FRENCH POLISHINGANDENAMELLING

A Practical Work of Instruction

INCLUDINGNUMEROUS RECIPES FOR MAKING POLISHES, VARNISHES, GLAZE-LACQUERS, REVIVERS, ETC. 

BY RICHARD BITMEAD

AUTHOR OF "THE CABINET-MAKER'S GUIDE, " "THE UPHOLSTERER'S GUIDE, " ETC. Fourth Edition

[Illustration: Capio Lumen]

LONDONCROSBY LOCKWOOD AND SON7, STATIONERS' HALL COURT, LUDGATE HILL1910

[_All rights reserved_]

PRINTED BYWILLIAM CLOWES AND SONS, LIMITED, LONDON AND BECCLES. 

AUTHOR'S PREFACE. 

Early in the present century the method generally adopted for polishingfurniture was by rubbing with beeswax and turpentine or withlinseed-oil. That process, however, was never considered to be verysatisfactory, which fact probably led to experiments being made for thediscovery of an improvement. The first intimation of success in thisdirection appeared in the _Mechanic's Magazine_ of November 22, 1823, and ran as follows: "The Parisians have now introduced an entirely newmode of polishing, which is called _plaque_, and is to wood preciselywhat plating is to metal. The wood by some process is made to resemblemarble, and has all the beauty of that article with much of itssolidity. It is even asserted by persons who have made trial of the newmode that water may be spilled upon it without staining it. " Such wasthe announcement of an invention which was destined ultimately to becomea new industry. 

The following pages commence with a description of the art of FrenchPolishing in its earliest infancy, care having been taken by the Author, to the best of his ability, to note all the new processes andmanipulations, as well as to concisely and perspicuously arrange anddescribe the various materials employed, not only for French polishingbut for the improving and preparation of furniture woods, a matter ofgreat importance to the polisher. The arts of Staining and Imitating, whereby inferior woods are made to resemble the most costly, are alsofully treated, as well as the processes of Enamelling, both inoil-varnishes and French polish, together with the method of decoratingthe same. The condition of the art of polishing in America is dweltupon, and various interesting articles written by practical polishers inthe States, which appeared in their trade journal, _The Cabinet-maker_, have been revised and printed in this work. 

A number of valuable recipes, and other instructive matter, useful aliketo the amateur and to the practical workman, are also given. 

CONTENTS. 

 CHAPTER I. _THE IMPROVING AND PREPARATION OF FURNITURE WOODS. _ PAGE Improving 2 Matching 3 Painting 5 Dyed Polishes 6

 CHAPTER II. _STAINS AND IMITATIONS. _ Imitation Mahogany 8 Imitation Rosewood 8 Imitation Walnut 9 Imitation Ebony 10 Imitation Oak 11 Imitation Satin-wood 12 A Blue Stain 13 A Green Stain 13 A Purple Stain 13 A Red Stain 14 Imitation Purple-wood Stain 14 Chemicals used in Staining 15 Process of Staining 16 Ready-made Wood Stains 17

 CHAPTER III. _FRENCH POLISHING. _ The Polish Used 18 Rubbers 22 Position 24 Filling-in 25 Applying the Polish 26 Spiriting-off 30 Prepared Spirits 32 Antique Style 32 Dull or Egg-shell Polish 33 Polishing in the Lathe 34

 CHAPTER IV. _CHEAP WORK. _ Glazing 37 Stencilling 39 Charcoal Polishing 40

 CHAPTER V. _RE-POLISHING OLD WORK_ 42

 CHAPTER VI. _SPIRIT VARNISHING. _ Varnishes 46 Brushes and Pencils 47 Mode of Operation 47 East Indian Varnishes 48

 CHAPTER VII. _GENERAL INSTRUCTIONS. _ Remarks on Polishing 51 The Polishing Shop 52

 CHAPTER VIII. _ENAMELLING. _ Materials 57 Tools 58 Mode of Operation 58 Polishing 60 Another Process 61 Decorations 63

 CHAPTER IX. _AMERICAN POLISHING PROCESSES. _ Use of Fillers 65 Making Fillers 70 Japan of the Best Quality 70 Fillings for Light Woods 70 Another for Light Woods 70 For Mahogany or Cherry Wood 71 For Oak Wood 71 For Rosewood 71 For Black Walnut (1) 71 " (2) 71 An Oil Colour for Black Walnut (3) 72 Finishing 73 Black Walnut Finishing 75 Finishing Veneered Panels, etc. 78 Light Woods (Dead Finish) 79 Mahogany or Cherry Wood 79 Oak 79 Rosewood, Coromandel, or Kingwood (a Bright Finish) 79 Walnut 80 Finishing Cheap Work 81 With One Coat of Varnish 81 Wax Finishing 82 A Varnish Polish 82 With Copal or Zanzibar Varnish 83 Polishing Varnish 85 An American Polish Reviver 86

 CHAPTER X. _MISCELLANEOUS RECIPES. _ Oil Polish 87 Wax Polish 87 Waterproof French Polish 88 Varnish for Musical Instruments 88 French Varnish for Cabinet-work 89 Mastic Varnish 89 Cabinet-maker's Varnish 90 Amber Varnish 90 Colourless Varnish with Copal 90 Seedlac Varnish 91 Patent Varnish for Wood or Canvas 91 Copal Varnish 91 Carriage Varnish 92 Transparent Varnish 92 Crystal Varnish for Maps, etc. 92 Black Varnish 92 Black Polish 93 Varnish for Iron 93 Varnish for Tools 93 To Make Labels Adhere to a Polished Surface 94 To Remove French Polish or Varnish from Old Work 94 Colouring for Carcase Work 94 Cheap but Valuable Stain for the Sap of Black Walnut 95 Polish (American) for Removing Stains, etc. , from Furniture 96 Walnut Stain to be used on Pine and White-wood 96 Rosewood Stain 97 Rosewood Stain for Cane Work, etc. 97 French Polish Reviver 98 Morocco Leather Reviver 98 Hair-cloth Reviver 99 To Remove Grease Stains from Silks, Damasks, Cloth, etc. 99 To Remove Ink Stains from White Marble 99

 CHAPTER XI. _MATERIALS USED. _ Alkanet-root 100 Madder-root 100 Red-sanders 101 Logwood 101 Fustic 102 Turmeric 102 Indigo 103 Persian Berries 103 Nut-galls 103 Catechu 103 Thus 104 Sandarach 104 Mastic 104 Benzoin 104 Copal 105 Dragon's Blood 106 Shellac 106 Amber 107 Pumice-stone 107 Linseed-oil 108 Venice Turpentine 110 Oil of Turpentine 110 Methylated Spirits 110

FRENCH POLISHING

AND

ENAMELLING. 

CHAPTER I. 

_THE IMPROVING AND PREPARATION OFFURNITURE WOODS. _

For a French polisher to be considered a good workman he should, inaddition to his ordinary ability to lay on a good polish, possessconsiderable knowledge of the various kinds of wood used for furniture, as well as the most approved method of bringing out to the fullestextent their natural tones or tints; he should also be able to improvethe inferior kinds of wood, and to stain, bleach, or match any of thefancy materials to which his art is applied, in a manner that willproduce the greatest perfection. The following information is given tofacilitate a thorough knowledge of the above processes. 

=Improving. =--Iron filings added to a decoction of gall-nuts and vinegarwill give to ebony which has been discoloured an intense black, afterbrushing over once or twice. Walnut or poor-coloured rosewood can beimproved by boiling half an ounce of walnut-shell extract and the samequantity of catechu in a quart of soft-water, and applying with asponge. Half a pound of walnut husks and a like quantity of oak barkboiled in half a gallon of water will produce much the same result. Common mahogany can be improved by rubbing it with powdered red-chalk(ruddle) and a woollen rag, or by first wiping the surface with liquidammonia, and red-oiling afterwards. For a rich mild red colour, rectified spirits of naphtha, dyed with camwood dust, or an oilydecoction of alkanet-root. Methylated spirits and a small quantity ofdragon's blood will also produce a mild red. Any yellow wood can beimproved by an alcoholic solution of Persian berries, fustic, turmeric, or gamboge. An aqueous decoction of barberry-root will serve the samepurpose. Birch when preferred a warm tint may be sponged with oil, veryslightly tinted with rose-madder or Venetian red; the greatest careshould be used, or it will be rendered unnatural in appearance bybecoming too red. Maple which is of a dirty-brown colour, or of a coldgrey tint, and mahogany, ash, oak, or any of the light-coloured woods, can be whitened by the bleaching fluid (see "MATCHING"). Numerousmaterials may be improved by the aid of raw linseed-oil mixed with alittle spirits of turpentine. Artificial graining may be given tovarious woods by means of a camel-hair pencil and raw oil; two or threecoats should be given, and after standing for some time the groundshould have one coat of oil much diluted with spirits of turpentine, andthen rubbed off. 

=Matching. =--Old mahogany furniture which has been repaired may beeasily matched by wiping over the new portions with water in which anodule of lime has been dissolved, or by common soda and water. Thedarkeners for general use are dyed oils, logwood, aquafortis, sulphateof iron, and nitrate of silver, with exposure to the sun's rays. For newfurniture in oak, ash, maple, etc. , the process of matching requirescare and skill. When it is desirable to render all the parts in a pieceof furniture of one uniform tone or tint, bleach the dark parts with asolution of oxalic acid dissolved in hot water (about two-pennyworth ofacid to half a pint of water is a powerful solution); when dry, if thisshould not be sufficient, apply the white stain (see pp. 11, 12)delicately toned down, or the light parts may be oiled. For preservingthe intermediate tones, coat them with white polish by means of acamel-hair pencil. On numerous woods, carbonate of soda and bichromateof potash are very effective as darkeners, as are also otherpreparations of an acid or alkaline nature, but the two given above arethe best. 

A good way of preparing these darkeners, says the "French Polisher'sManual, " an excellent little work published in Perth some years since, is to procure twopennyworth of carbonate of soda in powder, and dissolveit in half a pint of boiling water; then have ready three bottles, andlabel them one, two, three. Into one put half the solution, and into theother two half a gill each; to number two add an additional gill ofwater, and to number three two gills. Then get the same quantity ofbichromate of potash, and prepare it in a like manner; you will thenhave six staining fluids for procuring a series of brown and dark tintssuitable for nearly all classes of wood. 

The bichromate of potash is useful to darken oak, walnut, beech, ormahogany, but if applied to ash it renders it of a greenish cast. If asappy piece of walnut should be used either in the solid or veneer, darken it to match the ground colour, and then fill in the dark markingswith a feather and the black stain (see pp. 10, 11). The carbonatesolutions are generally used for dark surfaces, such as rosewoodrepresents, and a still darker shade can be given to any one by oilingover after the stain is dry. The better way of using these chemicalstains is to pour out into a saucer as much as will serve the purpose, and to apply it quickly with a sponge rubbed rapidly and evenly over thesurface, and rubbed off dry immediately with old rags. Dark and lightportions, between which the contrast is slight, may be made to match byvarnishing the former and darkening the latter with oil, which shouldremain on it sufficiently long; by this means the different portions mayfrequently be made to match without having recourse to bleaching orstaining. 

=Painting. =--The next process is painting. It frequently happens incabinet work that a faulty place is not discovered until after the workis cleaned off; the skill of the polisher is then required to paint itto match the other. A box containing the following colours in powderwill be found of great utility, and when required for use they should bemixed with French polish and applied with a brush. The pigments mostsuitable are: drop black, raw sienna, raw and burnt umber, Vandykebrown, French Naples yellow (bear in mind that this is a very opaquepigment), cadmium yellow, madder carmine (these are expensive), flakewhite, and light or Venetian red; before mixing, the colours should befinely pounded. The above method of painting, however, has thisobjection for the best class of furniture, that the effects of time willdarken the body of the piece of furniture, whilst the painted portionwill remain very nearly its original colour. In first-class work, therefore, stained polishes or varnishes should be applied instead ofthese pigments. 

=Dyed Polishes. =--The methods of dyeing polish orvarnish are as follows: for a red, put a little alkanet-root or camwooddust into a bottle containing polish or varnish; for a bright yellow, asmall piece of aloes; for a yellow, ground turmeric or gamboge; for abrown, carbonate of soda and a very small quantity of dragon's blood;and for a black, a few logwood chips, gall-nuts, and copperas, or by theaddition of gas-black. 

The aniline dyes (black excepted) are very valuable for dyeing polishes, the most useful being Turkey-red, sultan red, purple, and brown. A smallportion is put into the polish, which soon dissolves it, and nostraining is required. The cheapest way to purchase these dyes is by theounce or half-ounce. The penny packets sold by chemists are tooexpensive, although a little goes a long way. 

CHAPTER II. 

_STAINS AND IMITATIONS. _

In consequence of the high price demanded for furniture made of thecostly woods, the art of the chemist has been called into requisition toproduce upon the inferior woods an analogous effect at a triflingexpense. The materials employed in the artificial colouring of wood areboth mineral and vegetable; the mineral is the most permanent, and whencaused by chemical decomposition within the pores it acts as apreservative agent in a greater or less degree. The vegetable colouringmatters do not penetrate so easily, probably on account of the affinityof the woody fibre for the colouring matter, whereby the whole of thelatter is taken up by the parts of the wood with which it first comesinto contact. Different intermediate shades, in great variety, may beobtained by combinations of colouring matters, according to the tintdesired, and the ideas of the stainer. The processes technically knownas "grounding and ingraining" are partly chemical and partly mechanical, and are designed to teach the various modes of operation whereby theabove effects can be produced. We will commence with

=Imitation Mahogany. =--Half a pound of madder-root, and two ounces oflogwood chips boiled in a gallon of water. Brush over while hot; whendry, go over it with a solution of pearlash, a drachm to a pint. Beechor birch, brushed with aquafortis in sweeping regular strokes, andimmediately dried in front of a good fire, form very good imitations ofold wood. Venetian red mixed with raw linseed-oil also forms a goodstain. 

The following is a method in common use by French cabinet-makers. Thewhite wood is first brushed over with a diluted solution of nitrousacid; next, with a solution made of methylated spirits one gill, carbonate of soda three-quarters of an ounce, and dragon's blood aquarter of an ounce; and a little red tint is added to the varnish orpolish used afterwards. Black American walnut can be made to imitatemahogany by brushing it over with a weak solution of nitric acid. 

=Imitation Rosewood. =--Boil half a pound of logwood chips in three pintsof water until the decoction is a very dark red; then add an ounce ofsalt of tartar. Give the work three coats boiling hot; then with agraining tool or a feather fill in the dark markings with the blackstain. A stain of a very bright shade can be made with methylatedspirits half a gallon, camwood three-quarters of a pound, red-sandersa quarter of a pound, extract of logwood half a pound, aquafortis oneounce. When dissolved, it is ready for use. This makes a very brightground. It should be applied in three coats over the whole surface, andwhen dry it is glass-papered down with fine paper to a smooth surface, and is then ready for graining. The fibril veins are produced by passinga graining tool with a slight vibratory motion, so as to effect thenatural-looking streaks, using the black stain. A coat of the bichromateof potash solution referred to on page 4 will make wildly-figuredmahogany have the appearance of rosewood. 

=Imitation Walnut. =--A mixture of two parts of brown umber and one partof sulphuric acid, with spirits of wine or methylated spirits addeduntil it is sufficiently fluid, will serve for white wood. Showyelm-wood, after being delicately darkened with the bichromate solutionNo. 1, page 4, will pass for walnut; it is usually applied on the cheaploo-table pillars, which are made of elm-wood. Equal portions of thebichromate and carbonate solutions (see page 4), used upon Americanpine, will have a very good effect. 

Another method for imitating walnut is as follows: One part (by weight)of walnut-shell extract is dissolved in six parts of soft-water, andslowly heated to boiling until the solution is complete. The surface tobe stained is cleaned and dried, and the solution applied once or twice;when half-dry, the whole is gone over again with one part of chromate ofpotash boiled in five parts of water. It is then dried, rubbed down, andpolished in the ordinary way. 

The extract of walnut-shells and chromate of potash are procurable atany large druggist's establishment. A dark-brown is the result of theaction of copper salts on the yellow prussiate of potash; the sulphateof copper in soft woods gives a pretty reddish-brown colour, in streaksand shades, and becomes very rich after polishing or varnishing. Different solutions penetrate with different degrees of facility. Inapplying, for instance, acetate of copper and prussiate of potash tolarch, the sap-wood is coloured most when the acetate is introducedfirst; but when the prussiate is first introduced, the heart-wood is themost deeply coloured. Pyrolignite of iron causes a dark-grey colour inbeech, from the action and tannin in the wood on the oxide of iron;while in larch it merely darkens the natural colour. Most of the tints, especially those caused by the prussiates of iron and copper, areimproved by the exposure to light, and the richest colours are producedwhen the process is carried out rapidly. 

=Imitation Ebony. =--Take half a gallon of strong vinegar, one pound ofextract of logwood, a quarter of a pound of copperas, two ounces ofChina blue, and one ounce of nut-gall. Put these into an iron pot, andboil them over a slow fire till they are well dissolved. When cool, themixture is ready for use. Add a gill of iron filings steeped in vinegar. The above makes a perfect jet black, equal to the best black ebony. Avery good black is obtained by a solution of sulphate of copper andnitric acid; when dry, the work should have a coat of strong logwoodstain. 

=Imitation Oak. =--To imitate old oak, the process known as "fumigating"is the best. This is produced by two ounces of American potash and twoounces of pearlash mixed together in a vessel containing one quart ofhot water. 

Another method is by dissolving a lump of bichromate of potash in warmwater; the tint can be varied by adding more water. This is best doneout of doors in a good light. Very often in sending for bichromate ofpotash a mistake is made, and chromate of potash is procured instead;this is of a yellow colour, and will not answer the purpose. Thebichromate of potash is the most powerful, and is of a red colour. Asolution of asphaltum in spirits of turpentine is frequently used todarken new oak which is intended for painter's varnish, or a coatingof boiled oil. 

Another method of imitating new oak upon any of the inferiorlight-coloured woods is to give the surface a coat of Stephens'ssatin-wood stain, and to draw a soft graining-comb gently over it, andwhen the streaky appearance is thus produced a camel-hair pencil shouldbe taken and the veins formed with white stain. This is made bydigesting three-quarters of an ounce of flake white (subnitrate ofbismuth), and about an ounce of isinglass in two gills of boiling water;it can be made thinner by adding more water, or can be slightly tintedif desired. 

Proficients in staining and imitating can make American ash so like oakthat experienced judges are frequently deceived, the vein and shade ofthe spurious wood looking nearly as natural as the genuine. After theveining is done, it should be coated with white hard varnish, maderather thin by adding more spirits, after which the ground can bedelicately darkened if required. 

=Imitation Satin-wood. =--Take methylated spirits one quart, groundturmeric three ounces, powdered gamboge one and a-half ounces. Thismixture should be steeped to its full strength, and then strainedthrough fine muslin, when it will be ready for use. Apply with a sponge, and give two coats; when dry, glass-paper down with fine old paper. Thismakes a good imitation for inside work. By the addition of a littledragon's blood an orange tint can be produced. A yellow colour can alsobe given to wood by boiling hot solutions of turmeric, Persian berries, fustic, etc. But the colour is very fugitive. A more permanent colourresults from nitric acid, and last of all by the successive introductionof acetate of lead and chromate of potash. Sulphate of iron also stainswood of a yellowish colour when used as a preservative agent, so muchso, that the use of corrosive sublimate is recommended for this purposewhen it is desirable to preserve the light colour. 

=A Blue Stain. =--This dye can be obtained by dissolving East Indianindigo in arsenious acid, which will give a dark blue. A lighter bluecan be obtained by hot solutions of indigo, of sulphate of copper, andby the successive introduction of pyrolignite of iron and prussiate ofpotash. 

=A Green Stain. =--Dissolve one ounce of Roman vitriol in a quart ofboiling water, to which is added one ounce of pearlash; the mixtureshould then be forcibly agitated, and a small quantity of pulverisedyellow arsenic stirred in. A green is also the result of successiveformations in the pores of the wood of a blue and a yellow as aboveindicated, and by a hot solution of acetate of copper in water. Ayellowish green may be obtained by the action of copper salts on the redprussiate of potash. 

=A Purple Stain. =--Boil one pound of logwood chips in three quarts ofwater, until the full strength is obtained; then add four ounces ofpearlash and two ounces of powdered indigo. When these ingredients arethoroughly dissolved, it is ready for use, either hot or cold. A purpleis also obtained by a boiling hot solution of logwood and Brazil-wood, one pound of the former and one quarter of a pound of the latter to agallon of water. 

=A Red Stain. =--Methylated spirits one quart, Brazil-wood three ounces, dragon's blood half an ounce, cochineal half an ounce, saffron oneounce. Steep the whole to its full strength, and strain. A red can alsobe produced by macerating red-sanders in rectified spirits of naphtha. An orange-red colour may be obtained by the successive action ofbichloride of mercury and iodide of potash, madder, and ammoniacalsolutions of carmine. 

=Imitation Purple-wood Stain. =--Grind a piece of green copperas oncoarse glass-paper, and mix with polish coloured with red-sanders. Thismakes a capital purple stain, and is used by French cabinet-makers. 

These dyestuffs may be much improved by the addition of a mordantapplied after they are dry; this will greatly assist in modifying andfixing the tints and shades which the dyes impart. The best thing forthe purpose, in the writer's opinion, is clear ox-gall, which, besidesbeing useful as a mordant, will destroy all unctuous matter. 

=Chemicals used in Staining. =--It may perhaps be useful here to give thecommon or popular names of the chemicals employed in the operations ofstaining and imitating, as few polishers know them by the scientificnames used by chemists:--

Nitric acid is but another phrase for aquafortis. Sulphuric acid, for oil of vitriol. Ammonia, for spirits of hartshorn. Sulphate of magnesia, for Epsom salts. Nitrate of potass, for sal prunelle. Chlorine, for aqua regia. Sulphate of copper, for blue vitriol. Subborate of soda, for borax. Superoxalate of potass, for salts of sorrel. Hydrochlorate of ammonia, for sal ammoniac. Subnitrate of bismuth, for flake white. Acetic acid, for vinegar. Acetate of lead, for sugar of lead. Sulphate of lime, for gypsum. Carbonate of potass, for pearlash. Bitartrate of potass, for cream of tartar. Nitrate of silver, for lunar caustic. Supercarbonate of iron, for plumbago. Cyanide of iron, for Prussian blue. Subacetate of copper, for common verdigris. Susquecarbonate of ammonia, for sal volatile. Alcohol, for pure spirit. Sulphate of iron, for green copperas. Sulphate of zinc, for white copperas. 

=Process of Staining. =--The natural qualities of woods are veryvariable; so also are the textures of the different sorts usually usedfor staining. It will be readily perceived that there is no fixedprinciple upon which certain peculiar tints or shades can be producedwith any degree of certainty. In order to arrive at the best results, the stainer is recommended to observe the following rules:--

All dry stuffs are best reduced to powder, when it is possible, beforemacerating or dissolving them. 

All liquids should be strained or filtered before use. 

The requisite ingredients should always be tested before a free use ismade of them, as the effect produced by a coat of stain cannot beaccurately ascertained until it is thoroughly dry. 

Amateurs in staining had far better coat twice or thrice with a weakstain than apply a strong one; for if too dark a tint is first obtainedit is often irremediable. Flat surfaces will take stain more evenly if asmall portion of linseed-oil is first wiped over, well rubbed off, andallowed to dry, then lightly papered down with fine glass-paper. End-waywood which is of a spongy nature should first have a coat of thinvarnish, and when dry well glass-papered off. For applying stain a flathog-hair tool is the best; and for a softener-down a badger-hair tool isused. For mahogany shades and tints a mottler will be found of service, as will also a soft piece of Turkey sponge. For oak, the usual steelgraining-comb is employed for the streaking, and for veining badgersash-tools and sable pencils. 

=Ready-made Wood Stains. =--There are numerous stains suitable for commonwork in the market obtainable at a small cost by residents in London, but it is cheaper for those who reside in country towns to make theirown, if only a small quantity is required. The principal makers of woodstains are H. C. Stephens, of 191, Aldersgate-street, E. C. , and Jackson, 213, Union-street, Southwark, S. E. These makers prepare stains in aliquid state, and also in powders for oak, walnut, mahogany, satin-wood, ebony, and rosewood. The powders are sold in packages at 8s. Per lb. Or1s. For two ounces, and are soluble in boiling water. Judson, of 77, Southwark-street, S. E. , makes a mahogany powder in sixpenny packets, andany reliable oilman will sell a good black stain at 8d. Per quart, or asuperior black stain at 1s. 2d. Per quart. Fox, of 109, BethnalGreen-road, also prepares stains in a liquid state. 

CHAPTER III. 

