to be fully acquainted with every

department of the business: for

pretend to direct others,
of informiJion?

Nor

is

who

is

this all

improve those

can any one

himself in need

it

new

to his province to sketch out

alter or

how

will often fall

designs, or to

in present use

if

his

em-

ployer or a respectable customer should not ap-

prove of the fashion or ornamental embellishment

of any

new

article of furniture

submitted to their

approbation, a superintendant would feel himself

sadly at a loss,

if

the improvements

he could neither sketch out

or alterations

genius might suggest, nor

which

his

own

embody those pointed

out by others.

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Again; the researches of the chemist are daily

adding to a stock of information valuable to
every department of

among

the

arts

and sciences;

these the cabinet-maker and upholsterer

INTRODUCTION.

Vlll

will

many

find

peculiarly

serviceable

v.itness

the modern improvements in cements, varnishes,

and every other part of orna-

gilding, polishing,

The experience

mental decoration.
deed

is

of few in-

them

sufficiently extensive to enable

minds with one tenth part

store their

to

of the in-

fromation which has been published to the world

on these heads.
tains

the most

work, therefore, which con-

approved receipts,

which the workman

and

will be enabled to

those applicable to his purpose,

from
select

be appre-

will

ciated as equally useful and necessary.

This work, now submitted to the public under

the

title

of

the cabinet-maker, and uphol-

sterers' GUIDE,

is

intended as a book of useful

a work of real
workman^ and a manual of experi-

information to the apprentice,

utility to the

mental reference to the trade generally

not profess to give diffuse instructions

make

a table, a chair, or

furniture:

any similar

that would be not only

make

a good

practice

under

good instruction

workman

or a neat finisher

that

aim has been

to

to

article of

can

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and

does

superfluous

and unnecessary, but a vain attempt

only

it

how

our

produce a work which shall

give those instructions which are not always to

INTRODUCTION.
be met with in

ever}'-

ix

one's practice^ but which

are not the less essential to be

known by every

workman.

To make our work useful, and easy of

we have adopted the popular plan

ence,

refer-

of di-

viding the subjects into distinct parts, and of

again subdividing them under their proper heads.

This will enable any one to trace out any particular

direction

or

receipt

shew, generally at one view,

upon the

with
all

facility,

we have

and

to say

subject.

Part I comprises the rudiments and principles of ornamental cabinet-making

and uphol-

stery generally; and contains plain and familiar

instructions, exemplified

by easy examples,

for

attaining a proficiency in the art of drawing,

particularly that department applicable to the

cabinet-maker and upholsterer.

In this part

we

have endeavoured to lead the student step by

step from first principles to the

more determi-

nate forms; and, by placing before his views the

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progressive examples, to render the attainment

of this useful art equally speedy and certain.

We

have not only endeavoured, in this part,

INTRODUCTION.

to practise the pupil in such a familiar

gressive

manner

as to render

it

tion rather than abstract study;

also laid

down

and pro-

a pleasing recrea-

we have

but

the most approved principles for

the developement and exercise of his inventive

faculties, in the practise of the

ornamental de-

and to lay before him such

designs, and such modern
classic
and
elegant

partment of his

art,

examples of furniture, as will lead him instinctively to

form a

style at

once chaste and appro-

priate.

Part II comprises the processes of veneering,

inlaying,

and finishing in buhl-work, the orna-

mental decorations used in cabinet-work.

In

this part, such directions are given as experi-

ence has warranted to be most certain of properly and successfully performing

lishment in

the embel-

a neat and complete manner;

the

materials best adapted for the purpose, are also

pointed out;

and the cements and glues most

suited for this kind of work, described.

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Part III comprises dying and staining woods,

ivory, bone, tortoiseshell, musical instruments,

and

all

other manufactured articles;

with the

processes of silvering, gilding, and bronzing.

INTRODUCTION.
In

we have

this

laid

down

XI

the most approved

directions for the selection of the

article best

the method of preparing

best

and

wood

or other

adapted for the required process

calculated to

give

and the dye or stain

it^

it

the

desired colour;

and bronzing, no-

in the silvering, gilding,

thing has been omitted which modern improve-

ment has added

to realize these branches in the

highest style of brilliancy.

Part IV comprises lackering, japanning, var-

and polishing every

nishing,

article of cabinet

and upholstery work; and contains

all

the im-

proved processes practised in each of their departments,

including

French polishhig
for

India-japanning and the

together with plain directions:^

making and employing the best and most

brilliant lackers, japans,

int^

to the receipts of the

li

and varnishes, accord-

most celebrated manu-

facturers.

contains glues, cements, and composi-

tions for tilling-up^

furniture;

and ornamenting

articles of

and a considerable number of mis-

cellaneous receipts

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Part

the result of experience,

selected from the writings of

tiie

or

most approved

authors, and the more scientific, work^^.

>^

INTRODUCTION.

Xll

Such
merits,

is

the outline of

we submit

its

contents:

as to its

our opinion to the test of a

discerning public, in the confident expectation

that the Complete Cabinet-maker and
sterer's

Guide

Uphol-

will soon find a place in every fac-

tory and workshop,

every intelligent

and be the companion of

workman.

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London, June 1829.


THE

COMPLETE CABINET-MAKER,
UPHOLSTERERS' GUIDE.

PART I.
ORNAMENTAL CABINET-MAKING:
CONTAINING, THE RUDIMENTS OF DRAWING, AS APPLICABLE TO ARTICLES OF FURNITURE; PRIMARY OBSERVATIONS ON DRAWING ORNAMENTS FOR CABINETWORK
GEOMETRICAL AND PERSPECTIVE TERMS DEFINED AND explained; THE RUDIMENTS OF SHADOWING, AND OF colouring; ORNAMENTS USED IN
CABINET-WORK, THEIR TERMS EXPLAINED; ORNAMENTAL DECORATIONS, WHERE AND WHEN MOST
APPLICABLE.
;

THE RUDIMENTS OF DRAWING,

as applicable to Articles of Furniture,

Drawing

is

the art of delineating on an appropriate

surface the representions of objects, as they appear to

It

by the inventive powers of a cor-

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the eye, or are formed

rect taste.

takes in a wide range, but the parts

more intimately connected with cabinet-work, are

Geometry, and Perspective.

COMPLETE CAJINET MAKER.

14

Geometrical drawing

may be

defined to be that branch

wliich delineates any given object according to certain

fixed forms or proportions,

and represents the whole

subject apportioned by a given scale

the contrary, represents

it

in the

perspective,

on

same manner as the

eye actually beholds the given figure, the fore parts

most conspicuous, while those distant appear

beino"

they receded from the

indistinct, or rather as if

more
sight.

The

preparatory studies consist in various modes of

delineating

by

light

and dark strokes

the more mature

of this

are shadowing, and colouring.

description may be divided into out-

and shading:

the outline, or contour, represents

operations of the art

Drawing
line

the boundaries of an object, as they appear to terminate

against the back-ground, and

mass.
of

all

rior

is

a section of the whole

Outlines are also used for the circumscription

the parts of an object, interior as well as exte-

while shading, with a softer pencil, expresses

the projections, cavities,

or flatness, which form

its

anterior features.

correct outline of the objects of a picture,

is

of

the highest importance, and, certainly, the best test of

an intelligent daughtsman, as

in

it

most cases con-

veys the general character of the object, without the

;

and is therefore, as

The aim

far as it goes, a

com-

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aid of shading
plete

drawing in

fore,

should be, to acquire the power of copying faith-

fully

whatever

itself.

may

of the student, there-

present itself before him.

15

RUDIMENTS OF bBAA'ING.
For the

first

no material

essay,

is

better than a soft

pencil; the drawing to be sketched on white paper,

and the pencil to be held somewhat

same man-

in the

ner as a pen, but so as to allow of more freedom of

and to give a greater

action,

and the

the fingers

with making

wrist.

facility of

The

lines parallel, straight,

directions, and then exercise himself

trical figures,

solved

into

motion both to

learner should begin

some of which

all

and curved
in tracing

forms

in all

geome-

may

be re-

but without, as yet, the aid of either rule or

compass

he should also copy occasionally from broad

specimens of ornament, as being well adapted to give

firmness and flexibility to the hand, to increase which

they should be practised upon as large a scale as con-

He may

venient.

also at intervals study

from the best

drawings, or from open chalk prints.

Whatever be the object

form should be

any

fault

may be

as nearly as
in the

first

to be drawn,

its

general

sketched out very slightly, that

the more easily removed; estimate,

you can, the distances of particular points

original figure

make

dots at similar distances

on your paper; then draw your

lines carefully to tliese

dots, beginning at the upper part,

ward, either from right to

left,

and working down-

or from left to right,

according to the tendency of the parts: draw the prin-

when these appear right, mark in

and when the whole is pencilled out,

the smaller parts,

examine

it

scrupulously

then pass over

it

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cipal divisions first;

with a piece

of bread, to render the lines nearly invisible, and re-

COMPLETE CABINET-MAKER.

16

and retouch them again and again,

vise

be correct
pencil

may

or the lines

brush,

first

till

the sketch

go over the whole with a harder

after this,

comparing

be put in ink with a sable

the parts with the original,

all

both perpendicularly and horizontally, that they

have the same comparative inclination, range, and

tance, as the object
loss,

he

may now
way

but only by

done his utmost

itself.

Where

the student

is

may
dis-

at a

sparingly use the compass or sector,

of proving the angles after he has

for unless these instruments be oftener

used in the eye than in the hand of the learner, he will

never make a good draughtsman, or be able to judge of

way than by rule. Perhaps it

make their first lessons as
originals as possible; and when the

distance in any other

would be best

for learners to

near the size of the

eye can measure with tolerable exactness, to vary from

these dimensions will be proper; the pupil will then

acquire an aptness of preser^dng simdar proportions on

a different scale, which forms so essential a part of the

draughtsman's

skill,

and

objects or drawings.

is

It is

so indispensible in imitating

not necessary that the lines

in a drawing should be of one uniform thickness

on

the contrarj% a delicate variety, with the lines occasionally broken, gives a richness and adds
:

the lines

may

much

to the

also be carried a little within the

contour of the hollows, as

if

pursuing the inflection of

the part, which, when done with

outline very characteristic.

skill,

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effect

makes a mere

Th^se remarks apply to Drawing generally

we

shall

OS

now

give a

v/RNAMENTS.

DRA.WINf-

17

few primary observations regarding the

principles of the art, as applied to cabinet and upholstery-

work.

PRIMARY OBSERVATIONS

ON DRAWING ORNAMENTS
For Cabinet-Work.

young workman

It will be to little purpose that the

should possess a correct discrimination in the choice of

the most appropriate ornaments,

knowledge of drawing;

he have not some

if

for without

he can delineate

the embellishment in outline, he will never be enabled to execute

his first

the eye,
tions,

it

in

the

wood.

For

this

puri^ose,

acquirement must be, to trace an object by

in

all

and inclina-

proportions

its relative

To

with a just boldness and freedom of hand.

facilitate

ing the

this,

his best

way

will be to begin

most simple forms,

as straight

by draw-

proceed gradually to the more complex objects

whatever subject be his

first

essay, he

and

lines;
;

but

must place

it

perpendicularly and directly before him, otherwise he

will never produce a correct drawing.
is

He must

also

copying, what are the details

of the object, as well as what

is

merely before him;

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bear in mind while he

otherwise, he will never learn to delineate with correctness.

b3

COMPLETE CABINET-MAKER.

18

From
and

straight lines, he should next proceed to curved

spiral

ones of different descriptions, branching off

to the right

hand and

to the left

in this he

particular, although he will at first find

difficult to

make

must be

somewhat

his sides corresjDond.

After chawing lines in

all

the various directions his

fancy can dictate, he will acquire a

and a ready

it

facility of

command

of hand,

delineating in every possible

position.

The best method

to

of learning, generally,

draw a few simple

copy curved

number

lines,

parallel lines,

is

and

for the pupil

after this, to

and then to multiply them to the

of ten or more: these being done, he

may

try

leaves and scrolls; and, lastly, the whole ramifications

of foliage.

We

will illustrate this part of our introductory in-

with several lessons, by way of examples.

struction,

See plates 2 and 3.

Plate

2.

Lesson

Various simple lines for the

1.

pupil's first practice.

Plate 3,

and forms;

and

full

Lesson 2.

Simple and compound

lines

with a figure (10) in outline, half-shade,

shade.

These preliminary lessons should be well practised before the pupil proceeds further

may

onwards;

for

however

seem, they are as necessary and im-

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simple they

portant a part of drawing, as the foundation-stone

is

to

the building; they are indeed the very laws of the art

and

it is

by a

tasteful

combination of these forms that


ON DRAWING ORNAMENTS.

19

the most correct pictures and the most accurate deli-

neations are produced.

Having practised thus

far,

the student

may next

attempt the combinations, or compound forms, as ter-

minal ornaments, vases,

scrolls,

and

pedestals,

similar embellishments

columns, leaves,

we

of these

shall

give a few lessons, but which, in the hand of a judicious

student, will be

Plate 4.

and

sufhcient.

See plates 4 and 5.

Various compound ornaments

in outline

and shade, peculiarly

scrolls,

for cabinet

amply

Lesson 3.

suitable

work, and well adapted as practical lessons

to the pupil.

Plate 5.

Lesson 4.

Compound ornaments,

conti-

nued.

When
times,

the

student has copied these

and attained

sufficient practice in

drawings with precision,

over several

copying from

and can measure distances

with the eye, and delineate them with a free hand,

he should then try at drawing from plaster casts

after

which he may practice from the vegetable creation

such plants and flowers as are best calculated for his
future purpose.

come a proficient

own

powers, by applying himself to the com-

posing of ornaments, which will rarely

graceful, rich,

and natural.

fail

to appear

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of his

By proceeding thus, he will soon behe may therefore now try the fertility

In designing ornaments, the pupil must picture the

whole subject in his imagination, as though dazzling on

the paper before him; he should then, with a black-lead

COMPLETE CABINET-MAKER.

20
pencil,

mark

out faintly in lightly sketched lines

it

which having completed, he may lower the whole with

crumbs of bread, and

lastly retrace it

The ornament may now be inked

in

more

correctly.

with a pen, or with

a fine sable-hair brush, or worked up in pencil, as the

may

artist

consider best.

GEOMETRICAL AND PERSPECTIVE TERMS

Dotted and Explained.

We

have said that the parts of drawing more

mately connected with our subject,

Perspective.

terms in

ledge of them,

many

will

It

common
it

are,

inti-

Geometrj^ and

therefore be necessary that the

use be defined; as without a know-

will be almost impossible to understand

of the directions essential to the cabinet-maker

or upholsterer.

GEOMETRY.
Extension

is

a term applied to any expanded surface,

proceeding in any or every direction.

Magnitude

is

a solid bulk, having length, breadth, and

thickness.

Figure

is

plain surface,

A
A

any bounded space

it is

termed

superficial figure

Si

when formed

plain figure.

of a

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has length and breadth only.

solid figure has length, breadth,

and thickness.

Surfaces are the extremities of solids.

GEOMETRICAL AND PERSPECTIVE TERMS.

21

Lines are the confines of surfaces.

Points are the terminations or intersections of lines.

Angles are the concentration or conjunction of two

inclined lines; and are either right, acute, or obtuse.

curve is that kind of line from

be taken, the intercepted point

quadrangle

is

which

two points

if

not straight.

a plain square figure bounded

is

by-

four right lines.

A parallelogram
sides of

is

an oblong quadrangle, the opposite

which are perfectly

quadrilateral

is

parallel.

a quadrangle formed by four equal

lines.

rhombus

is

a quadrangle, having

sides equal,

its

angles

two equally obtuse, and two equally

A rhomboid is

an oblique-angled parallelogram, whose

and

its

acute.

opposite sides and angles are equal to each other.

A
A

trapezium

is

a figure with none of

trapeziod hath

two only of

its

its

sides parallel.

opposite

sides

parallel.

All plain figures having

more than four

sides,

are

termed polygons; and are named from the number of

sides they contain; five sides, a pentagon; six, a hexa-

gon; seven, a heptagon; eight, an octagon; &c.

circle is

formed by an uniform curved

circumference;

which curve

distant from the point termed

A
A

triangle is a figure

is

its centre.

having three equal

semicircle is half a circle.

line, called

in every part equally

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A
its

sides.

:;

22

COMPLETE CABINET-MAKER.

segment of a circle

more or

is

than half of a

less

circle.

The

of a

diajneter

through

circle

is

a straight

centre, each end joining

its

drawn

line

the circum-

to

ference.

chord

is

a right line drawn within a

circle, its

ends

both joining the extremities of the arc.

The

radius of a circle

a right line drawn from the

is

centre to the circumference.

The

construction or formation of most of these geo-

metrical figures or parts, are so self-evident from their

that

definition,

we need

their figure, but leave

not give any delineation of

them

for the student's

in which, indeed,

he can scarcely

We

now

shall therefore

fail

exercise

of correctness.

proceed to the

PERSPECTIVE.
If the student

frame, in w^hich

hold up at arm's-length a picture

is

a square or oblong piece of glass

washed over with whitehard

varnish,

but

perfectly

dry, he will be enabled to delineate with a pencil

the visible lineaments

object

which

as

seen

or

appearance of the

outline

within the

compass of

the

frame

result will be the lineal picture, the glass being

considered the paper on which the objects are to be

will

The

true relative proportions of perspective

and

be here laid down;

sketched out, the whole

is

if

D
w ow
kF n
in loa
eT d
oo ed
ls fr
.c om
om

drawn.

after the design

proportioned by a scale,

will greatly facilitate the student,

particularly

if

is
it

he

GEOMETRICAL AND PEBSPECTIVE TERMS.

23

should afterwards wish to enlarge or decrease the

In this case a border

of his object.

may

size

be drawn at

equal or certain distances from the extremities of every

part;

and the whole space both in breadth and depth

be apportioned into equal divisions and marked by

pencil lines intersecting the whole and each other
if

sions be made, the student will have a guide

relative

spectator

proportions

To
is

in

the

will

due and

copy as existed in the

illustrate this, ^qq plate 6, diag. 1.

The

viewing the appearance which two pieces

of furniture will have at a distance

a similar

divi-

which

hardly allow him to err in presenting the

original.

and

on a smaller or larger paper, the same number of

medium

to the one just

when seen through

named, the

result will

be the same, and prove this position in perspective to

])e

correct, viz. that all objects situated

on a

level floor,

diminish, and seem to advance up or ascend the picture,

in the

same proposition

as they recede

while those suspended from

or

from the sight

on a

level

ceiling,

have the appearance of descending, or seeming lower

in the picture,

Diagram

2,

in the

same proportion according

to

from the eye of the spectator.

wdll

show the terms made use

example, the figure represents a hall which

into perspective ;

in this case

AB

is

of;

for

thrown

are the base lines,

C. D. the points of view or distance;

the line which

D
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kF n
in loa
eT d
oo ed
ls fr
.c om
om

their distance

drawn from the one to the other is the horizontal

line, and E the point of sight.
We have divided the
is

base line into six equal parts, to show the dimension of

COMPLETE CABINET-MAKER.

24
each square,

(for

we

will suppose the hall to be paved;)

from each of these divisions draw

E;

sight,
ties of

lines to the point of

then draw diagonal lines from the extremi-

your base line to the points of view, and where

the visual lines are cut by the diagonal ones,

parallel lines,

and the diminution of each square

given correctly.

be easily seen

It will

mined the width of the door

base,

the

which carried

side wall,

thickness

at

deter-

to the point of distance, intersect

and gives the width against

it;

the

and gives the depth

carried to the points of sight E,

first

we have

two squares on the

likewise carried out on the base line, and

is

of the door.

the

draw

will be

Thus, by practising a few similar plans,

rudiments of the art will be easily imderstood,

and found both useful and amusing.

The

following are

same time the most

The

the

most common, and at the

essential terms, used in Perspective.

point of view

is

the optic angle of the visual

rays, or point

where the rays from the picture or object

concentrate

and where the spectator

stand while drawing the object

of the picture, but

is

it

is

is

supposed to

consequently out

the point or distance from

which

only will the picture or object appear natural.

Th& point of sight,

is

or

more properly the

seat

of the eye,

a point in the picture directly opposite the eye, and

produced by a

line

picture.

The

horizontal line

is

drawn

at right

angles to the

D
w ow
kF n
in loa
eT d
oo ed
ls fr
.c om
om

is

a line passing before, and of

the exact height of the eye of the spectator.

THE RUDIMENTS OF SHADOWING.

The

primitive object

the

is

figure given

25
to be de-

lineated*

Primitive measures are the real measures of the object

reduced to a scale, which by being thrown obliquely into

perspective, will be seen foreshortened.

The

is

The

base line,

The

which the

supposed to be situated.
or entering line,

the transparent plane

to

part on

floor or

base plane is the

object

is

is

that on

which

supposed to be posited.

vanishing points are those in the horizontal line

which

all

the oblique points concentrate or meet.

Inclined vanishing points are ascertained

by perpendi-

cular lines raised from the extreme vanishing point in

the horizontal line ; and are essential for pediments and

swing

glasses.

The

diagonal vanishing point

the horizontal line either

is

a point set off upon

way from

the seat of the eye

and in the same proportionate measure as the draughts-

man

is

supposed to stand distant from the picture, or

object.

THE RUDIMENTS OF SHADOWING.

the objects are correctly drawn in outline,
first

laying

D
w ow
kF n
in loa
eT d
oo ed
ls fr
.c om
om

When

the learner should proceed with shadowing,

on the dark broad washes, then the next in strength,

and lastly the more delicate half- tints. In finishing,
great attention must be paid to the quantities and comc

COMPLETB CABINET-MAKER.

26

of light,

binations
tion

middle

shadow, and

tint,

young student

in this, the

reflec-

some

will find

diffi-

culty in distinguishing the delicate gradations of light

and shade;

but observation and practice will

teach him.

We

soon

may, however, remark, that he must

reserve his greatest strength of light and shade for the

parts

most prominent, and every

panied and supported by

becomes deeper in tone as

till it is

lost in the

light

must be accom-

shade; the middle tint

its

advances from the light,

it

shadow, and the outline

by

into the back-ground

reflections

is

softened

from the surround-

ing objects; the contour, therefore, must not be too

strongly marked, or the extreme parts, which should
retire, will

come forward.

Shadows

made out by washing

are

or tinting the

drawing with Indian ink, which should never be mixed

up

for use a

saucer, or

second time, after having once dried in the

it

will

and

terra de sienna,

distance

may

work muddy.

neutral tint,

made

red and indigo, or lamp-black, burnt

with Venitian

lake, varied as circumstances

require,

may

and

also be used for this pur-

pose.

