J^essoixV. I>i,ui I. 'm l)i„,,2. w: -^ 7"^^PF X f'.vtniif>h.v rt/'/'t t-xfifrJix-r. THE CABINET-MAKER AND UPHOLSTEEEirS COMPANION: COMPMSINQ THE RUDmENTS AND PRINCIPI*ES OF \MTH FAMILIAR INSTRUCTIONS, ILLUSTRATED BY EXAMPLES FOR ATTMXI.\0 A PROFICIENCY IN THE ART OF DRAWING, AS APPUC.UJLE TO OABDTET-WORK : THE PROCESSES OF VENEERING, INLAYING, AND BUHL-WORK., THE ART OF DYEING AND STAINING WOOD, IVORY, BONE, TORTOISE-SHELL, ETC. DIRECTIONS FOR LACKERING, JAPANNING, AND VARNISHING , TO MAKE FRENCH POLISH; TO PREPARE THE BEST GLUES, CEMENTS, AND COMPOSITIONS; A.VD A NUMBER OF RECEIPTS, PARTICULARLY USEFUL TO WORKMEN GENERALLY. WITH EXPLANATOEY AND ILLUSTRATIVE ENGRAVINGS, By J. STOKES. PHILADELPHIA: HENRY CAREY BATRD, INDUSTRIAL PUBLISHER, No. 406 WALNUT STREET. 1 875. h2n\ THE GETTY CENTER LI8RAP" INTRODUCTORY OESEEYATIOINS. The very great improvement which the arcs and manufactures of this country have attained, within the last fifty years, renders it essential that every person engaged therein should use his utmost endeavours to obtain a perfect knowledge of the trade or art which he professes to follow. The work- men of the last century were, comparatively speaking, with but few exceptions, mecha- nical beings, who worked by rule, unguided by any scientific principles, and followed step by step the beaten track of their an- cestors. The workmen of the present day have the road of science opened for them; 4 INTRODUCTION. the clue of knowledge is unwound to the inquiring mind ; but unless industry and perseverance accompany them in the pursuit of information, they will never obtain suffi- cient to justify a pretension even to a me- dium knowledge of the principles of their respective arts. These remarks apply to scientific and mechanical professions generally ; but to the cabinet-maker and upholsterer they at- tach with peculiar force. It is not enough for a person following either of these branches of domestic decoration to have attained the character of a fjood icorhman, that being now considered a mere negative phrase, implying only that quantum of excellence which consists in following im- plicitly the directions of others, or imitating with neatness and accuracy their details and plans. In a business where change and caprice rule with unbounded sway, in which the fashion of to-day may become INTRODUCTION. 5 obsolete to-morrow, and in which novelty forms the greatest recommendation — an in- ventive genius and a discriminating judg- ment are, certainly, essential qualifications; and if the young workman ever feels the least ambition to excel, or entertains a wish to rise above the bench, he will find them to be not only essential, but actually indis- pensable. In this business, as well as in many others, the workman who understands the principles of his trade, and applies them correctly in practice, has a decided advan- tage over his fellow-workmen ; and if to his superior knowledge he add a steadiness of manner and industrious habits, his en- deavours cannot fail to secure approbation, while his worth will be certainly and duly appreciated. If, then, in order to secure constant em- ployment — the only means of insuring com- fort to himself and family — it is essential 1* 6 INTRODUCTION. that the loorhnan should excel, how much more must it behoove the person who super- intends a business of the kind to be fully acquainted with every department of the business? for how can any one pretend to direct others who is himself in need of in- formation ? Nor is this all ; it will often fall to his province to sketch out new designs, or to alter or improve those in present use. If his employer, or a respect- able customer, should not approve of the fashion or ornamental embellishment of any new article of furniture submitted to their approbation, a superintendent would feel himself sadly at a loss, if he could neither sketch out the improvements or alterations which his own genius might suggest, nor imbody those pointed out by others. Again ; the researches of the chemist are daily adding to a stock of information valu- able to every department of the arts and INTRODUCTION. 7 sciences. Among these, the cabinet-maker and upholsterer will find many peculiarly serviceable — witness the modern improve- ments in cements, varnishes, gilding, polish- ing, and every other part of ornamental decoration. The experience of few, indeed, is sufficiently extensive to enable them to store their minds with one-tenth part of the information which has been published to the world on these heads. A work, there- fore, which contains the most approved re- ceipts, and from which the workman will be enabled to select those applicable to his purpose, will be appreciated as equally useful and necessary. This work, a fifth time submitted to the public under the title of " The Cabinet- maker and Upholsterer's Companion," is intended as a book of useful information to the apprentice, a work of real utility to the workman, and a manual of experimental reference to the trade generally. It does not 8 INTRODUCTION. profess to give diffuse instructions how to make a table, a chair, or any simihir article of furniture : that would be not only super- fluous and unnecessary, but a vain attempt. Practice only — and that under good instruc- tion — can make a good workman or a neat finisher. Our aim has been to produce a work which shall give those instructions which are not always to be met with in every one's practice, but wdiich are not the less essential to be known by every work- man. To make our work useful, and easy of reference, we have adopted the popular plan of dividing the subjects into distinct parts, and of again subdividing them under their proper heads. This will enable any one to trace out any particular direction or receipt with facility, and show, generally at one view, all we have to say upon the subject. Part I. comprises the rudiments and prin- ciples of ornamental cabinet-making and INTRODUCTION. upholstery generally ; and contains plain and familiar instructions, exemplified by easy examples, for attaining a proficiency in the art of drawing, particularly that department applicable to the cabinet-maker and upholsterer. In this part, we have endeavoured to lead the student, step by step, from first principles to the more deter- minate forms ; and, by placing before his view the progressive examples, to render the attainment of this useful art equally speedy and certain. We have not only endeavoured, in this part, to practise the pupil in such a familiar and progressive manner as to render it a pleasing recreation, rather than an abstract study ; but we have also laid down the most approved principles for the develo]^)- ment and exercise of his inventive faculties, in the practice of the ornamental depart- ment of his art, and to lay before him such elegant and classic desiajns, and such modern 10 INTRODUCTION. examples of furniture, as will lead him in- stinctively to form a style at once chaste and appropriate. Part II. comprises the processes of ve- neering, inlaying, and finishing in buhl-work the ornamental decorations used in cabinet- work. In this part, such directions are given as experience has warranted to be most certain of properly and successfully performing the embellishment in a neat and complete manner. The materials best adapt- ed for the purpose are also pointed out, and the cements and glues most suited for this kind of work described. Part III. comprises dyeing and staining wood;--, ivory, bone, tortoise-shell, musical instruments, and all other manufactured articles ; with the processes of silvering, gilding, and bronzing. In this, we have laid down the most approved directions for the selection of the wood or other articles best adapted f(jr the required process; the INTRODUCTION. 