_FRENCH POLISHING. _

=The Polish Used. =--The oil or wax polish was used for all kinds offurniture before the introduction of French polish, the invention ofwhich, as its name implies, is due to French cabinet-makers. It wasfirst introduced into England about seventy years since; some timeelapsed, however, before it was brought to a high state of perfection. At first apprentices or porters were entrusted with the polishing, theyhaving been usually called upon to do the wax polishing; but in courseof time it was found that its successful adoption implied the possessionof considerable skill, and it came to be regarded as an art of no littleimportance--so much so, that the early polishers who had perfectedthemselves used to work in a shop with closed doors, lest the secret oftheir success should be discovered. From that time polishing became aseparate branch of the cabinet business. 

The following original recipe as first invented has been extracted froma French work, the _Dictionnaire Technologique_, not, however, for itsusefulness (it having gone into disuse many years ago), but as a matterof curiosity:--

 "_French Polish. _"

 Gum sandarach 14 ounces 2 drachms Gum mastic in drops 7 " 2 " Shellac (the yellower the better) 14 " 2 " Alcohol of 0. 8295 specific gravity 3 quarts and 1 pint. 

"Pound the resinous gums, and effect their solution by continuedagitation, without the aid of heat; if the woods are porous, add sevenounces one drachm of Venice turpentine. If an equal weight of groundglass be added, the solution is more quickly made, and is also otherwisebenefited by it. Before using, the wood should be made to imbibe alittle linseed-oil, the excess of which should be removed by an oldflannel. "

Notwithstanding the improvement made upon the old processes by this newmethod, it was by no means considered to be perfect, for the polish wasfound to impart its brown tinge to the light-coloured woods, especiallyin marqueterie work, and to deteriorate their appearance. It will bereadily seen that it was a great desideratum among polishers to rendershellac colourless, as, with the exception of its dark-brown hue, itpossesses all the properties essential to a good polish or spiritvarnish in a higher degree than any of the other resins. 

In 1827 the Society of Arts came forward with its valuable aid andoffered a premium of a gold medal, or thirty guineas, "for a polish orvarnish made from shell or seed-lac, equally hard, and as fit for use inthe arts as that at present prepared from the above substance, butdeprived of its colouring matter. " After numerous experiments, thislong-felt want was perfectly attained by Dr. Hare, who was awarded thepremium. His method was as follows: "Dissolve in an iron kettle one partof pearlash in about eight parts of water; add one part of shell orseed-lac, and heat the whole to ebullition. When the lac is dissolved, cool the solution, and impregnate it with chlorine till the lac is allprecipitated. The precipitate is white, but its colour deepens bywashing and consolidation; dissolved in alcohol, lac, bleached by theprocess above mentioned, yields a polish or varnish which is as freefrom colour as any copal varnish. " At the present time shellac isbleached by filtration over animal charcoal. 

Numerous experiments were afterwards made in the manufacture ofpolishes; several chemists devoted their attention to its manufacture, and an improved polish was soon produced which was used for a number ofyears. The following are its proportions:--

 Shellac 14 ounces. Sandarach 3/4 ounce. White resin 3/4 " Benzoin 3/4 " Gum thus 3/4 " O. P. Finishing spirit 1/2 a gallon. 

The "filling-in" processes also began to be used, which effected aconsiderable saving in the quantity of polish usually required, and inconsequence of the expensiveness of spirits of wine rectified spirits ofnaphtha was used as a substitute for the making of polishes, etc. ; butit was discovered that its continued use soon affected the eyesight ofthe workmen, and it had to be abandoned, the methylic alcohol, pyroxylicspirit, or wood spirit, as it has been differently called, taking itsplace. This was first discovered by Mr. Philip Taylor in 1812, and isobtained by distilling wood. Messrs. Dumas & Peligot, after analysingit, determined that it contained 37·5 per cent. Of carbon, 12·5 percent. Of hydrogen, and 50 per cent. Of oxygen. When pure, it remainsclear in the atmosphere; but for the sake of economy it is oftenemployed in the manufacture of other compounds called methylated. Thisspirit began to be much used in the manufacture of polishes andvarnishes in the year 1848, and has continued to be much used eversince. 

The wonderful improvements which have been effected in polishes sincetheir first introduction obviously prove that they have now arrived at avery high point of perfection, and polishing is now justly acknowledged, both by skilled artisans and connoisseurs, to be an important decorativeart. French polish or varnish at the present time can easily be obtainedat most chemists or oil shops, or direct from the manufacturers, amongstwhom may be mentioned Mr. W. Urquhart, 327, Edgware-road, W. ; Messrs. Turner & Sons, 7 to 9, Broad-street, Bloomsbury, W. C. ; Messrs. WilliamFox & Son, Bethnal Green-road, E. ; Mr. G. Purdom, 49, Commercial-road, E. 

The London prices are: Best French polish, 5s. 6d. Per gallon; bestwhite polish, 9s. Per gallon; brown or white hard varnish, 8s. Pergallon; patent glaze, 10s. Per gallon; methylated spirits, 3s. 3d. Pergallon. For those who prefer to make their own, the following will befound an excellent recipe:--

 12 ounces of orange shellac. 1 ounce of benzoin. 1 ounce of sandarach. 1/2 gallon of methylated spirits. 

Pound the gums well before mixing with the spirit, as this will hastentheir dissolution. White polish for white wood and marqueterie workshould be made with bleached shellac instead of the above. In makingpolishes or varnishes, the mixture will frequently require shaking untildissolved. 

=Rubbers. =--In commencing to polish, the materials required are oldflannel for the rubbers and clean old linen or cotton rags for thecoverings, the softer the better; some polishers, however, prefer whitewadding for rubbers instead of flannel. Rubbers for large surfaces areusually made of soft old flannel, firmly and compactly put togethersomewhat in the form of a ball, and the more they possess softness andcompactness, and are large and solid, the more quickly andsatisfactorily will they polish extensive surfaces. Small pliablerubbers are usually employed for chairs or light frame-work. Perhaps fora beginner a rubber made of old flannel may be best, as it takes somelittle practice to obtain the necessary lightness of hand. 

The rubber for "spiriting-off" should be made up from a piece of oldflannel or woollen cloth, and covered with a piece of close rag, doubled. Carefully fold the rag and screw it round at the back to makeit as firm as possible, and sprinkle some spirit on the face of it justas it is covered; then give it two or three good smacks with the palm ofthe hand, and begin by laying on as lightly as possible for the firstfew strokes and gradually increase the pressure as the rubber gets dry;then take off the first fold of the cover and work it perfectly dry. 

The rubber should present to the wood you are about to work on asmooth-rounded or convex surface. Have beside you linseed-oil in onereceptacle, and some French polish in another. Apply one drop of polishand one drop of oil, and polish with a circular movement--traversingsteadily the _whole_ surface to be polished, and from time to time, asmay be necessary (when the rubber gets sticky and harsh, indicating thatthe inside needs replenishing with more polish), open and apply more ofit, and again draw over the linen cover, holding it tightly to form theconvex face proper to do the work. After replenishing, the rubber willprobably need a little more oil to help it to work smoothly. Having thusworked on one coat of polish evenly over all the wood until it has gotwhat may best be described as a _full look_, set it aside for two orthree hours to sink in and become hard, and when completely dry, lightlypaper off with glass-paper (very finest), afterwards dusting the surfaceto remove any trace of powder, and lay on a second coat of polish in thesame method. Then allow twenty-four hours to dry. Another light paperingmay possibly be needed--dust off as before recommended and let the woodhave a _third_ coat of polish. 

For this third coat a fresh rubber should be made, the inside beingsparingly supplied with spirits of wine instead of polish. Put a doublefold of linen over it, touch it with one drop of oil, and go verylightly and speedily over the whole work. 

In spiriting-off--the object of which is to remove any trace of smudgethat may blur the surface unless removed thus by spirit--you should gogently to work, using a very light hand, or you may take the polish offas well, amateurs more especially. 

=Position. =--All work should be placed in an easy and accessibleposition while it is being polished, so that the eye may readilyperceive the effect of the rubber; this will greatly help to relieve thedifficulties attending the polishing of a fine piece of furniture. Itshould also be kept quite firm, so that it cannot possibly move about. The most suitable benches for polishers are the ordinary cabinet-makers'benches, with the tops covered with thick, soft cloths; these clothsshould not be fastened down, it being an advantage to be able to removethem when required. When a piece of work too large to be placed upon thebench is in hand, pads will be found useful to rest it upon. These canbe made by covering pieces of wood about two feet in length by threeinches in width with cloth several times doubled, the work being placedso that a good light falls upon it. All thin panelling should be tackeddown upon a board by the edges while polishing. 

=Filling-in. =--The first process the wood usually undergoes is"filling-in. " This consists in rubbing into the pores of the woodRussian tallow and plaster of Paris, which have been previously heatedand mixed together so as to form a thick paste. For rosewood, or todarken mahogany, a little rose-pink should be added. After well rubbingin, the surface should be cleared from all the surplus paste with theend of the scraper, and then rubbed off with shavings or old rags, andmade quite clean. For birch or oak, some use whiting or soft puttymoistened with linseed-oil for the filling; this preparation prevents ina great measure the rising of the grain. For white delicate woods, suchas sycamore, maple, or satin-wood, plaster of Paris, mixed withmethylated spirit, is used. When polishing pine, a coat of Young'spatent size (2d. Per lb. ) is used instead of the above mixtures, andwhen dry is rubbed down with fine glass-paper. 

Some workmen, who regard their modes of filling-in as important secrets, do their work surprisingly quick by the methods here given. The variousprocesses are soon acquired by a little practice, and contribute greatlyto the speedy advancement of a smooth and imporous ground, which is themost important point to observe in polishing. 

=Applying the Polish. =--In commencing to use the polish some areprovided with a small earthenware dish, into which the polish is pouredfor wetting the rubbers; while others make a slit in the cork of thepolish bottle, and so let it drip on to the rubber; whichever method isadopted, the rubber should not be saturated, but receive just enough tomake a smear. Every time after wetting the rubber and putting on thecover it should be pressed upon the palm of the hand, or if a smallrubber it can be tested between the thumb and finger. This is animportant operation, for by it the polisher can easily tell the exactstate of moisture, and at the same time, by the pressure being applied, the moisture is equalised. The tip of the finger should then be justdipped into the linseed-oil, and applied to the face of it; if therubber should be rather sappy, the greatest care must be used or acoarse streaky roughness will be produced; extreme lightness of hand isrequired until the rubber is nearly dry. (It would be a serious error tobear heavily on the rubber while the surface is moist; to do so, and touse too much oil on the rubber, are the causes of many failures inpolishing. )

In commencing to work, pass the rubber a few times gently and lightlyover the surface in the direction of the grain; then rub across thegrain in a series of circular movements, all one way, in full and freesweeping strokes, until the rubber is dry. Continue this operation untilthe pores are filled in, and the surface assumes a satisfactoryappearance. It should then be left for about twelve hours; the polishwill be well into the wood by that time. The polish should then becarefully rubbed down with No. Glass-paper; this will remove the atomicroughness usually caused by the rising of the grain during the sinkingperiod. In flat-surface work a paper cork can be used, and the rubbinglightly and regularly done in a careful manner, so as to avoid rubbingthrough the outer skin, especially at the edges and corners, or the workwill be irremediably defaced. 

The woods which possess a rising grain are well known to polishers;these are the light-coloured woods with a coarse grain, viz. , ash, birch, and oak. This rising of the grain can in a great measure beprevented by passing a damp sponge over the work before commencing thepolishing, allowing it to dry, and papering it. After the rubbing orsmoothing-down process is finished, the work should be well dusted; thepolishing can then recommence. The above operation must be againrepeated with a rotary motion and gradually increased pressure as therubber gets dry, and finished by lighter rubbings the way of the grain;this will remove any slight marks that may be occasioned by the circularmovements of the rubber. 

Working too long on any one part is to be avoided, nor should the rubberbe allowed to stick even for an instant, or it will pull the coating ofpolish off to the bare wood. The rubber should be covered with a cleanpart of the rag as soon as a shiny appearance becomes apparent upon it, or at each time of damping, and less oil should be used towards the endof the operation, so as to gradually clear it all off from the surface. Rubber marks can be removed by rubbing in a direction the reverse of themarks with a half-dry rubber and increased pressure. When the work hasreceived a sufficient body, in finishing the drying of the last rubber, ply it briskly the way of the grain to produce a clean dry surface forthe spiriting-off. 

The following is the method usually employed on fine carved or turnedwork when finished in the best style. In the first place it is embodiedwith polish, using a small rubber for the operation, after which itshould have one coat of shellac (two parts by weight of shellac to oneof spirits) applied with a brush, and when dry it should be carefullysmoothed down with flour paper, the utmost caution being observed indealing with the sharp edges, or the carving will be spoiled. Then it isembodied with polish again, and one coat of glaze applied with thegreatest care. A few hours should be allowed to harden, and thenfinished off with a rubber slightly damped with thin polish. This is anexpensive method, but it will pay in appearance for all the timebestowed. 

For the best class of cabinet and pianoforte work in amboyna orburr-walnut it is advisable not to use linseed-oil on the sole of therubber when polishing, but the best hog's lard; the reason for this isthat these veneers being so extremely thin and porous the oil willquickly penetrate through to the groundwork, softening the glue, andcausing the veneers to rise in a number of small blisters. Of course, this is not always the case, but the use of lard instead of oil will befound a good preventative. Lard is also used on the above class of workwhen it is desirable to preserve the colour of the wood in its naturalstate. 

The following method is employed for the best work: Immediately onreceiving the job from the cabinet-maker, a good coating of thin, cleanglue should be applied with a sponge or brush; this is allowed to dry, and thoroughly harden; it is then cleaned off, using the scraper andglass-paper, cutting it down to the wood. The bodying-in with whitepolish is the next process, the usual sinking period being allowed; itis again cleaned off, but the scraper this time should not quite reachthe wood. Then embody again, and treat in a like manner. In getting upthe permanent body, commence with a slight embodying; let this stand, and when the sinking period is over rub it down with a felt rubber andpowdered pumice-stone; continue this several times, till the surfacepresents a satisfactory appearance, and the job is ready for thespiriting process. By this means the wood will retain its naturalcolour, and a beautiful transparent polish will result, and remain for anumber of years. This also is an expensive process, but the resultcannot be obtained in any other way. 

=Spiriting-off. =--Most polishers affirm that if an interval of at leasta couple of hours elapse between the final embodying and thespiriting-off the brilliancy of the polish will be improved, and remainharder and more durable. The spirit is applied in exactly the same wayas the polish, and the same rubber can be used, but it should be coveredwith more than one fold of the soft linen rag; care should be taken notto make it very wet, or the gum on the surface of the work will beredissolved, and a dulness instead of a brilliancy will result. If thespirit should be very strong, the rubber should be breathed upon beforeusing, and a little more oil taken up; some, however, prefer to mix alittle polish with the spirit, while others prefer the spirit to beweakened by exposure to the air for a few hours; experience alone mustbe the teacher in this particular; but if the spirit should not "bite, "as it is termed, all will be well. The last rubber should be worked alittle longer than usual, and a trifle quicker, so as to remove theslight greasy moisture on the surface. 

The finishing touch is given to the work by a soft rag loosely rolled upand just a few drops of spirit dropped upon it, applied quickly the wayof the grain. This will remove every defect, and leave it clear andbrilliant. If, in a short time after finishing, the polish becomes dullor rough, it will be owing to too much oil being absorbed in the processand working through the surface, combined with dust. It should becleaned off first with a soft cloth, damped with a little warm water, and the whole repaired, as at first, with equal parts of polish andspirits mixed together, using the least possible damp of oil to make itfinish clear; there is no danger of its happening again. In all casesthe work must be rubbed till quite dry, and when nearly so the pressuremay be increased. 

The rubber for spiriting-off should be made up from a piece of oldflannel, and be covered with a piece of old rag. This is preferable tovery thin rag, and will give a better finish. 

=Prepared Spirits. =--This preparation is useful for finishing, as itadds to the lustre and durability, as well as removes every defect ofother polishes, and it gives the surface a most brilliant appearance. 

It is made of half a pint of the very best rectified spirits of wine, two drachms of shellac, and two drachms of gum benzoin. Put theseingredients in a bottle and keep in a warm place till the gum is alldissolved, shaking it frequently; when cold add two teaspoonfuls of thebest clear white poppy oil; shake them well together, and it is fit foruse. 

=Antique Style. =--For mediĉval or old English furniture a dull polish isgenerally preferred to a French polish, because it has a gloss ratherthan a brilliant polish, which materially assists in showing upmouldings or carvings to the best advantage; it is also more incharacter with the work of the Middle Ages. Another advantage is thefacility of obtaining a new polish (after being once done) should thefirst one get tarnished, as the finishing process can be performedwithout difficulty by any one, and a new polish obtained each time. 

On receiving a job which is required to be done in this style, it shouldbe "filled-in" in the usual manner, and afterwards bodied with whitepolish to a good extent; it is then left for a sinking period (saytwelve hours). The work is then carefully rubbed down with powderedpumice-stone and a felt-covered block or rubber, and after well dustingit is ready for finishing. The preparation used for this process ismainly composed of bees'-wax and turpentine (see Wax Polish, page 87), well rubbed in with a piece of felt or a woollen rag, and finished offby rubbing briskly with a very soft cloth or an old handkerchief toproduce a gloss. 

=Dull or Egg-shell Polish. =--This is another style of finishing formediĉval work; the process is very simple. In commencing a job to befinished in this style, the process of "filling-in" and "embodying" arefirst gone through, then a sinking period is allowed, after which it isembodied again, till the work is ready for finishing. All the partsshould be carefully examined to see if there is a good coating of polishupon them. This is important, for if the work should be only thinlycoated it is liable to be spoiled by rubbing through in the lastprocess. After allowing a few hours for the surface to harden, a pouncebag of powdered pumice-stone should be applied to the work, and afelt-covered rubber used, rubbing down in the direction of the grainuntil the work is of the desired dulness. 

For the cheaper kind of work done in this style, the first process, ofcourse, is the filling-in; then a rubber of wadding is taken and usedwithout a cover, made rather sappy with polish and a few drops of oiladded; and after bodying-in with this sufficiently, the work should bestood aside for twelve hours, then rubbed down with some fine wornglass-paper. The embodying is then again commenced, a proper rubber andcover being used; and when sufficient is put on, and while the surfaceis still soft, the pounce above mentioned should be applied, and rubbeddown with a piece of wadding slightly moistened with linseed-oil untilthe desired dulness appears. This is becoming the fashionable finish forblack walnut work. 

=Polishing in the Lathe. =--The lathe is of more use to a polisher than agreat many persons outside the trade would imagine. By its aid turnedwork can be finished in a most superior style, and in less time than byhand. The articles usually done by the lathe are wood musicalinstruments, such as clarionets, flutes, etc. ; also cornice-poles, ends, and mahogany rings, the latter being first placed in a hollow chuck andthe insides done, after which they are finished upon the outside on aconical chuck. For table-legs, chair-legs, and all the turnery used inthe cabinet-work, it will be found of great advantage to finish theturned parts before the work is put together. 

Most of the best houses in the trade finish their work in this way, where all the work is polished out entirely with the rubber. In thefirst place, the filling-in is done. The band is thrown off the pulleyand the work rubbed in; at the same time the pulley is turned round bythe left hand. When this is done, the band is replaced and the workcleaned off with rags or shavings, the lathe to be driven with speed toget a clean surface. When applying the polish the lathe should revolvewith a very slow motion. 

The rubbers best adapted for turned work are made of white wadding, asthe hollows and other intricacies can be completely finished out with asoft rubber. The work should first receive a coating of thick shellac, two parts by weight of shellac to one of methylated spirits, and appliedwith a brush or a soft sponge; after a couple of hours this is nicelysmoothed with fine paper, and the "bodying-in" completed with the softrubber and thin polish. There are numerous hard woods which do notrequire filling-in, amongst which may be mentioned boxwood, cocus, ebony, etc. ; these may be rapidly polished in the lathe, on account oftheir texture, with the white polish. In spiriting-off a very soft pieceof chamois leather (if it is hard and creased it will scratch) should bedamped with methylated spirits, then wrung so that the spirit may beequally diffused; the lathe should then be driven at a rapid speed, andthe leather held softly to the work. In a few minutes, if a dark wood, abrilliant surface will be produced. 

CHAPTER IV. 

_CHEAP WORK. _

=Glazing. =--Glaze is known to the trade under several names, such asslake, finish, and telegraph; it is used only for cheap work, wheneconomy of time is a consideration, and is made as follows: mastic, 1oz. ; benzoin, 5 ozs. ; methylated spirit, 5 gills. A superior article canbe obtained from G. Purdom, 49, Commercial Road, Whitechapel, E. , who isthe manufacturer of a "patent glaze. "

First give the work a rubber or two of polish after the "filling-in"; itis important to dry the last rubber thoroughly, so that no unctuousnessremains upon the surface before applying the glaze, otherwise it will beof no effect. The way to apply it is as follows: Prepare a rubber as forpolishing and make it moderately wet, and take only one steady wipe theway of the grain, never going over the same surface twice while wet; andwhen dry, if one coat is found not to be enough, apply a second in thesame manner. For mouldings or the backs and sides of chair-work, this isgenerally considered to be sufficient. Some polishers will persist inusing glaze to a large extent, even on the best-paid work; but it is notrecommended, as the surface will not retain its brilliancy for alengthened period, particularly in hot weather. Nothing is so good forthe best class of work as polishing entirely with French polish. 

The way of treating small flat surfaces such as the frames of tables, looking-glasses, builders' work, etc. , is to first fill in, and give oneor two rubbers of polish, drying the last rubber thoroughly; then glaze, and after a period of two or three hours finish with a rubber slightlywetted with thin polish. It is a bad plan to put glaze on newly-spiritedwork, or to re-apply it on old bodies. 

The following is another method for cheap work: A coating of clear sizeis first given in a warm state (this can be obtained at most oil-shops), and when dry is rubbed down with fine glass-paper, after which a coatingof varnish is applied with a sponge or a broad camel-hair brush, givinglong sweeping strokes. The tool should be plied with some degree ofspeed, as spirit varnishes have not the slow setting properties whichdistinguish those of oil, and care should be taken not to go over thesame part twice. When this is thoroughly hard it is nicely smoothed withfine paper, a few rubberfuls of polish is given, and it is then readyfor spiriting-off. 

Another plan is frequently adopted for cheap work: Make a thin pastewith plaster of Paris, suitably tinted and watered, and well rub inacross the grain with a piece of felt or old coarse canvas till thepores are all full; any superfluity should be instantly wiped off fromthe surface before it has time to set. The succeeding processes arepapering and oiling. In applying the polish, which should be doneimmediately after oiling, the rubber should be made rather sappy withthin polish, and worked without oil. During the embodying a pounce-bagcontaining plaster of Paris is sparingly used; this application tends tofill the pores and also to harden the body of polish on the exterior, but too much should not be used, or it will impart a semi-opaqueappearance to the work. This first body is allowed sufficient time toharden; it is then rubbed down lightly with flour paper or old worn No. 1, and then embodied with thicker polish or a mixture of polish andvarnish, and the smallest quantity of oil applied to the rubber. When asufficient body of polish is given to the work, the surface is rubbedvery carefully with a lump of moist putty plied in the longitudinaldirection of the grain; this will bring up a gloss, and very littlespiriting will be required. 

=Stencilling. =--An imitation of marqueterie on light-coloured woods canbe obtained by the following method: Cut a stencil pattern in stoutcartridge paper (this is best done upon a piece of glass with the pointof a sharp penknife), and place it on the centre of a panel or whereverrequired, and have ready some gas-black mixed with thin polish; applythis with a camel-hair pencil over the cut-out pattern, and when it isremoved finish the lines and touch up with a finer tool. The work shouldbe first bodied-in, and when the pattern is dry rubbed down with a pieceof hair-cloth (the smooth side down) on a cork rubber to a smoothsurface, after which the polishing can be proceeded with until finished. Upon oak this will have the appearance of inlaid work. 

=Charcoal Polishing. =--A method known as "charcoal polishing" is nowmuch used for producing the beautiful dead-black colour which seems tohave the density of ebony. Its invention is due to Frenchcabinet-makers. The woods used by them are particularly well adapted forstaining black or any other colour, limetree, beech, cherry, pear, softmahogany, or any wood of a close and compact grain being the woodsusually selected. 