Shading may be performed on columns or other

convex bodies in two

diflferent

ways

the

first is,

that

of laying on the shades, as nearly in their places as

a tint very nearly dark enough, then

D
w ow
kF n
in loa
eT d
oo ed
ls fr
.c om
om

possible, with

softening off the edges with a clean brush with water,

and,

when

dry,

repeating

until sufficiently lightened

the
;

process

the other

is,

several times

by working

THE RUDIMENTS OF SHADOWING.

27

with tints rather lighter than are requisite, at

and then blended by a

in spots near each other,

wash over the whole, and when

by other spots

first laid

faint

nearly dry, strengthened

and so on, gradually

in the interstices,

giving the shades their due force and form, leaving the

This mode

paper for the lights.

and in the hands of a master,

the boldest,

is

called stippling,

the best, or at least

drawings;

finished

for

is

for

it

not only

but gives a

occasions the whole picture to sparkle,

transparency and play to the shadows, making, as

were, darkness visible.

It is,

however, of

little

it

im-

portance which of these, or any other plan of shading,

be adopted, so that the faithfulness of the imitation

be well attended

to.

In the representations of shadows, the artist should

be careful not to make them too hard or abrupt at

faint

every shadow terminates by the

because

the edges,

and indistinct transition from the obscure to the

illuminated

part

shadows are
dark; for

to be

upon which such

surface

Nor should

cast.
is

it

the

of

shadows

be equally

remembered that shadows pro

jected by the sun are softened by the surrounding rays

by the general

atmosphere;

diffusion

of

the object that produces them.

ciple that

light

through the

they should, therefore, be darkest near

It

is

on

this prin-

shadows from the light of a candle, are

darker than those

is

much more

it

follows,

from the sun;

forcible

from the

D
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kF n
in loa
eT d
oo ed
ls fr
.c om
om

and

although the light

latter

that shadows in candlelight

body:

hence

scenes must.


COMPLETE CABINET-MAKER.

28

in the language of painting, be heavier in their representation, or less transparent, than those of daylight.

For examples of shadowing, see

and

plates 4

fig.

10, plate 3,

and

5.

THE RUDIMENTS OF COLOURING.

JUDICIOUS writer has observed, that " Should the

A
most

skilful

only,

pencil

master draw a rose or grape with the

would have but a

observers

his

or imperfect image of the object; but let

each

its

proper colours, and

smell the

may

we

rose,

touch

we no
the

picture:

it is

longer doubt

life

to

we

Colouring

grape."

therefore be considered as the

faint

him add

and soul of a

the third and last component

that of

giving to objects their proper hue and colour, as they

appear under

them, so as to
brilliancy

is

also of blending

may be

divided

necessary for

into

two kinds: that

is

fascinating,

and renders

work more impressive on the imagination

their

selection;

first:

for

tints

D
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kF n
in loa
eT d
oo ed
ls fr
.c om
om

required in the

more

Truth alone in the local

delightful to the eye.

is

greatest

rendering the imitation just

and natural; and that which

the

and contrasting

make each appear with the

and advantage.

Colouring

which

combinations of light, middle

the

all

and shadow; and

tint,

the second demands choice in

the eye

has the same intuitive

abhorrence of unliarmonious combinations of colour,

that the ear has to discordant sounds.

To

possess a

29

THE RUDIMEXTS OF COLOtJRIKG.

knowledge of the arrangement of colours,

scientific

so as to produce effects not unnatural, requires but

little talent;

can

but to perform

all

that a skilful combina-

and application of the various powers of colours

tion

effect, is

not so easily attained.

As, however, the

student

may by

this time

have

attained a sufficient knowledge of drawing to be able

to

pourtray any subject he sees, his fancy

vent,

may

he will now

or his employer suggest,

in-

only

few hints as to the colours that may be

require a

compounded with the best

drawings

the

for

effect

woods,

different

in

imitating

metals,

cloths,

&c.

used in the various articles of cabinet furniture, stating

the principal colours

first.

To imitate mahogany.

Mix

red with burnt

light

umber; shadow with burnt umber.

Rose-wood,

Mix

with a stronger
Satin-wood.

and

lake

tint of the

Use

lamp

black;

shadow

same while wet.

yellow ochre

shadow with Van-

dyke brown.
Bronze.

umber;

Mix

Prussian-blue,

gamboge, and burnt-

shadow with Vandyke brown and

indigo,

mixed.

Use

and

buhl ornaments

colour

made

Or-moulu.
Velvet.

gamboge

stipple

may

of

shadow w ith burnt

terra de

with burnt-umber: inlaid brass or

D
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kF n
in loa
eT d
oo ed
ls fr
.c om
om

Brass.
sienna,

be laid on afterwards with a body

gamboge and whiting.

Mix king's yellow and Indian yellow.

Mix carmine and Indian

c 3

red.

COMPLETE Cabinet-maker.

30

Mix

Green-baize.'

indigo and gamboge:

for chair-

seats, use Vermillion.

Glass.

Mix

lamp-black and indigo

shadow with

the same.

Mix lake, Venitian red, and ivory-

Porphry -marble.'
black;

afterwards

speckle with

constant- white,

and

with lamp-black.
Verd-antique.

Mix

indigo and Roman-ochre; after-

wards lay on light and dark green

Sienyia-marble.

umber; vein

it

Mix raw

spots.

and burnt-

terra de sienna

with burnt umber alone.

Mona-marble,

Mix

indigo, Venitian red,

and lake;

vein with dark green.

Black-marble.

Mix

indigo and madder-brown with

lamp-black.

Buff-colour
ochre,

drapery .^Mix

gamboge and a

or

gamboge

little

lake;

same, darker; for the more

mix gamboge and burnt-umber.

the

White drapery.

and

Roman

shadow with

intense

shadows,

Shade with a mixture of Indian ink

and indigo.

Shadow with a mixture lake and gamboge.

Crimson-curtains. Colour with red lead and a
Chintz.

of

little

lake.

Colour

as for or-moulu,

and shadow with

D
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kF n
in loa
eT d
oo ed
ls fr
.c om
om

Gilt-poles.

burnt-umber and gamboge combined, or with burnt-um-

ber and lake, and sometimes with a mixture of lake and

gamboge.
There

is

scarcely

an

artist

but

who compounds

RUDIMENTS OF COLOURING.
colours each in a

manner peculiar

S\

to himself;

now, as

landscapes are sometimes seen through the apertures

of windows,
instruction

we

when a view

of the

room

taken,

is

some

necessary in this department of the art

is

what

shall therefore state

is

considered to be the

best and simplest process.

After the view

penciled out, begin with the sky:

is

a mixture of Prussian-blue and a

for this use

little

begin at the top of the picture, and soften

lake;

downwards, but at the horizon add a

The

red.

clouds

are

it

Venitian

little

next to be worked in with a

mixture of Venitian red, indigo, and a

next, with the sky- colour,

and a

little

little

gamboge

Venitian red

added, cover the whole of the ground, beginning at the

front,

and thinning

not to go over the

it

towards the horizon

rivers,

but observe

Distant

or pieces of water.

mountains are coloured with indigo and lake

and burnt

fuscous mountains, with indigo, lake,

de sienna
indigo,

with

distant parts of the grass,

yellow-ochre,

burnt sienna,

and lake;

on the fore-ground

indigo,

and burnt

of lamp-black

worked with

near

are of

terra de sienna;

indigo,

lake,

dark touches,

distant

trees,

gamboge,

known

D
w ow
kF n
in loa
eT d
oo ed
ls fr
.c om
om

burnt sienna,

required to be

are

and gamboge, shadowed

deepened towards the shadowed

is

dark

Vandyke brown,

with the same colour made darker; and near

coloured with

terra

made with
grass is made

intense

and bumt-imiber;

near,

are

and indigo:

Italian pink,

touches

trees are

and indigo,

This

is all

that

in this branch of the art;

and

side.

COMPLfiTE ABINET-MAKER.

3S
is

a complete and valuable, though concise, process for

painting cabinet furniture, landscapes, &c.

ORNAMENTS USED

IN CABINET-WORK,

THEIR TERMS EXPLAINED.

Ornaments

are the decorative parts of an edifice,

household furniture, or other objects, studied from the

vegetable and animal kingdoms, gracefully and

They

combined.

cially

artifi-

are seldom of importance

on

the exteriors of buildings, simplicity and variety in the

contoiu*,

with bold, massive forms, being there primarily

considered, and on

pends

it

is

which

where they are not

principally applied,

destroyed

their grandeur chiefly

de-

in the interior that ornaments should be

by the weather,

liable to

be

and are likewise brought

nearer to the eye of the beholder.

Foliage ornament

composed of leaves only; the

is

subdi\'isions of a leaf are called plants

external divisions,
are

called eyes,

raffles

and the small,

the terminations of the plants

and the longer reeds proceeding from

the eyes are called pipes.

The

leaves chiefly used, are

the acanthus, olive, palm, parsley, vine, \xy, oak, thistle,

and water

leaf;

the flowers most in use

are, the honey-suckle, lotus, lily, rose,

Mixed ornament
flowers,
other.

and

is

scrolls,

D
w ow
kF n
in loa
eT d
oo ed
ls fr
.c om
om

laurel, lotus,

and jasmine.

a composition of leaves,

fruit,

combined in any way with each

ORNAMENTS USED IN CABINET WORK.

Festooned ornament

comprised of

is

33

fruit, flowers,

and

each other, and supported at

leaves, intermixed with

the two extremities with ribands, sometimes suspended

from a bull's-homs, the middle part formed with a

parabolic curve

by

its

gravity.

Arabesque ornament

is

a mixture of slender

leaves, vases, birds, lyres, and representations of

scrolls,

human

figures.

Winding 'foliage has a principal plant from which

issues a

stem in the form of a serpentine

line,

number of branches spreading out on each

with a

side of all

the convex parts of the alternate sides, and twisting

themselves in the form of spiral lines; and those spirals

and

stalks are decorated

with foliage and flowerets.

Serpentined or running ornament has a

tnmk, from

which springs a stem continually changing

in opposite directions, that

is, first

its

course

concave, then convex,

and so on alternately to any multiplied number of curves

of contrary natures; from the concave

and convex parts

shoot branches, each terminating with a rose.

Plaited ornament
lines,

a definite number of serpentine

is

interwoven with each other; and exclusively in

the cap of the Grecian Ionic order.

Guilloche ornament

is

a succession of circles entwin-

Fret ornament

wards of a key

is

formed of straight

used

vases.

Mosaic ornament

is

much by

D
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kF n
in loa
eT d
oo ed
ls fr
.c om
om

ing each other.

lines like

the

the Etruscans on their

a cemented inlay of marbles.

34

COMPLETE CABINET-MAKER.

glass, shells,

and rich varied stones;

used in pave-

ments, and on tops of tables.

Buhl ornament

is

an insertion of brass, and some-

times of wood, formed into foliages, flowers, animals, &c.

USED IN

ORNAMENTS
CABINET AND UPHOI.STERY WORK.
When and where most

The ornamental,

applicable.

or decorative part

of furniture,

and when applied,

should be cautiously introduced;

should be designed with regularity and distinctness of

outline;

they should also be of a character simple,

and appropriate

to the

work of which they

are intended

to form the embellishment.

You may

lay

it

down

as a general rule, that

when

corresponding ornament cannot readily be adopted, one

of an opposite character
case,

is

not admissable

an ornament of no peculiar character,

and
is

in that

the only

alternative.

In addition to the essential modifications of

and convenience, the secondary

objects,

utility

elegance and

beauty, are indispensably necessary to be studied, to

be

graceful, pleasing,

Hall-chairs.
tastefully,

The

and

what

it

should certainly

and appropriate

family arms,

or

D
w ow
kF n
in loa
eT d
oo ed
ls fr
.c om
om

render each piece of furniture

article.

crest,

carved

emblazoned in their proper colours,

form a most appropriate embellishment.

ORKAMteNTS USED IN CABINET WORK.

Library

wreath

chairs.

of

Classic

ornaments,

two genii

laurel,

striving

35

such

Minerva's bird, or others of a similar character,

be introduced with good

Drawing-room

chairs

Admit

flowers,

devised scrolls,

may

buhl-work or in carved

relief,

of

an

infinity

of

the Graces, tastefully

"WTeaths,

description,

appropriate

may

effect.

Apollo's lyre,

embellishment:

the

as

for the bays,

and others of an

be executed either in
as

most suited to the

character of the ornament chosen.

Card
well

tables,

being used for breakfast purposes, as

may have

as for the evening party,

the tea or

coflfee-plants for their

ornaments, or the masks of Ceres,

Bacchus, or Comus

but for a dining-table, the cornu-

copia, or

some bold or chaste design of

fruit, is

decidedly

Stars and flowers have been

the most appropriate.

introduced into this part of cabinet furniture; but a

greater perversion of taste can be scarcely conceived.

Library and Writing tables should be embellished

altogether

from

mythological history:

the head

of

Mercury, placed on partitions between the drawers,

are very appropriate,

this

god being said

inventor of letters: the caduceus

an ornament; so

may

first

is

be

the papyrus plant, from

made; the

which

likewise be used; but no other tree, flower,

indeed

we except

tree.

or

be introduced, unless

the oak, the ink being

produced by this

the

laurel- wreath, or the bays,

shrub should on any account

galls

to

also well adapted

D
w ow
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in loa
eT d
oo ed
ls fr
.c om
om

for

paper was

is

made from the

Besides, Mercury, Apollo,

COMPLETB CABINBT-MAKER.

36

Cadmus, the inventor of part of

the god of poetry,

the alphabet, and Clio, the presiding

are all appropriate embellishments,

and

in

good

Dining

if

muse

of history,

applied with effect

taste.

tables.

Broad ornaments

the bread- tree and

its fruit,

are

most consistent;

form an admirable subject;

hops, also, though a simple plant, form a very beautiful

ornament when chased and inserted in wood.

mask

of Ceres, with the

com

The

in her hair, is also well

suited to the dining-room.

Drawing-room tables may be properly embellished with

any tastefully- designed ornament of

fruits or flowers.

Sofas require, like the rest of the furniture, that their

ornaments should be appropriate, chaste, and

tasteful:,

the couch-flower, the heart's-ease, honeysuckles, eglantines, or

effect;

Turkish ornaments,

may be used with good

may adorn the end of

a greyhound couchant

the sofa.

Ottomans

Should

be ornamented

with the lyre,

Commodes

or with musical instruments or wreaths.

are sometimes placed at each end of

pannels of which
figure of Victory,

may be

Ottomans

the

embellished with a winged

and the pedestals surmounted by two

antique urns.
dressing-table, or toilette,

may be

embellished with

D
w ow
kF n
in loa
eT d
oo ed
ls fr
.c om
om

subjects chosen either from

Mythology or Botany;

the

Graces, or foliage and flowers of scent-producing plants.

Window-seats
lotus,

in

ox water-lily,

drawing-rooms.

The

Egyptian

or any flower characteristic of

D
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D
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I.f^r.son I.

.S'h >,/>/.-

//,,

11.

D
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1 el's Oil

S/i/i/f/c

X'

/'fjnpoiaui Eities

A''T/>r//is.

D
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D
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D
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('ii7/ijir'//nJ

f'rrniiiunfx

in

Lun' X

S/uitfi

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Lefson T\'.

(A'Tupound Or/icuncn.ts

ut J^i/H- ,^

S/mde.

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Jjitiif.

F-r-arnpIrs

of I'ers/ifch r

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>

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fr-:nch Br,?.

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D
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om

ORNAMENTS USED IN CABINET WORK.

rest

and composure, may be very properly

37

car\'ed in

wood, or inserted in buhl.

English heart's-ease, and

peony flowers, are of this cast.

The mouldings, too, should

be optically studied, that their whole contour

visible

may

be

below the eye, as well as when even with the

horizon.

For cheval dressing

is

glasses, the lotus, or water-lily,

admirably adapted

viewing his

the figure

of Narcissus,

in the water,

would be very

or

own image

For a pier commode and

appropriate.

glass,

wreath contended
Pallas,

for

may

or Pluto,

ladies' book-cases,

laurel-

genii, or the bust

of

be very consistently chosen for

with cabinet attached.

may

Sideboards

by two

chimeras

consoles, or turned pillars, are well suited.

be

adorned

with

the

mask

of

Bacchus, or the horn of plenty; and on the backboard

the thrysus, or sceptre of Bacchus, will form a very

may have

beautiful ornament; the celleret

and clustered

leaves,

vine -leaves

serpentined and festooned.

chanalian youths gathering grapes,

would be an admirable ornament

Bac-

tastefully finished,

if

for this

article of

furniture.

The cot-bed admits a great variety

The head of Nox, the god of night the
;

sleep,

may

and a bunch of poppies,

be

all

as her

producing

as

introduced with good effect; guardian

genii or angels, doves, and

many

D
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kF n
in loa
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ls fr
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om

attendants;

of ornament.
stars,

similar emblems,

may

be occasionally applied. White drapery, as emblamatical

of infantile purity,

is

at all times

most proper.

COMPLETE CABINET-MAKER.

38
Bedsteads

may be

appropriately adorned with wreaths

of nightshade, stars,

mask

of Somnus, the starry

hyacinth, the great Arabian star-flower, the poppy, or

any other nocturnal plant or

flower.

For drawing-room window-drapery, the embellish-

ments to be chosen should be pine-apples, pomegranates,

The

artichokes, or melons.

drapery, and testers, for

drawing-rooms, should have flowers only, such as the

passion-flower, the star of Bethlehem, or the rhododenITie sun-flower looks well, but

dron.

mon, and therefore

unfit

for

rather com-

is

to be introduced into

elegant apartments.
Libraries should be finished in imitation of the antique, the embellishments ghould

The owl and

description.

be of a

Pegasus, the Olympic games, in

priate

strictly classical

olive-branch,
relief,

the

laurel,

are very appro-

or the twelve signs of the zodiac

may

be inlaid

with mosaic work.

Fire-screens have a

number of analogous ornaments

Jove's thunder- bolt, the Phoenix rising out of the flames,

the Cyclops, Vesta, the goddess of
tion of the fall of Phaeton.

appropriate for grates

fire.

stand

or a representa-

as are also

serpents vomiting

Fish or swans are applicable to a basin-

and an eagle

The preceding

to support a chandelier.

are

some of the most

tasteful

and

D
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in loa
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forth

fire,

These ornaments are equally

appropriate designs for the various articles of furniture

described

maker an
business

and are intended to give the young cabinetinsight into that

the

most

properly finiiihing

et:sential part of his

and embellishing hi

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D
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ORNAMENTS USED IN CABINET WORK.

appropriate ornament only

overlooked by too

some

of

whom

it

many workmen

of the present day,

would appear seem more desirous to

load their worth with

fitness

39

a desideratum

work with

ornament,

than to study

or appropriateness to the article in hand.

its

correct taste, a bold design, and a careful application,

will ensure to a

workman not

only the respect of his

employers, but will necessarily entail constant employ

and

liberal remuneration.

We

shall close this part of our subject

examples of

articles of furniture

applicable for subjects of study to the

well as

with several

and drapery, peculiarly

young

student, as

being useful to the more proficient Cabinet

Maker and

Upholsterer.

Plate 1,

Drapery

Plate 7,

figure 1,

for three

windows.
[See frontispiece.']

,,

Plate 8, figure 3,
,,

,,

Plate 9,

4,

Plate 11,

Plate 12,
Plate 13,
Plate 14,

Plate

chair.

Sofa writing
Library
Side-board and wine
A Grecian couch, and a
Cheval dressing
Lady's work-table.
table.

circular table.

cooler.

footstool.

figure 1,
,,

,,

Hall-chair.

figure 1,
2,

Plate 10,

glass.

2,

15,A French

Plate 16,

chair.

chair.

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,,

2,

Drawing-room
Dining-room

LibraryWindow-seat.
Card-table.

bed.

Four-post bedstead.

40

PART

II.

VENEERING, INLAYING,

SfC.

OF VENEERING, INLAYING, AND EXECUTING IN BUHL-

WORK,

ORNAMENTAL

THE

PART

OF

CABINET AND

UPHOLSTERY WORK.

Veneering is the method of covering an

wood with a surface of a very superior kind,

inferior

so that

the parts of the article of furniture thus manufactured

which

are presented to the eye,

advantage as

if

the whole

If this

scription.

appear to the same

work were

be well performed,

looks well to the last, and

is

of the best de

it is

attainable at an expense

considerably less than a similar article would cost

manufactured of the same wood throughout,

an

very durable,

if

but of

inferior quality.

The principal

requisite to ensure success in veneering,

is to select well-seasoned

wood

use the best and strongest glue.

for the ground,

Be

and to

careful to exclude

the air in gluing on your veneer, or a blister will arise,

spoil

your work in that part.

We

need not add

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kF n
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ls fr
.c om
om

and

any more to these remarks, as the following process

contains the most essential directions necessary in this

department.

VENEERING.

41

Glueing and veneering as applicable

a desideratum

It is

work

in such a

among workmen

manner that

it

card and other

8(C.

to veneer their

Several of

will stand.

commonly used cause the

the methods

warp

to

and book-case fronts,

table tops, secretory

piece either to

in winding, or otherwise to get hollow, after the

work

is

finished,

on

its

upperside; and however care-

workman may be in laying his veneer, this will

sometimes happen; much depends upon the manner of

ful the

preparing the ground, perhaps more than in that of

laying the veneer.
freest

from knots

Select that piece of deal

slit

it

down

which

is

the middle, or, take a

piece out of the heart, and place the boards

when

cut to

the required length in a warm place for two or three days;

then joint them up, placing a heart edge and an outside

edge together

when

dry, cut your top again

each joint, and joint it afresh;

you

will then

between

have 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 not so

liable to cast after it is veneered, as

many

which are now done by the methods

of the tops

usually in practice.

You may
deal, but

in the

instead of

same manner.

It is

it

D
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kF n
in loa
eT d
oo ed
ls fr
.c om
om

a good plan, after having veneered your top, to

also

lay

use wainscot or other wood,

make your joints

on the ground on some shavings, with the veneer

downwards

it

then dries gradually, and

likely to cast than

by drying too quick.

d3

is

much

less

COMPLETE CABINET-MAKER.