11 method of preparing it, and the dye or stain best calcukited to give it the desired colour ; and in the silvering, gilding, and bronzing, nothing has been omitted which modern improvement has added to perfect in these branches the highest style of brilliancy. Part IV. comprises lackering, japanning, varnishing, and polishing every article of cabinet and upholstery work; and contains all the improved processes practised in each of their departments, including India japan- ning and the French polishing ; together with plain directions for making and em- ploying the best and most brilliant lackers, japans, and varnishes, according to the receipts of the most celebrated manufac- turers. Part V. contains glues, cement, and com- positions for filling up and ornamenting ar- ticles of furniture ; and a considerable number of miscellaneous receipts — the result of ex- perience, or selected from the writings of 12 INTRODUCTION. the most approved authors and the more scientific works. Such is the outline of its contents. As to its merits, we submit our opinion to the test of a discerning pubUc, in the confident expectation that the " Cabinet-maker and Upholsterer's Companion" will soon find a place in every factory and workshop, and be the companion of every intelligent work- man. THE CABINET-MAKER AND UPHOLSTERERS COMPANION. PART I. ©rnamcntal atatinrt^iEaifeing. IHE RUDIMENTS OF DRAWING, AS APPLICABLE TO ARTICLES OF FURNITURE — PRIMARY OBSERYATIONS ON DRAWING ORNA- MENTS FOR CABINET-WORK GEOMETRICAL AND PERSPECTIVE TERMS DEFINED AND EXPLAINED THE RUDIMENTS OF SHA- DOWING AND OF COLOURING ORNAMENTS USED IN CABINET- WORK ; THEIR TERMS EXPLAINED ORNAMENTAL DECORA- TIONS ; WHERE AND WHEN MOST APPLICABLE. THE RUDIMENTS OF DRAWING, AS APPLICABLE TO ARTICLES OF FURNITURE. Drawing is the art of delineating on an appro- priate surface the representations of subjects as they appear to the eye or are formed by the in- ventive powers of a correct taste. It takes in a wide range, but the parts more intimately con- 2 13 14 CABINET-MAKER AND nectcd with cabinet-work are — Geometry and Per- spective. Geometrical drawing may be defined to be that branch which delineates any given object accord- ing to certain fixed forms or proportions, and represents the whole subject apportioned by a given scale. Perspective, on the contrary, repre- sents it in the same manner as the eye actually beholds the given figure, the fore parts being most conspicuous, while those distant appear more indis- tinct, or rather as if they receded from the sight. The preparatory studies consist in various modes of delineating the outline by light and dark strokes ; the more mature operations of the art are — shadowing and colouring. Drawing of this description may be divided into outline and shading ; the outline, or contour, represents the boundaries of an object, as they appear to terminate against the background, and is a section of the Avhole mass. Outlines are also used for the circumscription of all the parts of an object, interior as well as exterior ; wiiile shading, with a softer pencil, expresses the pro- jections, cavities, or fiatucss which form its ante- rior features. upholsterer's companion. 15 A correct outline of the objects of a picture is of the highest importance, and certainly the best test of an intelligent draughtsman ; as, in most cases, it conveys the general character of the object without the aid of shading, and is there- fore, as far as it goes, a complete drawing in itself. The aim of the student, therefore, should be to acquire the power of copying faithfully what- ever may present itself before him. For the first essay, no material is better than a soft pencil ; the drawing to be sketched on white paper, and the pencil to be held somewhat in the same manner as a pen, but so as to allow of more freedom of action, and to give a greater facility of motion both to the fingers and the wrist. The learner should begin with making lines parallel, straight, and curved in all directions, and then exercise himself in tracing geometrical figures, into some of which all forms may be resolved ; but without, as yet, the aid of either rule or com- pass. He should also copy occasionally from broad specimens of ornament, as being well adapted to give firmness and flexibility to the hand ; to in- crease which they should be practised upon as large a scale as convenient. He may also, at 16 CABINET MAKER AND intervals, study from the best drawings, or from open chalk prints. Whatever be the object to be drawn, its general form should be first sketched out very slightly, that any fault may be the more easily removed. Esti- mate, as nearly as you can, the distances of par- ticular points in the original figure ; make dots at similar distances on your paper; then draw your lines carefully to those dots, beginning at the upper part, and Avorking downward, either from right to left, or from left to right, according to the tendency of the parts. Draw the principal divisions first ; when these appear right, mark in the smaller parts, and when the whole is pencilled out, examine it scru- pulously ; then pass over it with a piece of bread, to render the lines nearly invisible, and revise and re- touch them again and again, till the sketch be cor- rect. After this, go over the whole with a harder pencil ; or the lines may be put in ink with a sable brush, first comparing all the parts with the original, both perpendicularly and horizontally, that they may have the same comparative inclination, range, and distance as the object itself. Where the student is at a loss, he may noAV sparingly use the compass or sector, but only by way of proving the angles upholsterer's companion. 17 after he has done his utmost, for unless these in- struments be more used in the eye than in the hand of the learner, he will never make a good draughts- man, or be able to judge of distance in any other way than by rule. Perhaps it would be best for 'earners to make their first lessons as near the size >f the originals as possible ; and, when the eye •,an measure with tolerable exactness, to vary from Jhese dimensions will be proper ; the pupil will then acquire an aptness of preserving similar pro- portions on a different scale, which forms so essen- tial a part of the draughtsman's skill, and is so indispensable in imitating objects or drawings. It is not necessary that the lines in a drawing should be of one uniform thickness ; on the contrary, a delicate variety, with the lines occasionally broken, gives a richness, and adds much to the effect. The lines may also be carried a little within the contour of the hollows, as if pursuing the inflection on the part, which, when done with skill, makes a mere outline very characteristic. These remarks apply to drawing generally ; we shall now give a few primary observations regard ing the principles of the art, as applied to cabinet and upholstery work. 2» 18 CABINET-MAKER AND PRIMARY OBSERVATIONS ON DRAWING ORNAMENTS FOR CABINET-WORK. It will be to little purpose that the young work- man should possess a correct discrimination in the choice of the most appropriate ornaments, if he have not some knowledge of drawing ; for without he can delineate the embellishment in outline, he will never be enabled to execute it in wood. For this purpose, his first acquirement must be to trace an object by the eye, in all its relative proportions and inclinations, with a just boldness and freedom of hand. To facilitate this, his best way will be to begin by drawing the most simple forms, as straight lines, and proceed gradually to the more complex objects ; but whatever subject be his first essay, he must place it perpendicularly and directly before him, otherwise he will never produce a correct drawing. He must also bear in mind, while he is copying, what are the details of the object, as well as what is merely before him ; otherwise he will never learn to delineate with correctnes.s. l.r'SSon.l. riuteJ Stfnpir Lines ^t of sight, or more properly the seat of the eye, is a point in the picture directly opposite the eye, and is produced by a line drawn at right angles to the picture. The horizontal line is a line passing before, and of the exact height of the eye of the spectator. The primitive object is the figure given to be delineated. Primitive measures are the real measures of the ob- ject reduced to a scale, which by being thrown ob- liquely into perspective, will be seen foreshortened. The base plane is the floor or part on which the object is supposed to be situated. The base line, or entering line, is that on which the transparent plane is supposed to be placed. The vanishing points are those in the horizontal line to which all the oblique points concentrate or meet. 28 CABINET-MAKER AND Inclined vanishing points arc ascertained by perpendicular lines raised from the extreme vanish- ing point in the horizontal line ; and are essential for pediments and swing-glasses. The diagonal vanishing point is a point set off upon the horizontal line either way from the seat of the eye; and in the same proportionate measure as the draughtsman is supposed to stand distant from the picture, or object. THE RUDIMENTS OF SHADOWING. When the objects are correctly drawn in outline, the learner should proceed with shadowing, first laying on the dark broad washes, then the next in strength, and lastly the more delicate half-tints. In finishing, great attention must be paid to the quan- tities and combinations of light, middle tint, shadow, and reflection : in this, the young student will find some difficulty in distinguishing the delicate grada- tions of light and shade ; but observation and practice will soon teach him. We may, however, remark, that he must reserve his greatest strength of light and shade for the parts most prominent, and every liglit must be accompanied and supported by its shade ; tlie upholsterer's companion. 