The first process is to give the work a coating of camphor dissolved inwater and made rather strong; this will soon soak into the wood, andimmediately afterwards another coat composed of sulphate of iron-waterwith a few nut-galls added. These solutions in blending penetrate thewood and give it an indelible tinge, and also prevent insects fromattacking it. After these coats are dry, rub the surface with a hardbrush (an old scrubbing-brush will do) the way of the grain, after whichrub the flat parts with natural stick charcoal, and the carved orindented portions with powdered charcoal; the softest portion of thecharcoal only should be used, because if a single hard grain should beapplied it would seriously damage the surface. The workman should haveready at the same time a preparation of linseed-oil and essence ofturpentine (linseed-oil one gill, and essence of turpentine oneteaspoonful), a portion of which should be freely taken up with a pieceof soft flannel and well rubbed into the work. These rubbings with thepreparation and charcoal several times will give the article offurniture a beautiful dead-black colour and polish. This method ofpolishing is applied to the black-and-gold furniture, cabinets, etc. , inimitation of ebony. 

Another good black polish is obtained by gas-black being applied to therubber after wetting with French polish, the cover being then put on andworked in the usual manner. 

These black polishes should not be applied if there are coloured woodsin the piece of furniture. Should the work be already dyed black, or inblack veneers, it is best to use white polish, which will greatly helpto preserve the transparent density of the dye. 

CHAPTER V. 

_RE-POLISHING OLD WORK. _

If the piece of furniture requiring to be re-polished should be in badcondition, it is best to clean off thoroughly, using the liquid ammonia(see page 94), or by the scraper and glass-paper. The indentations maybe erased by dipping into hot water a piece of thick brown paper threeor four times doubled and applying it to the part; the point of ared-hot poker should be immediately placed upon the wet paper, whichwill cause the water to boil into the wood and swell up the bruise; thethickness of the paper prevents the wood from being scorched by the hotpoker. After the moisture is evaporated, the paper should be againwetted if required. If only shallow dents, scratches, and broken partsof the polish present themselves, carefully coat them two or three timeswith a thick solution of shellac, and when the last coating becomes hardcarefully paper down with a piece of old glass-paper and a cork rubber. 

If the surface should be in good condition, it is necessary only toremove the viscid rust; this is done by friction with a felt-coveredrubber and pure spirits of turpentine; by this means the polish remainsunsullied. If the surface should not be in very good condition, aflannel should be used smeared with a paste of bathbrick-dust and water, or a paste made of the finest emery flour and spirits of turpentine. After cleansing, and before the polish is applied, it is a good plan tojust moisten the surface with raw linseed-oil; this will cause the oldbody to unite with the new one. 

In order to carry out the process of re-polishing with facility, it isnecessary to disunite all the various parts, such as panels, carvings, etc. , before commencing the operation. The polish is applied in theusual manner, and when a good body is laid on the work should be setaside for twelve hours, after which it can be finished. It should beparticularly observed that in polishing no job should be finishedimmediately after the rubbing-down process; a sinking period shouldalways be allowed. If the work should be immediately finished, theconsequences are that in a few hours all the marks and scratches of thepaper, etc. , will be discernible, and the polished surface will presenta very imperfect appearance, although looking perfect when firstfinished. 

Holes and crevices may be well filled up with a cement made in thefollowing manner: In a large iron spoon place a lump of beeswax aboutthe size of a walnut, a pinch of the pigments mentioned on page 5, according to the colour required, a piece of common rosin the size of anut, and a piece of tallow as large as a pea; melt, and it is ready foruse. Some add a little shellac, but much will make it very brittle. Asimilar substance to the above can be bought at the French warehouses. 

CHAPTER VI. 

_SPIRIT VARNISHING. _

Most polishers are agreed that to obtain a good surface with varnish itis necessary to give the work, where it is possible to do so, arubberful of polish first, and to thoroughly dry the rubber; but in mostcarved work the surface is not accessible, and the brush must be used. Sometimes the carving is extremely coarse, and with an open porousgrain, in which case it is best to oil it first and then to fine-paperit down; by this process a thin paste is formed by the attrition, whichmaterially assists in filling up the pores. Before commencing to use thevarnish have ready an earthenware dish or box, --one of the tins used forthe preserved meats or fish will answer the purpose, --with two holesdrilled so that a piece of wire can be fastened diametrically across thetop; this is called a "regulator, " and when the brush is passed once ortwice over this it prevents an unnecessary quantity of varnish beingtransferred to the work. 

=Varnishes. =--The ingredients for makingvarnish are very similar to those for making polish, but the proportionsare somewhat different. Furniture varnish consists of two kinds, viz. :the brown-hard and the white-hard; the former is used for dark woods, such as mahogany, walnut, rosewood, etc. ; whilst the latter is used forthe light-coloured woods, in conjunction with the white polish. A fewyears since the brown-hard varnish was made from these ingredients:

 1 gallon of methylated spirit, 40 ozs. Of shellac, 4 ozs. Of rosin, 5 ozs. Of benzoin, 2 ozs. Of sandarach, 2 ozs. Of white rosin. 

The brown-hard varnish which is used at the present time is madedifferently, and produces a better result; it is made from thefollowing:

 1 gallon of methylated spirit, 32 ozs. Of shellac, 8 ozs. Of rosin, 8 ozs. Of benzoin. 

The white-hard or transparent varnish for white wood is made with

 1 gallon of methylated spirit, 32 ozs. Of bleached shellac, 24 ozs. Of gum sandarach. 

In making either polishes or varnishes, all the gums should be firstpounded and reduced to powder before mixing with the spirit, and whenmixed they should be occasionally well shaken or stirred, so as tohasten their dissolution. 

=Brushes and Pencils. =--The brushes used for varnishing are either flat, in tin, or round, tied firmly to the handle, and made of camel's-hair;but the small white bristle-tools and red-sable pencils will frequentlybe found of service in coating delicate carving, or turned work. Varnishbrushes can be obtained from a quarter of an inch to four inches andupwards in width; the most useful brush, however, for general use isabout an inch wide. It is important that brushes should be cleaned inspirits immediately after use, for if laid by in varnish they lose theirelasticity and are soon spoiled; but if this preservative principle isever neglected, the hardened brush should be soaked in methylatedspirit, and if wanted for immediate use the spirit will soften thevarnish quicker if made luke-warm. The spirit should be gently pressedout by the finger and thumb. All varnish brushes when not in use shouldbe hung up, or kept in such a position that they do not rest upon theirhairy ends, either in a box or tin free from dust. 

=Mode of Operation. =--It is usual in varnishing to give the work threecoats, and always allow each coat to dry thoroughly before applying thenext. It should be noted that spirit varnishes begin to dry immediatelythey are laid on; therefore, on no account should they be touched withthe brush again whilst wet, or when dry they will present a roughsurface. Always ply the brush quickly, and never go over a second time. When giving the first or second coats it is unimportant how they areapplied, whether across the grain or with the grain, but the finishingcoat should always be with the grain. If the varnish should appearfrothy when laid on, it is of no consequence, as it will dry smooth ifequally and evenly applied before a good fire or in a warm atmosphere. 

Coloured varnishes can be made in exactly the same manner as colouredpolishes (see page 6). The beautiful glossy black varnishes so admiredon Indian cabinet-work, specimens of which can be seen at the IndianMuseum, are very difficult to obtain in England, but a description ofthem may be interesting. 

=East Indian Varnishes. =--The Sylhet varnish is composed of two parts ofthe juice of the bhela (the tree which bears the marking nuts of India), and one part of the juice of the jowar. The articles varnished with itat Sylhet are of the most beautiful glossy black; and it seems equallyfitted for varnishing iron, leather, paper, wood, or stone. It has asort of whitish-grey colour when first taken out of the bottle, but in afew minutes it becomes perfectly black by exposure to the air. In thetemperature of this country it is too thick to be laid on alone; but itmay be rendered more fluid by heat. In this case, however, it is clammy, and seems to dry very slowly. When diluted with spirits of turpentine, it dries more quickly; but still with less rapidity than is desirable. 

The _tsitsi_, or Rangoon varnish, is less known than the Sylhet varnish. It is probably made from the juice of the bhela alone. It appears tohave the same general properties as the Sylhet varnish, but dries morerapidly. The varnish from the _kheeso_, or varnish-tree, may be the sameas the Rangoon varnish, but is at present considered to be verydifferent. The kheeso grows particularly in Kubboo, a valley on thebanks of the Ningtee, between Munnipore and the Burman empire. Itattains to such a large size, that it affords planks upwards of threefeet in breadth, and in appearance and grain is very like mahogany. Asimilar tree is found in great abundance and perfection at Martaban. 

A poisonous vapour exhales from several of the Indian varnishes, especially from that of Sylhet, and is apt to produce over the wholeskin inflammations, swellings, itchings, and pustules, as if the bodyhad been stung by a number of wasps. Its effects, however, go off in afew hours. As a preventative the persons who collect the varnish, beforegoing to work, smear their faces and hands with greasy matter to preventthe varnish poison coming into contact with their skin. 

CHAPTER VII. 

_GENERAL INSTRUCTIONS. _

=Remarks on Polishing. =--Amateurs at French polishing will be moresuccessful on a large surface than a small one. 

When polishing, the rubber-cloth should be changed occasionally, or thebrightness will not remain when finished. 

A most efficacious improver of many kinds of woods is raw linseed-oilmixed with a little rectified spirits of turpentine. 

French polish can be tinted a light-red with alkanet-root, and adark-red with dragon's blood. 

A good Turkey sponge is capable of spreading either stain or varnishmore smoothly than a camel's-hair brush on a flat surface. 

The sub-nitrate of bismuth mentioned on p. 12 is beginning to supersedeoxalic acid for bleaching processes. 

Thin panels for doors should be securely tacked down to a level board, and polished with a large round flannel rubber having a very flat sole. Fret-work panels should have all the edges entirely finished withvarnish before they undergo the above operation. To get a good polishupon a full-fret panel is considered by polishers to be the mostdifficult part in the work, on account of the extreme delicacy andfrangibility of the work and the great carefulness required. 

Soft spongy wood may be satiated by rubbing a sponge well filled withpolish across the grain until it becomes dry. 

In polishing a very large surface, such as a Loo-table top or a wardrobeend, it is best to do only half at a time, or if a large top a quarteronly. 

The approved method of treating dining-table tops is to well body-inwith French polish, after which thoroughly glass-paper down with finepaper, and then use the oil polish (see page 87). 

Immediately after using a rubber, it should be kept in an air-tight tincanister, where it will always remain fresh and fit for use. 

=The Polishing Shop. =--A few words as to the polishing shop may beacceptable to those who possess ample room and desire the best results. 

First in order is the location and arrangement of the finishing rooms. Preference is to be given to the upper rooms of a building for severalreasons, among which may be named the securing of better light, greaterfreedom from dust, and superior ventilation. 

A good light in this, as in many other arts, is a very important matter, and by a good light we mean all the light that can be obtained withoutthe glare of the direct rays of the sun. Light from side windows ispreferable to that from skylights for three reasons: (1) Skylights arevery liable to leakage; (2) they are frequently, for greater or lessperiods, covered with snow in winter; (3) the rays of the suntransmitted by them in summer are frequently so powerful as to blistershellac or varnish. 

Good ventilation is at all times of importance, and especially so insummer, both as tending to dry the varnish or shellac more evenly andrapidly, and as contributing to the comfort of the workmen. The latterconsideration is of importance even as a matter of economy, as men in aroom the atmosphere of which is pleasant and wholesome will feel betterand accomplish more than they could do in the close and forbiddingapartments in which they sometimes work. 

Any suggestion in reference to freedom from dust, as a matter to beconsidered in locating rooms for this business, would seem to beentirely superfluous, as it is clear that there is hardly anydepartment of mechanical work which is so susceptible to injury fromdust as the finishing of furniture, including varnishing and polishing. 

Finishing rooms may be arranged in three departments. The first shouldinclude the room devoted to sand-papering and filling. These processes, much more than any other part of furniture polishing, produce dirt anddust, and it is plain that the room devoted to them should be so farisolated from the varnishing room as not to introduce into it theseinjurious elements. 

Another room should be appropriated to the bodying-in, smoothing andrubbing-down processes. The third room is for spiriting and varnishing, or the application of the final coats of varnish, which is the mostimportant of all the processes in finishing. It requires a very lightand clean room, and a greater degree of heat than a general workroom. Itshould, as nearly as possible, be uniform, and kept up to _summer heat_;in no case ought the temperature to fall below fifty nor rise higherthan eighty-five degrees Fahrenheit while the varnishing process isgoing on. Varnishing performed under these circumstances will be morethorough in result, have a brighter appearance and better polish, thanif the drying is slow and under irregular temperature. For drying work, the best kind of heat is that from a stove or furnace. 

Steam heat is not so good for two reasons: (1), it is too moist andsoft, causing the work to sweat rather than to dry hard, and (2), thetemperature of a room heated by steam is liable to considerablevariation, and especially to becoming lower in the night. This _fireheat_ is as necessary for the varnishing room in damp and cloudy weatherin summer as it is in winter. At all seasons, and by night as well as byday, the heat should be as dry as possible, and kept uniformly up tosummer heat, by whatever means this result is secured. Varnished work, after receiving the last coat, should be allowed to remain one day inthe varnishing room. It may then be removed into the general workroom. 

A remark may be proper here, viz. , that there is sometimes a failure tosecure the best and most permanent results from not allowing sufficienttime for and between the several processes. An order is perhaps to befilled, or for some other reason the goods are "rushed through" at thecost of thoroughness and excellence of finish. 

The following suggestion is made by way of caution in reference to thedisposal of oily rags and waste made in the various processes offinishing. These articles are regarded as very dangerous, and arefrequently the cause of much controversy between insurance companies andparties who are insured. The best way to dispose of this waste is to putit into the stove and burn it as fast as it is produced. If this ruleis strictly adhered to there will be no danger of fire from this source. All liquid stock should be kept in close cans or barrels, and as farfrom the fire as possible. 

CHAPTER VIII. 

_ENAMELLING. _

The process of enamelling in oil varnishes as applied to furniture mustbe understood as a smooth, glossy surface of various colours produced bybodies of paint and varnish skilfully rubbed down, and prepared in apeculiar way so as to produce a surface equal to French polish. Ornamentcan be added by gilding, etc. , after the polished surface is finished. 

We will begin with the white or light-tinted enamel. The same processmust be pursued for any colour, the only difference being in theselection of the materials for the tint required to be produced. 

It should be observed that enamelling requires the exercise of thegreatest care, and will not bear hurrying. Each coat must be allowedsufficient time for the hardening, and the rubbing down must bepatiently and gently done; heavy pressure will completely spoil thework. 

=Materials. =--The materials used for the purpose above named are: whitelead ground in turpentine and the best white lead in oil; a clear, quick, and hard-drying varnish, such as the best copal, or the varnishesfor enamel manufactured by Mr. W. Urquhart, 327, Edgware Road, W. ; orwhite coburg and white enamel varnish, ground and lump pumice-stone, orputty-powder, great care being taken in the selection of thepumice-stone, as the slightest particle of grit will spoil the surface;and rotten-stone, used either with water or oil. 

=Tools. =--The tools required are several flat wooden blocks, of varioussizes and forms, suitable for inserting into corners and formouldings--these must be covered with felt on the side you intend touse, the felt best adapted for the purpose being the white felt, from aquarter to half an inch in thickness, which can be obtained of Messrs. Thomas Wallis & Co. , Holborn Circus, or at the woollen warehouses; twoor three bosses (made similar to polish rubbers) of cotton-wool, andcovered with silk (an old silk handkerchief makes capital coverings);wash or chamois leather, and a good sponge. 

=Mode of Operation. =--If the wood is soft and porous it is best tocommence with a coating of size and whiting applied in a warm state, which is allowed to dry; it is then rubbed down with glass-paper, andtwo coats of common paint given, mixed in the usual way and of the samecolour as you intend to finish with. In practice this is found to bebest; after these two coats are thoroughly dry, mix the white-leadground in turps, with only a sufficient quantity of varnish to bind it, thinning to a proper consistency with turps. It is as well to add alittle of the ordinary white-lead ground in oil, as it helps to preventcracking. Give the work four or five coats of this, and allow each coatto dry thoroughly. When it is hard and ready for rubbing down, commencewith a soft piece of pumice-stone and water, and rub just sufficient totake off the roughness. Now use the felt-covered rubbers and groundpumice-stone, and cut it down, working in a circular manner. Thegreatest care is required to obtain a level surface free from scratches. 

After the work is well rubbed down, if it should appear to beinsufficiently filled up, or if scratched, give it two more coats, laidon very smoothly, and rub down as before. If properly done, it will beperfectly smooth and free from scratches. Wash it well down, and becareful to clean off all the loose pumice-stone. Then mix flake-whitefrom the tube with either of the above-named varnishes, till it is ofthe consistency of cream. Give one coat of this, and when dry give itanother, adding more varnish. Let this dry hard, the time taken forwhich will of course depend upon the drying qualities of the varnish;some will polish in eight or nine days, but it is much the best to letit stand as long as you possibly can, as the harder it is, the brighterand more enduring will be the polish. When sufficiently hard, use thefelt, and very finely-ground pumice-stone and water; with this cut downtill it is perfectly smooth; then let it stand for a couple of days, toharden the surface. 

=Polishing. =--In commencing to bring up a polish, first takerotten-stone, either in oil or water; use this with the felt rubber fora little while, then put some upon the surface of the silk-covered boss, and commence to rub very gently in circular strokes; continue this tillthere is a fine equal surface all over. The polish will begin to appearas you proceed, but it will be of a dull sort. Clean off: if therotten-stone is in oil, clean off with dry flour; if in water, wash offwith sponge and leather, taking care that you wash it perfectly cleanand do not scratch. 

You will now, after having washed your hands, use a clean damp chamoisleather, holding it in the left hand, and using the right to polishwith, keeping it clean by frequently drawing it over the damp leather. With the ball of the right hand press gently upon the work, and drawyour hand sharply, forward or towards you; this will produce a brightpolish, and every time you bring your hand forward a sharp shrill soundwill be heard similar to rubbing on glass. Continue this till the wholesurface is one bright even polish. It will be some time before you willbe able to do this perfectly, especially if the skin is dry or hard, asit is then liable to scratch the work. A smooth, soft skin will producethe best polish. 

For the interior of houses, the "Albarine" enamel manufactured by theYorkshire Varnish Company, of Ripon, is recommended. This articlecombines in itself a perfectly hard solid enamel of the purest possiblecolour; and for all interior decorations, where purity of colour andbrilliancy of finish are desired, it is universally admitted to be themost perfect article of the kind hitherto introduced to the trade. It isapplied in the same manner as ordinary varnish. 

_Another Process. _--The preceding section describes the process ofenamelling by oil varnishes, and the directions referring to thepolishing will be found of value for the "polishing up" on paintedimitations of woods or marbles. There is another process whereby anenamel can be produced upon furniture at a much cheaper rate than thepreceding, and one too, perhaps, in which a polisher may feel more "athome. " The work should first have a coating of size and whiting (wellstrained); this will act as a pore-filler. When dry, rub down with finepaper, after which use the felt-covered rubber and powderedpumice-stone, to remove all the scratches caused by the glass-paper andto obtain a smooth and good surface. Then proceed to make a solution forthe enamel: first procure two ounces of common isinglass from thedruggist's, and thoroughly dissolve it in about a pint of boiling water;when dissolved, stir in two ounces and a-half of subnitrate ofbismuth--this will be found to be about the right quantity for mostwoods, but it can be varied to suit the requirements. With this give thework one coat, boiling hot; apply it with a soft piece of Turkey sponge, or a broad camel's-hair brush, and when dry cut down with powderedpumice-stone; if a second coat is required, serve in precisely the samemanner. Then proceed to polish in the ordinary way with white polish. After wetting the rubber, sprinkle a small quantity of the subnitrate ofbismuth upon it; then put on the cover, and work in the usual manner;continue this till a sufficient body is obtained, and after allowing asufficient time for the sinking and hardening it can be spirited off. 

Enamelled furniture has had, comparatively speaking, rather a dull sale, but there is no class of furniture more susceptible of being made toplease the fancy of the many than this. It can be made in any tint thatmay be required by the application of Judson's dyes, and the exercise ofa little skill in the decoration will produce very pleasing effects. 

=Decorations. =--The decorations are usually ornaments drawn in gold. Acut-out stencil pattern is generally used, and the surface brushed overwith a camel's-hair pencil and japanner's gold size, which can beobtained at the artist's colourman's, or, if preferred, can be made byboiling 4 ozs. Of linseed-oil with 1 oz. Of gum anîme and a littlevermilion. When the size is tacky, or nearly dry, gold powder or goldleaf is applied. The gold is gently pressed down with a piece ofwadding, and when dry the surplus can be removed with a roundcamel's-hair tool. In all cases where gold has been fixed by thisprocess it will bear washing without coming off, which is a greatadvantage. 

CHAPTER IX. 

_AMERICAN POLISHING PROCESSES_

The method of polishing furniture practised by the Americanmanufacturers differs considerably from the French polishing processesadopted by manufacturers in most European countries. This difference, however, is mostly compulsory, and is attributable to the climate. Theintense heat of summer and the extreme cold of winter will soon render aFrench polish useless, and as a consequence numerous experiments havebeen tried to obtain a polish for furniture that will resist heat orcold. The writer has extracted from two American cabinet-trade journals, _The Cabinet-maker_ and _The Trade Bureau_, descriptions of the variousprocesses now used in the States, which descriptions were evidentlycontributed by practical workmen. The following pages are not, strictlyspeaking, a mere reprint from the above-named journals, the articleshaving been carefully revised and re-written after having beenpractically tested; attention to them is, therefore, stronglyrecommended. 

In these processes the work is first filled in with a "putty filler, "and after the surface has been thoroughly cleaned it is ready forshellac or varnish. Second, a coating of shellac is next applied with abrush or a soft piece of Turkey sponge. This mixture is composed of twoparts (by weight) of shellac to one of methylated spirits, but what iscalled "thin shellac" is composed of one part shellac to two of spirits. After the coating is laid on and allowed to dry, which it does verysoon, it is rubbed carefully with fine flour glass-paper, or powderedpumice-stone--about four coats are usually given, each one rubbed downas directed. Third, when the surface has received a sufficient body, geta felt-covered rubber and apply rotten-stone and sweet oil in the samemanner as you would clean brass; with this give the work a good rubbing, so as to produce a polish. Fourth, clean off with a rag and sweet oil, and rub dry; then take a soft rag with a few drops of spirit upon it, and vapour up to a fine polish. With these few preliminary remarks, thefollowing will be easily understood. 

=Use Of Fillers. =--The cost of a putty filler consists chiefly in thetime consumed in applying it. In the matter of walnut-filling muchexpense is saved in the processes of coating and rubbing if the pores ofthe wood be filled to the surface with a substance that will not shrink, and will harden quickly. The time occupied in spreading and cleaning athin or fatty mixture of filler, or a stiff and brittle putty made freshevery day, is about the same, and while the thin mixture will be subjectto a great shrinkage, the putty filler will hold its own. It will thusbe seen that a proper regard to the materials used in making fillers, and the consistency and freshness of the same, form an important elementin the economy of filling. 

A principal cause of poor filling is the use of thin material. By some aputty-knife is used, and the filling rubbed into the surfaces ofmouldings with tow, while others use only the tow for all surfaces, mostly, however, in cases of dry filling. In the use of the wet filler, either with a knife or with tow, workmen are prone to spread it too thinbecause it requires less effort, but experience shows that the greatestcare should always be taken to spread the putty stiff and thick, notwithstanding the complaints of workmen. In fact, this class of workdoes not bring into play so much muscle as to warrant complaints onaccount of it. Nor can there be any reasonable excuse for taking alonger time to spread a stiff filler than a thin filler. 

Good results are not always obtained by the use of thick fillers, because the putty is spread too soon after the application of the firstcoat of oil, which liquid should be quite thin, and reduced either withbenzine or turpentine, so that when the putty is forced into the poresthe oil already in them will have the effect of thinning it. As anillustration of the idea meant here to be conveyed, we will suppose aquantity of thick mud or peat dumped into a cavity containing water, anda similar quantity of the same material dumped into another cavityhaving no water; the one fills the bottom of the cavity solid, while theother becomes partly liquid at the bottom, and must of necessity shrinkbefore it assumes the solidity of the former. Hence it appears that workto be filled should be oiled and allowed to stand some time beforereceiving the filler, or until the oil has been absorbed into the pores. 

The preparatory coating should not be mixed so as to dry too quickly, nor allowed to stand too long before introducing the putty, for in thiscase the putty when forced along by the knife will not slip so easily asit should. 

The cost of rubbing and sand-papering in the finishing process is verymuch lessened if the cleaning be thorough, and if all the corners andmouldings be scraped out, so that pieces of putty do not remain to workup into the first coat of shellac, or whatever finish may be used as asubstitute for shellac. 