42

To

raise old veneers*

In repairing old cabinets and other furniture, work-

men

are sometimes at a loss to

know how

to get rid

of those blisters which appear on the surface, in consefailing or causing

quence of the glue under the veneer

the veneer to separate from the ground in patches

and

these blisters are frequently so situated, that, without

separating the whole

veneer from the ground,

is

it

impossible to introduce any glue between them to relay

it

the great difficulty in this case

separate the

is to

veneer from the ground without injuring

heres in

as

it

ad-

too fast to separate without break-

We will here, therefore, show how this operation

ing it.

may

many places

it,

be performed without

difficulty,

and the veneer

preserved perfectly whole and uninjured, ready

new

relaying aa a

piece.

First

wash the

boiling water, and with a coarse cloth

grease; then place

it

before the

caul; oil its surface with

again to the
trate quite

common

and the heat

fire,

fire,

will

remove

or heat

linseed

make

for

surface with

it

oil,

the

dirt or

with a

place

oil

it

pene-

through the veneer and soften the glue

underneath; then whilst hot raise the edge gently with

and

it

will

separate completely

will spoil your

work

again,

the operation, apply more

peat this process

veneer
lay

it

from the

be careful not to use too great force, or you

till

if it

oil,

should get cold during

and heat

it

again

re-

D
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kF n
in loa
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ls fr
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a chisel,

ground

you have entirely separated the

then wash off the old glue, and proceed to

again as a

new

veneer.

VENEERING.

A strong glue,
The

well suited for inlaying or veneering.

best glue

is

readily kno^vn

and being of a rather

and

light

by

brown,

its

transparency,

from clouds

free

Dissolve this in water, and to every pint

streaks.

add half a

43

gill

of the best vinegar and half an ounce of

isinglass.

To veneer
First,

tortoiseshelL

observe to have your shell of an equal thick*

and scrape and clean the under-side very smooth

ness,

grind some vermUlion very

spirits

fine,

and mix

of turpentine and varnish;

coats of

up with

it

two

or three

colour on the under side of the shell,

becomes opaque; when dry, lay

it

lay

it

till

down with good

glue.

BUHL WORK.
Buhl work

is

the art of inlaying in brass, silver,

ivory, tortoiseshell, &c. and, if well executed, has

admirable

effect.

some years
perfection

since,

was introduced

and

to a state of

which equals any thing of foreign manufac-

It is

now

in very general use,

most a distinct branch of

tial

now brought

is

an

into this country

itself, it is

and although

part of cabinet work, and as such no

should be entirely ignorant

Inlaying, as

it

is

how

al-

certainly an essen.

to perform

commonly termed,

workman

it.

that

is

with

D
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in loa
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ls fr
.c om
om

ture.

It

fancy woods, has been too long in use to require any

particular directions; buhl

work

is

nothing more than

inlaying in metals, turtle or tortoiseshell, ivory, or the

COMTLETE CABINET-MAKti'.

44
like

and the chief

difficulty

seems to be

method

in the

of cutting out the pieces for inlaying, and of intro-

ducing them in a proper manner as a veneer or inlay to

Our

the ^vork.

directions for sketching and drawing

ornaments will here be of great use, and a careful

at-

tention to the following directions will enable the per-

workmen

severing and ingenious'

to

surmount every

difficulty.

To prepare

shell or brass ready

for cutting

Being furnished with a thin piece of

out.

brass, of the

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

take also a veneer of shell of

warm

the dimensions requisite, tooth that also; then

your plates and veneers, pass a coat of glue

a plate of brass
glue

tiiat,

place over that a thin sheet of paper

and place your

shell veneer

them between two smooth and even

down by

over

first

on the top

place

boards, either kept

a hea%y weight, or squeezed tight together

hand-screws;

let

them remain

and they

dry,

till

by

will

adhere together sufficiently for the following purpose.

Cutting oui the pattern.

plain,

dry,

the pattern on your shell

paste a piece of paper on

on which draw your design

if

its

surface,

being

with a bow-saw, the blade of which

narrow,

such as

may

be

not sufficiently

D
w ow
kF n
in loa
eT d
oo ed
ls fr
.c om
om

Draw

is

and

now

let it

provided

very thin and

made with a watch

spring.

VENEERING.

45

cut into about six strips, and the stretcjier of the frame
at a sufficient distance from the blade to enable

turn in any
all

you

direction, according to your pattern,

made extremely

light,

in your veneer in a part

to

and

begin by making a small hole

where

it

will not so

much be

ob-

served (unless the pattern comes quite out to the edge).

and invert your saw; then very carefully follow the

lines of

your pattern

till it is all

cut through ; you will

may be separated by
warm water; then take

then have two pieces, which

posing them to steam or

two corresponding

pieces,

you

will

is

to the fol-

have two veneers,

counterparts in pattern with other,

brass

the

one of brass and one of

and when glued together according

shell,

lowing direction,

ex-

the

only where the

in one, the shell will be in the other.

To glue up the patterns.

Take two boards of sufficient dimensions, and heat

them before the

fire

rub them well with tallow to

prevent the glue sticking to

paper,

it;

then take a sheet of

on which lay your veneer,

and having well

rubbed some strong glue into the vacancies where the

pattern

is

to be inserted, put

rubbing

it

down with a veneering hammer,

it

carefully in its place,

over which

place another sheet of paper; place the whole between

let

them get

them together with

quite dry,

D
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kF n
in loa
eT d
oo ed
ls fr
.c om
om

the hot boards, and press or screw

hand screws

they will come

out quite clean from the boards, and appear as one

piece of veneer;

you may then scrape the paper clean

46

COMPLETE CABINET-MAKER.

off,

it

is

then ready for laying, or applying to your

work.
Laying your Veneer.

Having made your work

perfectly level with a tooth-

plane, ai)ply to your veneer the glue

imge 43, and lay

it

board, termed a caul, fasten

hand-screws, and

recommended

in

on your work; then with a hot

let it

well

it

remain

till

down by means of
perfectly hard.

It

then only remains to be cleaned off and polished, according to the following directions.
In order to add to the beauty of your work, and

produce a variety in the shade,

it

is

necessary, before

laying your veneer, to give that side intended to be

glued a coat or two of some colour ground in

varnish,

and

set

by

to dry thoroughly before

oil,

or

you lay

your veneer, as red lead and vermillion ground together; king's yellow, Prussian blue, or

may

fancy

and sometimes the surface

which you intend

very brilliant

to lay

effect,

on your work

any colour you

is gilt

on the side

this

produces a

and even the common Dutch metal

applied will have a very good effect.

The method
is

here given for tortoise-shell and brass

equally applicable to

woods

of

two

different colours,

only then you need not use any other glue but that in
use,

which must be good.

Inlaying with shaded wood.

Having shewn the methods

neering,

we need now

D
w ow
kF n
in loa
eT d
oo ed
ls fr
.c om
om

common

of cutting out and ve-

only ?hew the methc

'\

used to

pioduce that shady biown edge, on works inlaid with

white holly, and which,

when

well executed, has a

very pleasing and ornamental effect; the method

is

as

follows

Into a shallow iron or tin-pot, put a sufficient quan-

dry sand, to be level with the top edge of

tity of fine
it;

place

it

on the

quite hot, then having

fire till it is

your veneer cut out to the required pattern, dip the

edges into the hot sand, and

made them

heat has

burn them

it is

quite

best to bring

them remain

let

brown

them

thp.n all at once,

injure the texture of the

by immersing more or

the

to a proper colour,

by repeatedly renewing the operation,

as you then do not

till

but be careful not to

less of the edge,

shaded appearance to your satisfaction.

recommend the workman, previous

wood, and

you produce a
I

would here

to beginning the

operation, to have his pattern before him, shaded with

umber, or any brown colour, in those parts that the

wood

is

to be stained,

as he then will be enabled,

as

he proceeds, to copy the various shades of the pattern,

wood when once shaded cannot be altered and

much of the beauty of this work depends on a pro-

for the

per judgment in placing your shadows,

to have a guide to
possible effect

dow

Sometimes

in the centre,

and as

this

it is

it is

requisite to give a sha-

and not on the edge of your wood;

cannot be done by dipping

you must do

it

and sprinkling

by taking up a
it,

best always

go by, that we may produce the best

or heaping

little

it

it

D
w ow
kF n
in loa
eT d
oo ed
ls fr
.c om
om

as

in the sand,

of the hot sand,

up on those pirts

re-

COMPLETE CABINET-MAKER.

48

quired to be darkened, letting

the shaking
the colour

it off,

is

and,

if

To imitate inlaying of
is

tern,

first

silver strings,

S(C,

sometimes employed in the Btocks,

&c. of pistols, and

the

remain a short time,

not deep enough.

This process

effect;

it

necessary, apply more where

if

thing

well executed has a very good

is

which you must

to determine as to your pat-

carefully

draw upon your work,

and then engrave, or cut aw^ay the

different lines

with

sharp gouges, chisels, &c. so as to appear clean and

even, taking care to cut

them deep enough, and rather

under, like a dovetail, to secure the composition after-

The composition

wards to be put in the channels.

resemble

silver,

may

be made as follows:

quantity of the purest and best grain tin,

ladle or other convenient receptacle

fusion, the purest quicksilver,

not

paste

stiff

sufficiently fluid,

if

too soft,

add more

add quicksilver

fill

when you may

and

of your hand,
inlaid with

silver.

it

polish

it off

will appear as if

Instead of

tin,

you may

also,

in-

and

if

little

your work,

remain some

with the palm

your work was

you may make a

paste of silver leaf and quicksilver,

above directed

tin,

with a

in

let it

it

w-iH re-

grind this com-

up the cuttings or grooves

you would with a piece of putty

hours to dry,

it

in a

D
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kF n
in loa
eT d
oo ed
ls fr
.c om
om

as

and

it

while in

make

stirring it to

position on a marble slab, or in a mortar,

size,

it,

when you have added enough,

vcorporate;

'^ain in a

melt

add to

to

take any

and proceed as

for the sake of variety

49

INLAYING, &C.

in your work, rub in wax of different colours, and hav-

ing levelled the surface and cleaned off your work, hold
it

at a

moderate distance from the

your strings a good

which

fire,

will give

gloss.

A glue for inlaying brass or silver strings, 8(C.

Melt your glue as usual, and to every pint add of
finely-powdered rosin and finely -powdered

brick-dust

two spoonfuls each; incorporate the whole well together,

and

it

will hold the metal

much

To polish brass ornaments

If

your brass- work be very

smooth

file

it

inlaid in wood.

dull,

file it

as

with a small

with a rubber of hat dipped

powder mixed with linseed

in Tripoli

maimer

then polish

faster than plain glue.

in the

oil,

you would polish varnish,

until

it

same

has the

desired effect.

To wash brass figures over with

a moderate
granulated

fire
;

one dram of good

this silver

vessel off the

fire,

silver.

of aqua-fortis, and dissolve in

silver cut

and throw into

a paste, with which you

made

of copper,

it

and which

may
will

To imitate

as

upon small iron

fire,

bars.

much white
The residue

it

the colour of

tortoise-shell on copper.

copper laminas over with

them over a slow

or

rub over any work

give

silver.

Rub

over

being wholly dissolved, take the

tartar as is required to absorb all the liquor.

is

it

small,

D
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in loa
eT d
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ls fr
.c om
om

Take one ounce

oil

of nut.?, then dry

supported by their extremitie*

50

PART

III.

DYING, STAINING, GILDING,

OF DYING AND

STAINING WOODS,

S(C.

BONE, TOE-

IVORY,

TOISESHELL, MUSICAL INSTRUMENTS, AND ALL OTHER

WITH THE PROCESS OF

MANUFACTURED ARTICLES;

SILVERING, GILDING, AND BRONZING.

Dying wood

is

mostly applied for the purpose of

veneers, while staining

to,
it

to

more generally had recourse

is

the desired colour

give

has been manufactured.

In

should penetrate throughout

surface

is all

that

is

to

the

article

after

the one case the colour

while in the

latter,

the

essential.

In dying, pear-tree, holly, and beech, take the best

black:

but for most colours holly

also best to have your

cut as possible

be allowed to

wood

as

is

preferable.

young and

as

It is

newly

After your veneers are cut, they should

lie

in a trough of

water

for four or five

days before you put them into the copper; as the water,
acting as a purgative to the wood, brings out abundance
if

not thus removed, the

will never be of a good colour

])rocess,

wood

D
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om

of slimy matter; which,

after this purificatory

they should be dried in the open

air

for at

least twelve hours; they are then ready for the copper.

By

these simple

mcan.^f,

the colour will strike

much

D.YIXG

WOOO.

51

quicker, and be of a brighter hue.

to the

improvement of the colours,

would

It

if,

after

also

add

jour veneers

have boiled a few hours, they are taken out, dried in

the

and again immersed

air,

Always dry veneers

in the

in the colouring copper

open

air;

for fire invariably

injures the colours.

Fine black.

pounds of chip logwood into your copper,

Put six
with as

many

veneers as

out pressing too tight;

it

will conveniently hold, with-

fill

with water, and

it

boil slowly for about three hours

let

it

then add half a pound

of powdered verdigris, half a pound of copj^eras, and

four ounces of bruised nut-galls;

fill

vinegar as the water evaporates;

hours each day,

till

the

wood

is

the copper up with

let it boily

gently two

dyed through.

Another method.

Procure some liquor from a tanner's

or

pit,

make a

strong decoction of oak-bark, and to every gallon of

the liquor add a quarter of a pound of green copperas,

and mix them well together: put the liquor into the

make

the veneers in

them
trated

out,
its

solution,
it

simmer

it,

it

quite hot, but not to boil

and

let

them remain

and expose them to the

substance;

for

immerse

an hour; take

air till

it

has pene-

then add some logwood to the

place

your veneers

again

for

two or three

hours;

in

it,

let

and

D
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om

copper, and

let

the whole

cool gradually, dry your veneers in the shade, and they

will have acquired a very fine black.

52

COMPLETE CABINKT-MAKER.
Fine blue.

put one pound of

Into a clean glass bottle,

vitriol,

oil

and four ounces of the best indigo pounded

of

in a

mortar; (take care to set the bottle in a basin or earthen

glazed pan, as

it

into a copper,

now

will ferment;)

or stone trough

put your veneers

rather

fill it

more than

much of the vitriol

will make a fine blue,

one-third with water, and add as

and indigo
w'hich you

(stirring

about) as

it

may know by

white paper or wood

let

trying

with a piece of

it

the veneers remain

till

the

dye has struck through.

Tlie colour will be

much improved,

if

the solution of

indigo in vitriol be kept a few weeks before using

you

will also find the coloui' strike better

your veneers

in

plain

through, and

let

them remain

partially, previous to

water

if

you

it;

boil

completely soaked

till

few hours to dry

for a

immersing them

in the dye.

Another.

Throw pieces of quick lime into

well; when settled, strain or pour

soft

water;

stir

it

off the clear part,

then to every gallon add ten or twelve ounces of the

veneers,

put the whole into your copper with your

which should be of white

as usual by boiling in water

let

holly,

and prepared

them simmer gently

D
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in loa
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om

best turnsole

till

the colour has sufficiently penetrated, but be care-

ful

not to

colour.

let

them

l)oil

in

it,

as

it

woidd

injure the

A fine yellow.
Reduce four pound's of the root
to dust,

of barberry, by sawing,
which put in a copper or brass trough; add

four ounces of turmerick, and four gallons of water,

then put in as
will cover

many white

boil

turning them;

when

A
To

cool,

and the dye will

fortis,

holly veneers as the liquor

them together

for three hours,

often

add two ounces of aqua-

much

through

strike

sooner.

bright yellow.

very gallon of water necessary to cover your

veneers, add one

veneers

till

pound of French

berries;

the colour has penetrated through

boil the
;

add the

following liquid to the infusion of the French berries,

and

let

your veneers remain for two or three hours, and

the colour will be very bright.

Liquid for brightening and setting colours.

To

every pint of strong aqua-fortis, add one ounce of

grain tin and a piece of sal-ammoniac, of the size of a

walnut; set

it

by

to dissolve,

shake the bottle round

with the cork out, from time to time

two or three days

it

will be

fit

in the course of

for use.

This will be

found an admirable liquid to add to any colour, as

it,

from exposure to the

but renders
air.

Bright green.

it less

it

likely to fade

D
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om

not only brightens

Proceed as in either of the above receipts to praE 3

COMPLKTE CAinXET-MAKER.

54

duce a yellow; but instead of adding aqu

brightening liquid, add as

much

-fortis,

or the

vitriolated indigo (page

52) as will produce the desired colour.

Another green.
Dissolve four ounces of the best verdigris and sap green
,

and indigo half an ounce each, in three pints of the

best vinegar; put in your veneers, and gently boil

till

the colour has penetrated sufficiently.

The hue

of the green

may

proportion of the ingredients

be varied by altering the

and

should advise, unless

MTinted for a particular purpose, to leave out the sap

green, as

it is

turn brown,

a vegetable colour very apt to change, or

when exposed

to the air.

Bright red.

To two pounds

gallons of water; put in as

will cover;

boil

add

of genuine Brazil dust,

them

many

four

veneers as the liquid

for three hour.?; then

add two

ounces of alum, and two ounces of aqua-fortis, and keep

it

lukewarm

until

it

has stmck through.

Another red.

To every pound of logwood chips add two gallons of

water; put in 5^our veneers, and boil as in the last;
(ppge 53)

till

you

D
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om

then add a sufficient quantity of the brightening liquid

see the colour to your mind; keep the'

whole aswarm as you can bear your finger

colour has sufficiently penetrated.

in

it,

till

the

DYING WOOD.
chips should be picked from

The logwood

substances, with which

dirt,

may

&c. and

it

it

all

foreign

generally abounds, as bark,

always best when fresh cut, which

is

known by

be

55

its

appearing of a bright red colour

for if stale it will look

brown, and not yield so much

colouring matter.
Purple.

To two pounds

of chip logwood and half a

pound of

Brazil dust, add four gallons of water, and after putting

in your veneers;

boil

them

for at least three hours;

then add six ounces of pearl-ash and two ounces of

alum

let

them

two or three hours every day,

boil

till

the colour has struck through.

The
of a

Brazil dust only contributes to

more red

cast

make

the purple

you may therefore omit

it,

if

you

require a deep blush purple.

Another purple.

two pounds of logwood,

ing

till

the colour

triolated indigo (see

required,

is

well struck

in,

liquid in a

it

milk-warm

the foregoing.

pow-

after boil-

is

it

vi-

of the shade

with a piece

then boil for one hour, and keep the

state

till

trated the veneer. This method,

produce a

add by degrees

page 52) till the purple

which maybe known by trying

of paper; let

will

either in chips or

with your veneers

brilliant purple,

D
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om

Boil

der, in four gallons of water

the colour has pene-

when

properly managed,

not so likely to fade as

COMPLETE CABINET-MAKER.

36

Orgnge.

Let the veneers be dyed, by either of the methods

given in page 53, of a fine deep yellow, and while they
are

still

wet and saturated with the dye,

the bright red dye as in page 54,

till

transfer

them to

the colour penetrates

equally throughout.

Silver grey.

Expose

to the

weather in a cast-iron pot of six or

eight gallons, old iron nails, hoops, &c.

with rust

till

covered

add one gallon of vinegar, and two of water,

boil all well for

have your veneers ready,

an hour;

which must be air-wood (not too

dry,) put

them

in the

copper 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 wath, keeping

the veneers covered, and boiling two hours a day,

till

of the required colour.

Another grey.

Expose any quantity of old

iron,

or

what

is

better,

the borings of gun barrels, &c. in any convenient vessel,

and from time to time, sprinkle them with

w^ater,

till

acid,)

spirits of salt

diluted in four times its quantity of

D
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ls fr
.c om
om

(muriatic

they are very thickly covered with rust

then to every six pounds add a gallon of water, in which

has been dissolved two ounces of salt of tartar;
j-^our

veneers in the copper, and cover them with

lay

thisf

STAINING WOOD.
liquid:

let

boil for

it

57

two or three hours

till

well

soaked, then to every gallon of liquor add a quarter of a

pound of green copperas, and keep the w'hole

rate temperature

till

at a

mode-

the dye has sufficiently penetrated.

Sl'AINING.
Staining wood
dying

is

altogether a different process from

and requires no preparation before the

it,

be applied

it is

makers.

In preparing the stain, but

required;

and, generally speaking,

fers

very

beautiful appearance,

and

is

When

is

carefully

has a very

staining

much

trouble

application dif-

its

from that of painting.

little

and properly varnished,

done,

little

stain

and chair

peculiarly useful to bedstead

less likely to

meet

with injury than japanning.

Black stain for immediate

use.

Boil half a pound of chip logwood in two quarts of

water, add one ounce of pearl-ash, and apply
the

work with a brush.

wood,

boil

it

Then take

as before in

filings,

strain

it off,

it

hot to

pound of log-

two quarts of water, and add

half an ounce of verdigris

peras

half a

and half an ounce of cop*

put in half a pound of rusty steel

with this go over your work a second time.

To

stain heech a

mahogany

colour.

into a quart of rectified spirits of wine

stand in a
solved,

warm

it is fit

place, shake

for use.

it

let

frequently;

D
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in loa
eT d
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ls fr
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om

Put two ounces of dragon's blood, broken in pieces,

the bottle

when

dis-

COMPLETE CABINET-MAKEK.

58

Another method for a black

stain.

Boil one pound of logwood in four quarts of water,

add a double handful of walnut-peel or

up

shells, boil it

again, take out the chips, add a pint of the best

and

vinegar,

it

will be

for use

fit

This will be improved,

when

if,

tion of green copperas dissolved

to a quart), hot over your

To

apply

dry,

it

boiling hot.

you apply a

in water,

solu-

(an ounce

first stain.

imitate rose-wood.

Boil half a pound of logwood, in three pints of water

till it is

of a very dark red, add half an ounce of salt

of tartar.

While

wood with two

boiling hot, stain your

or three coats, taking care that

each; then with a

stiff flat

it is

nearly dry between

brush, such as

is

used by

the painters for graining, form streaks with the black

stain above-named, which,

if

carefully executed, will

be very nearly the appearance of dark rosewood.

Another method.
Stain with the black stain
as above, dipped in

and when dry, with a brush

the brightening liquid (see page

53), form red veins in imitation of the grain of rose-

A
a

will produce a beautiful effect.

handy brush

flat

for the purpose,

brush, such as

sharp points

off,

is

may

be made out of

used for varnishing; cut the

and make the edges

D
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in loa
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om

wood, which

irregular,

by

cutting out a few hairs here and there, and you will

have a tool which,

will accurately imitate the grain.

STAINING WOOD.