29 middle tint becomes deeper in tone as it advances from the light, till it is lost in the shadow, and the outline is softened into the background, by reflections from the surrounding objects; the contour, therefore, must not be too strongly marked ; or the extreme parts, which should retire, will come forward. Shadows are made out by washing or tinting the drawing with India ink, which should never be mixed up for use a second time, after having once dried in the saucer, or it will work muddy. A neutral tint, made with Venetian red and indigo, or lamp-black, burnt terra de sienna, and lake, varied as circumstances and distance may require, may also be used for this purpose. Shading may be performed on columns or other convex bodies in two different ways : the first is, that of laying on the shades, as nearly in their places as possible, with a tint very nearly dark enough, then softening oiF the edges with a clean brush with water, and, when dry, repeating the process several times, until sufficiently lightened : the other is, by working with tints rather lightei than are requisite, at first laid in spots near each other, and then blended by a faint wash over the whole, and when nearly dry, strengthen by other 30 CABINET-MAKER AND spots in the interstices, and so on, gradually giving the shades their due force and form, leaving the paper for the lights. This mode is called stippling, and in the hands of a master, is the best, or at least the boldest, for finished drawings ; for it not only occasions the whole picture to sparkle, but gives a transparency and play to the shadows, making, as it were, darkness visible. It is, how- ever, of little importance Avhich of these, or any other plan of shading, be adopted, so that the faithfulness of the imitation be well attended to. In the representations of shadows, the artist should be careful not to make them too hard or abrupt at the edges, because every shadow ter- minates by the faint and indistinct transition from the obscure to the illuminated part of the surface upon which such shadows are cast. Nor should shadows be equally dark ; for it is to be remembered that shadows projected by the sun are softened by the surrounding rays itnd by the general diffusion of light through the atmosphere ; they should, therefore, be darkest near the object that produces them. It is on this principle that shadows from the light of a candle are darker than those of the sun ; although the light is much upholsterer's companion. 81 more forcible from the latter body : hence it follows, that shadows in candlelight scenes must, in the lan- guage of painting, be heavier in their representa- tion, or less transparent than those of daylight. For examples of shadowing, see fig. 10, plate 3, and plates 4 and 5. THE RUDIMENTS OF COLOURING. A JUDICIOUS writer has observed, that " should the most skilful master draw a rose or grape with the pencil only, his observers would have but a faint or imperfect image of the object ; but let him add to each its proper colours, and we no longer doubt — we smell the rose, we touch the grape." Colouring may, therefore, be considered as the life and soul of a picture : it is the third and last component — that of giving to objects their proper hue and colour, as they appear under all the combinations of light, middle tint, and shadow ; and also of blending and contrasting them, so as to make each appear with the' greatest brilliancy and advantage. Colouring may be divided into two kinds : that which is necessary for rendering the imitation just and natural ; and that w^hich is fascinating, and 32 CABINET-MAKER AND renders the work more impressive on the imagina- tion, more delightful to the eye. Truth alone, in the local tints, is required in the first ; the second demands choice in their selection, for the eye has the same intuitive abhorrence of inharmonious com- binations of colour, that the ear has to discordant sounds. To possess a scientific knowledge of the arrangement of colours, so as to produce effects not unnatural, requires but little talent ; but to per- form all that a skilful combination and application of the various powers of colours can effect, is not so easily attained. As, however, the student may by this time have attained a sufficient knowledge of drawing to be able to portray any object he sees, his fancy may invent, or his employer suggest, he will now only require a few hints as to the colours that may be compounded with the best effect for imitating, in drawings, the different woods, metals, cloths, &c., used in the various articles of cabinet-furniture, stating the principal colours first. To imitate mahogany. — INIix light red with burnt umber ; shadow with burnt umber. Rosewood. — Mix lake and lampblack ; shadow with a stronger tint of the same while wet. upholsterer's companion. 33 Satin-wood. — Use yellow ochre ; shadow with Vandyke brown. Bronze. — Mix Prussian blue, gamboge, and burnt umber ; shadow with Vandyke brown and indigo, mixed. Brass. — Use gamboge ; shadow with burnt terra de sienna, and stipple with burnt umber. Inlaid brass or huJil ornaments may be laid on after- wards with a body-colour made of gamboge and whiting. Ormolu. — Mix king's yellow and Indian yellow. Velvet. — Mix carmine and Indian red. G-reen-haize. — Mix indigo and gamboge. For chair-seats, use vermilion. Glass. — Mix lampblack and indigo ; shadow with the same. Porphyry marble. — Mix lake, Venetian red, and ivory-black; afterward speckle with constant-white and with lampblack. Verd-antique. — Mix indigo and Roman ochre ; afterward lay on light and dark-green spots. Sienna marble. — Mix raw terra de sienna and burnt umber ; vein it with burnt umber alone. Mona marble. — Mix indigo, Venetian red, and lake ; vein with dark green. 34 CABINET-MAKER AND Black marble. — Mix indigo and madder-brown with lampblack. Buff-colour drapery. — Mix gamboge and Roman* ochre, or gamboge and a little lake ; shadow with the same, darker. For the more intense shadows, mix gamboge and burnt umber. Wliite drapery. — Shade with a mixture of India ink and indigo. Chintz. — Shadow with a mixture of lake and gamboge. Crimson curtains. — Colour with red lead and a little lake. Grilt poles. — Colour as for ormolu, and shadow with burnt umber and gamboge combined, or with burnt umber and lake, and sometimes with a mix- ture of lake and gamboge. There is scarcely an artist but who compounds colours each in a manner peculiar to himself. Now, as landscapes are sometimes seen through the aper- tures of windows, when a view of the room is taken, some instruction is necessary in this department of the art. We shall, therefore, state what is con- sidered to be the best and simplest process. After the view is pencilled out, begin the sky ; for this, use a mixture of Prussian blue and a upholsterer's companion. 35 little lake ; begin at the top of the picture, and soften it downwards, but at the horizon add a little Venetian red. The clouds are next to be workel in, with a mixture of Venetian red, indigo, and a little gamboge ; next, with the sky-colour and a little Venetian red added, cover the whole of the ground, beginning at the front, and thin- ning it towards the horizon ; but observe not to go over the river's, or pieces of tvater. Distant moun- tains are coloured with indigo and lake ; near, fuscus 7nountahis, with indigo, lake, and burnt terra de sienna ; distant parts of the grass are made with indigo, yellow-ochre, and lake ; 7iear grass is made with burnt sienna, Italian pink, and indigo ; dark touches on the foreground are of Vandyke brown, indigo, and burnt terra de sienna ; intense dark touches, of lampblack and burnt umber; distant trees are worked with indigo, lake, and gamboge, shadowed with the same colour, made darker ; and near trees are coloured with burnt sienna, gamboge, and indigo, deepened towards the shadowed side. This is all that is required to be known in this branch of the art ; and is a complete and valuable, though concise, process for painting jabinet-furniture, landscapes, &c. 86 CABINET-MAKER AND ORNAMENTS USED IN CABINET-WORK: THEIR TERMS EXPLAINED. Ornaments are the decoi-ative parts of an edifice, household furniture, or other objects, studied from the vegetable and animal kingdoms, gracefully and artificially combined. They are seldom of import- ance on the exteriors of buildings — simplicity and variety in the contour, with bold, massive forms, being there primarily considered, and on which their grandeur chiefly depends. It is in the interior that ornaments should be principally applied, when they are not liable to be destroyed by the weather, and are likewise brought nearer to the eye of the beholder. Foliage ornament is composed of leaves only ; the subdivisions of a leaf are called raffles, and the small, external divisions, plants; the terminations of the plants are called eyes, and the longer reeds, proceeding from the eyes, are called pipes. The leaves chiefly used are the acanthus, olive, palm, parsley, vine, ivy, oak, thistle, laurel, lotus, and water-leaf; the flowers most in use are the honey- Buckle, lotus, lily, rose, and jasmine. Mixed ornament is a composition of leaves, fruit, upholsterer's companion. 