Another important feature in hard filling is to let the work be welldried before applying the first coat of finish. One day is notsufficient for the proper drying of putty fillers, and if in consequenceof insufficient drying a part of the filling washes out, it is so muchlabour lost. As a safeguard against washing out, these fillers should bemixed with as much dryer or japan as the case warrants, for itfrequently occurs that work must be finished, or go into finish, the dayfollowing the filling, whether it be dry or not. 

By observing the main facts here alluded to, good filling may always beobtained, and at a cost not exceeding that of poor work. 

For the light woods, including ash, chestnut, and oak, the filling issimilar to that used in walnut, except the colouring material, which, ofcourse, must be slight, or just enough to prevent the whiting andplaster from showing white in the pores. This colouring may consist ofraw sienna, burnt sienna, or a trifle raw, or umber; one of theseingredients separate, or all three combined, mixed so as to please thefancy and suit the prevailing style. The colouring may be used with adry filling, although a wet filling is more likely to give a smoothfinish and greater satisfaction, and the colour of the filler can beseen better in the putty than in the dry powder. 

Upon cheap work a filler should be used that requires the least amountof labour in its application. For this purpose liquid fillers, likejapan, are suitable. If, however, a fine finish on fine goods isrequired, the putty compositions of various mixtures are the moreappropriate. The secret of the process of filling consists in themixing of the compounds and the method of using them. A liquid filleror a japan simply spread over the work in one or two coats can hardly becalled filling, yet this will serve the purpose very well for cheapfurniture. 

Thick compositions or putty fillers are composed of whiting and plaster, or similar powders having little or no colour. This material is mixedwith oil, japan, and benzine, with a sufficient quantity of colouringmatter to please the fancy. The value of these fillers is in proportionto their brittleness or "shortness, " as it is termed, and, to give themthis quality, plaster is used and as much benzine or turpentine as themixture will bear without being too stiff or too hard to clean off. Sometimes a little dissolved shellac is used to produce "shortness. "This desirable feature of a filler is best effected by mixing a smallquantity of the material at a time. Many workmen mistakenly mix largebatches at a time with a view of securing uniformity of colour, and thisis one cause why such fillers work tough and produce a poor surface. Anoil mixture soon becomes fatty and tough, and must be reduced inconsistency when used, as it is apt when old to "drag" and leave thepores only partly filled. These fillers should be mixed fresh every day, and allowed to stiffen and solidify in the wood rather than out of it. 

The surface of a pore is the largest part of it, and it is desirable tofill it to a level as nearly as possible. This is done by using thefiller thick or stiff. 

=Making Fillers. =--In making "fillers, " a quantity of the japan which isused in the ingredients can be made at one time, and used from asoccasion may require. It is made in the following manner:

_Japan of the Best Quality. _--Put 3/4 lb. Gum shellac into 1 gall. Linseed-oil; take 1/2 lb. Each of litharge, burnt umber, and red-lead, also 6 oz. Sugar of lead. Boil in the mixture of shellac and oil untilall are dissolved; this will require about four hours. Remove from thefire, and stir in 1 gall. Of spirits of turpentine, and the work isfinished. 

_Fillings for Light Woods. _--Take 5 lb. Of whiting, 3 lb. Calcinedplaster (plaster of Paris), 1/2 gall. Of raw linseed-oil, 1 qt. Ofspirits of turpentine, 1 qt. Of brown japan, and a little French yellowto tinge the white. Mix well, and apply with a brush; rub it well withexcelsior or tow, and clean off with rags. This thoroughly fills thepores of the wood and preserves its natural colour. 

_Another for Light Woods. _--Take 10 lb. Of whiting, 5 lb. Of calcinedplaster, 1 lb. Of corn starch, 3 oz. Calcined magnesia, 1 gall. Of rawlinseed-oil, 1/2 gall. Spirits of turpentine, 1 qt. Of brown japan, 2oz. French yellow. Mix well, and apply with brush; rub in well withexcelsior or tow, and clean off with rags. 

_For Mahogany or Cherry Wood. _--Take 5 lb. Of whiting, 2 lb. Of calcinedplaster, 11/2 oz. Dry burnt sienna, 1 oz. Venetian red, 1 qt. Of boiledlinseed-oil, 1 pt. Of spirits of turpentine, and 1 pt. Of brown japan. Mix well, apply with brush, and rub well in with excelsior or tow. Cleanoff with rags dry. 

_For Oak Wood. _--Take 5 lb. Of whiting, 2 lb. Calcined plaster, 1 oz. Dry burnt sienna, 1/2 oz. Of dry French yellow, 1 qt. Raw linseed-oil, 1pt. Benzine spirits, and 1/2 pt. White shellac. Mix well, apply withbrush, rub in with excelsior or tow, and clean off with rags. 

_For Rosewood. _--Take 6 lb. Of fine whiting, 2 lb. Of calcined plaster, 1 lb. Of rose-pink, 2 oz. Of Venetian red, 1/2 lb. Of Vandyke brown, 1/2lb. Of Brandon red, 1 gall. Of boiled linseed-oil, 1/2 gall. Of spiritsof turpentine, 1 qt. Of black japan. Mix well together, apply withbrush, rub well in with tow, and clean off with rags. 

_For Black Walnut_ (1). --For medium and cheap work. Take 10 lb. Ofwhiting, 3 lb. Dry burnt umber, 4 lb. Of Vandyke brown, 3 lb. Ofcalcined plaster, 1/2 lb. Of Venetian red, 1 gall. Of boiledlinseed-oil, 1/2 gall. Of spirits of turpentine, 1 qt. Of black japan. Mix well and apply with brush; rub well with excelsior or tow, and cleanoff with rags. 

_For Black Walnut_ (2). --An improved filling, producing a fineimitation of wax finish, may be effected by taking 5 lb. Of whiting, with 1 lb. Of calcined plaster, 6 oz. Of calcined magnesia, 1 oz. Of dryburnt umber, 1 oz. Of French yellow to tinge the white. Add 1 qt. Of rawlinseed-oil, 1 qt. Of benzine spirits, 1/2 pt. Of very thin whiteshellac. Mix well, and apply with a brush; rub well in, and clean offwith rags. 

_An Oil-Colour for Black Walnut_ (3), to be used only on first-class andcustom work. --Take 3 lb. Of burnt umber ground in oil, 1 lb. Of burntsienna ground in oil, 1 qt. Of spirits of turpentine, 1 pt. Of brownjapan. Mix well and apply with a brush. Sand-paper well; clean off withtow and rags. This gives a beautiful chocolate colour to the wood. 

Numerous compositions are in the market for filling the pores of wood, and in this connection particular attention has been given to walnut, for the reason that this wood is used in large quantities in thefurniture industry, and is nearly, if not quite, as porous as any otherof the woods used. 

A variety of walnut fillings have been recommended to the trade in orderto meet the demand consequent upon the different grades of finish andthe method of obtaining the finish, so that it would be difficult topronounce as to the superiority of any one filling for general purposes. In treating this subject, attention should be given to the necessitiesfor the use of filling, so that each one may determine for himself thekind of composition best adapted for the work in hand, and the bestmethod of applying it. 

=Finishing. =--Having described the methods of making and applying the"fillings, " we will now describe the mode of finishing, and begin withthe "dead-oil finish. " We can remember when a satisfactory oil-finishwas produced either with a good quality of japan or a fair quality ofspirits. These materials are recommended to be used by inexperiencedworkmen and those not familiar with the mixing of the various grades ofjapan and varnish with oil, turpentine, benzine, etc. This method ofoil-finish, too, is scarcely inferior to the shellac or spirit-varnishmethod, and it is cheaper. When the best finish is desired, a sufficientnumber of coats to fill the pores of wood to a level are required, andthen the whole surface should be subjected to the rubbing process. Theuse of these fillers provides an oil-finish in a simplified form forthose who are not aware of the difference between hard and soft gumcompositions as a base for rubbing. In fact, the rubbing processconstitutes a fine oil-finish, and requires a hard gum, whether it be ofjapan, varnish, or shellac. 

The use of varnish or its substitute as a filler and finish is morefrequent than the use of shellac, and for cheap work it is equally good. The surface produced by a hard gum composition must be smooth and dead, or but slightly glossed, so as to admit of the pores being filled fullor to a level. It may be added that a coat or any number of coats of thecomposition referred to above is substantially a filling, and thequality of finish depends upon the number of coats, together with theamount of rubbing applied. 

Thus far we have simply called attention to the best quality ofoil-finish and the manner of producing it. Possibly three-fourths of allwood-finishing, particularly walnut-finishing, is several degrees belowthe best quality. In fact, oil-finish may imply only one coat of anycomposition that will dry, while two coats may be regarded as fair, andthree coats a very good quality of finish. For the class of finish notrubbed down with pumice-stone and water, oil-varnish would be out ofplace on account of its gloss; hence shellac, being in compositionsimilar to japan, is the better material, because of its dull appearanceor lack of gloss as compared with shellac. 

In addition to the liquid fillers already mentioned, there is a putty orpowder filling used for cross-grained woods, or such woods as have adeep pore. This filling is forced into the wood previous to theapplication of the other finishing compounds, with the use of which itin no way interferes. On the contrary, it economises the use of theliquid fillers, and, while constituting a part of an oil-finish, is alsoa finish wholly independent of the other methods mentioned--that is tosay, the same results can be obtained by the use of either one, althoughthe putty or powder filling is attended with greater expense both as totime and material. The hard filling is generally used on walnut, ash, and all coarse-grained woods. 

With regard to oil-finishes, viz. , spirit-varnish or oil-varnish, shellac is thought by many to be the best for fine work; but othersthink differently. We may say of shellac that it will finish up into anydegree of polish, and while it will not retain a French polish long inthis climate, it will replenish easier and cheaper than any otherfinish, and continue to improve under each application. For a commonfinish, however, oil preparation is as good as shellac, and even for afine finish it is only second to shellac, if made of a hard gum. Oncommon finish, too, the oil will wear better than shellac in stock or onstorage, so far as preserving its freshness is concerned. 

The cost of oil-finish is governed chiefly by the amount of labourexpended on it. A suite of walnut furniture can be well rubbed withsand-paper in two hours, or even less; while two weeks could beprofitably employed in rubbing another suite with pumice and water. 

=Black Walnut Finishing. =--The fashionable finish for black walnut work, particularly chamber sets, is what is known to the trade as the"dead-oil finish. " It is admired, perhaps, because it has a gloss, rather than a shine of the varnish stamp. There is no more labourrequired upon it than upon a bright finish, but the process ofmanipulation is different, and harder to the fingers. 

It should be premised that the walnut work of the day bears upon itssurface, to a greater or less extent, raised panels covered with Frenchburl veneer. And upon this fact largely depends the beauty of theproduction. And the endeavour is to so finish the article that thereshall be a contrast between the panel and the groundwork on which it isplaced. In other words, the former should be of a light colour, whilethe latter is of a darker shade. In that view the palest shellac shouldbe used on the panels, and darker pieces, liver coloured, etc. , on thebody of the work. The darker grades of shellac are the cheaper, and willanswer for the bulk of the work, but the clearest only for the panels. 

In commencing to finish a job direct from the cabinet-maker's hand, rough and innocent of sand-paper, first cover the panels with a coat ofshellac to prevent the oil in the filling from colouring them dark. Next, cover the body of the work with a wood filling composed of whitingand plaster of Paris, mixed with japan, benzine, and raw linseed-oil, orthe lubricating oil made from petroleum; the whole covered with umber, to which, in the rare cases when a reddish shade is wanted, Venetianred is also added. This filling is then rubbed off with cloths, and bythis process tends to close up the grain of the wood and produce an evensurface. More or less time should be allowed after each of the severalsteps in the finishing process for the work to dry and harden, thoughmuch less is required in working with shellac than with varnishescomposed of turpentine, oil, and gums. But the time that should beallowed is often lessened by the desire to get the work through as soonas possible, so that no standard can be set up as to the number of hoursrequired between each of the several processes. It would be well iftwelve hours intervened, but if work to which ten days could well bedevoted must be hurried through in three, obviously the processes mustfollow each other in a corresponding haste. 

A coating of shellac is then given the whole work, light on the panelsand dark on the body work, and when it has dried and hardened, which itdoes very soon, it may be rubbed down. This process of "rubbing down"should be done evenly and carefully, so as not to rub through theshellac at any point, and be done with the finer grades of sand-paperfor the cheaper class of work, particularly at first, but at a laterperiod of the process, and for the better class of articles in allcases, hair-cloth should be used, the material for the "rubbing down"being pumice-stone moistened with raw linseed-oil for the best work, andthe lubricating oil, before mentioned, for cheaper work, or the coveredparts of the better grades. This rubbing down involves labour, wear offingers and finger-nails, and is carried on with an ordinary bit ofhair-cloth, the smooth surface next the wood, and not made in anyparticular shape, but as a wad, ball, or otherwise. In the corners andcrevices where the hair-cloth will not enter it will be necessary to usesand-paper of the finest grades, and worn pieces only. 

Three coats of shellac are put on, followed each time by thisrubbing-down process, each one giving the work a smoother feeling and amore perfect appearance. Afterwards, to complete the whole, a coating ofjapan thinned with benzine is applied, which gives to the work a cleanappearance and the dead glossy finish. 

There is this objection to the above style of finish, that the japancatches all the dust which touches it, and holds it permanently, so thatmany of the best workmen will not have work finished in this way fortheir own private houses, preferring the brighter look given by shellacand varnish without rubbing down the last coat, believing that the workcan be kept much cleaner. 

=Finishing Veneered Panels, etc. =--The large oval panels of desks, etc. , covered with French veneer, are generally taken out and finished bythemselves. The process is similar to that above given, with successivecoats of shellac and varnish, and the oil and pumice-stone rubbing down;but the final part of this latter process is a rubbing down withrotten-stone; then the merest trifle of sweet-oil is applied all overthe surface and wiped off. (See Rosewood, etc. , farther on. )

_For Light Woods (Dead Finish). _--Apply two or three coats of whiteshellac; rub down with pumice and raw linseed-oil, and clean off wellwith rags; use varnish-polish on the panels. 

_Another. _--Finish as in the previous recipe. For a flowing coat ofvarnish-finish apply one flowing coat of light amber varnish. If avarnish-polish is desired, apply three coats of Zanzibar polishingvarnish. Rub down and polish, and the result will be a splendid finish. 

_Mahogany or Cherry Wood. _--For shellac _dead finish_ apply two coats ofyellow shellac. Rub down with pumice and raw linseed-oil. If avarnish-finish is desired, apply a flowing coat of light amber varnishor shellac thus rubbed. The panels should receive two coats of Zanzibarpolishing varnish. 

_Oak. _--For a _dead finish_ give three coats of shellac, two-thirds ofwhite and one-third of yellow, mixed. Rub down with pumice and rawlinseed-oil. For a cheap varnish-finish give one flowing coat of lightamber varnish in the shellac, rubbed as directed. Varnish-polish thepanels. 

_Rosewood, Coromandel, or Kingwood (a Bright Finish). _--Apply two thincoats of shellac, sand-papering each coat; then apply three or fourcoats of Zanzibar polishing varnish, laying it on thin, and giving itsufficient time to dry thoroughly. When it is perfectly hard, rub downwith pumice and water. Polish with rotten-stone to a fine lustre, cleanup with sweet-oil, and vapour up the oil with a damp alcohol rag. Theresult is a splendid mirror-like polish. This is the method employed inpolishing pianofortes in America. 

_Walnut. _--For a cheap finish, apply one coat of yellow shellac. Whendry, sand-paper down. Apply with brush; rub in well; clean off withrags. This gives a very fair finish. 

For a medium _dead finish_ apply two or three coats of yellow shellac. When dry, rub down with pumice and raw linseed-oil; clean up well;varnish-polish the panels. 

For _finish. _ Before using the above filling, give the work one coat ofwhite shellac. When dry, sand-paper down, and apply the above filling. Give two coats of white shellac; rub down with pumice and rawlinseed-oil; clean up well with brown japan and spirits of turpentine, mixed. Wipe off. This is a good imitation of wax-finish; it iswaterproof, and will not spot as wax-finish does. The panels are to bevarnished-polished. This is to be used with the improved filling No. 2. 

For _finish. _ Apply three coats of yellow shellac; rub down with pumiceand raw linseed-oil; clean off well. Varnish-polish the panels. Use thiswith the oil colour No. 3. 

=Finishing Cheap Work. =--_With One Coat of Varnish. _--Give the work acoat of boiled linseed-oil; immediately sprinkle dry whiting upon it, and rub it well in with tow all over the surface. The whiting absorbsthe oil and completely fills the pores of the wood. For black walnut adda little dry burnt umber. For mahogany or cherry add a little Venetianred, according to the colour of the wood. The application can be made toturned work while in motion in the lathe. Clean off well with rags. Thework can then be finished with a single coat of varnish, and for cheapwork makes a very good finish. 

For varnishing large surfaces, a two-inch oval varnish brush is to beused first to lay out the varnish, and then a two-inch flat badgerflowing-brush for a softener. The latter lays down moats and bubblesleft by the large brush. A perfectly smooth glass-like surface is thusobtained. When not in use, these tools should be put into a potcontaining raw linseed-oil and spirits of turpentine. This keeps them ina better working condition than if they are kept in varnish, making themclean and soft. Standing in varnish they congeal and become hard as thespirit evaporates from the varnish. For shellacing a large surface use atwo-inch bristle brush; for small work, such as carvings and mouldings, use a one-and-a-half inch flat brush. These brushes when not in useshould be taken from the various pots and deposited in an earthen potsufficiently large to hold all the shellac brushes used in the shop. Putin enough of raw linseed-oil and thin shellac to cover the bristles ofthe brushes. Kept in this manner, they will remain clean and elastic, and will wear much longer. 

_Wax Finishing. _--Take 1/2 gall. Of turpentine, 11/2 lb. Yellowbeeswax, 1 lb. White beeswax, 1/2 lb. White rosin. Pulverise the rosin, and shave the wax into fine shavings. Put the whole into the turpentine, and dissolve it cold. If dissolved by a fire-heat, the vitality of thewax is destroyed. When it is thoroughly dissolved, mix well and applywith a stiff brush. Rub well in, and clean off with rags. When dry, itis ready for shellac or varnish as may be desired. 

_A Varnish Polish. _--Take 10 oz. Gum shellac, 1 oz. Gum sandarach, 1drachm Venice turpentine, 1 gall. Alcohol. Put the mixture into a jugfor a day or two, shaking occasionally. When dissolved it is ready foruse. Apply a few coats. Polish by rubbing smooth. 

For the commonest kind of work in black walnut a very cheap polish canbe made in the following manner: Take 1 gall. Of turpentine, 2 lb. Pulverised asphaltum, 1 qt. Boiled linseed-oil, 2 oz. Venetian red. Putthe mixture in a warm place and shake occasionally. When it isdissolved, strain and apply to the wood with a stiff brush. Rub wellwith cloth when dry. Then take 1 pt. Of thin shellac, 1/2 pt. Boiledlinseed-oil. Shake it well before using. Apply with cloth, rubbingbriskly, and you will have a fine polish. 

_With Copal or Zanzibar Varnish. _--As a substitute for filling, the woodmay receive one coat of native coal-oil, thinned with benzine-spirits;then apply one coat of shellac, and follow with varnish, as desired. Thetime is not far distant when manufacturers must and will use varnish forthe finishing of all kinds of furniture on account of the high price ofshellac. Furniture finished in the last-named method may be rubbed witheither water or oil. Water has a tendency to harden varnish, while oilsoftens it. If water is used there will be a saving of oil and rags. Inthe other case shellac, when rubbed with oil, should be cleaned withjapan. This removes the greasy and cloudy appearance which is left afterthe rubbing with oil, and the work will have a clean, dry, and brighterappearance than otherwise. 

We suggest another idea for finishing black walnut for a cheap or amedium class of work. In the first place, fill the pores of the wood, and apply one thin coat of shellac to hold the filling in the pores ofthe wood. Let this stand one day; sand-paper down with fine paper, thenwith a brush apply a coat of coach japan. Rub well, and clean off withrags. Let this stand one day to dry, then, with some sand-paper that hasbeen used before, take off the moats from the japan. Go over the wholesurface with a soft rag saturated with japan; wipe and clean offcarefully, and the job is finished. This, though a cheap finish, is agood one for this class of work. 

We give one more method of finishing black walnut, that is, with boiledlinseed-oil only, and there is no other way of obtaining a genuineoil-finish. Sand-paper the wood down smoothly; apply a coat of boiledlinseed-oil over the whole surface; sand-paper well, and clean up drywith rags; let it stand one day to dry, then apply one more coat of oil;rub well in with rags, but do not use sand-paper on this coat. Applythree, four, or more coats in the same way. When the work has receivedthe last coat of oil and is dry, sand-paper down with old paper. Thenclean up with the best coach japan with rags, and let the work stand oneday to dry. The panels are to be varnish-polished the same as otherwood. The work is then finished, and ready for the warerooms. 

This method takes a longer time than finishing with either varnish orshellac; but the cost is less both for materials and for labour, theworkman being able to go over a greater surface in the same time. Thework will stand longer, and the method gives a rich and close finish, bringing out the figure and rich colour of the wood better than in anyother method of finishing. It does not cost so much as shellac finish;it only requires a little more time for drying between the coats of oil. In finishing in varnish or shellac, to get the body or surface forpolishing three or four coats are frequently applied, which is liable toproduce a dull cloudy appearance. For this reason, and having in viewthe high and increasing price of stock, it seems to us that this reallysuperior method of finishing in oil must take the place of shellac andvarnish-finish in good work. 

=Polishing Varnish. =--This is certainly a tedious process, andconsidered by many a matter of difficulty. The following is the mode ofprocedure: Put two ounces of powdered tripoli into an earthen pot orbasin, with water sufficient to cover it; then, with a piece of fineflannel four times doubled, laid over a piece of cork rubber, proceed topolish your varnish, always wetting it well with the tripoli and water. You will know when the process is complete by wiping a part of the workwith a sponge and observing whether there is a fair and even gloss. Clean off with a bit of mutton suet and fine flour. Be careful not torub the work too hard, or longer than is necessary to make the faceperfectly smooth and even. Some workmen polish with rotten-stone, otherswith putty-powder, and others with common whiting and water; buttripoli, we think, will be found to answer best. 

=An American Polish Reviver. =--Take of olive-oil 1 lb. , of rectified oilof amber 1 lb. , spirits of turpentine 1 lb. , oil of lavender 1 oz. , tincture of alkanet-root 1/2 oz. Saturate a piece of cotton batting withthis polish, and apply it to the wood; then, with soft and dry cottonrags, rub well and wipe off dry. This will make old furniture in privatedwellings, or that which has been shop-worn in warerooms, look as wellas when first finished. The articles should be put into a jar or jug, well mixed, and afterwards kept tightly corked. 

This is a valuable recipe, and is not known, the writer believes, outside of his practice. 

CHAPTER X. 

_MISCELLANEOUS RECIPES. _

=Oil Polish. =--One quart of cold-drawn linseed-oil to be simmered (notboiled) for ten minutes, and strained through flannel; then addone-eighth part of spirits of turpentine: to be applied daily with softlinen rags, and rubbed off lightly; each time the oil is applied thesurface should be previously washed with cold water, so as to remove anydirt or dust. This method of polishing is particularly useful fordining-table tops; it will in about six weeks produce a polish sodurable as to resist boiling water or hot dishes, and be like a mirrorfor brilliancy. 

=Wax Polish. =--Eight ounces of beeswax, 2 oz. Of resin, and 1/2 oz. OfVenetian turpentine, to be melted over a slow fire; the mass, when quitemelted, is poured into a sufficiently large stone-ware pot, and while itis still warm 6 oz. Of rectified turpentine are stirred in. After thelapse of twenty-four hours the mass will have assumed the consistencyof soft butter, and is ready for use. A small portion of the polish istaken up with a woollen rag and rubbed over the surface of the work--atfirst gently, then more strongly. When the polish is uniformly laid on, the surface is once more rubbed lightly and quickly with a fresh cleanrag to produce a gloss. 

=Waterproof French Polish. =--Take 2 oz. Gum benjamin, 1/2 oz. Gumsandarach, 1/2 oz. Gum anîme, 11/2 oz. Gum benzoin, and 1 pt. Alcohol. Mix in a closely-stoppered bottle, and put in a warm place till the gumsare well dissolved. Then strain off, and add 1/4 gill of poppy-oil. Shake well together, and it is ready for use. 

=A Varnish for Musical Instruments. =--Take one gallon of alcohol, 1 lb. Gum sandarach, 1/2 lb. Gum mastic, 2 lbs. Best white resin, 3 lbs. Gumbenzoin; cut the gums cold. When they are thoroughly dissolved, strainthe mixture through fine muslin, and bottle for use; keep the bottletightly corked. This is a beautiful varnish for violins and othermusical instruments of wood, and for fancy articles, such as those ofinlaid work. It is also well adapted for panel-work, and all kinds ofcabinet furniture. There is required only one flowing coat, and itproduces a very fine mirror-like surface. Apply this varnish with aflat camel's-hair or sable brush. In an hour after application thesurface is perfectly dry. 