59

To imitate king or botany-bay

pound of French

Boil half a

water,

tvood.

berries in

two quarts of

of a deep yellow, and, while boiling hot,

till

work

give two or three coats to your

when

nearly

which must

dry, form the grain with the black stain,

also be used hot.

You may,
giving

for variety,

to heighten the colour,

two or three coats

it

after

give one of

of yellow,

strong logwood liquor, and then use the black stain as

directed.

Red

stain

for bedsteads and common

chairs.

Archil, as sold at the shops, will produce a very

good
or

stain of itself,

when used

two coats being applied and

dry,

it is

if,

after

one

suiFered to get almost

brushed over with a hot solution of pearl-ash

in water,

Mix

cold; but

it

will improve the colour.

To improve the colour of any stain.

ounce of nitric acid, half a tea-

in a bottle one

spoonful of muriatic acid, a quarter of an ounce of

grain tin, and
least

Mix

two ounces of rain-water.

two days before using, and keep your

it

at

bottle w^ell

corked.
stain horn in imitation

with strong soap

brush,

when

in

lees, lay it

of

tortoise-shell.

quick-lirae

on the horn with a small

imitation of the mottle

dry, repeat

it

two

and red-lead

D
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ls fr
.c om
om

To

Mix an equal quantity of

of

or three times.

tortoise-shell

COMPLETE CABINET-MAKER.

60

To

stain ivory or hone red.

Boil shavings of scarlet cloth in water, and add by

degrees pearl-ashes

roach alum,
strain

now

till

the colour

is

through a linen cloth.

it

extracted,

little

added, will clear the colour; then

Steep your ivory or

bone in aqua-fortis (nitrous acid) diluted with twice

quantity of water; then take

your scarlet dye

careful not to let
let

till

it

the colour

is

and

if

and put

it

it

try

its

into

mind; be

it first

you observe the acid has

a trifling roughness on
ately,

to your

it

your aqua-fortis be too strong, neither

your ivory remain too long in

slip of ivory,

and put

out,

take

its surface,

into the red liquid,

it

with a

just caused

out immedi-

which must be

warm, but not too hot; a little practice, with these cautions, will enable you to succeed according to youiwishes

cover the places you M^sh to remain unstained

and the stain

with white wax,

will

those places, but leave the ivory of

To

Add
tic),

three times

or bone in

expose

it

it

not penetrate in
natural colour.

stain ivory or bone black.

any quantity of

to

its

its

take

nitrate of silver (lunar caus-

bulk of water, and steep your ivory

it

out again in about an hour, and

to the sun-shine to dry,

and

will be a per-

it

To

D
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om

fect black.

stain ivory or bone green.

Steep your work in a solution of verdigris and

ammoniac

in

weak

sal-

aqua-fortis, in the proportion of tvro

STAINING MUSICAL INSTRUMENTS.

61

parts of the former to one of the latter, being careful

to use the

precautions mentioned for staining red,

in

page 66.

To

stain ivory,

blue.

8(C,

Stain your materials green according to the previous

process,

and then dip them in a strong solution of

pearl-ash and water.

To

stain ivory,

&;C.

yellow.

Put your ivory in a strong solution of alum

in water,

and keep the whole some time nearly boiling; then take
them out and immerse them in a hot mixture of turmeric

and water, either with or without the addition of

French berries

and your ivory

let

them simmer

for about half

will be of a beautiful yellow.

bone should dry very gradually, or

it

an hour,

Ivory

or

will split or crack.

TO STAIN MUSICAL INSTRUMENTS.

Fine crimson.

Boil one pound of good Brazil dust

of water for an hour

cochineal; boil

If

fit

it

strain

it,

in three quarts

and add half an ounce of

again gently for half an hour, and

you would have

it

more of a

scarlet tint, boil half

an ounce of saffron in a quart of water,

and pass over the work previous

for

an hour,

to the red stain.

Purple.

To

it

for use.

a pound of good chip log\YOod,

D
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will be

put three quarts

62

COMPLETE CABINET-MAKER.

of water, boil

it

well for an hour

then add four ounces

of pearl-ash, and two ounces of indigo pounded.

Fine black.
In general,

ments,

it is

when black

is

required in musical instru-

produced by japanning

the

work being

well prepared with size and lamp black,

black japan

(as

sold

apply the

the varnish-makers),

at

after

which, varnish and polish.

But

as a black stain

is

sometimes required for finger-

boards, bridges, and flutes,

rected in staining, but

apple, or

box-wood

be rubbed over,
in hot

oil,

it

tlie

you may then proceed as diwood ought to be either pear,

the latter

when

is

preferable

and

if it

dry, with a rag or flannel dipped

will give

it

a gloss equal to ebony.

Fine blue.
Into a

pound of

clean glass phial,

oil

of vitriol (sulphuric acid) in a

put four ounces of indigo,

and pro-

ceed as above-directed in dying purple.

Fine green.

To

three pints of the strongest vinegar, add four

ounces of the best verdigris pounded

fine, half

an ounce

of sap green, and half an ounce of indigo.

Bright yellow.

You need

not stain

aloes put into

effect.

wood

yellow,

D
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in loa
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ls fr
.c om
om

Distilled vinegar, or verjuice, improves the colour.

as a small piece of

the varnish, will have

all

the desired

SILVERING AND GILDING.

To

Hold your work

tle

warmth

Stain box toood brown.

to the fire that

work

you

till

brown (always keeping

and polish

may

it

receive a gen-

then take aqua-fortis, and with a feather

pass over the

oil

63

it

change to a

find it

near the

fire)

fine

you may then

it.

SILVERING AND GILDING.

The

as applied to cabinet work,

art of silvering,

precisely similar to that of gilding

is

the directions for

the one will therefore be the instructions for the other,

with

little

other variation than using silver-leaf instead

of gold-leaf;
itself,

and

is

by

silvering for plate glass, is a trade

too troublesome and expensive a process,

except where carried on in extensive way, to be intro-

duced in a work, where

its

place can be occupied with

matter more useful to the cabinet-maker.

There are two methods of gilding

that

work, to stand the weather, or to wash,

ing; this

is

performed by means of

is

for out-door

called oil gild-

The

oil or varnish.

other, called burnish-gilding, is the

most

beautiful,

and

best adapted for fine work, as frames, articles of furni-

&c. or as applied by the cabinet-maker, in the

furniture.

Both these methods are so

genious workman, that

we

shall give

tion necessary to perform his

work

work

of

its

D
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om

ture,

internal decoration of rooms, or the carved

essential to the in-

him every

in the best

instruc-

manner.

COMPLETE CABINET-MAKER.

64
The

two
gold

requisites necessary to be provided with.

a sufficient quantity of leaf-gold, which

First,

deep gold, as

sorts, the

the former

may

is

it

is

of

and the pale

is called,

the best; the latter very useful, and

occasionally be introduced for variety or effect.

Secondly,

gilder's

cushion

covered with rough

w^ood,

an oblong piece of
stuffed with flan-

calf- skin,

nel several times doubled, with a border of parchment,

about four inches deep at one end, to prevent the air

blowing the leaves about when placed on the cushion.

Thirdly,

gilding knife,

with a straight and very

smooth edge, to cut the gold.

Fourthly, Several camel-hair pencils in sizes, and tips,

made

of a few long camel's hairs put between

same manner

in the

brushes, thus

Lastly,

making a

flat

burnisher,

agate set in a long

two cards

as hairs are put into tin cases for

brush with a very few hairs.

which

a crooked piece of

is

wooden handle.

Size for

oil gilding.

Grind calcined red ochre with the best and oldest

drying

oil,

and mix

M'ith it a little oil

When

you intend

to gild your work, first give

coat of parchment- size

requisite,
till

of turpentine

used.

it

with your fingers

then apply your gold-leaf, and dab

cotton

in

and

either in patterns or letters,

by touching

it

then apply the above size where

about an hour wash

off"

it

it

let it

remain

D
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in loa
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ls fr
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when

feels just sticky

on with a piece of

the superfluous gold

SILVERING AND GILDING

65

With a Sponge and water; and, when dry, varnish

it

with copal varnish.

To make

To

size for preparing frames, 8^0,

pound of parchment shavings, or cuttings

half a

of white leather, add three quarts of water, and boil

in a proper vessel
tity

then take

sieve

it off

the

fire,

and

strain

be careful in the boiling to keep

and do not

let it

it

reduced to nearly half the quan-

till

it

it

through a

well stirred,

burn.

To prepare frames or wood-work.

with the above alone, and boiling -hot, go over

First,

your frames in every part

tity of

whiting with

then mix a sufficient quan-

size, to

the consistency of thick

cream, with which go over every part of your fiame,

six or seven times,

fore

carefully letting each coat dry be-

you proceed with the next, and you

white ground

fit

for gilding on,

will

have a

nearly or quite the

sixteenth of an inch in thickness.

Your

must not be too

size

thick,

and when mixed

with the whiting should not be put on so hot as the

coat

is

by

itself:

it

will be better to separate the

dirty or coarse parts of the whiting,

through a

sieve.

Vauxhall whiting

is

by straining

Polishing.

When
polish

it

the best.

D
w ow
kF n
in loa
eT d
oo ed
ls fr
.c om
om

first

the prepared frames are quite drj^ clean and

them

to do this,

and with a smooth

wet a small piece

fine piece of cloth

f3

at a time,.

dipped in water,

COMPLETE CABINET-MAKER.

66
rub the part

till all

moved, and

for

the

bumps and

wind the wet cloth round

enter, as the mouldings, &c.

a piece of wood,

and by

smooth and even

all

Where

there

inequalities are re-

those parts where the fingers will not

is

this

means make the surface

alike.

car\'ed

work, &c.

will

it

sometimes

be necessary to bring the mouldings to their original

sharpness, by

means

of chisels, gouges, &c. as the pre-

paration will be apt to

fill

up

all

the finer parts of the

work, which must be thus restored;

it is

sometimes

the practice, after polishing, to go over the

work once

yellow or

M'ith fine

Roman

but this

ochre,

is

rarely

necessary.
Gold-size.

Grind

bol-ammoniac well with a muller and

fine

stone; scrape into

well together

it

little

after which,

beef suet, and grind

mix

all

in with a pallet knife a

small proportion of parchment size with a double proportion of water.

Another gold-size.

Grind a lump of tobacco-pipe clay into a very

stiff

paste with thin size; add a small quantity of ruddle,

and

fine

black lead ground very

fine,

and temper the

To prepare your frames, Sicfor

Take a small cup,

gold-size as

or pipkin, into

you judge

add parchment-size,

gilding.

which put

sufiicient for the

till it

D
w ow
kF n
in loa
eT d
oo ed
ls fr
.c om
om

whole with a small piece of tallow.

will just flow

work

as

much

in hand,

from the brush;

;;

SILVERING AND GILDING.

when

brush, taking care not to put the

and repeat

let it dry,

when

G7

work with a very

quite hot, pass over your

soft

coat too thick

first

twice or three times more, and

it

whole with a

quite dry, brush the

stiff

Your work

remove any remaining nobs.

is

brush, to

now

ready

for applying the gold.

Your parchment-size should be

when
if

common

cold, as the

too thick

it

of such a consistence,

jelly sold in the shops; for

and

will be apt to cliip,

if

too thin

will

it

not have sufficient body.

Laying on the gold.

This

the most difficult part of the operation, and

is

requires

some

attention,

it

but with a

practice;

may

Turn your gold out

it

it

caution and

book on your cushion a

of the

leaf at a time ; then passing

bring

little

be easily performed.

your gilding knife under

it,

into a convenient part of your cushion for cutting

into the size of the pieces required

the centre of the leaf, and

then cut

it

to your

dicularly over

Place your
horizontal,

it,

it

will lay flat

breathe gently on

on your cushion

mind by bringing the

and sawing

work

before

gently

it

you

till

knife perpendivided.

in a position

nearly

and with a long-haired camel-hair pencil,

dipped in water (or with a small quantity of brandy in

much

of your
;

from your cushion with your

tip

it

will

as

you

in-

then take up your gold

tend the piece of gold to cover

your forehead, or cheek,

work

D
w ow
kF n
in loa
eT d
oo ed
ls fr
.c om
om

the water), go over as

by drawing

damp

it

it

over

sufficiently to

COMPLETE CABTKET-MAKER.

68

adhere to the gold, which must then be carefully trans-

and gently breathing on

ferred to your work,

it, it

adhere; but take care that the part you apply

sufficiently

wet

indeed,

it

find the gold apt to crack

little

at a time,

at once,

if

you

Be

find

any

careful, in

also,

you

to handle the

proceeding with your

flaws, or cracks appear, to take a

corresponding piece of gold, and apply

sometimes,

will

proceed in this manner by a

by experience you are able

till

you

floating, or

will

to is

and do not attempt to cover too much

gold with freedom.

work,

must be

it

will find

it

immediately;

it

necessary,

when your

gold does not appear to adhere sufficiently tight, to

draw a pencil

quite filled with water close to the edge of

the gold, that the water

will

may run

underneath

it,

which

it

by to

answer your expectation.

Burnishing.

When

your work

is

covered with gold, set

dry, it will be ready to burnish in about eight or ten

hours; but

it

or state of the

will
air,

depend on the warmth of the room

and practice

will enable

you

to

judge

of the proper time.

When

it

is

ready, those parts which

you intend

to

burnish must be dusted with a soft brush, and wiping

soft wash-leather (quite

D
w ow
kF n
in loa
eT d
oo ed
ls fr
.c om
om

your burnisher with a piece of

dry), begin to burnish about

an inch or two in length at

a time, taking care not to lean too hard, but with a

gentle and quick motion apply the tool

equally bright

all

over.

till

you

find it

SILVERING AND GILDING.

69

Matting, or dead gold.

Those parts

of

your work which look dull from not

being burnished, are

now

to be matted, that

be made to look like dead gold

state it will

is,

are to

for if left in its natural

have a shining appearance, which must be

thus rectified:

Grind some vermillion, or yellow ochre, very

and mix a very small portion

size or

fine,

either with the parchment-

with the white of an &^g, and with a very

brush lay
look dull;

it

soft

even and smooth on the parts intended to

if

well done,

it

will

add greatly to the beauty

of the work.

The work must be well

by means of a

cleared of superfluous gold,

soft brush, previous

to

burnishing or

matting.
Finishing.
It is

now

only necessary to touch the parts in the

hollows with a composition made by grinding vermillion,

gamboge, and red

and applying

it

required, and your

Sometimes the
gold,

which

is

lead, very fine, with oil of turpentine,

carefully with a small brush in the parts

work

is

completed.

finishing is done

the best method;

by means of

it

shell-

should be diluted

To make shell gold.

Take any quantity

D
w ow
kF n
in loa
eT d
oo ed
ls fr
.c om
om

with gum-arabic, and applied with a small brush.

of leaf gold, and grind

it,

with a

small portion of honey, to a fine powder; add a

gum-arabic and sugar-candy, with a

little

little

water^ and

COMPLETE CABINET-MAKER.

70

mix

well together

it

you want

put

in a shell to dry against

it

it.

Silver Size.

Take tobacco-pipe
black lead and Genoa

with a

clay,

grind

soap,

and add parchment- size as

it

fine

little

directed for the gold-size.

Note.

Any

soap would most probably answer as

Genoa soap

well as

but

here directed, as

it is

has

it

been found to answer very well.

Silvering.

Silvering

old works

at present but little in use,

is

look very well, and

still

duced with advantage in many works

is,

that

very

it is

little

apt to tarnish

diminution to

but

its

is

intro-

the great fault

be preserv'ed, with

beauty, by applying a thin

coat of the cleanest copal or

process for silvering

may

though some

might be

it

mastic varnish.

The

exactly the same as for gilding

but the matting must be done by mixing a small

quantity

of

flake

white

in

with a

powder,

Prussian blue (just sufficient to tinge

little

along with

it)

plain size or white of egg.

make

liquid foil

for

silvering

mirrors,

To
tin,

bent

half an ounce of lead, add half an ounce of fine

and melt them together

state of fusion,

in

an iron ladle

add

five

add half an ounce of bismuth

the dross, remove the ladle from the

cools,

glass globes,

8^c.

fire,

ounces of quicksilver, and

when

in a

D
w ow
kF n
in loa
eT d
oo ed
ls fr
.c om
om

To

skim

off

and before

stir

it

the whole

SILVERING AND GILDING.

71

well together, observing not to breathe over

evaporation of the silver

is

it,

as the

very pernicious.

In mixing, avoid breathing the fumes that evaporate, as it is

a poison of the most deadly nature.

Another method.

To

much tin foil

when mixed; have your

four ounces of quicksilver, put as

become barely

as will

fluid

globe clean and warm, and inject the quicksilver by

means
it

of a clean earthen pipe at the aperture, turning-

about

run

out,

till

An

silvered all over; let the remainder

it is

and hang

up.

it

excellent receipt to burnish gold size.

One ounce

of black lead, ground very fine, one ounce

of deer suet, one ounce of red chalk, and one pound ox

pipe-clay, ground with

consistency,
*

Size for

to

oil gilding,'

To gild

weak parchment-size

be used

leather

as

to a stiff

in the article

page 64.

for bordering
screens,

Damp

directed

doors,

folding

8(C.

a clear brown sheep -skin with a sponge and

water, and strain

ciently large;

it

when

tight,

with tacks, on a board

suffi-

with clear double

size;

dry, size

it

and

let

silver,

silver

them stand

D
w ow
kF n
in loa
eT d
oo ed
ls fr
.c om
om

then beat the whites of eggs, with a whisk, to a foam,

to settle; then take books of leaf

a sufficient quantity, and blow out the leaves of

on a

gilder's cushion

pass over the leather care-

;
;

COMPLETE CABINET-MAKER.

72

with the egg

fully

and with a

size,

dry, varnish

brush lay on the

them over with yellow lacker

then cut

into strips as

it

you

please,

when

they ara

till

Your skin being thus

of a fine gold colour.

may

tip

closing any blister with a bit of cotton;

silver,

gilt,

you

and join

with paste to any length.

Perform the foregoing operation in the height of sum-

when

mer,

may

skin

the air

have the desired

and the

the

and the

it,

size

not tarnish before you lacker

borders of leather tops of

work

The

and warm, that the

dry,

upon the pores, and no

effect

silver will

To gild

is clear,

dry well before you size

boxes,

it.

tables,

S(C.

&c. are usually covered

tops of library tables,

with Morocco leather,

library

may

farther,

and ornamented with a

gilt

border, and are usually sent to the book-binder for that

The method by which they perform

purpose.
follows

They

first

it

is

with a sponge dipped in the glare of eggs, which

the whites beaten up to a froth and

the longer

made

being provided

or older

it is,

is

much

is

and

the better; then

on the edge of

engraved, and fixed as a wheel

in a handle, they place

it

before the

that,

by applying a wetted

while

it

is

so

left to settle;

with a brass -roller,

which the pattern

as

go over that part intended to be

fire till

heated so

finger, it will just hiss

D
w ow
kF n
in loa
eT d
oo ed
ls fr
.c om
om

gilt

heating, rub the part with an oiled rag, or

clean tallow, where the pattern

lay strips of gold on

it,

pressing

is

intended to be, and

it

down with

cotton

BRONZING.

78

then with a steady hand run the roller along the edge
of the leather, and
oiled rag,

the superfluous gold off with an

\vii)e

and the gold

where

will adhere in those parts

the impression of the roller has been, and the rest will

rub off with the oiled rag.

BRONZING.
The
maker

art of

Bronzing

is

equally useful to the cabinet-

as the smith, the carved

and turned work in

fur-

niture being frequently finished in imitation of bronze

and

if

well done, has a very elegant effect,

much to the beauty

difficult

process

of the article.

It is

and adds

by no means a

but nevertheless requires considerable

care and judgment to arrive at perfection.

To bronze
For the ground,

figures.

has been sized and rubbed

after it

down, in a similar manner as

for

if

gilding,

take

Prussian blue, verditer, and spruce ochre, grind them

separately in water, turpentine, or

oil,

according to the

work; mix them together in such proportions as will

produce the colour you desire;

commonly

called bronze,

then grind
in the

you ground your colour; laying

parts of the figure, and,

duce a grand

if

on the prominent

it

done with

care, it will pro-

effect.

There are several

different colours of bronze,

are best imitated by the powders

colour-shops,

Dutch

same material

called

D
w ow
kF n
in loa
eT d
oo ed
ls fr
.c om
om

metal,

bronze-powders,

which

sold at almost all

independent of

COMPLETE CABINET-MAKER.

74

the one here mentioned of Dutch metal, which

will

it

be best to purchase, as they are made, not without

considerable trouble, by dissolving different metals in

and precipitating the solution by means of

aqua-fortis,

sal-ammoniac, and washing the precipitate in water,

and drying

it

on blotting-paper. The ingenious

artist

will suit the colour of the bronze, by mixing corre-

sponding colours of paint for a ground.

To bronze on wood.

Having stained those parts intended for bronzing

black, by any of the methods shewn under the article
take japanners' gold size,

staining,

small portion of

and mix with a

Roman ochre and Prussian blue, go

the blacked parts lightly, then suffer

it

to dry

feels just stickey to the finger, but not to

over

till

come

it

off,

then w^ith a hard ball of cotton, dipped in any of the

bronze powders, rub those places that are prominent,
and,
ners'

if

you think proper, give

gold size thinned with

you may
either

alter the colour of

more or

diter green

by

it

a thin coat of japan-

spirits of turpentine;

less blue, as also other colours, as veritself,

but do not put your colour on

thick over the black stain, but rather glaze

it

on, for

it

not wanted in a body, but should be rather tran-

sparent, as

it

makes

it

more of a metallic appearance.

D
w ow
kF n
in loa
eT d
oo ed
ls fr
.c om
om

is

or

your bronze by mixing

To bronze brass figures for ornaments.

After having lackered your brass

you wish

work

in those parts

to look like gold, take for those parts that are

BRONZING.

75

intended to appear as bronze, any quantity of umbers

either burnt or in its natural state, according to the

colour you require, and grind

of spirits of wine

it

with a small quantity

do the same with verditer, and also

spruce ochre, keep these colours separate for use, and

w^hen wanted take some pale gold lacker, and mix with
it

a portion of these ingredients

till

you get the colour

required; then apply this mixture in the

same manner

as directed in lackering brass work, (page 76)

also

mix with

sake of variety.

it

any coloured bronze powder

little

you may
for the

experience, and a few experi-

ments with these compositions, will enable the workto imitate

any bronze colour he

pleases.

D
w ow
kF n
in loa
eT d
oo ed
ls fr
.c om
om

man

76

PART

IV.