37 flowers, and scrolls, combined in any way with each other. Festooned ornament is comprised of fruit, flowers, and leaves, intermixed with each other, and sup- ported at the two extremities with ribbons, some- times suspended from a bull's horns, the middle part formed into a parabolic curve by its gravity. Arabesque ornament is a mixture of slender scrolls, leaves, vases, birds, lyres, and representa- tions of human figures. Winding foliage has a principal plant from which issues a stem in the form of a serpentine line, with a number of branches spreading out on each side of all the convex parts of the alternate sides, and twisting themselves in the form of spiral lines ; and those spirals and stalks are decorated with foliage and flowerets. Serpentined, or runniyig ornament has a trunk, from which springs a stem continually changing its course in opposite directions, that is, first con- cave, then convex, and so on alternately to any multipled number of curves of contrary natures , from the concave and convex parts shoot branches, each terminating with a rose. Plaited ornament is a definite number of ser- 4- 38 CABINET-MAKER AND pentine lines, interwoven with each other ; and exclusively in the cap of the Grecian Ionic order. Giiilloche ornament is a succession of circles entwining each other. Fret ornament is formed of straight lines like the wards of a key ; used much by the Etruscans on their vases. Mosaic ornament is a cemented inlay of marbles, glass, shells, and rich varied stones ; used in pave- ments, and on tops of tables. Buld 07'nament is an insertion of brass, and sometimes of wood, formed into foliages, flowers, animals, &c. ORNAMENTS USED IN CABINET AND UPHOLSTERY WORK : WHEN AND WUERE MOST APPLICABLE. The ornamental, or decorative parts of furniture should be cautiously introduced ; and Avhen applied, should be designed with regularity and distinctness of outline ; they should also be of a character simple, and appropriate to the work of Avhich they are intended t<> form the embellishment. You may lay it down as a general rule, that UPHOLSTEREll'S COMPANION. 39 when a corresponding ornament cannot readily be adopted, one of an opposite character is not ad- missible ; and in that case, an ornament of no peculiar character is the only alternative. In addition to the essential modifications of utility and convenience, the secondary objects, elegance and beauty, are indispensably necessary to bo studied, to render each piece of furniture what it should certainly be — a graceful, pleasing, and appropriate article. Hall chairs. — The family arms, or crest, carved tastefully, and emblazoned in their proper colours, form a most appropriate embellishment. Library chairs. — Classic ornaments, such as the wreath of laurel, two genii striving for the bays, Minerva's bird, or others of a similar character, may be introduced with good effect. Drawing-room chairs admit of an infinity of em- bellishment : Apollo's lyre, the Graces, tastefully devised scrolls, flowers, wreaths, and others of an appropriate description, may be executed either in buhl-work or in carved relief, as most suited to the character of the ornament chosen. Card- tables, being used for breakfast purposes, as well is for the evening party, may have the tea or 40 CABINET-MAKER AND coffee-plant for their ornaments, or the masks of Ceres, Bacchus, or Comus ; but for a dining table, the cornucopia, or some bold or chaste design of fruit, is decidedly the more appropriate. Stars and flowers have been introduced into this part of cabinet furniture ; but a greater perversion of taste can be scarcely conceived. Library and writing tables should be embellished altogether from mythological history : the head of Mercury, placed on partitions between the drawers, is very appropriate, this god being said to be the in- ventor of letters ; the caducous is also well adapted for an oi'nament; so is the papyrus-plant, from which paper was first made; the laurel-wreath, or the bays, may likewise be used ; but no other trees, flower, or shrub should on any account be introduced unless, indeed, we except the oak, ink being made from the galls produced by this tree. Besides Mer- cury, Apollo, the god of poetry, Cadmus, the in- ventor of part of the alphabet, and Clio, the presiding muse of history, are all aj)propriate embellishments, if applied with effect and in good taste. Dining tables. — Broad ornaments are most con- sistent; the bread-tree and its fruit form an admi- rable subject; liops, also, though a simple plant, form upholsterer's companion. 41 n 'j-ciy Oeautiful ornament when chased and inserted in wood. The mask of Ceres, with the corn in her hair, is also well suited to the dining-room. Drawing-room tables may be properly embel- lished with any tastefully designed ornament of fruit or flowers. Sofas require, like the rest of the furniture, that their ornaments should be appropriate, chaste, and tasteful : the couch-flower, the heart's-ease, honey- suckles, eglantines, or Turkish ornaments nay be used with good efi'ect ; a greyhound couchant may adorn the end of the sofa. Ottomans should be ornamented with the lyre, or with musical instruments, or wreaths. Com- modes are sometimes placed at each end of otto- mans ; the panels of which may be embellished with a winged figure of Victory, and the pedestals surmounted by two antique urns. A dressing table, or toilette, may be embellished with subjects chosen either from Mythology or Botany ; the Graces, or foliage and flowers of scent-producing plants. Window-seats in D^-awing-rooms. — The Egyptian lotus or water-lily, or any flower characteristic of rest and composure, may be very properly carved 4* 42 CABINET-MAKER AND in wood, or inserted in buhl. English heart's-ease, and peony flowers, are of this cast. The mould- ings, too, should be optically studied, that their whole contour may be visible below the eye, as well as where even with the horizon. For cheval dressing glasses, the lotus, or water- lily, is admirably adapted ; or the figure of Nar- cissus, viewing his own image in the water, would be very appropriate. For a pier commode and glass, chimeras, consoles, or turned pillars, are well suited. A laurel-wreath contended for by two genii, or the bust of Pallas, or Pluto, may be very consistently chosen for ladies' bookcases, with cabinet attached. Sideboards may be adorned with the mask of Bacchus, or the horn of plenty ; and on the back- board the tByrsus, or sceptre of Bacchus, will form a very beautiful ornament ; the cellaret may have vine-leaves and clustered leaves, serpentined and festooned. Bacchanalian youths gathering grapes, if tastefully finished, would be an admirable orna- ment for this article of furniture. The cot-bed admits a great variety of orna- ment. The head of Nox, the goddess of night; the stars, as her attendants ; and a bunch of pop- upholsterer's companion. 43 pies, as producing sleep, may be all introduced with good effect ; guardian genii or angels, doves, and many similar emblems, may be occasionally ap- plied. White drapery, as emblematical of infantile purity, is at all times most proper. Bedsteads may be appropriately adorned with wreaths of nightshade, stars, a mask of Somnu3, the starry hyacinth, the great Arabian star-flower, the poppy, or any other nocturnal plant or flower. For drawing-room window-drapery, the embel- lishments to be chosen should be pine-apples, pome- granates, artichokes, or melons. The drapery and testers, for drawing-rooms, should have flowers only, such as the passion-floAver, the star of Bethlehem, or the rhododendron. The sun-flower looks well, but is rather common, and therefore unfit to be introduced into elegant apartments. Libraries should be finished in imitation of the antique : the embellishments should be of a strictly classical description. The owl and olive-branch, the laurel, Pegasus, the Olympic games in relief, are very appropriate ; or the twelve signs of the zodiac may be inlaid with mosaic work. Fire-screens have a number of analogous orna- ments : Jove's thunderbolt, the phoenix rising out 44 CABINET-MAKER AND of flames, the cyclops, Vesta, the goddess of fire, or a representation of the fall of Phscton. These ornaments are equally appropriate for grates ; as are also serpents vomiting forth fire. Fish or swans are applicable to a basin-stand ; and an eagle to support a chandelier. The preceding are some of the most tasteful and appropriate designs for the various articles of furni- ture described ; and are intended to give the young cabinet-maker an insight into that most essential part of his business — the properly finishing and embellishing his work with appropriate ornaments only — a desideratum overlooked by too many work- men of the present day, some of whom, it would appear, seem more desirous to load their work with ornament than to study its fitness or appropriate- ness to the article in hand. A correct taste, a bold design, and a careful application, will insure to a workman not only the respect of his employers, but will necessarily entail constant employ and liberal remuneration. UPHOLSTERER S COMPANION. lo PART 11. l^'cnccving, ]fnlaping, ctr. OF VENEERING, INLAYING, AND EXECUTING IN BUUL-WORK THE ORNAMENTAL PART OF CABINET AND UPUOLSTERY WORK. Veneering is the method of covering an inferior wood with a surface of a very superior kind, so that the parts of the article of furniture thus manufac- tured, which meet the eye, appear to the same