=French Varnish for Cabinet-work. =--Take of shellac 11/2 oz. Gum masticand gum sandarach, of each 1/2 oz. , spirit of wine by weight 20 oz. Thegums to be first dissolved in the spirit, and lastly the shellac. Thismay be best effected by means of the water-bath. Place a loosely-corkedbottle containing the mixture in a vessel of warm water of a temperaturebelow the boiling point, and let it remain until the gums are dissolved. Should evaporation take place, an equal quantity to the spirit of wineso lost must be replaced till the mixture settles, then pour off theclear liquid for use, leaving the impurities behind; but do not filterit. Greater hardness may be given to the varnish by increasing thequantity of shellac, which may be done to the amount of one-twelfth ofthe lac to eleven-twelfths of spirit. But in this latter proportion thevarnish loses its transparency in some degree, and must be laid on invery small quantities at a time. 

=Mastic Varnish. =--Mastic should be dissolved in oil of turpentine, inclose glass vessels, by means of a gentle heat. This varnish isextensively used in transparencies, etc. 

=Cabinet-maker's Varnish. =--Take 5 lbs. Very pale gum shellac, 7 oz. Gummastic, 1 gallon alcohol. Dissolve in a cold atmosphere with frequentstirring. 

=Amber Varnish. =--This is a most difficult varnish to make. It isusually prepared by roasting the amber and adding hot linseed-oil, afterwhich turpentine can be mixed if required. But for a small quantity, dissolve the broken amber, without heat, in the smallest possiblequantity of chloroform or pure benzine. Heat the linseed-oil, remove itfrom the fire, and pour in the amber solution, stirring all the time. Then add the turpentine. If not quite clear, heat again, using theutmost caution. 

=Colourless Varnish with Copal. =--To prepare this varnish the copal mustbe picked; each piece is broken, and a drop of rosemary-oil poured onit. Those pieces which, on contact with the oil, become soft are theones used. The pieces being selected, they are ground and passed througha sieve, being reduced to a fine powder. It is then placed in a glass, and a corresponding volume of rosemary-oil poured over it; the mixtureis then stirred for a few minutes until it is transformed into a thickliquor. It is then left to rest for two hours, when a few drops ofrectified alcohol are added, and intimately mixed. Repeat the operationuntil the varnish is of a sufficient consistency; leave the rest for afew days, and decant the clear. This varnish can be applied to wood andmetals (_Journal of Applied Chemistry_). 

=Seedlac Varnish. =--Wash 3 oz. Of seedlac in several waters; dry it andpowder it coarsely. Dissolve it in one pint of rectified spirits ofwine; submit it to gentle heat, shaking it as often as convenient, untilit appears dissolved. Pour off the clear part, and strain the remainder. 

=Patent Varnish for Wood or Canvas. =--Take 1 gallon spirits ofturpentine, 21/4 lbs. Asphaltum. Put them into an iron kettle on astove, and dissolve the gum by heat. When it is dissolved and a littlecool, add 1 pint copal varnish and 1 pint boiled linseed-oil. Whenentirely cool it is ready for use. For a perfect black add a littlelamp-black. 

=Copal Varnish. =--Dissolve the copal, broken in pieces, in linseed-oil, by digestion, the heat being almost sufficient to boil the oil. The oilshould be made drying by the addition of quick-lime. This makes abeautiful transparent varnish. It should be diluted with oil ofturpentine; a very small quantity of copal, in proportion to the oil, will be found sufficient. 

=Carriage Varnish. =--Take 19 oz. Gum sandarach, 91/2 oz. Orangeshellac, 121/2 oz. White resin, 18 oz. Turpentine, 5 pints alcohol. Dissolve and strain. Use for the internal parts of carriages and similarpurposes. This varnish dries in ten minutes. 

=Transparent Varnish. =--Take 1 gallon alcohol, 2 lbs. Gum sandarach, 1/2lb. Gum mastic. Place them in a tin can. Cork tight and shakefrequently, placing the can in a warm place. When dissolved it is readyfor use. 

=Crystal Varnish for Maps, etc. =--Mix together 1 oz. Canada balsam and 2oz. Spirits of turpentine. Before applying this varnish to a drawing ora painting in water-colours the paper should be placed on a stretcher, sized with a thin solution of isinglass in water, and dried. Apply thevarnish with a soft camel's-hair brush. 

=A Black Varnish. =--Mix a small quantity of gas-black with the brownhard varnish previously mentioned. The black can be obtained by boilinga pot over a gas-burner, so that it almost touches the burner, when afine jet-black will form at the bottom, which remove and mix with thevarnish, and apply with a brush. 

=A Black Polish= can be made in the same way: after wetting the rubber, just touch it with the black. Place the linen cover over, touch it withoil, and it is ready for work. 

=Varnish for Iron. =--Take 2 lbs. Pulverised gum asphaltum, 1/4 lb. Gumbenzoin, 1 gallon spirits of turpentine. To make this varnish quickly, keep in a warm place, and shake often till it is dissolved. Shade tosuit with finely-ground ivory-black. Apply with a brush. This varnishshould be used on iron-work exposed to the weather. It is also welladapted for inside work, such as iron furniture, where a handsome polishis desired. 

=Varnish for Tools. =--Take 2 oz. Tallow, 1 oz. Resin; melt together, andstrain while hot to remove the specks which are in the resin. Apply aslight coat on the tools with a brush, and it will keep off the rust forany length of time. 

=To Make Labels Adhere to a Polished Surface. =--Brush the back of alabel over with thin varnish or polish, and press down with a soft rag;this must be done quickly, as the polish soon becomes dry. This is theway labels are put on pianofortes, and also the paper imitation of fancywoods on polished pine-work. 

=How to Remove French Polish or Varnish from Old Work. =--Cleaning offold work for re-polishing or varnishing is usually found difficult, andto occupy much time if only the scraper and glass-paper be used. It canbe easily accomplished in a very short time by washing the surface withliquid ammonia, applied with a piece of rag; the polish will peel offlike a skin, and leave the wood quite bare. In carvings or turned work, after applying the ammonia, use a hard brush to remove the varnish. Unadulterated spirits of wine used in a tepid state will answer the samepurpose. 

=Colouring for Carcase Work. =--In the best class of cabinet-work all theinside work--such as carcase backs, shelves, etc. --is made of goodmaterials, such as wainscot, soft mahogany, Havannah cedar, or Americanwalnut; but for second-class work, pine or white deal is used instead, and coloured. 

The colouring matter used should match with the exterior wood. Formahogany take 1/2 lb. Of ground yellow ochre to a quart of water, andadd about a tablespoonful of Venetian red--a very small quantity ofred in proportion to the yellow is sufficient for mahogany--and a pieceof glue about the size of a walnut; the whole to be well stirred andboiled. Brush over while hot, and immediately rub off with soft shavingsor a sponge. For the antique hues of old wainscot mix equal parts ofburnt umber and brown ochre. For new oak, bird's-eye maple, birch, satin-wood, or any similar light yellowish woods, whiting or white-lead, tinted with orange chrome, or by yellow ochre and a little size. Forwalnut, brown umber, glue size, and water; or by burnt umber verymoderately modified with yellow ochre. For rosewood, Venetian red tintedwith lamp-black. For ebony, ivory-black; but for the common ebonisedwork lamp-black is generally used. 

When the colouring is dry, it should be rubbed down with a piece of wornfine glass-paper, and polished with beeswax rubbed on a very hardbrush--a worn-out scrubbing-brush is as good as anything--or it can bewell rubbed with Dutch rush. In polishing always rub the way of thegrain. The cheap work seldom gets more than a coat of colour rubbed offwith shavings. 

=Cheap but Valuable Stain for the Sap of Black Walnut. =--Take 1 gallonof strong vinegar, 1 lb. Dry burnt umber, 1/2 lb. Fine rose-pink, 1/2lb. Dry burnt Vandyke brown. Put them into a jug and mix them well; letthe mixture stand one day, and it will then be ready for use. Apply thisstain to the sap with a piece of fine sponge; it will dry in half anhour. The whole piece is then ready for the filling process. Whencompleted, the stained part cannot be detected even by those who haveperformed the work. This recipe is of value, as by it wood of poorquality and mostly of sap can be used with good effect. 

=Polish for Removing Stains, etc. , from Furniture (American). =--Take 1/2pint alcohol, 1/4 oz. Pulverised resin, 1/4 oz. Gum shellac, 1/2 pint boiledlinseed-oil. Shake the mixture well, and apply it with a sponge, brush, or cotton flannel, rubbing well after the application. 

=Walnut Stain to be used on Pine and White-wood. =--Take 1 gallon of verythin sized shellac; add 1 lb. Of dry burnt umber, 1 lb. Of dry burntsienna, and 1/4 lb. Of lamp-black. Put these articles into a jug, andshake frequently until they are mixed. Apply one coat with a brush. Whenthe work is dry, sand-paper down with fine paper, and apply one coat ofshellac or cheap varnish. It will then be a good imitation of solidwalnut, and will be adapted for the back-boards of mirror-frames, forthe backside and inside of case-work, and for similar work. 

=Rosewood Stain. =--Take 1 lb. Of logwood chips, 1/2 lb. Of red-sanders, 1/2 gallon of water. Boil over a fire until the full strength isobtained. Apply the mixture, while hot, to the wood with a brush. Useone or two coats to obtain a strong red colour. Then take 1 gallon ofspirits of turpentine and 2 lb. Of asphaltum. Dissolve in an iron kettleon a stove, stirring constantly. Apply with a brush over the red stain, to imitate rosewood. To make a perfect black, add a little lamp-black. The addition of a small quantity of varnish with the turpentine willimprove it. This stain applied to birchwood gives as good an imitationof rosewood as on black walnut, the shade on the birch being a littlebrighter. 

=Rosewood Stain for Cane Work, etc. =--Take 1 gallon alcohol, 1 lb. Red-sanders, 1 lb. Dragon's blood, 1 lb. Extract logwood, 1/2 lb. Gumshellac. Put the mixture into a jug, and steep well till it obtains itsfull strength. Then strain, and it will be ready for use. Apply withbrush, giving one, two, or more coats, according to the depth of colourdesired. Then give one or more coats of varnish. This stain is suitablefor use on cane, willow, or reed work, and produces a good imitation ofrosewood. 

=French Polish Reviver. =--This recipe will be found a valuable one. Ifthe work is sweated and dirty, make it tolerably wet, and let it stand afew minutes; then rub off and polish with a soft rag. It is importantthat the ingredients should be mixed in a bottle in the order as given:Vinegar, 1 gill; methylated spirit, 1 gill; linseed-oil, 1/2 pint;butter of antimony (poison), 1 oz. Raw linseed-oil, moderately thinnedwith turpentine or spirits of wine, will also make a good reviver. Oldfurniture, or furniture that has been warehoused for a long time, shouldbe washed with soda and warm water previous to applying the reviver. 

=Morocco Leather Reviver. =--The coverings of chairs or sofas in morocco, roan, or skiver can be much improved by this reviver. If old and greasy, wash with sour milk first. The reviver should be applied with a piece ofwadding, and wiped one way only, as in glazing. The colour can bematched by adding red-sanders. Methylated spirit, 1/2 pint; gum benzoin, 2 oz. ; shellac, 1/2 oz. Mix, and shake up occasionally until dissolved. 

=Hair-cloth Reviver. =--Mix equal parts of marrow-oil (neats-foot), ox-gall. And ivory-black, to be well rubbed with a cloth. Thiscomposition forms a valuable renovator for old hair-cloth. 

=To Remove Grease Stains from Silks, Damasks, Cloth, etc. =--Pour overthe stain a small quantity of benzoline spirit, and it will soondisappear without leaving the least mark behind. The most delicatecolours can be so treated without fear of injury. For paint stainschloroform is very efficacious. 

=To Remove Ink Stains from White Marble. =--Make a little chloride oflime into a paste with water, and rub it into the stains, and let itremain a few hours; then wash off with soap and water. 

CHAPTER XI. 

_MATERIALS USED. _

=Alkanet-root= (botanical name, _Anchusa tinctoria_). --This plant is anative of the Levant, but it is much cultivated in the south of Franceand in Germany. The root is the only part used by French polishers toobtain a rich quiet red; the colouring is chiefly contained in the barkor outer covering, and is easily obtained by soaking the root in spiritsor linseed-oil. The plant itself is a small herbaceous perennial, andgrows to about a foot in height, with lance-shaped leaves and purpleflowers, and with a long woody root with a deep red bark. 

=Madder-root= (_Rubia tinctoria_). --This plant is indigenous to theLevant; but it is much cultivated in Southern Europe, and also in India. Its uses are for dyeing and staining; it can be procured in a powderedstate, and imparts its red colour when soaked in water or spirits. Thisis a creeping plant with a slender stem; almost quadrangular, theleaves grow four in a bunch; flowers small, fruit yellow, berry double, one being abortive. The roots are dug up when the plant has attained theage of two or three years; they are of a long cylindrical shape, aboutthe thickness of a quill, and of a red-brownish colour, and whenpowdered are a bright Turkish-red. Extracts of madder are mostlyobtained by treating the root with boiling water, collecting theprecipitates which separate on cooling, mixing them with gum or starch, and adding acetate of alumina or iron. This is in fact a mixture ofcolouring matter and a mordant. 

=Red-sanders= (_Pterocarpus santalinus_). --The tree from which this woodis obtained is a lofty one, and is to be found in many parts of India, especially about Madras. It yields a dye of a bright garnet-red colour, and is used by French polishers for dyeing polishes, varnishes, revivers, etc. 

=Logwood= (_Hĉmatoxylon campeachianum_). --This is a moderate-sized treewith a very contorted trunk and branches, which are beset with sharpthorns, and blooms with a yellow flower. It is a native of CentralAmerica and the West Indies. This valuable dye-wood is imported in logs;the heart-wood is the most valuable, which is cut up into chips orground to powder for the use of dyers by large powerful millsconstructed especially for the purpose. Logwood, when boiled in water, easily imparts its red colour. If a few drops of acetic acid (vinegar)is added, a bright red is produced; and when a little alum is added fora mordant, it forms red ink. If an alkali, such as soda or potash, isused instead of an acid, the colour changes to a dark blue or purple, and with a little management every shade of these colours can beobtained. Logwood put into polish or varnish also imparts its redcolour. 

=Fustic= (_Maclura tinctoria_). --This tree is a native of the WestIndies, and imparts a yellow dye. Great quantities are used for dyeinglinens, etc. The fustic is a large and handsome evergreen, and isimported in long sticks. 

=Turmeric= (_Curcuma longa_). --Turmeric is a stemless plant, withpalmated tuberous roots and smooth lance-shaped leaves. It is importedfrom the East Indies and China. The root is the part which affords theyellow powder for dyeing. It is also a condiment, and is largely used inIndian curry-powder. Paper stained with turmeric is used by chemists asa test for alkalies, and it is also used in making Dutch, pink, andgold-coloured varnishes. 

=Indigo= (_Indigofera tinctoria_). --Indigo is a shrub which grows fromtwo to three feet in height, and is cut down just as it begins toflower. It is cultivated in almost all the countries situated in thetropics. The dye substance is prepared from the stems and leaves, and islargely used in calico-printing. 

=Persian Berries= (_Rhamnus infectorius_). --These berries are theproduce of a shrub of a species of buckthorn common in Persia, whencethey derive their name; but large quantities are also imported intoEngland from Turkey and the south of France. The berries are gathered inan unripe state, and furnish a yellow dye. 

=Nut-galls. =--These are found upon the young twigs of the Turkish dwarfoak (_Quercus infectoria_), and are produced by the puncture of aninsect called Cynips. The supply is principally from Turkey and Aleppo. Nut-galls contain a large quantity of tannin and gallic acid, and areextensively used in dyeing. 

=Catechu. =--This is obtained from the East Indies, and is the extract ofthe _Acacia catechu_, a thorny tree. The wood is cut up into chipssimilar to logwood, and after boiling and evaporation the liquorassumes the consistency of tar; but when cold it hardens, and is formedinto small squares. It is extensively used by tanners in place of oakbark. 

=Thus. =--Thus is the resin which exudes from the spruce-fir, and is usedby some polishers in the making of polishes and varnishes. 

=Sandarach= is the produce of the _Thuya articulata_ of Barbary. Itoccurs in small pale yellow scales, slightly acid, and is soluble inalcohol; it is used in both polishes and varnishes. 

=Mastic= exudes from the mastic-tree (_Pistacia lentiscus_), and isprincipally obtained from Chios, in the Grecian Archipelago. It runsfreely when an incision is made in the body of the tree, but nototherwise. It occurs in the form of nearly colourless and transparenttears of a faint smell, and is soluble in alcohol as well as oil ofturpentine, forming a rapidly-drying but alterable varnish, whichbecomes brittle and dark-coloured by age. 

=Benzoin. =--This is the produce of the American tree _Laurus benzoin_, and also of the _Styrax benzoin_ of Sumatra, which is called "gumbenjamin"; it is used in polishes and varnishes, and as a cosmetic, andis also burnt as incense in Catholic churches. 

=Copal= is one of the most valuable of gums, and is furnished by manycountries in the districts of Africa explored by Mr. H. M. Stanley, thediscoverer of Livingstone. Copal is found in a fossil state in verylarge quantities. The natives collect the gum by searching in the sandysoil, mostly in the hilly districts, the country being almost barren, with no large tree except the Adansonia, and occasionally a few thornybushes. 

The gum is dug out of the earth by the copal gatherers at variousdepths, from two or three to ten or more feet, in a manner resemblinggold-digging; and great excitement appears when a good amount isdiscovered. The gum is found in various shapes and sizes, resembling ahen's egg, a flat cake, a child's head, etc. There are three kinds, yellow, red, and whitish; and the first furnishes the best varnish andfetches the highest price from the dealers. Many of the natives assertthat the copal still grows on different trees, and that it acquires itsexcellent qualities as a resin by dropping off and sinking several feetinto the soil, whereby it is cleansed, and obtains, after a lapse ofmany years, its hardness, inflammability, and transparency. 

=Dragon's Blood= is the juice of certain tropical plants of a redcolour, especially of the tree _Pterocarpus draco_. After the juice isextracted, it is reduced to a powder by evaporation. It is used fordarkening mahogany, colouring varnishes or polishes, etc. , and forstaining marble. Chemists also use it in preparing tinctures and toothpowders. 

=Shellac=--or, more properly, _gum-lac_--is a resinous substanceobtained from the Bihar-tree, and also from the _Ficus Indica_, orBanyan-tree. It exudes when the branches are pierced by an insect calledthe _Coccus ficus_. The twigs encrusted with the resin in its naturalstate is called Stick-lac. When the resin is broken off the twigs, powdered, and rubbed with water, a good deal of the red colouring matteris dissolved, and the granular resin left is called seed-lac; and whenmelted, strained, and spread into thin plates it is called shellac, andis prepared in various ways and known by the names of button, garnet, liver, orange, ruby, thread, etc. , and is used for many purposes in thearts. Shellac forms the principal ingredient for polishes and spiritvarnishes. Red sealing-wax is composed of shellac, Venice turpentine, and vermilion red; for the black sealing-wax ivory-black is used insteadof the vermilion. Shellac is soluble in alcohol, and in many acids andalkalies. Lac-dye is the red colour from the stick-lac dissolved bywater and evaporated to dryness. The dye, however, is principally fromthe shrivelled-up body of the insect of the Stick-lac. 

Shellac is produced in the largest quantity and the best quality inBengal, Assam, and Burmah. The chief seat of manufacture is Calcutta, where the native manufacturers are accused of adulterating it with resinto a considerable extent. The best customers are Great Britain and theUnited States, though the demand in the Italian markets appears to be onthe increase. 

=Amber= is a yellow, semi-transparent, fossil resin; hard but brittle, and easily cut with a knife; tasteless, and without smell, except whenpounded or heated, and then it emits a fragrant odour. It hasconsiderable lustre; becomes highly electric by friction; and will burnwith a yellow flame. It is found in nodules of various sizes in alluvialsoils, or on the seashore in many places, particularly on the shores ofthe Baltic. Amber is much employed for ornamental purposes, and is alsoused in the manufacture of amber-varnish. It will not dissolve inalcohol, but yields to the concentrated action of sulphuric acid, whichwill dissolve all resins except caramba wax. 

=Pumice-stone. =--This well-known light and spongy volcanic substance isextensively quarried in the small islands that lie off the coast ofSicily. Its porosity and smooth-cutting properties render it of greatvalue to painters and polishers for levelling down first coatings. Ground pumice-stone is the best for cutting down bodies of polish orvarnish that are more advanced towards completion. The best way to get asurface to a piece of lump pumice-stone is to rub it down on a flat Yorkstone, or, better still, an old tile that has been well baked. Pumice-stone should not be allowed to stand in water; it causes thegrain to contract and to harden, thereby deteriorating its cuttingproperties. 

=Linseed-oil. =--This valuable oil is obtained by pressure from the seedof the flax plant (_Linum usitatissimum_). Linseed contains on anaverage about 33 per cent. Of oil, though the amount varies materially, the percentage obtained fluctuating considerably, not being alike on anytwo successive days. This is partly due to the varying richness of theseed, and partly to the manner in which it is manipulated in extractingthe oil, it being a very easy matter to lose a considerable percentageof the oil by a lack of skill in any of the processes, though they allseem so simple. 

The first thing done with the seed from which the oil is to be extractedis to pass it through a screen, to cleanse it from foreign substances. The seed is received in bags containing from three to four bushels, andpockets containing one-sixth of that amount. Having been screened it ispassed through a mill, whose large iron-rollers, three in number, grindit to a coarse meal. Thence it is carried to what are known as the"mullers, " which are two large stones, about eight feet in diameter andeighteen inches thick, weighing six tons each, standing on their edges, and rolling around on a stone bed. About five bushels of the meal areplaced in the mullers, and about eight quarts of hot water are added. The meal is afterwards carried by machinery to the heaters, iron pansholding about a bushel each. These are heated to an even temperature bysteam, and are partly filled with the meal, which for seven minutes issubmitted to the heat, being carefully stirred in order that all partsmay become evenly heated. At the end of that time the meal is placed inbags, which in turn are placed in hydraulic presses, iron plates beingplaced between the bags. Pressure is applied for about eight minutes, until, as is supposed, all the oil is pressed out, leaving a hard cake, known to the trade as oil-cake, or linseed-cake. 

The product of these various processes is known as "raw" oil, aconsiderable portion of which is sold without further labour beingexpended upon it. There is, however, a demand for "boiled" oil, forcertain purposes where greater drying properties are needed. To supplythis want oil is placed in large kettles, holding from five hundred toone thousand gallons, where it is heated to a temperature of about 500degrees, being stirred continually. This process, when large kettles areused, requires nearly the entire day. While the boiling process is goingon, oxide of manganese is added, which helps to give the boiled oilbetter drying properties. A considerable portion of the oil is bleached, for the use of manufacturers of white paints. 

=Venice Turpentine. =--This is obtained from the larch, and is said to becontained in peculiar sacs in the upper part of the stem, and to beobtained by puncturing them. It is a ropy liquid, colourless or brownishgreen, having a somewhat unpleasant odour and bitter taste. 

=Oil of Turpentine= is the most plentiful and useful of oils. It isobtained in America from a species of pine very plentiful in theCarolinas, Georgia, and Alabama, known as the long-leaved pine (_pinusAustralis_), and found only where the original forest has not beenremoved. 

=Methylated Spirits. =--The methylated spirit of commerce usuallyconsists of the ordinary mixed grain, or "plain" spirit, as produced bythe large distillers in London and elsewhere, with which are blended, by simply mixing in various proportions, one part vegetable naphtha andthree parts spirits of wine. The mixing takes place in presence of arevenue officer, and the spirits so "methylated" are allowed to be usedduty free. The revenue authorities consider the admixture of naphtha, having so pungent and disagreeable a smell, a sufficient securityagainst its sale and consumption as a beverage. No process has yet beendiscovered of getting rid of this odour. It is illegal for druggists touse it in the preparation of medicinal tinctures, unless they are forexternal use. 

PRINTED BY WILLIAM CLOWES AND SONS, LIMITED, LONDON AND BECCLES. 

CROSBY LOCKWOOD & SON'S

LIST OF WORKS

ON

TRADES AND MANUFACTURES, THE INDUSTRIAL ARTS, CHEMICAL MANUFACTURES, COUNTING HOUSE WORK, ETC. 