LACKERING, JAPANNING, VARNISHING,

&c. &c.

OF LACKERING, JAPANNING, VARNISHING, AND POLISHING CABINET AND UPHOLSTERY

WORK GENERALLY.

LACKERING.
Among

the arts that lend their assistance to the cabi-

net-maker in the completion of many of

of furniture, that of lackering
to do

what the cabinet-maker may

tions are necessary,

it

his

articles

must not be forgotten:

require,

few direc-

being a simple and easy process.

To lacker brass work.

If the

work

is

old,

clean

directions hereafter given;

according to the

it first,

but

if

new,

will

it

merely

require being freed from dust, and nibbed with a piece

Put
wash leather to make it as bright as possible.
your work on a hot iron plate, (or the hob of your fireof

place will be a good substitute)

heated, but not too hot, or

till

it is

will blister

moderately

your lacker;

according to the colour you wish, take of the

following preparations, and making

of your

work with a

])air

it

D
w ow
kF n
in loa
eT d
oo ed
ls fr
.c om
om

then,

it

warm, lay hold

of pincers or pliers, and with

a soft brush apply the lacker, being careful not to rub

tACKEHING,
it

on,

77

but stroke the brush gently one way, and place

your work on the hot plate again,

hard

but do not

will best tell

you when

indeed, do not place

time;

if

repeat

it

it

the varnish

till

remain too long

let it

should be removed; some,

it

on the stove or plate a second

it

should not be quite covered, you

and

carefully,

is

experience

may

pains be taken with your

if

lacker, will look equal to metal gilt.

To make gold lacker for

wine,

Rectified spirits of

pound
(as

of seed-lac picked clean,

and

upon that depends the beauty

the spirits of wine ;

it is fit

mix

clear of

when

all

half a
pieces,

of the lacker) with

keep them in a

shake them repeatedly;

dissolved,

brass.

half a pint;

warm

place,

the seed-lac

is

and
quite

for use.

Another lacker.

Take

of the clearest

and best seed-lac, a quarter of

a pound, and of dragon's-blood a quarter of an ounce

pound them well together;

the best spirits of wine;
dissolve;

strain

it,

and

add a

set it in

it is fit

gill

and a half of

warm

place to

for use.

Superior lacker for brass.

of seed-lac three ounces ;

on porphyry, one ounce

extract of red sandal

amber or

copal,

ground

D
w ow
kF n
in loa
eT d
oo ed
ls fr
.c om
om

Take

dragon's-blood twenty grains,

wood

fifteen grains,

oriental saff-

ron eighteen grains, very pure alcohol twenty ounces.

COMPLETE CABINET-MAKER.

78

To

apply this varnish to ornaments or articles of brass,

expose them to a gentle heat, and dip them into the

two or three coatings may be applied

varnish;

manner,

if

a beautiful colour.

may

The

in this

durable,

and has

Articles varnished in this

manner

necessary.

varnish

is

be cleansed with water and a bit of dry rag.

Pale gold

lacker.

Dissolve in a quarter of a pint of spirits of wine as

much gamboge

as will give

add three ounces of

sifted,

it

a bright yellow, then

seed-lac,

powdered and

finely

set it in a sand-bath to dissolve

the case, bottle and stop

Lacker with

Take

seed-lac

it

well

spirits

till

when

wanted

that

is

for use.

of turpentine.

two ounces, sandarac, or mastic, two

ounces, dragon's-blood a quarter of

an ounce,

gum

gutte twenty grains, clear turpentine one ounce, and

the best spirits of turpentine sixteen ounces.

This lacker, though certainly not equal to those

spirits of

wine,

very useful for the more

dry so quick, nor

is it

is,

from

common

so durable

as lackering silvered leather, &c.

We

may

here remark, that

cheapness, often
;

it

does not

but for such purposes

it

we may

our lackers, by using more or

portion of

its

purposes

answers very well.

vary the colour of

D
w ow
kF n
in loa
eT d
oo ed
ls fr
.c om
om

made with

less, or altering

the colouring material;

and

the pro-

at the

same

time, notice that all the colouring substances that are

of a resinous quality, or that will give out their colour-

79

JAPANNIx>'G.

ing matter

when

infused in spirits, are proper to be

we may,

used in the composition of lacker;

make

therefore,

lackers of almost any colour, by selecting differ-

them with the other

ent colouring materials, and mixing

compositions used as the basis of

all

lackers,

such as

seed-lac, shell-lac, &c.

To clean old brass-work for

Make

a strong lye of

strengthened by
the lacker will

wood

lacke?nng.

ashes,

which may be

soap-lees; put in your brass-work,

soon come

off;

ture of aqua-fortis and water, sufficiently

take off the dirt;

and lacker

may

it

wash

it

and

then have ready a mixstrong to

afterwards in clean water,

with such of the above compositions as

be most suitable to your work.

JAPANNING.
Japanning
up

is

generally performed by persons brought

to the practice of the art exclusively;

but as

it fre-

quently happens that japanned work receives damage,

when

it is

very inconvenient (either from distance or

other circumstances) to send for a japanner to repair

may

not be improper to lay

methods used

Take
and

it,

the most simple

in that branch.

care to provide yourself with a small muller

stone, to grind

observe that
size,

down

all

D
w ow
kF n
in loa
eT d
oo ed
ls fr
.c om
om

it

any colour you may require;

and

your wood- work must be prepared with

and some coarse material mixed with

it

to

fill

up

and harden the grain of the wood (such as mav best

COMPLETE CABIXKT-MAKLR.

so

suit the colour intended to be laid on),

1

ubbed smooth

of accident,

maged

it

witli gfess

which must be

when dry

paper

but in cases

seldom necessary to re-size the da-

is

places, unless they are considerable.

Always grind your colours smooth

pentine;

in spirits of tur-

then add a small quantity of turpentine and

lay

spirit-varnish;

on with a camel-hair

carefully

it

brush, and varnish

with brown or white

it

spirit- var

nish, according to the colour.

You

will also find a

box

filled

with currier's shavings

useful for cleaning your stones and pallet with, for they

should never be laid by dirty, as the beauty of the work

depends a great deal on keeping

first

all

your colours sepa-

you grind another

therefore before

rated:

colour, the

should be well wiped off your stone.

For a

Mix

little

black Japan.

gold size and lamp-black:

it

will bear a

good gloss without varnishing over.

V
To

imitate black rosewood.

The work must be grounded

black, after

which well

grind some red lead, mixed up as before directed, which

in the

wood

ground

fine,

flat stiff

after

and mix

fully observ'ing

brush, in imitation of the streaks

which take a small quantity of

it

with brown spirit-varnish, care-

not to have more colour in

just tinge the varnish:

too red, assist

it

lake,

D
w ow
kF n
in loa
eT d
oo ed
ls fr
.c om
om

lay on Avith a

with a

but should
little

it

on

it

than will

trial

be

umber ground very

still

fine;

JAPANXING.

SI

with which pass over the whole of the work intended

to imitate black rose- wood,

and

it

have the desired

will

effect.
If

well done,

will scarcely be

when it is varnished and

known from rose-wood.

Instead of the

umber

in the above,

small quantity of Vandyke brown;

it

polished,

it

you may use a

is

much more

transparent than the umber.

INDIA JAPANNING.
.

The

method

great peculiarity in the Indian

is

the

embossing, or raising the figures, &c. above the surface

or ground, and the metallic, or bronze-like hue of the

the grotesque appearance of the seve-

several designs;
ral

ornaments, whether figures, landscapes, or whatever

other designs they are embellished with, being so totally

different

from every principle of perspective, and so

opposite to every idea

we have

of

correct drawing.

Nothing but the study of Chinese models themselves

will enable the

workman

to imitate with

fore, only give

any degree of

We

precision their several characteristics.

can, there-

such directions for preparing the ground,

embossing the designs, and producing the peculiar

fect

of

Chinese japan, as will enable

ef-

the ingenious

and accuracy, according

must remain with him

effecting a likeness
liar

manufacture.

to

any copy given, while

to use his taste

which

D
w ow
kF n
in loa
eT d
oo ed
ls fr
.c om
om

mechanic to execute any work of the kind, with truth

it

and judgment in

will characterize this pecu-

82

COMPLETE CABINET-MAKEir.

Ground for Chinese japan.

Mix any

quantit}' of the finest whiting to the

cou-

lay on your

wood

sistency of paint with isinglass size

two or three

coats, observing to put

smoothly, and not too thick;

and polished

to the mixture,

peel

on evenly and

till

then rub

the surface

is

it

quite

you add a small portion of honey

if

will render it less liable to crack or

it

your ground

If

off.

it

let it dry;

gently with a soft rag and water

level

most usual one, give

it

is

to be black,

which

is

the

a coat or two of the black ja-

pan mentioned in the common method of japanning,

and

it is

prepared for your figures, &c.

Another ground.

Mix

fine plaster of

and apply

it

quickly,

most instances

diy, polish

wet

with

soft cloth;

ing linseed

dry

it

oil,

sufficient;

or as

it

much

To

little lac

quite

two or three coats

of dry-

as

it

will soak up;

rnr.ke

when

black japan.
fine

with turpentine,

varnish or copal varnish, and temper

a proper consistency with varnish

ground

and rub

with a

Grind ivory or lamp-black very

to

it is

ready for japanning.

it is

add a

after

it

fine glass paper,

then give

two coats

soon gets hard:

it

will be

give your

it

D
w ow
kF n
in loa
eT d
oo ed
ls fr
.c om
om

in

Paris with size not too thick,

for

for laying

work two or three coats

using a gentle heat, as directed in varnishing.

on your

at least*

JAPANNING.

83

To trace your design on

Having drawn the

figures

either with ink or pencil,

it

ground.

rub the back of

chalk or whiting, and shake

lay

tJie

on a piece of white paper

all

the loose

it

with fine

powder

off;

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

outline on your ground;

in your figures, &c. with

will then

have a sketch in faint

you may then proceed

to put

any colour you wish, or bronze

them.

To

rais/e

figures on your tvork.

Prepare a mixture of whiting and

size,

(some prefer

the whites of eggs,) of a consistency to flow freely from

your pencil, the hairs of which must be rather long.

Begin with a

much

figure,

at a time,

free

hand;

end,

dip

or other part, but do not do too

and trace the outline correctly with a

then take a piece of stick pointed at the

it

into your

inside of your outline;

mixture on
let it

till it is

and

composition,

fill

raised sufficiently above the surface

get quite dry, and then polish

it

with a soft ca-

mel-hair pencil and clean water, which will

smooth and

this process, that

it

will

level.

make

it

Care must be taken in

your composition

is

not too thin, or

spread beyond the bounds of your

just so thick as to drop from the stick;

outline, but

D
w ow
kF n
in loa
eT d
oo ed
ls fr
.c om
om

perfectly

up the

continue to put more of the

some mix with

the whiting a portion of flake white, or dry white lead.

This

is

an improvement, and

should be adopted.

for

very paiticular M'ork

COMPLETE cabinet-Maker.

84

BRONZES PECULIARLY ADAPTED FOR INDIA JAPANNING,

AND SIMILAR PURPOSES.
Gold bronze.

Put any quantity of gold-leaf into a stone mortar,

together Avith a small portion of honey, and a
grind them well together,

water;

till

dispersed throughout the whole paste;

more water

till

it

and pour the water

let it settle,

stirred;

add by degrees

quite thin, keeping

is

little

the gold seems

it

continually

off as

near as

you can without wasting your gold; repeat the washing till you see the gold in the form of a fine powder
bottom

at the

then pour the water clean

off,

and turn

the gold out on a piece of blotting paper, keep

the dust, and

it

when

all

the moisture

is

it

from

evaporated put

into a bottle for use.

This

is

a very expensive bronze, and used only for

those works which are ver^^ particular; but a very good

substitute may be had by treating Dutch metal in the

same manner, but be sure

it is

to

keep

this tlose stopped, or

very apt to tarnish.

Copper bronze.

Put some very line filings of copper into an iron

mortar, and beat them the same as that of the gold

pound

wash
filing!*

it

it

instead of using honey,

you may

D
w ow
kF n
in loa
eT d
oo ed
ls fr
.c om
om

Dutch metal

leaf or

dry with a portion of sal-ammoniac, and then

as above;

may be

kce]i this also

treated in the

from

tlie

same manner.

air.

Brass

85

BRONZES FOR INDIA JAPANNING.

Silver bronze

May

be made with

silver leaf treated in the

ner as directed for gold

this

must

same man-

also be kept well

stopped in a bottle and wrapped in paper, as

apt to change as

it

is

as

the Dutch metal.

Tin bronze.

Melt grain-tin in a
fluid state
it

ladle over the fire

add by degrees quicksilver, and

will be transformed into a greyish

for the sake of variety,

when
stir it

in a

well

powder, which,

you may use with

others, either

alone or mixed,

By mixing

beauty of your work;

there

is

you may

these different bronzes together,

produce a great variety, that will add

much

to the

and we may here remark that

a variety of colours in gold

leaf,

all

of which

will produce a differently- coloured powder.

In London a variety of coloured bronze can be pro-

cured at the colour shops, at less expence than

make them; but not

fore here set

down

so in the country;

the bronze.

over the part you intend to bronze with gold size

when

it is

sufficiently dry, that

is,

when

D
w ow
kF n
in loa
eT d
oo ed
ls fr
.c om
om

or varnish, and
it

there-

those that are most generally useful.

Method of applying

Go

we can

we have

does not adhere to the finger, but feels clammy, dip

a piece of cotton rolled hard into a

powder, and dab

it

ball, in

your bronze

on the places to be bronzed.

COMPLETK CaBINKT- MAKER.

86

To japan work-boxes,

There

8^-c.

a very pretty method of ornamenting boxes,

is

cabinets, &c. so that the figures appear of the colour

of the wood, and

tlie

produced by

tracing out the pattern,

first

ground black

this

by many

is

and then

pricking-in those parts which shall appear as the ground,

either black or

any colour

tedious process, and even

This

at fancy.

when

is

a very

finished with the great-

est care will not appear regular or well defined in the

The

pattern.

following method will be found very

expeditious, and at the

but

known, and

little

same time

japanner be the more acceptable;

plied to

The

many

other

correct;

it

may

also be ap-

is

it is

made by

of the consistence of varnish;

ture in a bottle,
for

may be

necessary, and

stoppi7ig-out mixture;

ing the best white bees-wax in spirits of

till it is

it is

practical

puq^oses than here alluded to.

following preparation

termed the

ver^"^

as such will to the

and when v.anted

keep

for use

dissolv-

turpentine
this

mix

mix-

sufficient

your present purpose with white lead in powder,

or tiake wliite, to give

so that

it

it

a body, but not too thick, only

will flow freely

from your pencil;

having

traced your design, go over those parts which you wish

then mix ivory black in very

ment
eveiy
1

wood, and

fine

let it

dry;

powder with parch-

D
w ow
kF n
in loa
eT d
oo ed
ls fr
.c om
om

to remain of the colour of your

or isinglass size, and go evenly and smoothly over

])art

lack, or of

of your

work;

it

will

now

a}'pear wholly

whatever colour you have mixed with your

INDIA JAPAXXING.
size

stiffish

87

the whole get thoroughly dry, then with a

let

brush,

dipped in plain

the whole of the

work

well,

been gone over with the stopping- out mixture

come
it

will

leaving your black or other colour perfect,

off,

will then appear as if

but

rub

spirits of turpentine,

and those parts that have

much more

you had pricked

sharp, and will,

in your

you have now nothing more

a beautiful effect;

work,

carefully done, have

if

to

than varnish your work, as in general, and polish

it

do
as

directed under the article Polishing, page S8.

In finishing your work in the manner of Indian japan, you must not be sparing of your varnish, but give
it

eight or ten coats, so that

it

will bear polishing.

Sealing-wax varnish.

For fancy w^ork

used, and,

if

has of late yer^rs been

this

a very good imitation of

of

making the varnish

wax

ply reducing the

Indian japan.

or japan

is

it

The method

very easy, being sim-

to a coarse

the best spirits of wine on

it

much

well applied, and your v/ax good, will be

powder and pouring

in a bottle,

and letting

gradually dissolve without heat, shaking the bottle

occasionally

till it is all

dissolved.

two-ounce stick

of the best w\ax will be enough for a quarter of a pint

of spirits.

much depends on

the goodness of the

and that you may vary the colour of the

varnish by using different coloured wax.

nish dries very quickly,
is

wanted

D
w ow
kF n
in loa
eT d
oo ed
ls fr
.c om
om

Recollect that

sealing-wax;

for use.

it

As

this var-

should not be made until

it

COMPLETE CABINET MAKER.

88

VARNISHING.
Of

late years,

which enables the workman of the present

perfection

day to

varnishing has arrived to a state of

work

finish his

in a style far superior to

thing previously known:

and give additional

lustre to furniture;

the process requires but

to lay

we

but

subject,

little

any

this useful

of

can heighten the beauty of

auxiliary he

of

by the help

fine

wood,

the simplicity

to be

said on the

shall endeavour, as clearly as possible,

down some

rules

and cautions necessary to be

observed, both in the making,

varnish, that the

and method of using

work may appear

as beautiful as pos-

sible.

In London

it is

hardly worth while to

make

varnish,

unless in large quantities, as there are several shops

where

it

may

be had very good, and at a

but in the country, where the carriage

is

fair price;

an object,

and you cannot depend upon the genuineness of the

article,

it

is

necessary to be

mechanic; yet where

recommend

it

it

known by

the practical

can be purchased, we should

to be had.

Tlie varnish generally sold

for varnishing furniture, is white hard varnish.

As heat

gums used

in
in

many

cases

is

D
w ow
kF n
in loa
eT d
oo ed
ls fr
.c om
om

Cautions respecting the making of varnish.

necessary to dissolve the

making varnish, the best way, when pracwhat the chemists call a sand bath, which

ticable, is to use

VARNISHING.
is

89

simply placing the vessel in which the varnish

another

filled

with sand, and placed on the

in

is,

fire;

this

will generally be sufficient to prevent the spirits catch-

ing

fire

but in case of such accidents (which not un-

frequently happens),

spilling

any

it

will be best to take

that there shall be

sufiiciently large

a vessel

danger of

little

indeed the vessel should never be more

than two-thirds

filled,

but to prevent accident, have

ready at hand a piece of board sufficiently large to

cover the top of the vessel in case of
also a
fire,

wet \\Tapper,

as water

by

in case

itself

it

thrown on

the mischief: and the person

its

should be

spilt

fire,

attends the varnish-

pot should have his hands covered with gloves, and

they are made of leather, and rather damp,

tually prevent injury.

as

when on

would only increase

it

who

taking

it

if

will effec-

Those cautions should be well

observed, or shocking personal injury

may

result

from

their neglect.

General directions

in choosing

In purchasing gum, examine

others,

it

con-

the most part of clear transparent lumps without

a mixture of dirt
for the

spirits.

and see that

select the clearest

and

lightest pieces

most particular kinds of varnish, reserving the

when

separated from extraneous matter, for the

D
w ow
kF n
in loa
eT d
oo ed
ls fr
.c om
om

sists for

gums and

it,

coarser varnishes.

In choosing spirits of wdne,

the

most simple

by immersing the

and

if it

test is

finger in

it,

burns quickly out without burning the finger,

good; but

if,

on the contrary,

R 3

it is

it is

long in burning, and

90

COMTLETE CABINET-MAKER.

leaves any dampness

mixed with

remaining on the

inferior spirit;

with other

spirit,

quantities;

the lightest

be likewise ascertained in the

same manner by weighing

it,

and by noticing the de-

possesses

it

the best; and a person

by the smell

will tell

it,

is

it

compared

the best; the goodness of

is

may

gree of inflammability
is

be

finger,

also

by comparing the weight of equal

spirits of turpentine

ble

may

it

its

much

the most inflammain the habit of using

good or bad

qualities

for

good turpentine has a pungent smell, and the bad a

very disagreeable one, and not so powerful.

To varnish a piece offurniture.

First

make

the

work

then

quite clean;

up

fill

knots or blemishes with cement of the same colour

that your brush

is

clean,

and

free

dip your brush in the varnish,

from loose hairs

stroke

it

all

see

then

along the wire

raised across the top of your vamish-pot,

work

and give the

a thin and regular coat; soon after that another,

and another, always taking care not to pass the brush

twice in the same place;

warm place,

When
coats, let

it

may not

it; if it

six or seven

leave a mark,

then with the three

hand rub the varnish till

part of the

chill.

get quite hard (which you will prove by

hard enough)

all

stand to dry in a mode-

you have given your work about

pressing your knuckles on

out

let it

that the varnish

it

chafes,

work you mean

first

it is

not

D
w ow
kF n
in loa
eT d
oo ed
ls fr
.c om
om

rately

fingers of

your

and proceed over that

to polish, in order to take

the streaks, or partial lumps

made by

the brush

VARNISHING.
then give

it

another coat, and

-91

let it

stand a day or two

to harden.

The

best vessel for holding varnish

shops,

with a
bottoms
fire,

a varnish pan:

called

bottom;

false

tin,

the interval between the two

with sand, which being heated over the

is filled

keeps the varnish

the brush:

sold at colour-

is

constructed of

it is

there

fluid

and flows more readily from

a tin handle to

is

and the

it,

false

bottom comes sloping from one end to the other, which

causes the varnish to run to one end
fixed across the top, to

To make

it

the best white

hard varnish.

Rectified spirits of wine, one quart

gum

ten ounces;
half an ounce
in a

has also a wire

wipe the brush against.

mastic,

gum

sandrach,

two ounces; gum anime,

dissolve these in a clean can, or bottle,

warm place,

dissolved strain

frequently shaking
it

it

when

through a lawn sieve, and

the
it

gum is

is fit

for

use.

To keep brushes

The brushes used

in order.

for varnishing are either flat in tin,

or round, tied firm to the handle, and

made

either of

camels' hair or very fine bristles; in the use of which

necessary to be very careful in cleaning them after

being used, for

if

laid

by with the varnish

are soon spoiled; therefore, after using,

in spirits of

in them, they

D
w ow
kF n
in loa
eT d
oo ed
ls fr
.c om
om

it is

wash them m'cU

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

COMPLETE CABINEt-MAKEU.

92
new, and

last a great -while

with care; and the

spirits

may be used to mix with

more common purposes, or the brushes

that are used for cleaning,

varnish for the

may

be cleaned, merely with boiling water and strong

yellow soap.

Mastic varnish for varnishing pictures or drawings.