advantage as if the whole work were of the best description. If this be well performed, it is very durable, looks well to the last, and is attainable at an expense considerably less than a similar article would cost if manufactured of the same wood throughout, but of an inferior quality. The principal requisite to insure success in veneer- ing, is to select well-seasoned wood for the ground, and to use the best and strongest glue. Be careful to exclude the air in gluing on your veneer, or a blister will arise, and spoil your work in that part. We need not add any more to these remarks, as the following process contains the most essential direc- tions necessary in this department 46 CABINET-MAKEH AND Gluing and veneering, as applicable to card and other table tops, secretary and bookcase fronts, ^c. It is a desideratum among Avorkmen to veneer their work in such a manner that it will stand. Several of the methods commonly used cause the piece either to warp in winding, or otherwise to get hollow, after the work is finished, on its upper side ; and however careful the workman may be in laying his veneer, this will sometimes happen. Much depends upon the manner of preparing the ground, perhaps more than in that of laying the veneer. Select that piece of deal which is freest from knots ; slit it down the middle, or, take a piece out of the heart, and place the boards, when out to the required length, in a warm place for two or three days ; then joint them up, placing a heart edge and an outside edge together; when dry, cut your top again between each joint, and joint it afresh ; you will then have a top glued up of pieces about two inches wide, and if you have been care- ful in making your joints good, you will have a top not so liable to cast, after it is veneered, as many of the tops which are now done by the method usually in practice. upholsterer's companion. 47 You may use wainscot or other Avood, instead of deal, but make your joints in the same manner. It is also a good plan, after having veneered your top, to lay it on the ground with some shavings, with the veneer downwards ; it then dries gradually, and is much less likely to cast than by drying too quick. To raise old veneers. In repairing old cabinets, and other furniture, workmen are sometimes at a loss to know how to get rid of those blisters which appear on the sur- face, in consequence of the glue under the veneer failing, or causing the veneer to separate from the ground in patches ; and these blisters are fre- quently so situated, that without separating the whole veneer from the ground, it is impossible to introduce any glue between them, to relay it; the great difficulty, in this case, is to separate the veneer from the ground without injuring it, as it adheres, in many places, too fast to separate without break- ing it. We will here, therefore, show how this operation may be performed without difficulty, and the veneer preserved perfectly whole and uninjured, ready for relaying as a new piece. First, wash the surface with boiling water, -iind, with a coarse cloth. 48 CABINET-MAKER AND remove dirt or grease ; then place it before the fire, or heat it with a caul ; oil its surface with common linseed-oil, place it again to the fire, and the heat will make the oil penetrate quite througli the veneer, and soften the glue underneath ; then, whilst hot, raise the edge gently with a chisel, and it will sepa- rate completely from the ground : be careful not to use too great force, or you will spoil your work. Again, if it should get cold during the operation, apply more oil, and heat it again. Repeat this pro- cess till you have entirely separated the veneer, then wash off the old glue, and proceed to lay it again as a new veneer. A strong glue, well suited for inlaying or veneering. The best glue is readily known by its trans- parency, and being of a rather light brown, free from clouds and streaks. Dissolve this in water, and to every pint add half a gill of the best vinegar and half an ounce of isinglass. To veneer tortoise-shell. First, observe to have your shell of an equal 'thickness, and scrape and clean the under side very smooth ; grind some vermilion very fine, and upholsterer's companion. 49 mix it up with spirits of turpentine and varnish; lay two or three coats of colour on the under side of the shell, till it becomes opaque ; when dry, lay it down with good glue. BUHL-WORK. Buhl-work is the art of inlaying in brass, silver, ivory, tortoise-shell, &c., and if well executed has an admirable eflFect. It was introduced into this country some years since, and is now brought to a state of perfection Avhich equals any thing of foreign manufac- ture. It is now in very general use, and although almost a distinct branch of itself, it is certainly an essential part of cabinet-work, and as such no work- man should be entirely ignorant how to perform it. Inlaying, as it is commonly termed, that is, with fancy woods, has be^n too long in use to require any particular directions. Buhl-work is nothing more than inlaying in metals, turtle or tortoise-shell, ivory, or the like ; and the chief difficulty seems to be in the method of cutting out the pieces for inlaying, and of introducing them in a proper manner as a veneer or inlay to the work. Our directions for sketching and drawing ornaments will here bo of great use, and a careful attention to the following •50 CABINET-MAKER AND directions \Yill enable the persevering and ingenious workman to surmount every difficulty. To prepare shell or brass ready for cutting out. Being furnished with a thin piece of brass, of the thickness of the veneer, or as thin as can be conve- niently worked, make the faces on both sides rough with a coarse file, or tooth-plane ; take also a veneer of shell of the dimensions requisite, tooth that also; then warm your plates and veneers, pass a coat of glue first over a plate of brass ; place over that a thin sheet of paper ; glue that, and place your shell veneer on the top ; place them between two smooth and even boards, either kept down by a heavy weight, or squeezed tight together by hand-screws; let them remain till dry, and they will, adhere to- gether sufficiently for the following purpose. Cutting out the pattern. Draw the pattern on your shell ; if not sufficiently plain, paste a piece of paper on its surface, and let it dry, on which draw 3'our design ; being now pro- vided with a bow-saw, the blade of which is very thin and narrow, such as may be made with a watcri- spring, cut into about six strips, and the stretcher of upiiolstkrek's companion. 51 the frame at a sufficient distance from the blade to enable you to turn in any diicciion, according to your pattern, and all made extremely light, begin by making a small hole in your veneer in a part where it will not so much be observed, (unless the pattern comes quite out to the edge,) and insert your saw ; then very carefully follow the lines of your pattern till it is all cut through; you will then have two j)ieces, which may be separated by exposing them to steam or warm water; then take the two corre- sponding pieces, one of brass and one of shell, and when glued together according to the following dii-ection, you will have two veneers, the counter- parts in pattern with each other — only, where the brass is in one, the shell will be in the other. To glue up the patterns. Take two boards of sufficient dimensions, and heat them before the fire; rub them well with tallow to prevent the glue sticking to it; then take a sheet of paper, on which lay your veneer, and having well rubbed some strong glue into the vacancies where the pattern is to be inserted, put it carefully in its place, rubbing it down with a veneering-hammer, over which place another sheet of paper ; place the 62 CABTNEl MAKER AND whole between the hot boards, and press or screw them together with hand-screws ; let them get quite dry — they will come out quite clean from the boards, and appear as one piece of veneer; you may then scrape the paper clean oflF — it is then ready for laying, Or applying to your work. Laying your veneer. Haying made your work perfectly level with a tooth-plane, apply to your veneer the glue recora- mended-.on page 48, and lay it on your work ; then with a hot board, termed a caul, fasten it down by means of hand-screws, and let it remain till perfectly hard. It then only remains to be cleaned off and polished, according to the following directions. In order to add to the beauty of your Avork, and produce a variety in the shade, it is necessary be- fore laying your veneer to give that side intended to be glued a coat or two of some colour ground in oil, or varnish, and set by to dry thoroughly before you lay your veneer, as red lead and vermilion ground together ; king's yellow, Prussian blue, or any colour you may fancy ; and sometimes the surface is gilt on the side which you intend to lay on your work ; this produces a very brilliant effect, upholsterer's companion. 