A Complete Catalogue of NEW and STANDARD BOOKS relating to CIVIL, MECHANICAL, MARINE and ELECTRICAL ENGINEERING; MINING, METALLURGY, andCOLLIERY WORKING; ARCHITECTURE and BUILDING; AGRICULTURE and ESTATEMANAGEMENT, etc. Post Free on Application. 

7, STATIONERS' HALL COURT, LONDON, E. C. , AND121a, VICTORIA STREET, WESTMINSTER, S. W. 

1910. 

LIST OF WORKS

ON

TRADES and MANUFACTURES, THE INDUSTRIAL ARTS, Etc. 

=ACETYLENE, LIGHTING BY. = Generators, Burners, and Electric Furnaces. ByWILLIAM E. GIBBS, M. E. With 66 Illustrations. Crown 8vo, cloth =7/6=

=AIR GAS LIGHTING SYSTEMS. = See PETROL GAS. 

=ALCOHOL (INDUSTRIAL): ITS MANUFACTURE AND USES. = A Practical Treatisebased on Dr. Max Maercker's "Introduction to Distillation, " as revisedby Drs. DELBRUCK and LANGE. By J. K. BRACHVOGEL. 500 pages, 105engravings _Net_ =16/6=

THE INDUSTRIAL VALUE OF TAX-FREE ALCOHOL AND WHAT IT MEANS TOAGRICULTURAL INTERESTS--SUMMARY OF THE PROCESSES IN SPIRITMANUFACTURE--STARCH, HOW FORMED, ITS CHARACTERISTICS, AND THE CHANGESIT UNDERGOES--ENZYMES OR FERMENTS--PRODUCTS OF FERMENTATION--STARCHYAND SACCHARIFEROUS RAW MATERIALS--PREPARATION OF THE MALT--STEAMINGTHE RAW MATERIAL--THE MASHING PROCESS--FERMENTING THE MASH--PREPARATIONOF ARTIFICIAL YEAST IN THE DISTILLERY--FERMENTATION INPRACTICE--DISTILLATION AND RECTIFICATION--ARRANGEMENT OF THEDISTILLERY--THE SPENT WASH--DENATURING OF ALCOHOL--ALCOHOL FOR THEPRODUCTION OF POWER, HEATING AND ILLUMINATION--STATISTICS. 

=ALKALI TRADE MANUAL. = Including the Manufacture of Sulphuric Acid, Sulphate of Soda, and Bleaching Powder. By JOHN LOMAS, AlkaliManufacturer. With 232 Illustrations. Super-royal 8vo, cloth. =£1 10s. =

=BLOWPIPE IN CHEMISTRY, MINERALOGY, Etc. = Containing all known Methodsof Anhydrous Analysis, many Working Examples, and Instructions forMaking Apparatus. By Lieut. -Colonel W. A. Ross, R. A. , F. G. S. SecondEdition. Crown 8vo, cloth =5/0=

=BOOT AND SHOE MAKING=, including Measurement, Last-fitting, Cutting-out, Closing and Making, with a Description of the most ApprovedMachinery employed. By J. B. LENO. Crown 8vo, cloth =2/0=

=BRASS FOUNDER'S MANUAL. = Modelling, Pattern Making, Moulding, Turning, &c. By W. GRAHAM. Crown 8vo, cloth =2/0=

=BREAD & BISCUIT BAKER'S & SUGAR-BOILER'S ASSISTANT. = Including a largevariety of Modern Recipes. By ROBERT WELLS. Fifth Edition. Crown 8vo, cloth 1/0

 "A large number of wrinkles for the ordinary cook, as well as the baker. "--_Saturday Review. _

=BREAKFAST DISHES. For every Morning of Three Months. = By MissALLEN (Mrs. A. MACAIRE). Author of "Savouries and Sweets, " &c. Twenty-third Edition. F'cap 8vo. Sewed 1/0 Or, quarter bound, fancy boards 1/6

=BREWERS, HANDY BOOK FOR. = Being a Practical Guide to the Art of Brewingand Malting. Embracing the Conclusions of Modern Research which bearupon the Practice of Brewing. By H. E. WRIGHT, M. A. ThirdEdition. Thoroughly Revised and Enlarged. Large Crown 8vo, 578 pp. , cloth _Net_ =12/6=

BARLEY, MALTING AND MALT--WATER FOR BREWING--HOPS AND SUGARS--THEBREWING ROOM--CHEMISTRY AS APPLIED TO BREWING--THE LABORATORY--MASHING, SPARGING, AND BOILING--FERMENTS IN GENERAL--FERMENTATION WITH COMMERCIALYEAST--CULTURE FROM A SINGLE CELL WITH YEASTS--TREATMENT OF BEER--THEBREWERY AND PLANTS. 

 "We have great pleasure in recommending this handy Book. "--_The Brewers' Guardian. _

=CALCULATOR, NUMBER, WEIGHT AND FRACTIONAL. = Containing upwards of250, 000 Separate Calculations, showing at a Glance the Value at 422Different Rates, ranging from 1/128th of a Penny to 20s. Each, or percwt. , and £20 per ton, of any number of articles consecutively, from 1to 470. Any number of cwts. , qrs. , and lbs. , from 1 cwt. To 470 cwts. Any number of tons, cwts. , qrs. , and lbs. , from 1 to 1, 000 tons. ByWILLIAM CHADWICK, Public Accountant. Fourth Edition, Revisedand Improved. 8vo, strongly bound =18/0=

 "It is as easy of reference for any answer or any number of answers as a dictionary. For making up accounts or estimates the book must prove invaluable to all who have any considerable quantity of calculations involving price and measure in any combination to do. "--_Engineer. _

 "The most perfect work of the kind yet prepared. "--_Glasgow Herald. _

=CEMENTS, PASTES, GLUES, AND GUMS. = A Guide to the Manufacture andApplication of Agglutinants for Workshop, Laboratory, or Office Use. With 900 Recipes and Formulĉ. By H. C. STANDAGE, Crown 8vo, cloth =2/0=

 "As a revelation of what are considered trade secrets, this book will arouse an amount of curiosity among the large number of industries it touches. "--_Daily Chronicle. _

=CHEMISTRY FOR ARMY AND MATRICULATION CANDIDATES. = By GEOFFREYMARTIN, B. SC. , Ph. D. Crown 8vo, cloth. With numerous Illustrations_Net_ =2/0=

PREPARATION AND USE OF APPARATUS--PREPARATION AND PROPERTIES OFCERTAIN GASES AND LIQUIDS--SIMPLE QUANTITATIVE EXPERIMENTS--ANALYTICALOPERATIONS--SOLUBILITY--WATER CRYSTALLISATION--NEUTRALISATION OF ACIDSBY BASES, AND PREPARATION OF SIMPLE SALTS--VOLUMETRIC ANALYSIS--CHEMICALEQUIVALENTS--OBSERVATION OF REACTION--MELTING AND BOILINGPOINTS--SYMBOLS AND ATOMIC WEIGHTS OF THE ELEMENTS--WEIGHTS ANDMEASURES--HINTS ON REGULATING WORK IN PRACTICAL CHEMISTRY CLASSES. 

=CLOCKS, WATCHES, & BELLS for PUBLIC PURPOSES. = By EDMUND BECKETT, LORD GRIMTHORPE, LL. D. , K. C. , F. R. A. S. Eighth Edition, with newList of Great Bells and an Appendix on Weathercocks. Crown 8vo, cloth4/6; cloth boards, =5/6=

 "The only modern treatise on clock-making. "--_Horological Journal. _

=COACH-BUILDING. = A Practical Treatise, Historical and Descriptive. ByJ. W. BURGESS. Crown 8vo, cloth =2/6=

=COKE--MODERN COKING PRACTICE. = Including the Analysis of Materials andProducts. A handbook for those engaged or interested in Coke Manufacturewith recovery of By-Products. By T. H. BYROM, F. I. C. , F. C. S. , Mem. Soc. Of Chem. Industry, Chief Chemist to the Wigan Coal and IronCompany. For fifteen years Lecturer at the Wigan Technical College. Author of "The Physics and Chemistry of Mining"; and J. E. CHRISTOPHER, Mem. Soc. Of Chem. Industry, Sub-manager of theSemet Solvay Coking Plant of the Wigan Coal and Iron Company. Lectureron Coke Manufacture at the Wigan Technical College. 168 pages, withnumerous illustrations. Demy 8vo, cloth. [_Just Published Net_] =8/6=

 "The authors have succeeded in treating the subject in a clear and compact way, giving an easily comprehensible review of the different processes. "--_Mining Journal. _

 "The book will be eagerly read, and the authors may be assured that their labour will be appreciated. We anticipate that the book will be a success; at any rate it possesses the necessary merit. "--_Science and Art of Mining. _

=COMMERCIAL CORRESPONDENT, FOREIGN. = Being Aids to CommercialCorrespondence in Five Languages--English, French, German, Italian, andSpanish. By CONRAD E. BAKER. Third Edition, Carefully RevisedThroughout. Crown 8vo, cloth 4/6

 "Whoever wishes to correspond in all the languages mentioned by Mr. Baker cannot do better than study this work, the materials of which are excellent and conveniently arranged. They consist not of entire specimen letters, but--what are far more useful--short passages, sentences, or phrases expressing the same general idea in various forms. "--_Athenĉum. _

=CONFECTIONER, MODERN FLOUR. = Containing a large Collection of Recipesfor Cheap Cakes, Biscuits, &c. With remarks on the Ingredients Used intheir Manufacture. By R. WELLS =1/0=

=CONFECTIONERY, ORNAMENTAL. = A Guide for Bakers, Confectioners andPastrycooks; including a variety of Modern Recipes, and Remarks onDecorative and Coloured Work. With 129 Original Designs. By ROBERTWELLS. Crown 8vo, cloth =5/0=

 "A valuable work, practical, and should be in the hands of every baker and confectioner. The illustrative designs are worth treble the amount charged for the work. "--_Bakers' Times. _

=COTTON MANUFACTURE. = A Manual of Practical Instruction of the Processesof Opening, Carding, Combing, Drawing, Doubling and Spinning, Methods ofDyeing, &c. For the Use of Operatives, Overlookers, and Manufacturers. By J. LISTER. 8vo, cloth =7/6=

=DANGEROUS GOODS. = Their Sources and Properties, Modes of Storage andTransport. With Notes and Comments on Accidents arising therefrom. Forthe Use of Government and Railway Officials, Steamship Owners, &c. By H. J. PHILLIPS. Crown 8vo, cloth =9/0=

=DENTISTRY (MECHANICAL). = A Practical Treatise on the Construction ofthe Various Kinds of Artificial Dentures. By C. HUNTER. Crown8vo, cloth =3/0

=DISCOUNT GUIDE. = Comprising several Series of Tables for the Use ofMerchants, Manufacturers, Ironmongers, and Others, by which may beascertained the Exact Profit arising from any mode of using Discounts, either in the Purchase or Sale of Goods, and the method of eitherAltering a Rate of Discount, or Advancing a Price, so as to produce, by one operation, a sum that will realise any required Profit afterallowing one or more Discounts: to which are added Tables of Profit orAdvance from 11/4 to 90 per cent. , Tables of Discount from 11/4 to 983/4 percent. , and Tables of Commission, &c. , from 1/8 to 10 per cent. By HENRYHARBEN, Accountant. New Edition, Corrected. Demy 8vo, half-bound =£15s. =

 "A book such as this can only be appreciated by business men, to whom the saving of time means saving of money. The work must prove of great value to merchants, manufacturers, and general traders. "--_British Trade Journal. _

=DRYING MACHINERY AND PRACTICE. = A Handbook on the Theory and Practiceof Drying and Desiccating, with Classified Description of Installations, Machinery, and Apparatus, including also a Glossary of Technical Termsand Bibliography. By THOMAS G. MARLOW, Grinding, Drying, andSeparating Machinery Specialist. Medium 8vo. About 250 pages, with 150Illustrations [_In the Press, price about_] =12/6= _net. _

=ELECTRICITY IN FACTORIES AND WORKSHOPS: ITS COST AND CONVENIENCE. =A Handbook for Power Producers and Power Users. By A. P. HASLAM, M. I. E. E. 328 pages, with numerous illustrations. Large crown, 8vo, cloth _Net_ =7/6=

=ELECTRO-METALLURGY. = A Practical Treatise. By ALEXANDER WATT. Tenth Edition, enlarged and revised. Including the most RecentProcesses. Crown 8vo, cloth =3/6=

=ELECTRO-PLATING. = A Practical Handbook on the Deposition of Copper, Silver, Nickel, Gold, Aluminium, Brass, Platinum, &c. , &c. By J. W. URQUHART, C. E. Fifth Edition, Revised. Crown 8vo, cloth =5/0=

=ELECTRO-PLATING & ELECTRO-REFINING OF METALS= Being a new edition ofALEXANDER WATT'S "ELECTRO-DEPOSITION. " Revised and Rewritten by A. PHILIP, B. Sc. , Principal Assistant to the Admiralty Chemist. Crown 8vo, cloth _Net_ =12/6=

PART I. ELECTRO-PLATING--PRELIMINARY CONSIDERATIONS--PRIMARY ANDSECONDARY BATTERIES--THERMOPILES--DYNAMOS--COST OF ELECTRICALINSTALLATIONS OF SMALL OUTPUT FOR ELECTRO-PLATING--HISTORICAL REVIEW OFELECTRO DEPOSITION--ELECTRO DEPOSITION OF COPPER--DEPOSITION OF GOLD BYSIMPLE IMMERSION--ELECTRO DEPOSITION OF GOLD--VARIOUS GILDINGOPERATIONS--MERCURY GILDING--ELECTRO DEPOSITION OF SILVER--IMITATIONANTIQUE SILVER--ELECTRO DEPOSITION OF NICKEL, TIN, IRON AND ZINC, VARIOUS METALS AND ALLOYS--RECOVERY OF GOLD AND SILVER FROMWASH SOLUTIONS--MECHANICAL OPERATIONS CONNECTED WITH ELECTRODEPOSITION--MATERIALS USED IN ELECTRO DEPOSITION. PART II. ELECTROMETALLURGY--ELECTRO METALLURGY OF COPPER--COST OF ELECTROLYTIC COPPERREFINING--CURRENT DENSITY AS A FACTOR IN PROFITS--SOME IMPORTANT DETAILSIN ELECTROLYTIC COPPER REFINERIES--ELECTROLYTIC GOLD AND SILVER BULLIONREFINING--ELECTROLYTIC TREATMENT OF TIN--ELECTROLYTIC REFINING OFLEAD--ELECTROLYTIC PRODUCTION OF ALUMINIUM AND ELECTROLYTIC REFINING OFNICKEL--ELECTRO GALVANISING. 

 "Eminently a book for the practical worker in electro-deposition. "--_Engineer. _

=ELECTRO-TYPING. = The Reproduction and Multiplication of PrintingSurfaces and Works of Art by the Electro-Deposition of Metals. By J. W. URQUHART, C. E. Crown 8vo, cloth =5/0=

=ENGINEERING CHEMISTRY. = A Practical Treatise for the Use of AnalyticalChemists, Engineers, Iron Masters, Iron Founders, Students and others. Comprising Methods of Analysis and Valuation of the Principal Materialsused in Engineering Work, with numerous Analyses, Examples andSuggestions. By H. PHILLIPS. Third Edition, Revised. Crown 8vo, 420 pp. , with Illustrations, cloth _Net_ =10/6=

=EXPLOSIVES, MODERN, A HANDBOOK ON. = A Practical Treatise on theManufacture and Use of Dynamite, Gun-Cotton, Nitro-Glycerine and otherExplosive Compounds, including Collodion-Cotton. With Chapters onExplosives in Practical Application. By M. EISSLER, M. E. Second Edition, Enlarged. Crown 8vo, cloth =12/6=

 "A veritable mine of information on the subject of explosives employed for military, mining, and blasting purposes. "--_Army and Navy Gazette. _

=EXPLOSIVES: NITRO-EXPLOSIVES. = The Properties, Manufacture, andAnalysis of Nitrated Substances, including the Fulminates, SmokelessPowders, and Celluloid. By P. G. SANFORD, F. I. C. , F. C. S. , Public Analyst to the Borough of Penzance. Second Edition, enlarged. With Illustrations. Demy 8vo, cloth _Net_ =10/6=

NITRO-GLYCERINE--NITRO-CELLULOSE, ETC. --DYNAMITE--NITRO-BENZOL, ROBURITE, BELLITE, PICRIC ACID, ETC. --THE FULMINATES--SMOKELESS POWDERSIN GENERAL--ANALYSIS OF EXPLOSIVES--FIRING POINT, HEAT TESTS, DETERMINATION OF RELATIVE STRENGTH, ETC. 

 "One of the very few text-books in which can be found just what is wanted. Mr. Sanford goes steadily through the whole list of explosives commonly used, he names any given explosive, and tells of what it is composed and how it is manufactured. The book is excellent. "--_Engineer. _

=FACTORY ACCOUNTS: THEIR PRINCIPLES AND PRACTICE. = A Handbook forAccountants and Manufacturers, with Appendices on the Nomenclature ofMachine Details, the Income Tax Acts, the Rating of Factories, Fire andBoiler Insurance, the Factory and Workshop Acts, etc. , including aGlossary of Terms and a large number of Specimen Rulings. By EMILEGARCKE and J. M. FELLS. Fifth Edition, Revised andEnlarged. Demy 8vo, cloth =7/6=

 "A very interesting description of the requirements of Factory Accounts. .. . The principle of assimilating the Factory Accounts to the general commercial books is one which we thoroughly agree with. "--_Accountants' Journal. _

=FLOUR MANUFACTURE. = A Treatise on Milling Science and Practice. ByFRIEDRICH KICK, Imperial Regierungsrath, Professor ofMechanical Technology in the Imperial German Polytechnic Institute, Prague. Translated from the Second Enlarged and Revised Edition. By H. H. P. POWLES, A. M. Inst. C. E. 400 pp. , with 28 Folding Plates, and 167 Woodcuts. Royal 8vo, cloth =£1 5s. =

 "This invaluable work is the standard authority on the science of milling. "--_The Miller. _

=FRENCH POLISHING AND ENAMELLING. = Including numerous Recipes for makingPolishes, Varnishes, Glaze, Lacquers, Revivers, &c. By R. BITMEAD. Crown8vo, cloth =1/6=

=GAS ENGINEER'S POCKET-BOOK. = Comprising Tables, Notes and Memorandarelating to the Manufacture, Distribution and Use of Coal Gas and theConstruction of Gas Works. By H. O'CONNOR, A. M. Inst. C. E. ThirdEdition. Revised. Crown 8vo, leather. _Net_ =10/6=

GENERAL CONSTRUCTING MEMORANDA--GENERAL MATHEMATICALTABLES--UNLOADING MATERIALS AND STORAGE--RETORTHOUSE--CONDENSERS--BOILERS, ENGINES, PUMPS, AND EXHAUSTERS--SCRUBBERSAND WASHERS--PURIFIERS--GASHOLDER TANKS--GASHOLDERS--WORKSHOPNOTES--MANUFACTURING--STORING MATERIALS--RETORT HOUSE(WORKING)--CONDENSING GAS--EXHAUSTERS, ETC. --WASHING ANDSCRUBBING--PURIFICATION--GASHOLDERS (CARE OF)--DISTRIBUTINGGAS--TESTING--ENRICHING PROCESSES--PRODUCT WORKS--SUPPLEMENTARY. 

 "The book contains a vast amount of information. "--_Gas World. _

=GAS ENGINEERING. = See PRODUCER GAS PRACTICE AND INDUSTRIAL GASENGINEERING. =GAS FITTING. = A Practical Handbook. By JOHN BLACK. RevisedEdition. With 130 Illustrations. Crown 8vo, cloth =2/6=

=GAS LIGHTING. = See ACETYLENE. 

=GAS LIGHTING FOR COUNTRY HOUSES. = See PETROL AIR GAS. 

=GAS MANUFACTURE, CHEMISTRY OF. = A Practical Manual for the use of GasEngineers, Gas Managers and Students. By HAROLD M. ROYLE, ChiefChemical Assistant at the Beckton Gas Works. Demy 8vo, cloth, 340 pages, with numerous Illustrations and Coloured Plate. _Net_ =12/6=

PREPARATION OF STANDARD SOLUTIONS--ANALYSIS OF COALS--DESCRIPTION OFVARIOUS TYPES OF FURNACES--PRODUCTS OF CARBONISATION AT VARIOUSTEMPERATURES--ANALYSIS OF CRUDE GAS--ANALYSIS OF LIME--ANALYSIS OFAMMONIACAL LIQUOR--ANALYTICAL VALUATION OF OXIDE OF IRON--ESTIMATIONOF NAPHTHALIN--ANALYSIS OF FIRE-BRICKS AND FIRE-CLAY--ART OFPHOTOMETRY--CARBURETTED WATER GAS--APPENDIX CONTAINING STATUTORY ANDOFFICIAL REGULATIONS FOR TESTING GAS. VALUABLE EXCERPTS FROM VARIOUSIMPORTANT PAPERS ON GAS CHEMISTRY, USEFUL TABLES, MEMORANDA, etc. 

=GAS WORKS. = Their Construction and Arrangement, and the Manufacture andDistribution of Coal Gas. By S. HUGHES, C. E. Ninth Edition. Revised by H. O'CONNOR, A. M. Inst. C. E. Crown 8vo =6/0=

=GOLD WORKING. JEWELLER'S ASSISTANT= for Masters and Workmen, Compiledfrom the Experience of Thirty Years' Workshop Practice. By G. E. GEE. Crown 8vo =7/6=

=GOLDSMITH'S HANDBOOK. = Alloying, Melting, Reducing, Colouring, Collecting, and Refining. Manipulation, Recovery of Waste, Chemical andPhysical Properties; Solders, Enamels, and other useful Rules andRecipes, &c. By G. E. GEE, Sixth Edition. Crown 8vo, cloth =3/0=

=GOLDSMITH'S AND SILVERSMITH'S COMPLETE HANDBOOK. = By G. E. GEE. Crown 8vo, half bound =7/0=

=HALL-MARKING OF JEWELLERY. = Comprising an account of all the differentAssay Towns of the United Kingdom, with the Stamps at present employed;also the Laws relating to the Standards and Hall-marks at the variousAssay Offices. By G. E. GEE. Crown 8vo =3/0=

=HANDYBOOKS FOR HANDICRAFTS. = By PAUL N. HASLUCK. See page 16. 

=HOROLOGY, MODERN, IN THEORY AND PRACTICE. = Translated from the Frenchof CLAUDIUS SAUNIER, ex-Director of the School of Horology atMacon, by JULIEN TRIPPLIN, F. R. A. S. , Besançon WatchManufacturer, and EDWARD RIGG, M. A. , Assayer in the Royal Mint. With Seventy-eight Woodcuts and Twenty-two Coloured Copper Plates. Second Edition. Super-royal 8vo, =£2 2s. = cloth; half-calf =£2 10s. =

 "There is no horological work in the English language at all to be compared to this production of M. Saunier's for clearness and completeness. It is alike good as a guide for the student and as a reference for the experienced horologist and skilled workman. "--_Horological Journal. _

=ILLUMINATING AND MISSAL PAINTING ON PAPER AND VELLUM. = A PracticalTreatise on Manuscript Work, Testimonials, and Herald Painting, withChapters on Lettering and Writing, and on Mediĉval Burnished Gold. Withtwo Coloured Plates. By PHILIP WHITHARD (First-class Diplomafor Illumination and Herald Painting, Printing Trades Exhibition, 1906). 156 pages. Crown 8vo, cloth _Net_ =4/0=

=INTEREST CALCULATOR. = Containing Tables at 1, 11/2, 2, 21/2, 3, 31/2, 33/4, 4, 41/2, 43/4 and 5 per cent. By A. M. CAMPBELL, Author of "The ConciseCalendar. " Crown 8vo, cloth _Net_ =2/6=

=IRON AND METAL TRADES' COMPANION. = For Expeditiously ascertaining theValue of any Goods bought or sold by Weight, from 1_s. _ per cwt. To112_s. _ per cwt. , and from one farthing per pound to one shilling perpound. By THOMAS DOWNIE. Strongly bound in leather, 396 pp. =9/0=

 "A most useful set of tables. Nothing like them before existed. "--_Building News. _

=IRON-PLATE WEIGHT TABLES. = For Iron Shipbuilders, Engineers and IronMerchants. Containing the Calculated Weights of upwards of 150, 000different sizes of Iron Plates, from 1 ft. By 6 ins. By 1/4 in. To 10ft. By 5 ft. By 1 in. Worked out on the basis of 40 lbs. To the squarefoot of iron of 1 in. In thickness. By H. BURLINSON and W. H. SIMPSON. 4to, half bound =£1 5s. =

=LABOUR CONTRACTS. = A Popular Handbook on the Law of Contracts or Worksand Services. By DAVID GIBBONS. Fourth Edition, with Appendixof Statutes by T. F. UTTLEY; Solicitor. F'cap. 8vo, cloth =3/6=

=LAUNDRY MANAGEMENT. = A Handbook for use in Private and PublicLaundries. Cr. 8vo, cloth =2/0=

=LAW FOR MANUFACTURERS, EMPLOYERS AND OTHERS, ETC. = See "EVERY MAN'SOWN LAWYER. " A Handy-book of the Principles of Law and Equity. By aBARRISTER. Forty-seventh (1910) Edition, including theLegislation of 1909. 830 pp. Large crown 8vo, cloth [_Just Published. _]_Net_ =6/8=

SUMMARY OF CONTENTS: LANDLORD AND TENANT--VENDORS ANDPURCHASERS--CONTRACTS AND AGREEMENTS--CONVEYANCES ANDMORTGAGES--JOINT-STOCK COMPANIES--PARTNERSHIP--SHIPPING LAW--DEALINGSWITH MONEY--SURETISHIP--CHEQUES, BILLS AND NOTES--BILLS OFSALE--BANKRUPTCY--MASTERS, SERVANTS AND WORKMEN--INSURANCE: LIFE, ACCIDENT, ETC. --COPYRIGHT, PATENTS. TRADE MARKS--HUSBAND AND WIFE, DIVORCE--INFANCY, CUSTODY OF CHILDREN--TRUSTEES AND EXECUTORS--TAXES ANDDEATH DUTIES--CLERGYMEN, DOCTORS, AND LAWYERS--PARLIAMENTARYELECTIONS--LOCAL GOVERNMENT--LIBEL AND SLANDER--NUISANCES--CRIMINALLAW--GAME LAWS, GAMING, INNKEEPERS--FORMS OF WILLS, AGREEMENTS, NOTICES, ETC. 