To

one pint of

of the cleanest
all

it is

and

it is

put ten ounces

spirits of turpentine,

gum

mastic

dissolved, then strain

ready for use;

if

sit it
it

in a sand bath

through a

too thick, thin

it

till

fine sieve,

with

spirits

of turpentine.

Turpentine varnish.
pint of spirits of turpentine, add ten ounces

of clear rosin pounded; put

and

let it boil for half

and

dissolved, let it cool,

pint of

ounce and a half of

gum
;

and keep

wish, add a

little

it

is all

for use.

violins, 8^c.

put one

mastic, and one-third of a

keep

it

a tin can, frequently shaking

it,

on a stove,

rectified spirits of wine,

of turpentine varnish

strain

in a tin can,

it is lit

Varnish for

To one

it

an hour; when the rosin

for use.

in a very
it,

warm

until dissolved

If it is

gill

place, in
;

then

harder than you

D
w ow
kF n
in loa
eT d
oo ed
ls fr
.c om
om

To one

more tuqientine varnish.

To varnish drawings, or any kind of paper or card

tcork.

Boil clear parchment cuttings in water in a clean

93

VARNISHING.
glazed pipkin,

and keep

it,

till

they produce a very clear size

strain

for use.

it

Give your work two coats of the above

passing

size,

quickly over the work, not to disturb the colours

pro-

ceed as before directed (page 92,) with your varnish.

Another method

still better.

Dissolve one ounce of the best isinglass in about

a pint of water by simmering

through

fine muslin,

Try the
and

and keep

it

is

soaks into the paper,

till it

over the

too thin

coats, letting

it

then give your

first

coat) to bear
flat tin

mel's hair;) the size should flow freely from

may damage

ca

it,

other-

it

give at

the drawing.

the best mastic varnish, and with

least three coats,

if it

dry between each

on the brush (which should be a

Then take

it

add or diminish the

being careful (particularly in the

wise you

strain

too thick; add more water;

it is

merely dulls the surface

drawing two or three

very lightly

fire

for use.

on a piece of paper moderately warm,

size

if glistens,

isinglass

it
it

and the

eff^ect

will

answer your most

sanguine wishes.
is

the

method used by many eminent

found superior to any that has been

Amber

To
lac;

eight ounces of

artists,

and

tried.

varnish.

amber

in

D
w ow
kF n
in loa
eT d
oo ed
ls fr
.c om
om

This
is

powder, add two of

gum

melt the amber in a glazed pipkin, with half a

pint of the best spirits of turpentine; and

when

melted.

COMTLKTE CABINET-MAKER.

94

gum

add the
stirring

\nc

place

add one ounce of the

stir it

again on the

it

with a piece of wood

it

fire,

and keep

dissolved, then

till all is

cold-drawn linseed

clearest

well together, and strain

it

oil;

for use.

Oil varnish.

Boil one pint of the best linseed

add a quarter of a pound

well

stir it

turpentine

This

is

till
;

add one ounce of

dissolved;

strain

and bottle

it

powder

spirits of

for use.

a cheap and good varnish for sash frames, or

any w^ork where economy

property

the

an hour, then

oil,

of the clearest rosin in

damaged, and

of
is

is

bearing

required;

hot

it

water

has,

besides,

without being

not subject to scratch.

Copal varnish.

Take

spirits

of w^ine one pint,

gum

copal half an

ounce, and shell-lac one -fourth of an ounce

the

gums

to pow^der

put the

spirits in

reduce

a jar or bottle,

add the gums, place the whole in a warm place, with

the cork lightly in the bottle

and when the gums are quite

shake

it

occasionally,

dissolved,

strain

and

bottle for use.

all

copal

is

not

colourless copal varnish.

fit

for this puriDose, to ascertain

D
w ow
kF n
in loa
eT d
oo ed
ls fr
.c om
om

To make a

As

such pieces as are good, each must be taken separately,

and a single drop of pure

altered

essential oil of rosemary, not

by keeping, must be

let fall

on

it.

Those pieces

95

VARNISHING.
that soften at the part that imbibes the

reduce them to powder, which

and put

hair sieve,

which

must not

it

pour upon
stir

lie

into a glass, on the

it

and then pour gently on

Let

(spirits of

bottom of

little,

till

it

when

the copal will

stand for two hours,

wine), which distribute over the

mass by inclining the

and

bottle in different directions

by

repeat this operation

the incorporation

and

effected,

is

the varnish reduced to a proper degree of fluidity.

must then be
be decanted

may

fine

two or three drops of very

it

with a very gentle motion;

little

are good

essence of rosemary to a similar height

it

the whole for a few minutes,

pure alcohol

oil,

through a very

more than a finger's breadth thick,

dissolve into a viscous fluid.

oily

sift

left to

It

stand a few days, and w^hen clear,

This varnish thus made without heat,

off.

be applied with equal success to pasteboard, wood,

and metals, and takes a better polish than any other

it

maybe used on

paintings, the beauty of which

it

greatly

heightens.
Turpentine copal varnish.

a half of
oil

gum

pentine into a vessel, in a sand bath,

hot; but be cautious not to let

add the

gum

adding fresh

copal, stirring

gum

it

it

add eight

copal,

of turpentine

boil;

put the tur-

when

it is

very

then gradually

with a wooden spatula,

as the other dissolves

when

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To one ounce and

ounces of the very best

all

is

thoroughly incorporated, take the vessel off the bath

and put
days to

it

to cool, let

settle,

it

and decant

remain covered over

it

clear off.

for a

few

COMPLETE CABINET-MAKER.

96

In making this varnish

gum

it

frequently happens that the

will not melt so readily as

general,

is

rectified

when

but

it

ought, which, in

to the turpentine not being sufficiently

owing

It is best also to let

that

is

good

it

will

always succeed.

your turpentine be exposed

some

for

time in the sun in a corked bottle, that the watery

particles

may

be gradually dissipated; the bottle should

not be stopped quite tight.

varnish which suits all sorts of prints and pictures^

stands water, and makes the work appear as shining as

Dilute one quarter of a pound of Venice turpentine,

with a

or thereabouts, of spirit of wine;

gill,

thick, a little

more

more of

this last

of the former, so that

if

you bring

sistence of milk ; lay one coat of this

of the print, and

it

be not to your

when
liking,

To make appear

in

dry,

it

it

too

if

not enough, a

little

to the con-

on the right

side

will shine like glass.

you may lay another coat

If

on.

gold the figures of a print.

After having laid on both sides of the print one coat

of the above-described varnish, in order to

so, lay

it

dry a

some gold

little

By

these

make

then before

in leaves on the

print, pressing it gently

your hand.

while

wrong

it

tran-

it is

quite

side of the

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sparent, let

on with the cotton you hold

means

all parts,

whereon you

in

shall

lay these leaves, will appear like true massive gold on

the right side.

POLISHING.

When
of

it,

this is all

97

thoroughly dry, lay on the right side

one coat of the varnish described above, and

will then be as

good as any crown

You may

glass.

put a pasteboard behind the print to support

its

it

it

also

better in

frame.

Method of preparing

the composition used

coloured drawings and prints, so as to

semble paintings in

Take

two ounces, mix them together.

tion

make them

re-

oil.

Canada balsam one ounce,

of

for varnishing

spirit

of turpentine

Before this composi-

applied, the drawing or print should be sized

is

with a solution of isinglass in water, and when dry,

apply the varnish with a camel-hair brush.

POLISHING.
of Cabinet-work depends

it is

finished

some clean

and rubbing with glass-paper:

all cases,

but

gi-ain

anyways

is

essential;

it is

clear

soft;

(directions for

coloured woods;
care.

it

be done in

a good glass-paper also

making which

But unless the varnish

and bright,

with scraping

this should

not enough, particularly where the

in om- miscellaneous receipts,)

added.

upon the care

off

is

will be found

a polish should then be

for

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The beauty
with which

cabinet-work be very

will give a dingy shade to

this should therefore

all light-

be a previous

COMPLETE CABINET-MAKER.

98

some workmen polish with rotten stone

Again,

with putty- powder, and others with

others

whiting and

answer the

but Tripoli wiU

water;

common

be found to

best.

To polish varnish
Is

many

certainly a tedious

and considered by

process,

as a matter of difficulty.

Put two ounces of powdered Tripoli into an earthen pot or basin, with water
then with a piece of
it

sufficient to

fine flannel four

cover

it;

times doubled, lay

over a piece of cork rubber, and proceed to polish

your varnish, always wetting

water

you

by wiping

know when

will

a part

of

off

is

with the Tripoli and

Be

nor longer than

fine flour.

careful not to rub the

is

complete,

a fair and even gloss; clean

with a bit of mutton-suet and

Caution.

is

work with a sponge, and

the

observing whether there

it

the process

necessary to

make

work too hard,

the face perfectly

smooth and even.

The French method of polishing.

a piece of fine pumice-stone and water, pass

of the grain

boiled Unseed

work with the

is do\\'n

oil,

grain, until the rising

then with powdered Tripoli and

polish the

work

to a bright face; this

will be a very superior polish, but

able time.

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With

regularly over the

it

requires consider-

99

POLISHING.

To polish brass ornaments inlayed

The brass-work must

smooth
very

file;

be

piece of old hat, or

work

polish the

felt,

work be ebony,

elder- coal

wood.

with a rubber made from a

oil,

polish varnish, until the desired effect

If the

in

very clean with a

filed

then having mixed some Tripoli, powdered

with linseed

fine,

first

you would

produced.

or black rose-wood, take

powdered very

you have done with the

is

as

fine,

and apply

Tripoli;

it

some

dry after

will increase the

it

beauty of the polish.

To polish Ivory.
If ivory

be polished with putty and water, by means

of a rubber

made

of hat,

it

will in a short time produce

fine gloss.

Go

over

washed

it

To polish any work of pearl.

with pumice stone, finely powdered

you may polish

it

very smooth

der as directed for ivory, and

gloss

(first

to separate the impurities and dirt), with wliich

then apply putty-powit

will produce a fine

and a good colour.

To polish marble.
sometimes happens that the cabinet-maker has a

table-top of marble to remount,

requires repolishing;

by the mason, and

which

the following
will,

therefore,

is

is

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It

scratched and

the process used

be acceptable in a

;
;

COMPLETE CABINET-MAKER.

100

work

like the present.

a very

fine grit,

With a piece

of sandstone with

rub your slab backwards and forwards,

using very fine sand and water,

till

the marble appears

equally rough and not in scratches ;

stone and finer sand,

till

gone over; then with

fine

felt or

old hat,

its

next use a

emery powder and a piece of

wrapped round a weight, rub

the marks left by the former process are

and

it

finer

surface appears equally

it till all

worked

appears with a comparative gloss on

its

out,

surface

afterwards finish the polish with putty-powder and fine

clean rags

as soon as the face appears of a

good

gloss,

do not put any more powder on your rags, but rub

and in a short time

well,

it

will appear as fresh as

it

when

out of the mason's hands.

To polish

tortoise-shell, or horn.

Having scraped your work

vel,

rub

it

with very

fine

smooth and

perfectly

le-

sand-paper or Dutch rushes

repeat the rubbing with a bit of felt dipped in very finely

powdered charcoal with water, and

ten-stone or putty powder;

soft wash-leather,

and

damped with a

lastly

finish
little

with rot-

with a piece of

sweet

oil.

The method
rubbing
tively

it

of varnishing furniture,

on the surface of the wood,

modem

date.

To

is

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FRICTION VARNISHING, OR FRENCH

POLISHING.

by means of
of compara-

put on a hard face, which shall

101

FRENCH POLISHING.
iiot

be so liable to scratch as varnish, and yet appear

equally
it

fine,

the French

would be unpardonable

polish

was introduced, and

work

in a

like this, to

omit a

the process, and also the various pre-

full direction of

parations of the different compositions necessary.

All the polishes are used

much

in the

same way,

a general description will therefore be a sufficient guide

for the

workman.

coarse,

give

it

it

your work be porous, or the grain

If

will be necessary,

previous to polishing, to

a coat of clear size previous to your commencing

with the polish; and when dry, gently go over

very

fine glass-paper;

the size will

with

it

up the pores and

fill

prevent the waste of the polish, by being absorbed into

the wood; and be also a saving of considerable time in
the operation.

Make

wad with

get,

by

side

meant

rolling

it

a piece of coarse flannel or drug-

round and round, over which, on the

to polish with, put very fine linen rag seve-

ral times doubled, to

be as soft as possible; put the

mouth

or cushion to the

preparation (or polish) and shake

which

it,

will

the rag sufficiently, then proceed to rub your

a square foot at a time

in a

covered;

rub

it

lightly

till

the whole

repeat this three or four times, ac-

cording to the texture of the

wood

each coat to be

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surface

damp

work

observing not to do more than about

circular direction,

is

wad

of the bottle, containing the

rubbed until the rag appears dr)% and be careful not to

put too

much on

the rag at a time, and

very beautiful and

lasting polish;

you

will

have a

be also very particu-

10'2

COMPLETE CABINET-MAKER.

lar in letting

your rags be very clean and

as the

soft,

polish depends, in a great measure, on the care

take in keeping

it

you

clean and free from dust during the

operation.

The true French

To one

polish.

pint of spirits of wine, add a quarter of an

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

and one ounce of

shell-lac.

Let your gums be well bruised, and

Put the

a piece of muslin,

ther in a vessel that can be close corked;

warm

near a

two

stove,

through

sifted

and the gums toge-

spirits

them

place

and frequently shaking them, in

or three days they will be dissolved:

through a piece of muslin, and keep

it

strain it

tight corked for

use.

Another French polish.

Take one ounce each

of mastic, sandarac, seed-lac,

shell-lac, gum-lac, and gum-arabic;

powder, and

reduce them to

add a quarter of an ounce of virgin- wax;

put the whole into a bottle, with one quart of rectified

spirit of
fit

wine

let it

stand twelve hours, and

it

will be

for use.

To

apply

it,

make a

ball of cloth,

sionally a little of the polish

and put on

it

occa-

then wrap the ball in a

oil:

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piece of calico, which slightly touch with linseed

rub the furniture hard with a circular motion, until a

gloss

is

produced

stead of
spirits of

all

finisli

in the

same manner, but

in-

polish, use one-third polish to two-thirds

wine.

103

FRENCH POLISHING.

Or, put into a glass bottle, one ounce of gum4ac>

two drams

of mastic in drops, four

drams of sandarac,

three ounces of shell-lac, and half an ounce of

dragon

reduce the whole to powder, add to

it

of camphor, the size of a nut, and pour on

ounces of
close,
it is

rectified

when

but take care

wine:

of

spirits

the

gums

not more than half- full;

or on a

German

it

be placed near a

but a bath of hot

sand

preferable, as avoiding all danger, the

An
To a

stove;

fire.

eight
bottle

are dissolving, that

may

fire,

is

it

stop the

gentle

being so very apt to catch

gum

a piece

Apply

it

compound

as before.

improved polish.

pint of spirits of wine, add, in fine powder,

one ounce of seed-lac, two drams of gum-guaiacum,

two drams of dragon's blood, and two drams of giunmastic;

expose them, in a vessel stopped close, to a

moderate heat
dissolved

for three hours,

strain

it

of a gill of the best linseed

with

until

you

find the

gums

into a bottle for use, with a quarter

oil,

to be shaken

up well

it.

This polish

is

more

coloured woods, for

particularly intended for dark-

it is

apt to give a tinge to light

ones, as satin-wood, or airwood, &c.

owing

to the ad-

appearance.

Water-proof polish.

Take a

pint of spirits of wine,

it

a red

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mixture of the dragon's blood, which gives

two ounces of gum-

benzoin, a quarter of an ounce of gum-sandarac, and a

COMPLETE CABINET-MAKER.

104

quarter of an ounce of gum-anime;

or in hot water

till

well shake

it

in a sand-bath

dissolved; then strain

adding about a quarter of a

oil,

these must be put

and placed either

into a stopped bottle,

it

after

of the best clear poppy-

gill

up, and put

and

it;

by

for use.

Bright polish.

pint of spirits of wine to

two ounces

gum-ben-

of

zoin and half an

ounce of gum-sandarac, put in a

glass bottle corked,

and placed in a sand-bath, or hot

water, until you find

all

the

gum

dissolved, will malie a

beautiful clear polish for Tunbridge-ware goods, teacaddies, &c.

it

must be shaken from time

all dissolved,

and bottled

Prepared
is

spirits.

useful for finishing after

the foregoing receipts, as

it

and

two drams of

shell-lac,

Put these ingredients

when

till

the

cold,

white poppy
fit

it

may hap-

gives the surface a

brilliant appearance.

Half a pint of the very best

place

any of

adds to the lustre and dura-

well as removing every defect which

pen in the other polishes;

most

and

for use.

This preparation

bility, as

to time,

strained through a fine muslin sieve

for use.

gum

rectified spirits of wine,

and two drams of gum-benzoin.

in a bottle,

is all

and keep

dissolved, shaking

it

in a

warm

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when

it

frequently;

add two tea-spoonsful of the best clear

oil;

shake them well together, and

it is

FRENCH POLISHING.
This preparation

is

105

used in the same manner as the

in order

foregoing polishes, but,

remove

to

you may increase the pressure

places,

all

dull

in rubbing.

Strong polish,

To be

used in the carved parts of cabinet work with

a brush, as in standards,

pillars, claws,

&c.

Dissolve two ounces of seed-lac and two ounces of

white rosin in one pint of

spirits of

wine.

This varnish or polish must be laid on warm, and

work can be warmed

the

better;

at

any

also, it will

rate moisture

be so

much

if

the

and dampness must be

avoided.

Directions for cleaning and polishing old furniture.

Take a quart of
of

common

into

it,

keep

it

and

salt,

stale beer or vinegar,

and a

boil it for a quarter of

in a bottle,

put a handful

table -spoonful of spirits of salt

and warm

it

you may

an hour;

when wanted

having previously washed your furniture with

wash

for use
soft

hot

water to get the

dirt oif,

above mixture;

then polish, according to the direc-

carefully with the

with any of the foregoing polishes.

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tions,

it

106

PART

V.

GLUES, CEMENTS,

AXD COMPOSITIONS FOR

WAXES,

CEMENTS,

OF GLUES,

SfC.

FILLING UP AND ORNAMENTING CABINET AND UPHOL-

STERY work; and MISCELLANEOUS RECEIPTS.

J
"

CEMENTS.
1

To make mahogany -coloured cement.

Melt two

ounces of bees' wax, and half an ounce

of rosin together;

then add half an ounce of Indian

and a small quantity of yellow ochre,

red,

to the desired colour:

keep

to bring

it

in a pipkin for use.

it

Portable glue, or hank-note cement.

Boil one pound of the best glue, strain

boil also four ounces of isinglass;

glue-pot, with half a

boil

it

when
it

of fine

pretty thick; then pour

cold,

you may cut and

This glue
as

pound

is

put

it

drj'

it

it

very clear

into a double

brown

sugar, and

into plates or moulds,

them

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for the pocket.

very useful to draftsmen, architects, &c.

immediately dilutes in

warm

water, and fastens

the paper without the process of damping:

or

it

may

l07

GLUES, CEMENTS, &C.

be used by softening

it

mouth, and applying

in the

it

to the paper.

Cement for turners.

Melt together bees'-wax one ounce, rosin half an

ounce, and pitch half an ounce;
fine brick-dust to give it

rosin;
it

if

a body;

rolls,

some very

too soft, add more

when

too hard, more wax:

up into cakes or

stir in it
if

make

nearly cold,

which keep

for use.

This will be found very useful for fastening any piece

of

wood on your chuck, which

your
it

roller of

will melt the

you wish

done by applying

is

cement to the chuck, while going round

cement;

wood

then apply the piece of

to affix to the chuck,

and

it

will adhere

with

sufficient force.

cement for broken glass.

Steep one ounce of isinglass in half a pint of

of wine, for twenty-four hours, then let

a slow

(always keeping

fire

evaporate)

now

it

spirits

dissolve over

it

covered, or the spirit will

well bruise six cloves of garlic in a

mortar, put them in a linen cloth, and squeeze the juice

into the isinglass,
use.

mix

all

well together and keep

it

for

excellent to join glass ornaments, &c.

cement to stop flaws or cracks in wood, of anyjpolour.

Put any quantity of

your work

is

made

boiling water on

it,

fine

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It is

saw-dust of the same

wood

with, into an earthen-pan, and pour

stir it well,

and

let it

remain for a

COMPLETE CABIXET-MAKER.

108

week
for

or ten days, occasionally stirring

some time, and

or paste

put

into a coarse cloth,

it

moisture from

mix a

sufficient

paste

rub

in your

it

keep

it;

it

off,

then boil

and squeeze

it;

if

all

make

quantity of thin glue to

and

it

the

and when wanted,

for use,

well into the cracks, or

work with

your work

it

will be of the consistence of pulp

it

fill

it

up the holes

M'hen quite hard and dry, clean

you

carefully done,

will scarcely

discern the imperfection.

A cement /or joining china,

8fC.

Beat the whites of eggs well to a

settle,

add

soft grated or sliced cheese

beat them well together, and apply a

ken edges;

it

froth,

let

them

and quicklime;

little

to the bro-

will endure both the heat of the

fire

and

water.

Another cement.

Pound

half

an ounce of rosin and four ounces of

gum-mastic, put them into a pipkin on the

them well;

stir

to this

fire

to melt;

add about half an ounce of

finely-powdered glass, and half an ounce of

form

stir

it

the whole well together

into sticks,

article,

when you want

to

which rub thinly on both edges

bring them accurately together;

them

quick-

nearly cold,

heat the broken edges sufficiently

to melt your cement,

let

when

on a stone, in the same manner as

sticks of sealing-wax are formed;

cement any

cool; which,

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lime

if

press

them

carefully done, your

close,

and

work

will

sooner break in any other part than where the cement

has been applied.

GLUES, CEMENTS, &C.

109

strong glue that will resist moisture.

Dissolve gum-sandarac and mastic, of each a quarter of

an ounce,

in a quarter of a pint of spirits of

wine, to which add a quarter of an ounce of clear turpentine

now

take strong glue, or that in which isin-

glass has been dissolved;

then putting the

gums

into a

double glue-pot, add by degrees the glue, constantly

stirring

rated

over the

it

fire till

you may now return

an ounce of very
hot.
it,

it

the whole

strain it through a cloth,

If

it

finely

and

is

it is

well incorpo-

ready for use

into the glue-pot,

and add half

powdered

use

glass ;

it

quite

you join two pieces of wood together with

you may, when

in water,

perfectly hard and dry,

and the joint

immerse

will not separate.