53 and even the common Dutch metal applied will have a very good effect. The method here given for tortoise-shell and brass is equally applicable to woods of two different co- lours, only then you need not use any other glue but that in common use, which must be good. Inlaying with shaded wood. Having shown the methods of cutting out and veneering, we need now otily.show the method used to produce that shady brown edge, on works inlaid with white holly, and which, when well executed, has a very pleasing and ornamental effect. The method is as follows : — Into a shallow iron or tin pot, put a sufficient quantity of fine dry sand, to be level with the top edge of it ; place it on the fire till it is quite hot ; then, having your veneer cut out to the required pat- tern, dip the edges into the hot sand, and let them remain till the heat has made them quite brown ; but be careful not to burn them. It is best to bring them to a proper colour by repeatedly renewing the operation than all at once, as you then do not in- jure the texture of the wood, and by immersing more or less of the edge, you pr'oduce a shaded 54 CABINET-MAKER AND appearance to your satisfaction. I would liore re- commend the workman, previous to beginning the operation, to have his pattern before him, shaded with umber, or any brown colour, in those parts that the wood is to be stained, as he then will be enabled, as he proceeds, to copy the various shades of the pattern, for the wood when once shaded can- not be altered ; and as much of the beauty of this work depends on a proper judgment in placing your shadows, it is best always to have a guide to go by, that you may produce the best possible effect. Sometimes it is requisite to give a shadow in the centre, and not on the edge of your wood ; and as this cannot be done by dipping it in the sand, you must do it by taking up a little of the hot sand, and sprinkling it, or heaping it up on those parts re- quired to be darkened, letting it remain a short time, then shaking it off, and, if necessary, apply more where the colour is not deep enough. To imitate inlaying of silver strings, ^c. This process is sometimes employed in the stocks, &c. of pistols, and if well executeil has a very good effect The first thing is to determine as to your pattern, which you must carefully draw UPHOLSTERER S COMPANION. 55 upon your work, and then engrave, or cut a-wny the different lines with sharp gouges, chisels, &c., so as to appear clean and even, — taking care to cut them deep enough, and rather under, like a dovetail, to secure the composition afterwards to be put in the channels. The composition to resemble silver may be made as follows : Take any quantity of the purest and best grain-tin ; melt it in a ladle or other con- venient receptacle ; add to it, while in fusion, the purest quicksilver, stirring it to make it incorporate ; when you have added enough, it will remain in a stiff paste ; if too soft, add more tin, and if not sufficiently fluid, add quicksilver ; grind this compo- sition on a marble slab, or in a mortar, Avith a little size, and fill up the cuttings or grooves in your work, as you would with a piece of putty ; let it remain some hours to dry, when you may polish it off with the palm of your hand, and it will appear as if your work was inlaid with silver. Instead of tin, you may make a paste of silver-leaf and quicksilver, and pro- ceed as above directed ; you may also, for the sake of variety in your work, rub in wax of different colours, and having levelled the surface and cleaned off your work, hold it a moderate distance from the fire, which will give your strings a good gloss. 66 CABINET-MAKER AND A glue for inlaying brass or silver strings, 0 green copperas, and mix them well togctlu'i- ; juit the liquor into the copper, and make it quite hot, but not to boil ; immerse the veneers in it, and let them remain for an hour; take them out, and ex- pose them to the air till it has penetrated its sub- stance ; then add some logwood to the solution, place your veneers again in it, and let it simmer for two or three hours ; let the whole cool gradually, dry your veneers in the shade, and they will have acquired a very fine black. Fine blue. Into a clean glass bottle put one pound of oil of vitriol, and four ounces of the best indigo pounded in a mortar, (take care to set the bottle in a basin or earthen glazed pan, as it will ferment;) now put your veneers into a copper or stone trough ; fill it rather more than one-third with water, and add as much of the vitriol and indigo (stirring it about) as will make a fine blue, which you may know by try- ing it with a piece of white paper or wood ; let the veneers remain till the dye has struck through. The colour will be much improved, if the solution of indigo in vitriol be kept a few weeks before using it. You will also find the colour strike better, if 00 CABINET-MAKER AND you boil your veneers in plain water till completely soaked through, and let them remain for a few hours to dry partially, previous to immersing them in the dye. Another. Throw pieces of quicklime into soft water ; stir it well ; when settled, strain or pour off the clear part ; then to every gallon add ten or twelve ounces of the best turnsole ; put the whole into your copper with your veneers, which should be of white holly, and prepared as usual by boiling in water ; let them simmer gently till the colour has sufficiently pene- trated, but be careful not to let them boil in it, as it would injure the colour. A fine yellow. Reduce four pounds of the root of barberry, by sawing, to dust, which put in a copper or brass trough ; add four ounces of turmeric and four gal- lons of water, then put in as many white holly veneers as the liquor will cover ; boil them together for three hours, often turning them ; when cool, add two ounces of acpiafortis, and the dye will strike through much sooner. upholsterer's companion. 61 A bright yellow. To every gallon of waiter, necessary to cover your veneers, add one pound of French berries ; boil the veneers till the colour has penetrated through ; add the following liquid to the infusion of the French berries, and let your veneers remain for two or three hours, and the colour will be very bright. Liquid for brightening and setting colours. To every pint of strong aquafortis, add one ounce of grain tin, and a piece of sal-ammoniac of the size of a walnut ; set it by to dissolve, shake the bottle round with the cork out, from time to time : in the course of two or three days it will be fit for use. This will be found an admirable liquid to add to any colour, as it not only brightens it, but renders it less likely to fade from exposure to the air. Bright green. Proceed as in either of the previous receipts to produce a yellow ; but instead of adding aqua- fortis or the brightening liquid, add as much vitriol- ated indigo (page 59) as will pnxluci; the desired colour. 62 CABINET-MAKER AND Another green. Dissolve four ounces of the best verdigris, and sap green and indigo half an ounce each, in three pints of the best vinegar ; put in your veneers, and gently boil till the colour has penetrated sufficiently. The hue of the green may be varied by altering the proportion of the ingredients ; and I should advise, unless wanted for a particular purpose, to leave out the sap green, as it is a vegetable colour very apt to change, or turn brown, when exposed to the air. Bright red. To two pounds of genuine Brazil dust, add four gal- lons of water ; put in as many veneers as the liquor will cover ; boil them for three hours ; then add two ounces of alum, and two ounces of aquafortis, and keep it lukewarm until it has struck through. Another red. To every pound of logwood chips, add two gal- lons of water ; put in your veneers, and boil as in the last ; then add a sufficient quantity of the brightening liquid (page 61) till you see the colour to your mind ; keep the whole as warm as you upholsterer's companion. 63 can bear jour finger in it, till the colour has suffi- ciently penetrated. The logwood chips should be picked from all foreign substances, with which it generally abounds, as bark, dirt, &c. ; and it is always best when fresh cut, which may be known by its appearing of a bright red colour ; for if stale, it will look brown, and not yield so much colouring matter. Purple. To two pounds of chip logwood and half a pound of Brazil dust, add four gallons of water, and after putting in your veneers, boil them for at least three hours ; then add six ounces of pearlash and two ounces of alum ; let them boil for two or three hours every day, till the colour has struck through. The Brazil dust only contributes to make the purple of a more red cast ; you may, therefore, omit it, if you require a deep blush purple. Another purple. Boil two pounds of logwood, either in chips or powder, in four gallons of water, with your veneers , after boiling till the colour is well struck in, add by degrees vitriolated indigo, (see page 59,) till the purple is of the shade required, which may be 64 CABINET-MAKER AND known by trying it with a piece of paper ; lot it then boil for one hour, and keep the liquid in a milk-warm state till the colour has penetrated the veneer. This method, when properly managed, will produce a brilliant purple, not so likely to fade as the foregoing. Orange. Let the veneers be dyed, by either of the methods given in page 61, of a fine deep yellow, and while they are still wet and saturated with the dye, trans- fer them to the bright red dye as in page 62, till the colour penetrates equally throughout. Silver gray. Expose to the weather in a cast-iron pot of six or eight gallons, old iron nails, hoops, &c., till covered with rust ; add one gallon of vinegar, and two of water, boil all well for an hour ; have your veneers ready, which must be air-wood, (not too dry,) put them in the copper you use to dye black, and pour the iron liquor over them ; add one pound of chij) logwood, and two ounces of bruised nut-galls ; then boil up another pot of the iron liquor to supply the copper with, keeping tlio veneers covered, and boil- ing two hours a day, till of the required colour. upholsterer's companion. 