 "A useful and concise epitome of the law. "--_Law Magazine. _

 "A complete digest of the most useful facts which constitute English law. "--_Globe. _

 "A dictionary of legal facts well put together. The book is a very useful one. "--_Spectator. _

=LEATHER MANUFACTURE. = A Practical Handbook of Tanning, Currying, andChrome Leather Dressing. By A. WATT. Fifth Edition, Revised andEnlarged. 8vo, cloth _Net_ =12/6=

CHEMICAL THEORY OF THE TANNING PROCESS--THE SKIN--HIDES ANDSKINS--TANNIN OR TANNIC ACID--GALLIC ACID--GALLIC FERMENTATION--TANNINGMATERIALS--ESTIMATION OF TANNIN--PRELIMINARY OPERATIONS--DEPILATION ORUNHAIRING SKINS AND HIDES--DELIMING OR BATING--TANNING BUTTS FOR SOLELEATHER--TANNING PROCESSES--TANNING BY PRESSURE--QUICK TANNING--HARNESSLEATHER TANNING--AMERICAN TANNING--HEMLOCK TANNING--TANNING BYELECTRICITY--CHEMICAL TANNING--MISCELLANEOUS PROCESSES--COST OF AMERICANTANNING--MANUFACTURE OF LIGHT LEATHERS--DYEING LEATHER--MANUFACTURE OFWHITE LEATHER--CHROME LEATHER MANUFACTURE--BOX CALF MANUFACTURE--CHAMOISOR OIL LEATHER MANUFACTURE--CURRYING--MACHINERY EMPLOYED IN LEATHERMANUFACTURE--EMBOSSING LEATHER--FELLMONGERING--PARCHMENT, VELLUM, ANDSHAGREEN--GUT DRESSING--GLUE BOILING--UTILISATION OF TANNER'SWASTE. 

 "A sound, comprehensive treatise on tanning and its accessories. "--_Chemical Review. _

LEATHER MANUFACTURE. PRACTICAL TANNING:= A Handbook of Modern Processes, Receipts and Suggestions for the Treatment of Hides, Skins, and Pelts ofevery description, including various Patents relating to Tanning, withspecifications. By LOUIS A. FLEMMING, American Tanner. Second Edition, in great part re-written, thoroughly revised, and much enlarged. Illustrated by six full-page Plates. Medium 8vo, cloth, 630 pages [_Justpublished. _] _Net_ =28/0=

=MAGNETOS FOR AUTOMOBILISTS, HOW MADE AND HOW USED. = A Handbook ofPractical Instruction in the Manufacture and Adaptation of the Magnetoto the needs of the Motorist. By S. R. BOTTONE, late of the Collegio delCarmine, Turin, Author of "The Dynamo, " "Ignition Devices, " &c. SecondEdition, enlarged. With 52 Illustrations. Crown 8vo, cloth Net =2/0=

=MARBLE AND MARBLE WORKING. = A Handbook for Architects, Sculptors, Marble Quarry Owners and Workers, and all engaged in the Building andDecorative Industries. Containing numerous Illustrations and thirteenColoured Plates. By W. G. RENWICK, Author of "The Marble Industry, " "TheWorking of Marble for Decorative Purposes, " etc. 240 pages. Medium 8vo, cloth =15/0=

THE CHEMISTRY OF MARBLE--ITS GEOLOGICAL FORMATION--A SHORTCLASSIFICATION OF MARBLES--ANTIQUITY OF THE MARBLE INDUSTRY--ANCIENTQUARRIES AND METHODS OF WORKING--MODERN QUARRIES AND QUARRYINGMETHODS--MACHINERY USED IN QUARRYING--EUROPEAN AND AMERICAN SYSTEMSCOMPARED--MARBLE AS BUILDING MATERIAL--USES OF MARBLE OTHER THAN FORBUILDING PURPOSES-SOURCES OF PRODUCTION: ITALIAN, FRENCH, BELGIAN, ANDGREEK MARBLES, ETC. --MARBLES OF THE UNITED KINGDOM AND BRITISHCOLONIES--CONTINENTAL MARBLE WORKING--MARBLE WORKING MACHINERY--MARBLEWORKING IN THE UNITED STATES--AMERICAN MACHINERY DESCRIBED ANDCOMPARED--MARBLE WORKING: A BRITISH INDUSTRY--MARBLE SUBSTITUTES ANDIMITATIONS--PRACTICAL POINTS FOR THE CONSIDERATION OF ARCHITECTS--HINTSON THE SELECTION OF MARBLE--LIST OF MARBLES IN ORDINARY USE, WITHDESCRIPTIVE NOTES AND INSTANCES OF THEIR APPLICATION. 

=MENSURATION AND GAUGING. A POCKET-BOOK= containing Tables, Rules, andMemoranda for Revenue Officers, Brewers, Spirit Merchants, &c. By J. B. MANT. Second Edition. 18mo, leather. =4/0=

 "Should be in the hands of every practical brewer. "--_Brewers' Journal. _

=METRIC TABLES, A SERIES OF. = In which the British Standard Measures andWeights are compared with those of the Metric System at present in Useon the Continent. By C. H. DOWLING, C. E. 8vo, cloth =10/6=

 "Mr. Dowling's tables are well put together as a ready-reckoner for the conversion of one system into the other. "--_Athenĉum. _

=METROLOGY, MODERN. = A Manual of the Metrical Units and Systems of thepresent Century. With an Appendix containing a proposed English System. By LOWIS d'A. JACKSON, A. M. Inst. C. E. , Author of "Aid to SurveyPractice, " etc. Large crown 8vo, cloth =12/6=

 "We recommend the work to all interested in the practical reform of our weights and measures. "--_Nature. _

=MOTOR CAR, THE. = A Practical Manual for the use of Students and MotorCar Owners, with notes on the Internal Combustion Engine and its fuel. By ROBERT W. A. BREWER, A. M. Inst. C. E. , M. I. M. E. , M. I. A. E. 250 pages. With numerous illustrations. Demy 8vo, cloth _Net_ =5/0=

=MOTOR CAR CATECHISM. = Containing about 320 Questions and AnswersExplaining the Construction and Working of a Modern Motor Car. For theUse of Owners, Drivers, and Students. By JOHN HENRY KNIGHT. Second Edition, revised and enlarged, with an additional chapter onMotor Cycles. Crown 8vo, with Illustrations _Net_ =1/6=

THE PETROL ENGINE--TRANSMISSION AND THE CHASSIS--TYRES--DUTIES OF ACAR DRIVER--MOTOR CYCLES--LAWS AND REGULATIONS. 

=MOTOR CARS FOR COMMON ROADS. = By A. J. WALLIS-TAYLER, A. M. Inst. C. E. 212 pp. , with 76 Illustrations. Crown 8vo. =4/6=

=MOTOR VEHICLES FOR BUSINESS PURPOSES. = A Practical Handbook for thoseinterested in the Transport of Passengers and Goods. By A. J. WALLIS-TAYLER, A. M. Inst. C. E. With 134 Illustrations. Demy 8vo, cloth_Net_ =9/0=

RESISTANCE TO TRACTION ON COMMON ROADS--POWER REQUIRED FOR MOTORVEHICLES--LIGHT PASSENGER VEHICLES--HEAVY PASSENGER VEHICLES--LIGHTGOODS VANS--HEAVY FREIGHT VEHICLES--SELF-PROPELLED VEHICLES FORMUNICIPAL PURPOSES--MISCELLANEOUS TYPES OF MOTOR VEHICLES--COST OFRUNNING AND MAINTENANCE. 

=OILS AND ALLIED SUBSTANCES. AN ANALYSIS. = By A. C. WRIGHT, M. A. Oxon. , B. Sc. Lond. , formerly Assistant Lecturer in Chemistry at theYorkshire College, Leeds, and Lecturer in Chemistry at the HullTechnical School. Demy 8vo, cloth _Net_ =9/0=

THE OCCURRENCE AND COMPOSITION OF OILS, FATS AND WAXES--THEPHYSICAL PROPERTIES OF OILS, FATS, AND WAXES, AND THEIRDETERMINATION--THE CHEMICAL PROPERTIES OF OILS, FATS, AND WAXESFROM THE ANALYTICAL STANDPOINT--DETECTION AND DETERMINATION OFNON-FATTY CONSTITUENTS--METHODS FOR ESTIMATING THE CONSTITUENTSOF OILS AND FATS--DESCRIPTION AND PROPERTIES OF THE MORE IMPORTANTOILS, FATS, AND WAXES, WITH THE METHODS FOR THEIRINVESTIGATION--EXAMINATION OF CERTAIN COMMERCIAL PRODUCTS. 

=ORGAN BUILDING (PRACTICAL). = By W. E. DICKSON, M. A. , Precentorof Ely Cathedral. Second Edition, Crown 8vo =2/6=

=PAINTS, MIXED. THEIR CHEMISTRY AND TECHNOLOGY. = By MAXIMILIANTOCH. With 60 Photomicrographic Plates and other Illustrations_Net_ =12/6=

THE PIGMENTS--YELLOW, BLUE, AND GREEN PIGMENTS--THE INERT FILLERSAND EXTENDERS--PAINT VEHICLES--SPECIAL PAINTS--ANALYTICAL--APPENDIX. 

=PAINTING FOR THE IMITATION OF WOODS AND MARBLES. = As Taught andPractised by A. R. VAN DER BURG and P. VAN DER BURG, Directors of theRotterdam Painting Institution. Royal folio, cloth, 181/2 by 121/2 in. Illustrated with 24 full-size Coloured Plates; also 12 Plain Plates, comprising 154 Figures. Fifth Edition _Net_ =25/0=

=PAINTING, GRAINING, MARBLING, AND SIGN WRITING. = With a Course ofElementary Drawing and a Collection of Useful Receipts. By E. A. DAVIDSON. Ninth Edition. Coloured Plates. Crown 8vo, cloth, =5/0=; cloth boards, =6/0=

=PAPER-MAKING. = A Practical Manual for Paper Makers and Owners andManagers of Paper-Mills. With Tables, Calculations, etc. By G. CLAPPERTON, Paper-Maker. With Illustrations of Fibres fromMicro-Photographs. Second edition, revised and enlarged. Crown 8vo, cloth _Net_ =5/0=

CHEMICAL AND PHYSICAL CHARACTERISTICS OF VARIOUS FIBRES--CUTTING ANDBOILING OF RAGS--JUTE BOILING AND BLEACHING--WET PICKING--WASHING, BREAKING, AND BLEACHING--ELECTROLYTIC BLEACHING--ANTICHLOR--CELLULOSEFROM WOOD--MECHANICAL WOOD PULP--ESPARTO AND STRAW--BEATING--LOADING--STARCHING--COLOURING MATTER--RESIN, SIZE, AND SIZING--THEFOURDRINIER MACHINE AND ITS MANAGEMENT--ANIMAL SIZING--DRYING--GLAZINGAND BURNISHING--CUTTING, FINISHING--MICROSCOPICAL EXAMINATION OFPAPER--TESTS FOR INGREDIENTS OF PAPER--RECOVERY OF SODA--TESTINGOF CHEMICALS--TESTING WATER FOR IMPURITIES. 

 "The author caters for the requirements of responsible mill hands, apprentices, etc. , whilst his manual will be found of great service to students of technology, as well as to veteran paper-makers and mill-owners. The illustrations form an excellent feature. "--_The World's Paper Trade. _

=PAPER-MAKING. = A Practical Handbook of the Manufacture of Paper fromRags, Esparto, Straw, and other Fibrous Materials. Including theManufacture of Pulp from Wood Fibre, with a Description of the Machineryand Appliances used. To which are added Details of Processes forRecovering Soda from Waste Liquors. By A. WATT. With Illustrations. Crown 8vo =7/6=

=PAPER MAKING, CHAPTERS ON. = A Series of Volumes dealing in a practicalmanner with all the leading questions in connection with the Chemistryof Paper-Making and the Manufacture of Paper. By CLAYTON BEADLE, Lecturer on Paper-Making before the Society of Arts, 1898 and 1902, andat the Battersea Polytechnic Institute, 1902, etc. , etc. Each volume ispublished separately, at the price of =5/0= _net_ per vol. 

 Volume I, comprises a Series of Lectures delivered on behalf of the Battersea Polytechnic Institute in 1902. Crown 8vo. 151 pp. _Net_ 5/0

 Volume II. Comprises Answers to Questions on Paper-Making Set by the Examiners to the City and Guilds of London Institute, 1901-1903. Crown 8vo, 182 pp. _Net_ =5/0=

 Volume III. Comprises a short practical Treatise in which Boiling, Bleaching, Loading, Colouring, and similar Questions are discussed. Crown 8vo, 142 pp. _Net_ =5/0=

CONTENTS:--"BRASS" AND "STEEL" BEATER BARS--THE SIZE AND SPEED OFBEATER ROLLS--THE FADING OF PRUSSIAN BLUE PAPERS--THE EFFECT OF LOWERINGTHE BREAST ROLL--THE EFFECT OF "LOADING" ON THE TRANSPARENCY OFPAPER--"TERRA ALBA" AS A LOADING FOR PAPER--THE USE OF ALUM IN TUBSIZING--THE INFLUENCE OF TEMPERATURE ON BLEACHING--THE USE OF REFININGENGINES--AGITATION AS AN AUXILIARY TO BLEACHING--THE HEATING OF "STUFF"FOR THE PAPER MACHINE--THE COMPARATIVE RESULTS OF QUADRUPLE AND OPENEFFECT EVAPORATION--HOW TO PREVENT ELECTRIFICATION OF PAPER ON THEMACHINE--TRANSPARENCY OF PAPERS--THE "LIFE" OF MACHINE WIRES--EDGERUNNERS. 

 Volume IV. Contains discussions upon Water Supplies and the Management of the Paper Machine and its influence upon the Qualities of Papers. Crown 8vo, 164 pp. _Net_ =5/0=

CONTENTS:--THE BULKING OF PAPERS--SPECIAL QUALITIES OF "ART"PAPERS--THE "AGEING" AND STORAGE OF PAPERS--THE USE OF LIME INBOILING--CONTROLLING THE MARK OF THE "DANDY"--"MACHINE" AND "HAND" CUTRAGS--FROTH ON PAPER MACHINE--SCUM SPOTS IN PAPER--CONSUMPTION OF WATERIN THE MANUFACTURE OF PAPER--THE MANAGEMENT OF SUCTION-BOXES--THESHRINKAGE OF PAPER ON THE MACHINE--PAPER THAT DOES NOT SHRINK OREXPAND--THE PRODUCTION OF NON-STRETCHABLE PAPER--THE CONNECTIONBETWEEN "STRETCH" AND "EXPANSION" OF PAPERS--"STRETCH" AND "BREAKINGSTRAIN"--PAPER TESTING MACHINES. 

 Volume V. Concerning THE THEORY AND PRACTICE OF BEATING. Crown 8vo. With photomicrographs and other Illustrations. _Net_ =5/0=

CONTENTS:--EARLY BEATING APPLIANCES--THE HOLLANDER--THE ECONOMY OFBEATING--DIFFICULTIES OF ARRIVING AT DEFINITE RESULTS--BEHAVIOUR OFDIFFERENT FIBRES--"REFINING"--POWER CONSUMPTION--A COMPARISON OF TWODIFFERENT KINDS OF BEATERS--POWER CONSUMED IN THE "BREAKING, " "BEATING, "AND "REFINING" OF DIFFERENT MATERIALS--DEALING WITH THE "CIRCULATION"AND "AGITATION" IN A HOLLANDER--COMPARISONS OF LARGE AND MEDIUM-SIZEDHOLLANDERS WHEN BEATING "HARD" AND "SOFT" STOCK--TRIALS TO DETERMINE THERELATIVE MERITS OF STONE AND METAL BEATER-BARS--TRIALS WITH BREAKERS, REED BEATERS, AND KINGSLAND REFINERS--A SYSTEM OF BEATING COMBINED WITHA SYSTEM FOR CONTINUOUS BLEACHING--BEATERS AND REFINERS--POWER CONSUMEDIN GRINDING WOOD-PULP--THE REDUCTION IN LENGTH OF FIBRES AT DIFFERENTSTAGES OF BEATING--METHOD FOR DETERMINING THE "WETNESS" OF BEATENSTUFF--THE POSITION OF BEATERS IN OLD AND MODERN PAPER-MILLS--APPENDIX. 

=PARA RUBBER. ITS CULTIVATION & PREPARATION. = By W. H. JOHNSON, F. L. S. , Ex-Director of Agriculture, Gold Coast Colony, West Africa, Director ofAgriculture, Mozambique Company, East Africa, Commissioned by Governmentin 1902 to visit Ceylon to Study the Methods employed there in theCultivation and Preparation of Para Rubber and other AgriculturalStaples for Market, with a view to Introduce them into West Africa. Second Edition, rewritten and greatly enlarged, with numerousillustrations. Demy 8vo, cloth _Net_ =7/6=

THE WORLD'S PRODUCTION AND CONSUMPTION OF RUBBER--THE PARA RUBBERTREE AT HOME AND ABROAD--PROPAGATION--PLANTING AND CULTIVATING--SOILSAND MANURES--PESTS--LATEX--COLLECTING THE LATEX--RUBBER MANUFACTURE--THEANTISEPTICISATION OF RUBBER--DRYING AND PACKING RUBBER FOR EXPORT--YIELDOF PARA RUBBER FROM CULTIVATED TREES--ESTABLISHMENT AND MAINTENANCE OF APARA RUBBER PLANTATION--COMMERCIAL VALUE OF THE OIL IN HEVEA SEEDS. 

=PASTRYCOOK AND CONFECTIONER'S GUIDE. = For Hotels, Restaurants, and theTrade in general, adapted also for Family Use. By R. WELLS, Author of "The Bread and Biscuit Baker" =1/0=

=PETROL AIR GAS. = A Practical Handbook on the Installation and Workingof Air Gas Lighting Systems for Country Houses. By HENRYO'CONNOR, F. R. S. E. , A. M. Inst. C. E. , &c. , author of "The GasEngineer's Pocket Book. " 80 pages with illustrations. Crown 8vo, cloth_Net_ =1/6=

DESCRIPTION OF PREVIOUS PLANTS AND SYSTEMS FOR COUNTRY-HOUSELIGHTING, DIFFICULTIES WITH, OBJECTIONS AND PRICES--HISTORY OF PETROLGAS, COMPARATIVE COSTS--PETROL, ITS NATURE, DANGERS, AND STORING, NOTESON THE LAW REGARDING SAME--BURNERS, DESCRIPTION OF SAME, PIPING, MANTLES--GENERAL PRINCIPLES OF PARTS OF PLANTS--MOTIVE POWERMETERS--WEIGHT-DRIVEN PLANTS--ROOT'S BLOWERS--HOT-AIR ENGINES--PELTONWATER-WHEELS--DESCRIPTIONS OF VARIOUS PLANTS--EXTRACT FROM AN ACT FORTHE SAFE-KEEPING OF PETROLEUM AND OTHER SUBSTANCES OF A LIKENATURE--APPENDIX--USEFUL NOTES. 

=PETROLEUM. THE OIL FIELDS OF RUSSIA AND THE RUSSIAN PETROLEUMINDUSTRY. = A Practical Handbook on the Exploration, Exploitation, andManagement of Russian Oil Properties, the Origin of Petroleum in Russia, the Theory and Practice of Liquid Fuel. By A. B. THOMPSON, A. M. I. M. E. , F. G. S. 415 pp. , with numerous Illustrations and Photographic Plates. Second Edition Revised. Super-royal 8vo, cloth _Net_ =21/0=

=PETROLEUM MINING AND OIL-FIELD DEVELOPMENT. = A Guide to the Explorationof Petroleum Lands, and a Study of the Engineering Problems connectedwith the Winning of Petroleum. Including Statistical Data of importantOil Fields. Notes on the Origin and Distribution of Petroleum, and adescription of the Methods of Utilizing Oil and Gas Fuels. By A. BEEBY THOMPSON, A. M. I. Mech. E. , F. G. S. Author of "The Oil Fieldsof Russia. " 384 pages, 114 illustrations, including 22 full-page plates. Demy 8vo, cloth. [_Just Published. _] _Net_ =15/0=

 "It is an admirable text-book by a competent authority on an interesting subject. "--_Mining Magazine. _

 "The present effort is likely to receive a warm welcome in engineering circles, and it can be cordially commended for perusal. It will doubtless have that large sale to which its merits entitle it. "--_Mining World. _

 "The general aspects of the Petroleum Industry are fully and ably laid out. "--_Engineer. _

=PIGMENTS, ARTISTS' MANUAL OF. = Showing their Composition, Conditions ofPermanency, Non-Permanency, and Adulterations, etc. , with Tests ofPurity. By H. C. STANDAGE. Third Edition. Crown 8vo, cloth =2/6=

=PORTLAND CEMENT, THE MODERN MANUFACTURE OF. = By PERCY C. H. WEST, Chemical Engineer and Consulting Chemist. In Three Volumes. Vol. I. , dealing with "Machinery and Kilns. " About 200 pages, Medium 8vo. Withnumerous Illustrations. [_Nearly ready, price about_] =10/6=

=PRODUCER GAS PRACTICE (AMERICAN) AND INDUSTRIAL GAS ENGINEERING. = ByNISBET LATTA, M. Amer. Soc. M. E. , M. Amer. Gas Inst. 558 pages, with247 illustrations. Demy 4to, cloth [_Just Published. _] _Net_ =25/-=

PRODUCER OPERATION--CLEANING THE GAS--WORKS DETAILS--PRODUCERTYPES--MOVING GASES--SOLID FUELS--PHYSICAL PROPERTIES OF GASES--CHEMICALPROPERTIES OF GASES--GAS ANALYSIS--GAS POWER--GAS ENGINES--INDUSTRIALGAS APPLICATIONS--FURNACES AND KILNS--BURNING LIME ANDCEMENT--PRE-HEATING AIR--DOHERTY COMBUSTION ECONOMISER--COMBUSTION INFURNACES--HEAT: TEMPERATURE, RADIATION AND CONDUCTION--HEATMEASUREMENTS: PYROMETRY AND CALORIMETRY--PIPES, FLUES, ANDCHIMNEYS--MATERIALS: FIRE CLAY, MASONRY, WEIGHTS AND ROPE--USEFULTABLES--OIL FUEL PRODUCER GAS. 