Another glue for the same purpose.

To two

quarts of

skimmed milk add

half a

pound of

the best glue : melt them together, taking care they do

not boil over, and you will have a very strong glue

which

will resist

damp

or moisture.

To make paste for laying the

cloth or leather on table-tops.

a pint of the best wheaten flour add rosin, very

finely

powdered, about two large spoonfuls; of alum

one spoonful in powder; mix them

all

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To

well together,

put them into a pan, and add by degrees soft or rain

water, carefully stirring
of thinnish cream, put

it

it

till

it is

of the consistence

into a sauce -pan over a clear

COMPLETE CABINET-MAKER.

110
fire,

keeping

lumpy;

constantly stirred that

it

when

it is

of a

spoon will stand upright in

careful to stir
if

cover
top,

over

This paste

To

empty

not get

done enough;

it

will

it

be

burn

out into a pan, and

cold to prevent a skin forming on the

till

which would make

hesive.

is

it

it,

well from the bottom, for

it

not well attended to

it

may

it

consistence, so that the

stiff

it

lumpy.

very superior for the purpose, and ad-

is

use

it

for cloth or baize,

spread the paste

evenly and smoothly, on the top of the table, and lay

your cloth on

pressing and smoothing

it,

piece of wood;

remain

let it

till

edges close to the cross-banding;

at

first,

it

will in drying shrink

meets the banding

leather

must be

paste spread over

it

smooth and

all

first

it;

level

round.

dry,
if

it

with a

flat

then trim the

you cut

close

it

and look bad where

it

used for leather, the

If

previously damped, and then the

then lay

it

on the

table,

and rub

with a linen cloth, and cut the

Some

edges close to the banding, with a short knife.

lay their table cover with glue instead of paste, and

perhaps, for cloth,

it is
it

it is

not proper, as glue

for cloth great care

the best method, but for leather

is

apt to run through

must be taken that

in using

jj^our

glue

not too thin, and that you rub the cloth well

the glue soon chills;

you may

in

this

the edges close to the border at once.

fire,

for

D
w ow
kF n
in loa
eT d
oo ed
ls fr
.c om
om

with a thick piece of wood made hot at the

is

down

method cut

off

Ill

MISCELLANEOUS RECEIPTS.
Glass paper.

Take any

quantity of broken window-glass;

that

which has rather a green appearance on the edge,

best;

pound

it

in an iron mortar,

is

then have two or

three sieves of different degrees of fineness, ready for

use

when wanted;

cartridge

take any good tough paper,

the best,) level the nobs and

is

both sides with pumice-stone;

tack

on a board, and with good

it

at each

is

comer

diluted with

clear glue,

about one-third more water than

(fine

bumps from

used generally for

wood- work, go quickly over the paper, taking care

spread

even with your brush;

it

sieve ready,
to cover
set,

take

it

sift

in every part

it

let it

remain

from the board, shake

and hang

glass into the sieve,

in

two or three days

it

will be

This paper will be

much

it
fit

having your

then,

the pounded glass over

to

lightly,

it
till

but

the glue

is

off the superfluous

in the shade to dry

for use.

better than any

you can

buy, sand being frequently mixed with the glass, and

To clean the face of

soft

D
w ow
kF n
in loa
eT d
oo ed
ls fr
.c om
om

coloured to deceive the purchaser.

mahogany, or other porous wood.

After scraping and sand-papering in the usual

man-

take a sponge and well wet the surface to

raise

ner,

the grain;

then with a piece of

fine

pumice-stone,

COMPLETE CABINET-MAKER.

112
free

from stony

rub the

wood

moist with water

you

and cut the way of the

particles,

in the direction of the grain,

let the

work

will find the grain

it

again,

it

will not raise so

much

dry, then

much

soft

if

it

you wet

smoother, and

repeat the process, and you

and the texture

will find the surface perfectly smooth,

of the

fibres,

keeping

wood much hardened:

Honduras mahogany

by

means,

this

common

have a face equal to

will

fine

Hispaniola.
If this

does not succeed to your satisfaction, you

may improve

the surface, by using the pumice-stone

with cold drawn linseed

in the

oil,

you proceeded with water;

same manner as

this will

be found to put

a most beautiful, as well as a durable face to your

'work, which

may

Another way

then be polished or varnished.

to clean

and finish mahogany

"work.

Scrape and sand-paper your work as smooth as possible,

go over every part with a brush dipped in furnilet it

remain

powder of the

finest

red brick, which

stocking and

sift

ture

oil,

and

all

tie

equally over the

it

have ready the

night;

up

in a cotton

work the next

morning, and with a leaden or iron weight in a piece

work well the way

backwards and forw^ards

sufficient,

or

if

repeat the process

of the grain

has a good gloss

if

not

the grain appears any way rough,

;

the brick dust, as

rather as a paste

till it

D
w ow
kF n
in loa
eT d
oo ed
ls fr
.c om
om

of carpet, rub your

be careful not to put too

it

much

of

should not be rubbed dry, but

upon the cloth

when

the surface

is

Il3

MISCELLANEOUS RECEIPTS.
iverfcctly

carpet,

smooth, clean your work

and

fine

off

mahogany sawdust.

with a rubber of
This process will

give a good gloss and face to your work, and

surface that will improve
cess, soft

by wear; indeed, by

Honduras mahogany

make a

this pro-

will have the appearance

of Spanish.

To darken

we

mahogany.

light

In repairing old furniture,

it

frequently happens that

cannot match the old wood;

therefore, after the

repairs are completed, to prevent the pieces introduced

wash them with

looking like patches,

manner;
or

it

repeat

or

but be careful not to

let either

be too strong,

wood too dark; it is best, therefore,

it rather weak at first, and if not dark enough,
the process till the wood is sufficiently darkened.

will

to use

soap-lees,

and use in the same

dissolve quick-lime in water,

make

the

To

cut

good

steel scrapers.

Part of the blade of a broken saw makes the best

but as

scrapers;
it

in the required

way

is

to

mark

it

it

hard,

is

form

it

is

very

difficult to

cut

the best and most expeditious

out to the size wanted, and then to

place the blade or steel plate in a vice whose chaps

vice, then

that has
\ice

mark even with

and the part to be cut

of the vice,

with a cold chisel or a

its

basil

broken

oflt",

k3

to waste above the

common

holding

and rather inclined upwards,

the face

D
w ow
kF n
in loa
eT d
oo ed
ls fr
.c om
om

shut very close, placing the

it

steel firmer

close to the

begin at one end

COMPLETE CABINET-MAKER.

114

of the steel plate, and with a shaq) blow of the

mer

it

will cut

it

will with ease cut

ham-

keep going on by degrees, and you

it

then grind

to the shape required;

the edges of your scraper level, and finish by rubbing

it

on your Turkey-stone.

To sharpen and
First run a

see

file

them range

set

a saw.

along the edge of the teeth

you

till

in a direct line, then lay the blade

on

a smooth piece of lead, or on the end of your tryingplane,

tap on

and with a square

it

steel

punch give a gentle

with a hammer, after placing

on one of

it

the teeth,

do the same with every alternate tooth;

reverse the

saw and punch the teeth on the other

and look down your saw that the teeth are

set,

then begin with your

nearest the handle

good

hold your

point,

file

so that

file

file
it

side,

equally

your saw

at that part of

to sharpen or

all

the teeth to a

makes an angle,

with the saw-blade, of about thirty degrees, or twoobserving to shift the

thirds that of a mitre angle,

for every alternate tooth in

bringing each tooth to a very sharp point

the upper edge of

your

file

an opposite inclination, and

file

and keep

very nearly horizontal;

it

goes, without tearing.

To take

Wet

bruises out of furniture.

the part with

brown paper

five

D
w ow
kF n
in loa
eT d
oo ed
ls fr
.c om
om

every tooth will then represent a sharp chisel, and cut

as

warm

water;

or six times,

soak

double a
it,

2:)iece

and lav

it

of

on

MISCELLANEOUS RECEIPTS.
the place
is

apply on that a hot flat-iron

evaporated;

if

115

till

the moisture

the bruise be not gone, repeat the

After two or three applications, the dent or

process.

If

the

v/ater,

and

bruise will be raised level with the surface.

bruise be small, merely soak

it

with

warm

apply a red-hot poker very near the surface

keep

continually wet, and in a few minutes the bruise

it

"will

disappear.

To make

anti-attrition.

According to the specification of the patent,

mixture

is

made

ground very

of one part of

fine,

and four parts of hogs-lard or other

grease mixed well together.

of friction,
is

much

It

prevents the effects

better than oil or other grease,

very useful to the turner, and will be found to

the lathe work

ing in

oil,

much

easier, as well as

sensibly impedes the motion;

last

and

make

be a great sav-

which with constant use grows

once applied will

this

plumbago or black-lead

stiff,

and

while this preparation

a long time without requiring

renewal.
Polish for turner s work.

Dissolve sandarac in spirits of wine, in the proportion of one ounce of sandarac to half a pint of spirits,

next shave bees' -wax one ounce, and dissolve

into a paste;

is

in

polish

it;

motion in the
it

it

in a

make

add the former mixture by degrees to

then with a woollen cloth, apply

it

to

lathe,

will appear as

if

it

to the

and with a

it

D
w ow
kF n
in loa
eT d
oo ed
ls fr
.c om
om

sufficient quantity of spirits of turpentine

it,

work while

soft linen

highly varnished.

rag

COMPLETE CABINET-MAKER.

116

To

and restore the

clean

Turn up the

chair bottom,

roughly soaked;

should

dry in the

let it

air,

when new, provided

rc,
boil

the

tlie

it

and

and with hot water and

it

so that

may

it

be dirty, use a
will be as tight

silver furniture.

furniture, piece

in tartar

same beauty

as

To clean marble,

Mix

by piece, upon a charcoal

and water, and your

when

first

and
have

made.

the strongest soap-lees, with quick-lime, to the

and water, and

may

it

then clean

ty-four hours;

it

on the stone, &c.

it off,

will appear as

new\

s])irits

out of

it

oil.

mahogany.

of salts with a rag,

until the

spots

D
w ow
kF n
in loa
eT d
oo ed
ls fr
.c om
om

disappear,

twen-

be improved by rubbing or polishing

To take ink-spots

Apply

for

and wash with soap

afterwards with fine putty-powder and olive

and immediately afterwards wash with clear

water.

Another method.

To

off

silver will

sienna, jasper, porphyry, or scagliola.

consistency of milk, lay

This

soap;

and firm as

and when they are just red, take them

them

be tho-

little

the cane be not broken.

To clean

Lay

SfC.

wash the cane-work,

a sponge,

of cane chair bottoms,

elasticity

couches,

half a ]>int of soft water, put an ounce of oxalic-

117

MISCELLANEOUS RECEIPTS.
acid,
it

and half an ounce of butter of antimony

well,

and when dissolved

it

shake

will be very useful in

extracting stains out of mahogany, as well as ink,

'

if

not of too long standing.

To make furniture paste.

Scrape two ounces of bees'-wax into a pot or basin;

much

then add as
it

through;

spirits of turpentine as will

of an ounce of rosin, and add to

the consistence of paste, as

bring
it

it

will be

to a deep

moisten

same time powder an eighth part

at the

it,

much

mahogany

when

dissolved to

Indian red as will

colour:

stir it

up,

and

for use.

fit

Another method.

Scrape two ounces of bees'-wax as before, then to

half a pint of spirits of turpentine in a clean glazed

pipkin, add half an ounce of alkanet root;

close,

that

it

and put

may

over a slow

it

not

boil,

fire,

or catch

attending

fire

it

cover

it

carefully,

when you

perceive

the colour to be drawn from the root, by the liquid

being of a deep red, add as

will moisten

it

through;

much

at the

of

it

to the

wax

as

same time add the

eighth part of an ounce of powdered rosin, cover

and

let it

stand six hours, and

use.

To make furniture

oil.

it

will be

fit

it

for

D
w ow
kF n
in loa
eT d
oo ed
ls fr
.c om
om

close,

Put linseed-oil in a glazed pipkin, with as much

alkanet- root as

it

will cover;

let it boil gently,

till it

118

COMPLETE CABINET-MAKER.

becomes of a strong red colour;

be

fit

let it cool, aiul

will

it

for use.

Another method.

alkanet-root as

it

will cover,

and to every pint of

add one ounce of the best rose pink;

colour

much

together cold-drawn linseed-oil and as

Boil

is

extracted, strain

it off,

and

when

oil

all

the

to every pint

add

half a gill of spirits of turpentine:

and

will be a

it

very superior composition for soft and light mahogany.

Black icax
Is

of

made

of one ounce of bees'-wax to half an ounce

Burgandy pitch;

melt them together, and add one

ounce and a half of ivory-black, ground very

and

fine

dried.
Greeji

Wax.

Melt one ounce of bees'-wax, and add half an ounce

of verditcr;

let

the pipkin be large enough, as

immediately boil up

stir it well,

part of an ounce of rosin;

fit

it

will

will be sufficiently hard,

for use.

To take out spots of

Drop on the spot some

wood, which has been
into a fluid;

oil

or grease

from

cloth.

oil of tartar or salt

left in

damp

of

worm-

D
w ow
kF n
in loa
eT d
oo ed
ls fr
.c om
om

and

it

and add the eighth

place

till it

turns

then immediately wash the place with

hike -warm soft water, and then with cold water, and
the spot will disappear.

MISCELLANEOUS RECEIPTS.
This will be found very useful, as

119

frequently hap-

it

pens that the cloth of card tables, and the inside flaps
of secretaries,

are spotted and greasy,

which by pro-

ceeding as above will completely take out every spot

of grease.

To take out wax

spots f?om cloth or silk.

Put on each spot a piece of

in the sun, or gently

warm

remain some time, then wash

and the spot

will

and place

soft soap,

it

before the
off

it

with

it

let

fire;

it

soft water,

have disappeared.

Another method.

Drop
spot

spirits of turpentine or spirits

then with a sponge rub

it

gently

of wine on the
;

repeat

it till

the spot disappears.

To make parchment transparent.

Soak

parchment in a strong lye of

wood- ashes, often wringing it out till you find it bea thin skin of

comes transparent, then

it

strain

on a frame and

it

let

dry.

This will be
give

it

much improved,

if after it is

dry you

a coat, on both sides, of clear mastic varnish

To soften
Slice a quarter of a

ivory.

D
w ow
kF n
in loa
eT d
oo ed
ls fr
.c om
om

diluted with spirits of turpentine.

pound of mandrake, and put

in half a pint of the best vinegar, into

it

which put your

COMPLETIL CABINET-MAKER.

120
ivory;

let

stand in a

it

hours, you

warm

place for forty-eight

bend the ivory to your

will then be able to

mind.

To bleach

Take a double handful

ling

it

stir it

ivory.

of lime, and slack

up together;

after

dry

and steep

which

it

by sprink-

ten minutes, and pour

let it settle

the water into a pan for your purpose;

ivory,

it

with water, then add three pints of water, and

then take your

in the lime-water, twenty-four hours,

it

boil it in strong

alum- water one hour, and

in the air.

To

solder or weld tortoise-shell or horn.

Provide yourself with a pair of pincers or tongs, so

constructed that you can reach four inches beyond the
rivet;

then have your tortoise-shell

wet the

it,

joint with water;

clean to a lap-

filed

joint, carefully obser^dng that there is

no grease about

apply the pincers hot,

following them with water, and you will find the shell
it

were one piece.

To clean carpets or

Your

carpet being

dust, tack

it

down

bullock's gall with

first

tapestry.

well beat, and freed from

to the floor; then

two gallons of

quite dry, and

it

let it

will be perfectly cleansed,

new, as the colours

nal brightness;

half a pint of

soft water;

well with soap and this gall mixture

like

mix

scrub

it

D
w ow
kF n
in loa
eT d
oo ed
ls fr
.c om
om

to be joined as

remain

till

and look

will be restored to their origi-

the brush you use must not

be too

MISCBLLANKOUS FECEIPTS.

121

hard, but rather long in the hair, or you will rub up

the nap, and

damage

the article.

To make composition ornaments for picture frames, or

other jmrposes.

Mix

as

occasion

much whiting

you think you

as

have

shall

present use, with thinnish glue to the

for, for

consistence of putty, and having a mould ready, rub

it

well all over with sweet

sition in it;

pression,

take

it

it

set

by

gets hard,

with thick glue, and bend

If

and press your compo-

and you

out,

which you may

you may, before

oil,

it

you have not a mould

will

have a good im-

to dry;

apply

or

if

at hand,

first

oiling

You

it

it

work

into the form required.

you may make one

of the composition from any leaf or pattern

wish to copy, and letting

wanted,

to your

it

get hard, use

it

you may

as a mould,

well.

will find this composition of great use for copy-

ing any pattern from good moulds.

To clean pictures.

Having taken the picture out of

making

it

of your picture, sprinkling

clean soft water;

let it

it

frame, take a
it

on the face

from time to time with

remain wet for two or three

days, take the cloth off and renew

after

its

quite wet, lay

it

D
w ow
kF n
in loa
eT d
oo ed
ls fr
.c om
om

clean towel, and

with a fresh one

wiping your picture with a clean wet sponge,

repeat the process

of your picture;

till

you

find all the dirt

then wash

it

soaked out

with a soft sponge, and

COMPLETE CABINET-MAKER.

122
let it

seed

rub

get quite dry;

oil,

and

it

with some clear nut or

when

will look as well as

it

lin-

fresh done.

Another method.

Put into two quarts of strong lye a quarter of

pound of Genoa soap, rasped very

wine

let

them simmer on the

them through a

hour, then strain

brush to the picture, wipe

apply

it

with a

make

artist's

it

will

when

them over a gentle

in

a spoonful of

off the acid,

and

common

cipitated in the

then
let it

came

fire till all is

free
salt,

8(C.

add an ounce

an earthen pot and

in about five minutes ;

into another vessel,

of tartar,

them

dissolved,

then

in a pint of clear water, after

it

it

of barometers,

half an ounce of old silver lace,

happen

and mix

all dirt;

hand.

of the best ritric acid, put

place

with a sponge, and

look as bright as

silver clock faces, the scales

Take

with a

it

warmed, rub the picture and

little nut-oil,

out of the

To

off

half an

fire for

apply

a second time, which will remove

this will

dry;

it

cloth,

tiike

which

them

off

which pour

it

from sediment; then add

it

and the

silver will

be pre-

form of a white powder or curd;

pour

and mix the curd with two ounces of

salt

half an ounce of whiting, and a large spoon-

ful of salt;

mix

it

up together, and

it is

D
w ow
kF n
in loa
eT d
oo ed
ls fr
.c om
om

spirits of

with a pint of

fine,

ready for use.

In order to apply the above composition, clean your

brass or copper plate with

piece of old hat;

rub

it

some rotten stone and a

with

salt

and water with your

MISCELLANEOUS RECEIPTS.

hand
ger,

123

then take a Httle of the composition on your

and rub

over your plate, and

it

and completely

when

dry, rub

This

it

silver is

heating the

silver

wash

it;

it

well with water;

with a clean rag, and varnish

not durable, but

article^

fin-

will firmly adhere

it

it.

may be improved by

and repeating the operation

covering seems thick enough, or by varnishing

the

till

it

in the

following manner.

Varnish for clock faces,

Take of
parts

wine one

spirits of

mix one part with

by

in a bottle

ounce of

gum

half an ounce of

one part of

itself;

&;c.

pint, divide

spirits,

it

into four

gum

mastic,

and half an

sandarac in another bottle; and one part

of spirits and half an ounce of the whitest part of

gum

benjamin, mix and temper them to your mind;

if

too

too thin, some mastic;

if

too

thick,
soft,

add

spirits;

if

some sandarac or benjamin when you use

the silvered plate before the

hair pencil, stroke

and

tliis

it

over

and with a

fire,

till

it,

flat

warm
camel-

no white streaks appear,

will preserve the silvering for

many

years.

Crystallized tin.
tin,

the best, and thickest covered with

the metal you can get, clean

water

till

the face

is

it

well with whiting and

well polished;

warm

D
w ow
kF n
in loa
eT d
oo ed
ls fr
.c om
om

Take sheet

it,

or lay

on a hot plate, and with a sponge or brush wet

with strong

spirits of salts

into beautiful patterns

you

it

it

well

will soon see it shoot

as soon as this happens, plunge

COMI'LETB CABINET-MAKER.

124
it

you may then varnish

into cold spring water;

any colour you please, or leave

and varnish with

Tills

with

in its natural state

clear varnish.

much

has of late been

introduced into furni-

and when well executed has a beautiful appear-

ture,

ance

it

it

you may use

buhl work, ha^ing

manner of

as a veneer in the

it

given the side you intend to be

first

glued to your work a good coat of paint.

To render plaster figures very durable.

warm

Set the figure in a

which
it

it,

so that

fill

when

the plaister figure

will be quite covered with the best

linseed oil just

warm

let it

is

set it in a place free

quite dry,

it,

placed in

is

and

clearest

remain in the vessel for

then take

twelve or fourteen hours;

and

place to get thoroughly

then have a vessel large enough to contain

dr}^;

from dust

it

out, let

it

drain,

and when the

the ornament, or whatever

is

oil

thus pre-

pared, will look like wax, and will bear washing with-

out 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

then having procured some very

fine

it

on a clean board, and with a

dipped in this liquid, go over

turn

it

over,

white wove tissue

D
w ow
kF n
in loa
eT d
oo ed
ls fr
.c om
om

paper, lay

of turpentine

and apply

it

it

on one

to the other ;

place free from dust, to dry;

it

soft

brush

side,

and then

hang

it

up

in a

will be ready for use

.125

MISCELLANEOUS RECEIPTS.

some add a small quantity of

in a few days ;

resin,

or

use resin instead of wax.

This will be found very useful to the workmen for

copying any ornaments or

it

figures,

and

if

your

you

copy

please,

or

leisure;

it

by merely laying

as

on the work, you can trace every

correctly

line

on

with a pencil,
fair paper,

at

a pattern for Buhl-work, you

if it is

may

paste your tracing paper on the

cut,

and follow your pattern, as directed under the

article

for

Buhl- work;

will be

it

also

work you wish

to

found very handy

copying sketches or drawings.

To gild metal hy

dissolving gold in aqua regia.

Dissolve gold in aqua regia, and into the solution dip

take them out and dry them gently

linen rags ;

bum them

to tinder;

work with

this,

salt

after

take a cork and dipping

and water, and afterwards into the

work

well,

Aqua

and

regia

its

then

it

into

common

tinder, rub

your

surface will be gilt.

compounded

is

you have well polished your

of

two parts of nitrous

acid (aqua fortis) and one part of muriatic acid (spirits

mixed together.