65 Another gray. Expose any quantity of old iron, or what is better, the borings of gun-barrels, &c., in any convenient vessel, and from time to time sprinkle them with spirits of salt, (muriatic acid,) diluted in four times its quantity of water, till they are very thickly covered with rust ; then to every six pounds add a gallon of water, in which has been dissolved two ounces of salt of tartar ; lay your veneers in the copper, and cover them with this liquid : let it boil for two or three hours till well soaked, then to every gallon of liquor add a quarter of a pound of green copperas, and keep the whole at a moderate temper- ature till the dye has sufficiently penetrated. STAINING. Staining wood is altogether a different process from dying it, and requires no preparation before the stain be applied : it is peculiarly useful to bedstead and chair makers. In preparing the stain, but little trouble is required ; and, generally speaking, its application differs very little from that of painting. When carefully done, and properly varnished, stain- 66 CABINET-MAKER AND ing has a very beautiful appearance, and is much less likely to meet ■with injury than japanning. Black stain for immediate use. Boil half a pound of chip logwood in two quarts of water, add one ounce of pearlash, and apply it hot to the work with a brush. Then take half a pound of logwood, boil it as before in two quarts of water, and add half an ounce of verdigris and half an ounce of copperas ; strain it off, put in half a pound of rusty steel filings ; with this, go over your work a second time. To stain beech a mahogany colour. Put two ounces of dragon's blood, broken in pieces, into a quart of rectified spirits of wine ; let the bottle stand in a warm place, shake it fre quently ; when dissolved, it is fit for use. Another method for a black stain. Boil one pound of logwood in four quarts of water, add a double handful of walnut-peel or shells ; boil it up again, take out the chips, add a pint of the best vinegar, and it will be fit for use; apply it boiling hot. upholsteker's companion. 67 This will be improved, if, when dry, you apply hot a solution of green copper, as dissolved in water, (an ounce to a quart,) over your first stain. To imitate rosewood. Boil half a pound of logwood in three pints of water till it is of a very dark red; add half an ounce of salt of tartar. While boiling hot, stain your wood with two or three coats, taking care that it is nearly dry between each ; then, with a stiff flat brush, such as is used by the painters for graining, form streaks with the black stain above- named, which, if carefully executed, will be very nearly the appearance of dark rosewood. Another method. Stain with the black stain ; and when dry, with a brush as above, dipped in the brightening liquid, (see page 61,) form red veins, in imitation of the grain of rosewood, which will produce a beautiful effect. A handy brush for the purpose may be made out of a flat brush, such as is used for varnishing ; cut the sharp points off, and make the edges irre- gular, by cutting out a few hairs here and there, and you Avill have a tool which will accurately imitate the grain. 68 CABINET-MAKER AND To imitate king or Botany-hay wood. Boil half a pound of French berries in two quarts of water, till of a deep yellow, and, while boiling hot, give two or three coats to your work : when nearly dry, form the grain with the black stain, which must also be used hot. You may, for variety, to heighten the colour, after giving it two or three coats of yellow, give one of strong logwood liquor, and then use the black stain as directed. Red stain for bedsteads and common chairs. Archil, as sold at the shops, will produce a very good stain of itself, when used cold ; but if, after one or two coats being applied, and suffered to get almost dry, it is brushed over with a hot solution of pearlash in water, it will improve the colour. To improve the colour of any stain. Mix in a bottle one ounce of nitric acid, half a tea-spoonful of muriatic acid, a quarter of an ounce of grain tin, and two ounces of rain water. Mix it at least two days before using, and keep your bottle well corked. upholsterer's companion. 69 To stain Jiorn in imitation of tortoise-shell. Mix an equal quantity of quicklime and red lead with strong soap lees, lay it on the horn with a small brush, in imitation of the mottle of tortoise- shell ; when dry, repeat it two or three times. To stain ivory or hone red. Boil shavings of scarlet cloth in water, and add by degrees pearlash till the colour is extracted ; a little roach alum, now added, will clear the colour ; then strain it through a linen cloth. Steep your ivory or bone in aquafortis (nitrous acid) diluted with twice its quantity of water; then take it out, and put it into your scarlet dye till the colour is to your mind. Be careful not to let jour aquafortis be too strong ; neither let your ivory remain too long in it. Try it first with a slip of ivory, and if you observe the acid has just caused a trifling roughness on its surface, take it out immediately, and put it into the red liquid, which must be warm, but not too hot. A little practice, with these cautions, will enable you to succeed according to your wishes ; cover the places you wish to remain unstained with white wax, and the stain will not penetrate in those places, but leave the ivory of its natural colour. 70 CABINET-MAKER AND To stain ivory or hone blacJc. Add to any quantity of nitrate of silver (lunar caustic) three times its bulk of water, and steep your ivory or bone in it ; take it out again in about an hour, and expose it to the sunshine to dry, and it will be a perfect black. To stain ivory or bone green. Steep your work in a solution of verdigris and sal-ammoniac in weak aquafortis, in the proportion of two parts of the former to one of the latter, being careful to use the precautions mentioned for stain- ing red, in page 69. To stain ivory, cj-c. blue. Stain your materials green according to the previous process, and then dip them in a strong solution of pearlash and water. To stain ivory, ij-c. yelloio. Put your ivory in a strong solution of alum in water, and keep the whole some time nearly boil- ing ; then take them out and immerse them in a hot mixture of turmeric and water, either with or without the addition of French berries ; let them simmer for about half an hour, and your ivory will be of a beautiful yellow. Ivory or bone should dry very gradually, or it will split or crack. ■ upholsteher's companion. It TO STAIN MUSICAL INSTRUMENTS. Fine crimson. Boil one pound of good Brazil dust in three quarts of water for an hour ; strain it, and add half an ounce of cochineal ; boil it again gently for half an hour, and it will be fit for use. If you will have it more of a scarlet tint, boil half an ounce of saffron in a quart of water for an hour, and pass over the work previous to the red stain. Purple. To a pound of good chip logwood, put three quarts of water ; boil it well for an hour ; then add four ounces of pearlash, and two ounces of indigo pounded. Fine black. In general, when black is required in musical instruments, it is produced by japanning ; the work being well prepared with size and lampblack, apply the black japan, (as sold at the varnish-maker's,) after which, varnish and polish. But as a black stain is sometimes required for finger-boards, bridges, and flutes, you may then proceed as directed in staining ; but the wood 7i CABINET-MAKER AND ought to be cither pear, apple, or box^vood : the latter is preferable ; and if it be rubbed over, when dry, with a rag or flannel dipped in hot oil, it will give it a gloss equal to ebony. Fine blue. Into a pound of oil of vitriol (sulphuric acid) in a ©lean glass phial, put four ounces of indigo, and proceed as above directed in dyeing purple. Fine green. To three pints of the strongest vinegar, add four ounces of the best verdigris pounded fine, half an ounce of sap green, and half an ounce of indigo. Distilled vinegar, or verjuice, improves the co- lour. Bright yeUoio. You need not stain wood yellow, as a small piece of aloes put into the varnish will have all the de- sired effect. To stain boxwood broivn. Hold your work to the fire, that it may receive a gentle warmth; then take aquafortis, and with a feather pass over the work till you find a c'nange to a fine brown, (always keeping it near the fire ;) you may then oil and polish it. upholsterer's companion. 