=RECIPES, FORMULAS AND PROCESSES, TWENTIETH CENTURY BOOK OF. = Edited byGARDNER D. Hiscox, M. E. Nearly 10, 000 Scientific, Chemical, Technical, and Household Recipes, Formulas and Processes for Use in the Laboratoryand the Office, the Workshop and the Home. Medium 8vo, 800 pp. , cloth. _Net_ =12/6=

SELECTED LIST OF CONTENTS:--ABSINTHE--ACID PROOFING--ADHESIVES--ALCOHOL--ALKALI--ALLOYS--ALUMINIUM--AMMONIA--ANILINE--ANTIDOTES FORPOISON--ANCHOVY PREPARATIONS--ANTISEPTICS--ANTIQUES--BAKING POWDERS--AROMETERS--BEVERAGES--BLEACHING--BRASS--BRICK--CARBOLIC ACIDS--CASTING--CELLULOID--CHEESE--CERAMICS--CIGARS--COFFEE--CONDIMENTS--COPPER--COSMETICS--COTTON--DIAMOND TESTS--DONARITE--DYES--ELECTRO PLATING--EMBALMING--ENAMELLING--ENGRAVING--ESSENCES--EXPLOSIVES--FERTILISERS--FILTERS--FOOD ADULTERANTS--GELATINE--GLASS--GOLD--GUMS--HARNESSDRESSINGS--HORN--INKS--INSECTICIDES--IRON--IVORY--JEWELLERS' FORMULAS--LACQUERS--LAUNDRY PREPARATIONS--LEATHER--LINOLEUM--LUBRICANTS--MATCHES--METALS--MUSIC BOXES--OILS--PAINTS--PAPER--PERFUMES--PETROLEUM--PHOTOGRAPHY--PLASTER--PLATING--POLISHES--PORCELAIN--POULTRY--PUTTY--RATPOISONS--REFRIGERATION--ROPES--RUBBER--RUST PREVENTIVES--SALT--SCREWS--SILK--SILVER--SOAPS--SOLDERS--SPIRIT--SPONGES--STEEL--STONE--THERMOMETERS--TIN--VALVES--VARNISHES--VETERINARY FORMULAS--WATCHMAKERS'FORMULAS--WATERPROOFING--WAX--WEIGHTS AND MEASURES--WHITEWASH--WOOD--YEAST. 

=RUBBER HAND STAMPS. = And the Manipulation of Rubber. A PracticalTreatise on the Manufacture of Indiarubber Hand Stamps, Small Articlesof Indiarubber, The Hektograph, Special Inks, Cements, and AlliedSubjects. By T. O'CONOR SLOANE A. M. , Ph. D. With numerousIllustrations. Square 8vo, cloth =5/0=

=SAVOURIES AND SWEETS. = Suitable for Luncheons and Dinners. By Miss M. L. Allen (Mrs. A. Macaire), Author of "Breakfast Dishes, " etc. Thirty-first Edition. F'cap 8vo, sewed =1/0= Or, quarter bound, fancyboards =1/6=

=SHEET METAL-WORKER'S GUIDE. = A Practical Handbook for Tinsmiths, Coppersmiths, Zincworkers, &c. , with 46 Diagrams and Working Patterns. By W. J. E. CRANE. Crown 8vo, Cloth =1/6=

=SHEET METAL-WORKER'S INSTRUCTOR. = Comprising Geometrical Problems andPractical Rules for Describing the Various Patterns Required by Zinc, Sheet-Iron, Copper, and Tin-Plate Workers. By R. H. WARN. ThirdEdition. Revised and Further Enlarged by J. G. HORNER, A. M. I. M. E. Crown 8vo, 280 pp. , with 465 Illustrations, cloth =7/6=

=SILVERSMITH'S HANDBOOK. = Alloying and Working of Silver, Refining andMelting, Solders, Imitation Alloys, Manipulation, Prevention of Waste, Improving and Finishing the Surface of the Work, etc. By GEORGE E. GEE. Fourth Edition Revised, Crown 8vo, cloth =3/0=

=SOAP-MAKING. = A Practical Handbook of the Manufacture of Hard and SoftSoaps, Toilet Soaps, etc. With a Chapter on the Recovery of Glycerinefrom Waste Leys. By ALEXANDER WATT. Seventh Edition, includingan Appendix on Modern Candlemaking. Crown 8vo, cloth =7/6=

 "The work will prove very useful, not merely to the technological student, but to the soap boiler who wishes to understand the theory of his art. "--_Chemical News. _

=SOAPS, CANDLES, and GLYCERINE. = A Practical Manual of Modern Methodof Utilisation of Fats and Oils in the Manufacture of Soap and Candles, and of the recovery of Glycerine. By L. L. LAMBORN, MassachusettsInstitute of Technology, M. Am. C. S. Medium 8vo, cloth. Fully Illustrated. 706 pages _Net_ =30/0=

THE SOAP INDUSTRY--RAW MATERIALS--BLEACHING AND PURIFICATION OFSOAP-STOCK--THE CHEMICAL CHARACTERISTICS OF SOAP-STOCK AND THEIRBEHAVIOUR TOWARDS SAPONIFYING AGENTS--MECHANICAL EQUIVALENT OF THE SOAPFACTORY--COLD PROCESS AND SEMI-BOILED SOAP--GRAINED SOAP--SETTLED ROSINSOAP--MILLED SOAP-BASE--FLOATING SOAP--SHAVING SOAP--MEDICATEDSOAP--ESSENTIAL OILS AND SOAP PERFUMERY--MILLED SOAP--CANDLES--GLYCERINE--EXAMINATION OF RAW MATERIALS AND FACTORY PRODUCTS. 

=SOLUBILITIES OF INORGANIC AND ORGANIC SUBSTANCES. = A Hand-book of themost Reliable Quantitative Solubility Determinations. Recalculated andCompiled by ATHERTON SEIDELL, Ph. D. , Chemist, Hygienic Laboratory, U. S. Public Health Service, Washington, D C. Medium 8vo, cloth, 377 pages_Net_ =12/6=

=TEA MACHINERY AND TEA FACTORIES. = Describing the Mechanical Appliancesrequired in the Cultivation and Preparation of Tea for the Market. By A. J. WALLIS-TAYLER, A. M. Inst. C. E. Medium 8vo, 468 pp. With 218Illustrations _Net_ =25/0=

 "The subject of tea machinery is now one of the first interest to a large class of people, to whom we strongly commend the volume. "--_Chamber of Commerce Journal. _

=WAGES TABLES. = At 54, 52, 50, and 48 Hours per Week. Showing theAmounts of Wages from one quarter of an hour to sixty-four hours, ineach case at Rates of Wages advancing by One Shilling from 4s. To55s. Per week. By THOS. CARBUTT, Accountant. Square crown, 8vo, half-bound =6/0=

=WATCH REPAIRING, CLEANING, AND ADJUSTING. = A Practical Handbook dealingwith the Materials and Tools Used, and the Methods of Repairing, Cleaning, Altering, and Adjusting all kinds of English and ForeignWatches, Repeaters, Chronographs, and Marine Chronometers. By F. J. GARRARD, Springer and Adjuster of Marine Chronometers and Deck Watchesfor the Admiralty. Second Edition. Revised. With over 200 Illustrations. Crown 8vo, cloth _Net_ =4/6=

=WATCHES AND OTHER TIMEKEEPERS, HISTORY OF. = By J. F. KENDAL, M. B. H. Inst. =1/6= boards; or cloth =2/6=

=WATCHMAKER'S HANDBOOK. = Intended as a Workshop Companion for thoseengaged in Watchmaking and the Allied Mechanical Arts. Translated fromthe French of CLAUDIUS SAUNIER, and enlarged by JULIEN TRIPPLIN, F. R. A. S. , and EDWARD RIGG, M. A. , Assayer in the Royal Mint. FourthEdition. Cr. 8vo, cloth =9/0=

 "Each part is truly a treatise in itself. The arrangement is good and the language is clear and concise. It is an admirable guide for the young watchmaker. "--_Engineering. _

=WEIGHT CALCULATOR. = Being a Series of Tables upon a New andComprehensive Plan, exhibiting at one Reference the Exact Value of anyWeight from 1 lb. To 15 tons, at 300 Progressive Rates, from 1d. To168s. Per cwt. , and containing 186, 000 Direct Answers, which, with theirCombinations, consisting of a single addition (mostly to be performed atsight), will afford an aggregate of 10, 266, 000 Answers; the whole beingcalculated and designed to ensure correctness and promote despatch. ByHENRY HARBEN, Accountant. Sixth edition, carefully corrected. Royal 8vo, strongly half bound =£1 5s. =

 "A practical and useful work of reference for men of business generally. "--_Ironmonger. _

 "Of priceless value to business men. "--_Sheffield Independent. _

=WOOD ENGRAVING. = A Practical and Easy Introduction to the Study of theArt. By W. N. BROWN. Crown 8vo, cloth. =1/6=

HANDYBOOKS FOR HANDICRAFTS. 

BY PAUL N. HASLUCK. 

Author of "Lathe Work, " etc. Crown 8vo, 144 pp. , price 1s. Each. 

[symbol: right pointing hand]_These_ HANDYBOOKS _have been written tosupply information for_ WORKMEN STUDENTS, _and_ AMATEURS _in the severalHandicrafts, on the actual_ PRACTICE _of the_ WORKSHOP, _and areintended to convey in plain language_ TECHNICAL KNOWLEDGE _of theseveral_ CRAFTS. _In describing the processes employed, and themanipulation of material, workshop terms are used; workshop practice isfully explained; and the text is freely illustrated with drawings ofmodern tools, appliances, and processes. _

=METAL TURNER'S HANDYBOOK. = A Practical Manual for Workers at theFoot-Lathe. With 100 Illustrations =1/0=

 "The book displays thorough knowledge of the subject. "--_Scotsman. _

=WOOD TURNER'S HANDYBOOK. = A Practical Manual for Workers at the Lathe. With 100 Illustrations =1/0=

 "We recommend the book to young turners and amateurs. "--_Mechanical World. _

=WATCH JOBBER'S HANDYBOOK. = A Practical Manual of Cleaning, Repairing, and Adjusting. With 100 Illustrations =1/0=

 "All connected with the trade should acquire and study this work. "--_Clerkenwell Chronicle. _

=PATTERN MAKER'S HANDYBOOK. = A Practical Manual on the Construction ofPatterns. With 100 Illustrations =1/0=

 "A most valuable, if not indispensable, manual for the pattern-maker. "--_Knowledge. _

=MECHANIC'S WORKSHOP HANDYBOOK. = A Practical Manual on MechanicalManipulation, embracing Information on various Handicraft Processes. With Useful Notes and Miscellaneous Memoranda. Comprising about 200Subjects =1/0=

 "Should be found in every workshop, and in all technical Schools. "--_Saturday Review. _

=MODEL ENGINEER'S HANDYBOOK. = A Practical Manual on the Construction ofModel Steam Engines. With upwards of 100 Illustrations =1/0=

 "Mr. Hasluck has produced a very good little book. "--_Builder. _

=CLOCK JOBBER'S HANDYBOOK. = A Practical Manual on Cleaning, Repairing, and Adjusting. With 100 Illustrations =1/0=

 "It is of inestimable service to those commencing the trade. "--_Coventry Standard. _

=CABINET WORKER'S HANDYBOOK. = A Practical Manual on the Tools, Materials, Appliances, and Processes employed in Cabinet Work. Withupwards of 100 Illustrations =1/0=

 "Amongst the most practical guides for beginners in cabinet-work. "--_Saturday Review. _

=WOODWORKER'S HANDYBOOK. = Embracing information on the Tools, Materials, Appliances and Processes Employed in Woodworking. With 104Illustrations =1/0=

 "Written by a man who knows, not only how work ought to be done, but how to do it, and how to convey his knowledge to others. "--_Engineering. _

 "Mr. Hasluck writes admirably, and gives complete instructions. "--_Engineer. _

 "Mr. Hasluck combines the experience of a practical teacher with the manipulative skill and scientific knowledge of processes of the trained mechanician, and the manuals are marvels of what can be produced at a popular price. "--_Schoolmaster. _

 "Helpful to workmen of all ages and degrees of experience. "--_Daily Chronicle. _

BRADBURY, AGNEW, & CO. LD. , LONDON AND TONBRIDGE. (391. 25. 5. 10. )

_WEALE'S SCIENTIFIC & TECHNICAL SERIES. _

MATHEMATICS, ARITHMETIC, &c. 

Geometry, Descriptive. J. F. HEATHER 2/-Practical Plane Geometry. J. F. HEATHER 2/-Analytical Geometry. J. HANN & J. R. YOUNG 2/-Geometry. Part I. (Euclid, Bks. I. --III. ) H. LAW 1/6 Part II. (Euclid, Books IV. , V. , VI. , XI. , XII. ). H. LAW 1/6Geometry, in 1 vol. (Euclid's Elements) 2/6Plane Trigonometry. J. HANN 1/6Spherical Trigonometry. J. HANN 1/- The above 2 vols. , bound together 2/6Differential Calculus. W. S. B. WOOLHOUSE 1/6Integral Calculus. H. COX 1/6Algebra. J. HADDON 2/-Key to ditto 1/6Book-keeping. J. HADDON 1/6Arithmetic. J. R. YOUNG 1/6Key to ditto 1/6Equational Arithmetic. W. HIPSLEY 1/6Arithmetic. J. HADDON 1/6Mathematical Instruments. HEATHER & WALMISLEY 2/-Drawing & Measuring Instruments. J. F. HEATHER 1/6Optical Instruments, J. F. HEATHER 1/6Surveying & Astronomical Instruments. J. F. HEATHER 1/6 The above 3 vols. , bound together 4/6Mensuration and Measuring. T. BAKER 1/6Slide Rule, & How to Use it. C. HOARE 2/6Measures, Weights, & Moneys. W. S. B. WOOLHOUSE 2/6Logarithms, Treatise on, with Tables. H. LAW 3/-Compound Interest and Annuities. F. THOMAN 4/-Compendious Calculator. D. O'GORMAN 2/6Mathematics. F. CAMPIN 3/-Astronomy. R. MAIN & W. T. LYNN 2/-Statics and Dynamics. T. BAKER 1/6Superficial Measurement. J. HAWKINGS 3/6

BUILDING & ARCHITECTURE. 

Building Estates. F. MAITLAND 2/-Science of Building. E. W. TARN 3/6Building, Art of. E. DOBSON and J. P. ALLEN 2/-Book on Building. Sir E. BECKETT 4/6Dwelling Houses, Erection of. S. H. BROOKS 2/6Cottage Building. C. B. ALLEN 2/-Acoustics of Public Buildings. Prof. T. R. SMITH. 1/6Practical Bricklaying. A. HAMMOND 1/6Practical Brick Cutting & Setting. A. HAMMOND 1/6Brickwork. F. WALKER 1/6Brick and Tile Making. E. DOBSON 3/-Practical Brick & Tile Book. DOBSON & HAMMOND 6/-Carpentry and Joinery. T. TREDGOLD & E. W. TARN 3/6 Atlas of 35 plates to the above 6/-Handrailing, and Staircasing. G. COLLINGS 2/6Circular Work in Carpentry. G. COLLINGS 2/6Roof Carpentry. G. COLLINGS 2/-Construction of Roofs. E. W. TARN 1/6Joints used by Builders. J. W. CHRISTY 3/-Shoring. G. H. BLAGROVE 1/6Timber Importer's & Builder's Guide. R. E. GRANDY 2/-Plumbing. W. P. BUCHAN 3/6Ventilation of Buildings. W. P. BUCHAN 3/6Practical Plasterer. W. KEMP 2/-House-Painting. E. A. DAVIDSON 5/-Elementary Decoration. J. W. FACEY 2/-Practical House Decoration. J. W. FACEY 2/6Gas-Fitting. J. BLACK 2/6Portland Cement for Users. H. FAIJA & D. B. BUTLER 3/-Limes, Cements, & Mortars. G. R. BURNELL 1/6Masonry and Stone Cutting. E. DOBSON 2/6Arches, Piers, and Buttresses. W. BLAND 1/6Quantities and Measurements. A. C. BEATON 1/6Complete Measurer. R. HORTON 4/-Superficial Measurement. J. HAWKINGS 3/6Light, for use of Architects. E. W. TARN 1/6Hints to Young Architects. WIGHTWICK & GUILLAUME 3/6Dictionary of Architectural Terms. J. WEALE 5/-Architecture, Orders. W. H. LEEDS 1/6Architecture, Styles. T. T. BURY 2/- The above 2 vols. , bound together 3/6Architecture, Design. E. L. GARBETT 2/6 The above 3 vols. , bound together 6/-Architectural Modelling. T. A. RICHARDSON 1/6Vitruvius' Architecture. J. GWILT 5/-Grecian Architecture. Lord ABERDEEN 1/- The above 2 vols. , bound together 6/-

FINE ARTS. 

Dictionary of Painters. P. DARYL 2/6Painting, Fine Art. T. J. GULLICK & J. TIMBS 5/-Grammar of Colouring. G. FIELD & E. A. DAVIDSON 3/-Perspective. G. PYNE 2/-Glass Staining & Painting on Glass 2/6Music. C. C. SPENCER 2/6Pianoforte Instruction. C. C. SPENCER 1/6

INDUSTRIAL & USEFUL ARTS. 

Cements, Pastes, Glues & Gums. H. C. STANDAGE 2/-Clocks, Watches and Bells. Lord GRIMTHORPE 4/6Goldsmith's Handbook. G. E. GEE 3/-Silversmith's Handbook. G. E. GEE 3/-Goldsmith's & Silversmith's Handbook. G. E. GEE 7/-Hall-Marking of Jewelry. G. E. GEE 2/-Cabinet Maker's Guide. R. BITMEAD 2/6Practical Organ Building. W. E. DICKSON 2/6Coach Building. J. W. BURGESS 2/6Brass Founder's Manual. W. GRAHAM 2/-French Polishing and Enamelling. R. BITMEAD 1/6House Decoration. J. W. FACEY 5/-Letter-Painting Made Easy. J. G. BADENOCH 1/6Boot and Shoemaking. J. B. LENO 2/-Mechanical Dentistry. C. HUNTER 3/-Wood Engraving. W. N. BROWN 1/6Laundry Management 2/-

CROSBY LOCKWOOD & SON, 7, Stationers' Hall Court, E. C. 

[Transcriber's note: the following advertisements were moved fromthe front of the book. ]

_WEALE'S SCIENTIFIC & TECHNICAL SERIES. _

CIVIL ENGINEERING & SURVEYING. 

Civil Engineering. H. LAW & D. K. CLARK 6/6Pioneer Engineering. E. DOBSON 4/6Iron Bridges of Moderate Span. H. W. PENDRED 2/-Iron and Steel Bridges & Viaducts. F. CAMPIN 3/6Constructional Steel & Ironwork. F. CAMPIN 3/6Tubular & Girder Bridges. G. D. DEMPSEY 2/-Materials and Construction. F. CAMPIN 3/-Sanitary Work. C. SLAGG 3/-Roads & Streets. LAW, CLARK, & WALLIS-TAYLER 6/-Construction of Gasworks. S. HUGHES & H. O'CONNOR 6/-Well-Sinking. J. G. SWINDELL & G. R. BURNELL 2/-Drainage. G. D. DEMPSEY & D. K. CLARK 4/6Blasting and Quarrying. J. BURGOYNE 1/6Foundations and Concrete Work. E. DOBSON 1/6Pneumatics. C. TOMLINSON 1/6Surveying. T. BAKER & F. E. DIXON 2/-

MECHANICAL ENGINEERING, &c. 

Engineering Drawing. J. MAXTON 3/6Fuels, Analysis and Valuation. H. J. PHILLIPS 2/-Fuel. C. W. WILLIAMS & D. K. CLARK 3/6Boilermaker's Assistant. J. COURTNEY 2/-Boilermaker's Ready Reckoner. J. COURTNEY 4/-Boilermaker's Ready Reckoner and Assistant 7/-Steam Boilers. R. ARMSTRONG 1/6Steam and Machinery Management. M. P. BALE 2/6Steam and the Steam Engine. D. K. CLARK 3/6Steam Engine, Theory of. T. BAKER 1/6Steam Engine. Dr. LARDNER 1/6Locomotive Engines. G. D. DEMPSEY & D. K. CLARK 3/-Locomotive Engine Driving. M. REYNOLDS 3/6Stationary Engine Driving. M. REYNOLDS 3/6Model Locomotive Engineer. M. REYNOLDS 3/6Modern Workshop Practice. J. G. WINTON 3/6Mechanical Engineering. F. CAMPIN 2/6Details of Machinery. F. CAMPIN 3/-Elementary Marine Engineering. J. S. BREWER 1/6Power of Water. J. GLYNN 2/-Mechanism and Machines. T. BAKER & J. NASMYTH 2/6Mechanics. C. TOMLINSON 1/6Cranes and Machinery. J. GLYNN 1/6Smithy and Forge. W. J. E. CRANE 2/6Sheet-Metal Worker's Guide. W. J. E. CRANE 1/6Elementary Electric Lighting. A. A. C. SWINTON 1/6

MINING & METALLURGY. 

Mining Calculations. T. A. O'DONAHUE 3/6Mineralogy. A. RAMSAY 3/6Coal Mining. Sir W. W. SMYTH & T. F. BROWN 3/6Metallurgy of Iron. H. BAUERMAN 5/-Mineral Surveyor's Guide. W. LINTERN 3/6Slate and Slate Quarrying. D. C. DAVIES 3/-Mining and Quarrying. J. H. COLLINS 1/6Subterraneous Surveying. T. FENWICK & T. BAKER 2/6Mining Tools. W. MORGANS 2/6Plates to ditto. 4to 4/6Physical Geology. PORTLOCK & TATE 2/-Historical Geology. R. TATE 2/6 The above 2 vols. , bound together. 4/6Electro-Metallurgy. A. WATT 3/6

NAVIGATION, SHIPBUILDING, &c. 

Navigation. J. GREENWOOD & W. H. ROSSER 2/6Practical Navigation. GREENWOOD, ROSSER & LAW 7/-Navigation and Nautical Astronomy. J. R. YOUNG 2/6Mathematical & Nautical Tables. LAW & YOUNG 4/-Masting and Rigging. R. KIPPING 2/-Sails and Sailmaking. R. KIPPING 2/6Marine Engines. R. MURRAY & G. CARLISLE 4/6Naval Architecture. J. PEAKE 3/6Ships, Construction of. H. A. SOMMERFELDT 1/6Plates to ditto. 4to 7/6Ships and Boats. W. BLAND 1/6

=AGRICULTURE & GARDENING. =

Fertilisers & Feeding Stuffs. DR. B. DYER _net_ 1/-Draining and Embanking. PROF. J. SCOTT 1/6Irrigation and Water Supply. PROF. J. SCOTT 1/6Farm Roads, Fences, and Gates. PROF. J. SCOTT 1/6Farm Buildings. PROF. J. SCOTT 2/-Barn Implements and Machines. PROF. J. SCOTT 2/-Field Implements and Machines. PROF. J. SCOTT 2/-Agricultural Surveying. PROF. J. SCOTT 1/6 The above 7 vols. , bound together 12/-Farm Management. R. S. BURN 2/6Landed Estates Management. R. S. BURN 2/6Farming--Soils, Manures, and Crops. R. S. BURN 2/-Farming--Outlines--Farming Economy. R. S. BURN 3/-Farming--Cattle, Sheep, and Horses. R. S. BURN 2/6Farming--Dairy, Pigs, and Poultry. R. S. BURN 2/-Farming--Sewage & Irrigation. R. S. BURN 2/6 The above 5 vols. , bound together 12/-Book-keeping for Farmers. J. M. WOODMAN 2/6Ready Reckoner for Land. A. ARMAN 2/-Miller's & Farmer's Ready Reckoner 2/-Hay and Straw Measurer. J. STEELE 2/-Meat Production. J. EWART 2/6The Sheep. W. C. SPOONER 3/6Multum-in-Parvo Gardening. S. WOOD 1/-Forcing Garden. S. WOOD 3/6Market and Kitchen Gardening. C. W. SHAW 3/-Kitchen Gardening. G. M. F. GLENNY 1/6Cottage Gardening. E. HOBDAY 1/6Garden Receipts. C. W. QUIN 1/6Potatoes: How to Grow. J. PINK 2/-Culture of Fruit Trees. M. DU BREUIL 3/6Tree Planter & Plant Propagator. S. WOOD 2/-Tree Pruner. S. WOOD 1/6Tree Planter, Propagator, & Pruner. S. WOOD 3/6Grafting and Budding. C. BALTET 2/6Bees for Pleasure & Profit. G. G. SAMSON _net_ 1/-

CROSBY LOCKWOOD & SON, 7, Stationers' Hall Court, E. C. 

Transcriber's notes:page 14. Add period after "the above processes" 29. Varnsh corrected to varnish 31. From corrected 32. Closing quote added after Polish 44. Polish aud spirits changed to and 93. Added parens close after "finish 95. Earthern corrected to earthen 97. Boiled-linseed oil corrected to boiled linseed-oil104. Period after coarsely114. Campeachiaum corrected to campeachianum130. Published net added right bracket131. Net added right bracket131. OF METALS added period134. Added right bracket ]135. Material [added right bracket] Uses of137. "Refining"--Power Consumption added dashes138. Added ] in 3 places