To

Pound a small
tic)

in a mortar,

well together;

wish to
lution,

silver

and

silver ivory.

piece of nitrate of silver (lunar caus-

add

keep

soft
it

it,

and mix them

in a phial for use;

any ivory

let it

water to

remain

article,
till it

l3

D
w ow
kF n
in loa
eT d
oo ed
ls fr
.c om
om

of salt)

immerse

it

when you

in this so-

turns of a deep yellow,

COMPLETE CABINKT-MAKEK.

126
then place

in clear water,

it

of the sun;

or

if

you wish

and expose

it

to the rays

to depicture a figure or

cypher on your ivory, dip a camel-hair pencil in the

and draw the subject on the ivory;

solution,

has turned a deep yellow, wash

place

in the sun-shine,

it

pure water;
colour,

it

after it

well with water, and

occasionally wetting

with

it

in a short time it will turn of a black

which

if

well rubbed will change to a brilliant

silver.

To clean mirrors

Take a

soft

and squeeze
spirits of

looking-glasses,

sponge, wash

it

it

as dry as possible;

dip

wine, and rub over the glass,

glass, rub it lightly

and quickly with a

wards

silk handkerchief.

with a

To

When

them

method

will in a great

way

is

to take off

if

is

an

measure

much

very

what remains of the

and clean them well, by immersing

in aqua-regia, or a mixture of muriatic acid

aqua-fortis,
is

over your

clean or-moulu ornaments.

to their original beauty; but

the only

original gilding,

them

it

soft cloth, after-

and

D
w ow
kF n
in loa
eT d
oo ed
ls fr
.c om
om

worn

some

into

the expence of regilding these ornaments

object, the following

restore

it

then have some

powder- blue tied up in a rag, and dust

finish

SfC.

well in clean water,

and repeating the original process, which

similar to that of gilding buttons

however,

in a very bad state, let your ornaments lay

time in a weakish mixture of aqua-fortis,

if

some

not

little

and then

MISCELLANEOUS RECEIPTS.

wash them
plate,

directly in water

and when

sufficiently

and they

lacker,

lay

127

them on your hot

heated apply very pale gold

will look very well,

as

what remains

of the original gilding will not be injured

fortis,

be perfectly cleansed from every

by the aqua-

though the other parts as well as the gold will

dirt or tarnish.

green paint for garden stands,

lisses,

Venetian blinds,

Take mineral green, and white lead ground

in tur-

mix up the quantity you wish with a small

pentine,

quantity of turpentine-varnish
coat;

tre-

<^c.

the second,

for

put as

this serves for the first

much

mixture as mil produce a good gloss

varnish in your

you

if

desire a

brighter green, add a small quantity of Prussian blue,

will

much improve

the beauty of the colour.

To preserve wood against injury from

Put into a pot an equal quantity of
iron filings, brickdust, and ashes

water or

warm,
over

on

stir

all

its

size; set the Vv^hole

the

them well

With

wood work which might be

it

To remove

fire,

and when

this liquid

wash

in danger ; and,

a second coat,

be proof against damage by

and the

pour over them glue

near the

together.

getting dry, give

Wash

fire.

finely pulverised

fire.

stains in tables.

when

it

will

D
w ow
kF n
in loa
eT d
oo ed
ls fr
.c om
om

which

the surface over with stale beer or vinegar,

stains will then

be removed by rubbing them

COMPLETE CABINET-MAKER.

128

with a rag dipped in

spirits of salts

ceed as you would do with

work be not

If the

to repolish, pro-

new work.

stained,

wash the

clean spirits of turpentine, and repolish

ture

surface with
it

with furni-

oil.

Hints

The

in

hotter glue

making and using glue.

is,

the

more

force

keeping the two parts glued together

it

will exert in

therefore, in all

large and long joints, the glue should be applied

diately after boiling.

Glue loses much of

by being often melted,

is

newly made,

that glue,

much

is

its

imme-

strength

which

therefore,

preferable to that

which has

been used.

To renew a polished

When

may

the polish

sition,

original process of the

wax compo-

be renewed by repeating the

wax composition with a

quantity carefully rubbed

To clean
First

surface.

furniture has been finished with

smooth

off the surface

with a

it

small

off.

of solid work.

finely -set smoothing-plane,

and reduce the ridges by a scraper; then rub the

but

if

the

wood be

tion to the above,

sponge, and
glass-paper,

with the

of an open grain,

finest

sur-

kind

you must,

in addi-

wet the surface uniformly with a wet

when
till

it

D
w ow
kF n
in loa
eT d
oo ed
ls fr
.c om
om

face with glass paper, finishing

it is

dry, rub

sufficiently

it

smooth.

a second time with

MISCELLANEOUS RECEIPTS.

129

Or,

While the

surface

wet, rub

is

it

it

with pumice-stone,

and when

in the direction of the fibres;

wet

dry,

it is

again, and the grain will be raised in a less degree

than by the

pact,

and susceptible of a much

To

clean lackered

If the stain or

washing

warm
ceed,

with a

work

finer polish.

in brass furniture.

soft linen or

muslin rag wetted with

If

it:

you have no resource but

To

this does not suc-

to re-lacker.

cast ornaments or moulding to resemble wood.

a very clear cement of

and one part of

isinglass,

five parts

of Flanders

by dissolving the two

kinds separately in a large quantity of water;

after

re-

more com-

still

blemish be not too deeply seated,

water, will remove

Make
glue,

it

now

the rubbing being

wetting;

first

peated, the surface will be found to be

then,

having separated those parts which could not be

dissolved,

by

straining

The

them through

fine linen,

mix

glue thus prepared must be so

them

together.

much

heated, that the finger can but only endure the

by

this

little

water

is

evaporated, and

thus the glue acquires more consistence.

Mix

raspings

D
w ow
kF n
in loa
eT d
oo ed
ls fr
.c om
om

temperature;

of wood, or saw-dust, passed through a fine sieve, with

the glue, forming

it

plaister or sulphur

mould with

plaister casts,

into a paste.

Having rubbed the

linseed or nut

oil,

as in

put in the paste, and press the parts by

COMPLETE CABINET-MAKER.

130

hand, so that no vacuity

may

that the whole

may

and in order

remain;

with an oiled board, and place a weight on

the cast

is

it

when

it;

and

remove the rough parts;

dry,

cover

acquire a perfect form,

if

any

The

inequalities remain, they are to be smoothed.

ornament thus prepared may be fixed with glue to the

article intended.

To clean a veneered surface.

Having scraped away the

acquires

the

surface

The

final part

plished

by a

glue, tooth the surface in

fibres,

and in proportion as

regularity,

set the plane finer.

an oblique direction to the

of the operation of planing

Remove

fine-tooth plane.

the tootk-plane by a scraper,

and

is

accom-

the marks of

finish the

surface

with glass-paper, or with pumice-stone and glass-paper.

Veneers being of
generally

is,

a closer texture than solid wood

much

do not require so

labour as open-

grained solid wood.

Grease or dirt in French polish

May
with a

little

spirit of turpentine

it

quickly over

and which,

if

care-

done, will not soften the varnish.

Cement stopping.

Mix

D
w ow
kF n
in loa
eT d
oo ed
ls fr
.c om
om

ftilly

be readily removed by rubbing

equal quantities of saw-dust of the same

wood

required to be stopped, and clear glue; and with this

stop up the holes or defects of the wood; but where

MISCELLANEOUS RECEIPTS.

131

the surface is to be japanned or painted, whiting may-

be used instead of saw-dust.

Be

ping dry before you attempt to

finish the surface.

sure to let the stop-

Directions in the choice of tools.

With

respect to choosing the tools used in the cabi-

net trade, the most necessary are planes, saws, and

we will consider them first with respect to

wood they are manufactured from and secondly

chisels;

steel

in

which forms the cutting part of them

the
the

Beech

is

general, and ought to be always, used for the pur-

pose of the stocks, handles, &c., as

and not

texture,

other;

now

known by

there are

the former

is

by

far the best in every

an4 may be always known by

respect,

of a tough

is

warp

the names of black or red beech, and the

white beech;

texture, w'hich

the white

is

with use;

it

proper;

it

so much as any
two kinds of beech, usually

liable to split or

its

colour,

and

darker and more hard in substance

is

more apt

also

to warp,

and soon wears

should therefore always be rejected as im-

again,

you examine a piece of beech end-

if

ways, you will perceive the grain runs in streaks, which

among workmen,

is

in all planes this

called the beat of the

grain or beat, which

wood;
is

and

the hard

D
w ow
kF n
in loa
eT d
oo ed
ls fr
.c om
om

fibrous particles of the w^ood, should run in a direction

perpendicular to the face of the plane, which in that

case appears full of

little

hard specks

beat runs parallel to the face,

streaks,

which

it

whereas,

if

the

will appear in irregular

situation of the grain should always be

COMPLETB CABINET-MAKER.

132

avoided, as the face will be apt to wear uneven, and

more subject
and stocks

warp and

to

saw

direction as the

when

the stock,
it

is

blade, or in the

laid

on

saw

handles,

should run in the same

same direction as

In moulding planes

its side.

very frequently the case, that pieces of box are

that part of the face that forms

into

let

twist: again, in

for bits, the beat

of the mouldings

but that,

when

avoided, as the texture of the

different,

and the

the

quirk

possible, should be

two woods are very

different temperature of the

atmo-

sphere will cause a difference in their contraction, and

consequently the plane will be liable to cast

at

if it

is

any time necessary, introduce a small piece just

at

the

mouth

which

of the plane, firmly dove-tailed in,

will not be so apt to derange the accuracy of the plane.

The temper of saws,

The

and other edge

always better to have them tem-

is

it

pered rather too hard than

temperature.

at

If

for use will reduce the

soft,

any time

it is

form the operation yourself, the best

a sufficient quantity of lead to
part of the tool in.
surface, plunge

nutes,

it

it

necessary to per-

method

is,

to melt

immerse the cutting

Having previously brightened

its

into the melted lead for a few mi-

gets sufficiently hot to melt a candle, with

till it

which rub
keep

tools.

D
w ow
kF n
in loa
eT d
oo ed
ls fr
.c om
om

indeed,

out;

chisels,

quality of the steel should be uniform through-

its

there

surface,

till

be careful not to

then plunge

it

in again,

and

the steel assumes a straw colour, but

let

it

turn blue;

when

that

is

the

MISCELLANEOUS RECEIPTS.
case, take
it

cool;

it

mb

out,

if it

it

133

again with the tallow, and

should be too

wipe the grease

soft,

let
off,

and repeat the process without the tallow, and when

is

sufficiently hot,

plunge

By

or water and vinegar mixed.

to these directions,

man

will

have

it

to the tools he

and a

may

use

little

power

in his
:

a proper attention

practice, every

to give a proper

a saw

if

is

too hard,

be tempered by the same means, but as

only expensive, but, in
at

many

home, a plumber's shop

it

into cold spring water,

it

it

work-

temper
it

cases, impossible to

is

may

would be not
do

it

mostly at hand, where

you may repeat the process when they are melting a

pot of lead;
sary
till

but here, observe that the temper neces-

is different

to other cutting tools

you must wait

the steel just begins to turn blue, which

that will give

it

more

elasticity,

is

a temper

and at the same time

sufficient hardness.

D
w ow
kF n
in loa
eT d
oo ed
ls fr
.c om
om

FINIS.

INDEX.
Page
Anti-attrition, to

Barometer
Beech,

make

115

scales, to silver

to stain a

mahogany colour

22

57

Bedsteads, red stain for

59

Bone,

60

to stain black

red

60

green

60
61

blue

yellow

Box wood

to stain

<

brown

6.3

49

Brass ornaments inlaid in wood, to polish

silver

49

for lackering

79

Brass figures, to wash over with

Brass work, old, to clean

61

29

Brass, to imitate, in colouring

ditto

29

Bronzing, observations on

73

Bronze,

ditto,

to bronze figures

73

brass figures for ornaments

74
84

Bronze, gold

84

silver

85

tin

85

method of applying

85

for varnishing, to

keep

in order

work

91

43

Buhl-work, observations on
shell or brass

D
w ow
kF n
in loa
eT d
oo ed
ls fr
.c om
om

Brushes

copper

to prepare for cutting out

cutting out the pattern

glueing up the ditto

....

44
44

45

INDEX.
Page

Cane chair-bottoms,

to clean

116

116

to lestore the elasticity of

120

Carpets, to clean

Cement, mahogany-coloured

106

bank-note

106
107

turner's
for

107

broken glass

to stop flaws in
for joining

wood

108

another
stopping, to

Chairs,

common

make

130

red stain for

123

Chrystallized tin

122

to silver

123

varnish for

Cloth, to remove

oil

or grease from

wax

118

spots from

119
31

Clouds, to imitate in colouring

Colouring, rudiments of

Composition ornaments

Compound

lines

28
for picture-frames,

and forms,

ornaments and

for practice in

&c

,121

drawing

18

19

scrolls

30

curtains, to imitate in colouring

Drawing,

first

essays in

Drawing, rudiments

15

of, as

Drapery, buff-coloured,

applicable to articles of furniture ..

to imitate

chintz

ditto

white

ditto

Dying wood,

observations on
the kinds best suited for

Friction varnishing, or Frencli polishing, observations

13
SO
30

D
w ow
kF n
in loa
eT d
oo ed
ls fr
.c om
om

Crimson

59
132

Chisels, &c. to sharpen

Clock faces, &c.

07

108

china

30

50

50

on .... 100

INDEX.
Page

French polish, the

tnic, to tnake

another

^02

improved
to

remove

103
dirt or grease

from

Furniture, to varnish

105

to take bruises out of

114

make

117

another

117

make

Il7

paste, to

118

another

(ieometrical terras explained and defined

20

drawing, definition of
Gilding,

14

63

observations on
requisites necessary for

preparing frames

65

preparing frames, 6cc

65

polishing

65

gold size

66

66

preparing frames, &c. for gilding

laying on the gold

69

matting, or dead gold

finishing

67

68

burnishing

69
71

burnishing gold size

Gilding metal, by dissolving gold in aqua regis

.,.,

1125

128

Glue, hints in making and using

Glue, strong, for inlaying,

to resist moistare

43

&c

for inlaying brass,

D
w ow
kF n
in loa
eT d
oo ed
ls fr
.c om
om

Ill

Glass paper

Glues

64

64

size for oil gilding

for

30
9q

Furniture, old, to clean and polish

oil, to

I'j^

&c

49

109

INDEX.
Page
Gluing, as applicable
fronts,

Green

veneers in table-tops,

to

&c

book-case

41

baize, to imitate in colouring

30

Gilt poles

ditto

ditto

30

Glass

ditto

ditto

30

Ground

ditto

ditto

31

Grass

ditto

ditto

31

Grease, to remove from cloth

Green paint

Gums,

Horn,

for

118

garden stands, &c. ....

127

89

directions for choosing

59

to stain in imitation of tortoiseshell

100

topolish
to solder or

weld

120

81

India Japanning, observations on

ground

for

82

Chinese japan

82

black japan
to trace the design

83

to raise the figures

83

gold bronze

84

copper ditto

84

silver ditto

85

tin ditto

85

method of applying bronze

85

46

Inlaying with shaded wood

with silver strings, to imitate

48
60

D
w ow
kF n
in loa
eT d
oo ed
ls fr
.c om
om

Ivory, to stain red

60

black

60

green

61

blue

61

yellow

99

to polish

M 3

INDEX.
Pas.-

Ivory, to

119

s(>ftcn

to hicach

\Hi

to silver

79

Japanning, observations on

79

to prepare colours for

articles

80

necessary for

black japan

80

80

black rosewood, to imitate

work-boxes,

&c

86
116

Jasper, to clean

King, or botany wood,

to imitate

59

by staining

Lackering, observations on

76

work

brass

76

gold lacker for brass

77

another ditto

77

superior ditto

77

pale gold lacker

78
78

lacker with spirits of turpentine

work

128

in brass furniture, to clean

Leather, to gild, for bordering of doors, screens,

&c

71

for brightening

Liquid

foil, for

and setting colours

in

72

dying wood ....

53

silvering glass globes, bent mirrors,

to imitate in colouring

to clean

and

29

Ill

to clean the face of

light, to

70
126

Looking-glass, to clean

w ork,

&c

D
w ow
kF n
in loa
eT d
oo ed
ls fr
.c om
om

Liquid

&c

for border of library-tables, work-boxes,

Mahogany,

'i-")

finish

darken

to take ink-spots out of

112

US
116

INDEX.
Page

116

Marble, to clean
to imitate in colouring

30

porphry

ditto

SO

sienna

ditto

30

mona

ditto

SO

black

ditto

30

to polish

99

Mirrors, to clean

136

Moulding,

to resemble

wood,

129

to cast

Mountains, to imitate in colouring

Musical instruments, to

Oil, spots of, to

remove from cloth

Or-mou!u, to imitate

Ornaments

stain, a fine

31

crimson

61

purple

61

black

62

blue

62

green

62

bright yellow

62

brown

63

118

or silk

29

in colouring

for cabinet-work, directions for

drawing of

17

32

their terms explained

when and where moit

applicable

34

Ornaments, of what composed

32

foliage

32

mixed

32

festooned

33

arabesque

$3

33

serpentined, or running

33

plaited
guilloclie
fret

D
w ow
kF n
in loa
eT d
oo ed
ls fr
.c om
om

33

winding

..,

33
33

INDEX.
Pac

Ornaments, mosaic

33
34

buhl

Ornaments most appropriate

34

for hall-chairs

35

library chairs

drawing-room chairs

35

card tables

35

library

,.

and writing

35

tables

dining tables

36

S6

drawing-room tables
sofas

36

ottomans

36

dressing-table or toilette

36

window-seats

36

cheval dressing-glasses

37

sideboards

37

cot-bed

37

-bedsteads

38

drawing-room window drapery

38

libraries

38
38

fire-screens
to

Or moulu

resemble wood, to cast

129

126

ornaments, to clean

Parchment,

to

119

render transparent

109

Paste for laying cloth or leather tops

Perspective terras explained and defined

20

Perspective drawing, definition of

Pictures, to clean

another receipt
Plaister figures, to render durable

Portable glue

Porphyry,

to clean

14

by diagrams and experiments

22

D
w ow
kF n
in loa
eT d
oo ed
ls fr
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om

illustrated

121

122

124

106

116

INDEX.
Page
Plates, illustrative of variorts articles of cabinet and upholstery

work
Plate
'

39

drapery for three windows

2, simple lines

18

and forms

3,

simple and compound

"

4,

compound ornaments and

"

5, Ditto

"

6, examples of perspective

"

7, drawing and dining

"

8, hall and library chairs

"

9, window-seat and card-table

18

ditto

18

scrolls

18

ditto

23

room

39

chairs

39
^^

"

10, sofa writing table

39

11, library circular table

39

"

12, sideboard and wine cooler

39

"

13, Grecian. couch and footstool

14, cheval dressing-glass, and lady's work-table

15,

"

16, four-post bedstead

S9

39

......

39

Frenchbed

39

97

Polishing, observations on

varnish

98

French method of

9r.

brass ornaments inlaid in

99

wood

ivory

99

any work of pearl

99
99

marble

make

water-proof, to
bright, to

make
make

for turner's

104
10.5

115

work

spirits for, to

make

make appear

Purificatory process before dying

104
128

Polished surface, to renew

Prints, figures of, to

02

103

make

strong, to

prepared

D
w ow
kF n
in loa
eT d
oo ed
ls fr
.c om
om

Polish, French, to

in gold

wood

96

50

INDEX.
Page
Rivers, to imitate, in colouring

Rosewood,

51

29

....

to imitate in colouring

58

staining

Satin-wood,

Saws,

29

to imitate in colouring

sharpen and set

to

114
116

Scagliola, to clean

Shadowing, rudiments of
Shell gold, to

, . . . .

make

69

70

Silvering

65

observations on
Silver furniture, to clean
size, to

Simple
Silk, to

make

. .

remove

oil

drawing

or grease from

wax

spots from

Solid work, to clean the surface of

Spirits of wine, directions for choosing

how

119

31

128

89
27

to perform

Staining wood, observations on

Stain, to

18
118

116

to clean

the, to imitate in colouring

Stippling,

116

70

lines, for first practice in

Sienna marble,

Sky,

25

improve the colour of any

57
59

Steel scrapers, good, to cut

113

Tables, to remove stains from

127

Tapestry, to clean

120

Tools, directions in the choice of

131

132

temper
to veneer

...

Tortoiseshell, to imitate on copper

to polish
to solder or weld

D
w ow
kF n
in loa
eT d
oo ed
ls fr
.c om
om

to

43

49

1^*5
'

*"

INDEX.
Page
Tracing paper, to make

24

Trees, to imitate in colouring

31

Varnishing, observations on

88

Varnish, sealing-wax

87

cautions respecting the

making of

directions for choosing

gums and

whitehard, to

88
spirits

89

for

make

mastic, for pictures,

91

&c

92

turpentine

9^

for violins

92

drawings or card work

92

another and better method

93

for

amber

g$

oil

94

copal

94

colourless copal

9 j,

turpentine copal

95

for prints,

&c. stands water, and shines

for prints, to resemble oil

96

like glass ..

97

to polish

prepared

98
spirits for

103

for clock faces

;!

23

Velvet, to imitate, in colouring

29

Veneering, observations on

4,)

as applicable to card and other table tops, &c. ..

Veneers, old, to raise and relay

Veneered surface,

to clean

Verde antique

Water, to imitate

42

in colonring

4!
4^^

D
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kF n
in loa
eT d
oo ed
ls fr
.c om
om

Veneer, in buhl-work, to lay

3(

>

3(^

5J

'^^

INDEX.

Water-proof polish

Wax,

black, to
green,

make

ditto

spots to remove from cloth

Window
Winding

curtains, to imitate in colouring

foliage, of

Wood,

to bronze

Wood,

to

dye a

what composed
'

fine

black
blue

yellow
bright yellow

green
gretn
bright red

purple

orange
silver grey

>

grey

>Vood,

s-

to stain a fine black, for

immediate use

beech a mahogany colour

another black
in imitation of

rose-wood
king or botanj -bay wood

red, for bedsteads,

Wood,

&c

poious, to clean the face of

to prcscive

from

fire

-^Vr^^

Dcaaitnd Munday,

,-

D
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kF n
in loa
eT d
oo ed
ls fr
.c om
om

Wood,

Printers, Threadneedlo-Street.