73 SILVERING AND GILDING. The art of silvering, as applied to cabinet-work, is precisely similar to that of gilding ; the direc- tions for the one will, therefore, be the instructions for the other, with little other variation than using silver-leaf instead of gold-leaf. Silvering for plate- glass is a trade by itself, and is too troublesome and expensive a process, except where carried on in an extensive way, to be introduced in a work where its place can be occupied with matter more useful to the cabinet-maker. There are two methods of gilding. That for out-door work, to stand the weather or to wash, is called oil-gilding ; this is performed by means of oil or varnish. The other, called burnish-gild- ing, is the most beautiful, and best adapted for fine work — as frames, articles of furniture, &c., or as applied by the cabinet-maker in the internal decoration of rooms, or the carved work of furni- ture. Both these methods are so essential to the ingenious workman, that we shall give him every instruction necessary to perform his work in the best manner. 71 CABINET-MAKER AN.1* The requisites necessary to he provided ivith. First, a sufficient quantity of leaf-gold, which is of two sorts — the deep gold, as it is called, and the pale gold. The former is the best ; the latter very useful, and may occasionally be introduced for variety or eifect. Second, a gilder's cushion : an oblong piece of wood, covered with rough calf-skin, stuffed with flannel several times doubled, with a border of parchment, about four inches deep at one end, to prevent the air blowing the leaves about when placed on the cushion. Thirdly, a gilding-knife, with a straight and very smooth edge, to cut the gold. Fourthly, several camel-hair pencils in sizes, and tips, made of a few long camel's hairs put between two cards, in the same manner as hairs are put into tin cases for brushes, thus making a flat brush with a very few hairs. Lastly, a burnisher, which is a crooked piece of agate set in a long wooden handle. Size for oil gilding. Grind calcined red-ochre with the best and oldest drying oil, and mi.\ with it a little oil of turpentine when used. upholsterer's companion. 75 When you intend to gild your work, first give it a coat of parchment-size ; then apply the above size where requisite, either in patterns or letters, and let it remain till, by touching it with your fingers, it feels just sticky ; then apply your gold-leaf, and dab it on with a piece of cotton ; in about an hour wash ofl' the superfluous gold with sponge and water, and, when dry, varnish it with copal varnish. To make size for preparing frames, Sj-c. To half a pound of parchment shavings, or cut- tings of white leather, add three quarts of water, and boil it in a proper vessel till reduced to nearly half the quantity ; then take it ojBF the fire, and strain it through a sieve. Be careful, in the boil- ing, to keep it well stirred, and do not let it burn. To prepare frames or ivood-worTc. First, with the above alone, and boiling-hot, go over your frames in every part ; then mix a suffi- cient quantity of whiting with size, to the consist ency of thick cream, with which go over every part of your frame six or seven times, carefully letting each coat dry before you proceed with the next, and you will have a white ground fit for 70 CABIN ETMAKER AND gilding on, nearly or quite the sixteenth of an inch in thickness. Your size must not be too thick, and, when mixed with the whiting, should not be put on so hot as the first coat is by itself. It will be better to separate the dirty or coarse parts of the whiting by straining it through a sieve. Vauxhall-whiting is the best. Polishing. When the prepared frames are quite dry, clean and polish them. To do this, wet a small piece at a time, and, with a smooth, fine piece of cloth, dipped in water, rub the part till all the bumps and inequali- ties are removed ; and for those parts where the fin- gers will not enter, as the mouldings, &c., wind the wet cloth round a piece of wood, and by this means make the surface all smooth and even alike. Where there is carved work, &c., it will some- times be necessary to bring the mouldings to their original sharpness by means of chisels, gouges, &c., as the preparation will be apt to fill up all the finer parts of the work, which must be thus restored. It is sometimes the practice, after polishing, to go over your work once with fine yellow or Roman ochre ; but this is rarely necessary. upholsterer's companion. 77 Qold-size. Grind fine sal-ammoniac well with a muller and stone ; scrape into it a little beef-suet, and grind all well together ; after which, mix in with a pallet- knife a small proportion of parchment-size with a double proportion of water. Another gold-size. Grind a lump of tobacco-pipe clay into a very stiff paste with thin size ; add a small quantity of ruddle and fine black-lead, ground very fine, and temper the whole with a small piece of tallow. To prepares your frames for gilding. Take a small cup or pipkin, into which put as much gold-size as you judge sufficient for the work in hand ; add parchment-size till it will just flow from the brush ; when quite hot, pass over your work with a very soft brush, taking care not to put the first coat too thick ; let it dry, and repeat it twice or three times more, and, when quite dry, brush the whole with a stiff brush, to remove any remaining knobs. Your work is now ready for applying the gold. Your parchment-size should be of such a consist- ence, when cold, as the common jelly sold in the 1* 78 CABINET-MAKER AND shops : for if too thick it Avill be apt to cliip, and if too thin it will not have sufficient body. Laying on the gold. This is the most difficult part of the operation, and requires some practice ; but, with a little cau- tion and attention, it may be easily performed. Turn your gold out of your book on your cushion, a leaf at a time ; then, passing your gilding-knife under it, bring it into a convenient part of your cushion for cutting it into the size of the pieces re- quired ; breathe gently on the centre of the leaf, and it will lay flat on your cushion ; then cut it to your mind by bringing the knife perpendicularly over it, and sawing it gently till divided. Place your work before you in a position nearly horizontal, and, with a long-haired camel's-hair pen- cil, dipped in water, (or with a small quantity of brandy in the water,) go over as much of your work as you intend the piece of gold to cover; then take up your gold from your cushion with your tip ; by draw- ing it over your forehead or cheek, it will damp it suflS- ciently to adhere to the gold, which must then care- fully be transferred to your work, and, gently breath- ing on it, it will adhere ; but take care that the part upholsterer's companion. 79 you apply it to is sufficiently wet ; indeed, it must be floating, or you will find the gold apt to crack : pro- ceed in this manner by a little at a time, and do not attempt to cover too much at once, till by experience you are able to handle the gold with freedom. Be careful, in proceeding with your work, if you find any flaws or cracks appear, to take a corresponding piece of gold, and apply it immediately ; sometimes, also, you will find it necessary, when your gold does not appear to adhere sufficiently tight, to draw a pencil quite filled with water close to the edge of the gold, that the water may run underneath it, which will answer your expectation. Burnishing. When your work is covered with gold, set it by to dry ; it will be ready to burnish in about eight or ten hours ; but it will depend on the warmth of the room or state of the air, and practice will enable you to judge of the proper time. When it is ready, those parts which you intend to burnish must be dusted with a soft brush, and, wiping your burnisher with a piece of soft wash-leather, (quite dry,) begin to burnish about an inch or two in length at a time, taking care not to lean too hard, 80 CABINET-MAKER AND but with a gentle and quick motion apply the tool till you find it equally bright all over. Matting, or dead gold. Those parts of your work which look dull from not being burnished, are now to be matted, that is, are to be made to look like dead gold ; for if left in its natural state it will have a shining ap- pearance, which must be thus rectified: — Grind some vermilion, or yellow ochre, very fine, and mix a very small portion either with the parchment-size or with the white of an egg, and with a very soft brush lay it even and smooth on the parts intended to look dull ; if well done, it will add greatl}'^ to the beauty of the work. The work must be well cleared of superfluous gold, by means of a soft brush, previous to bur- nishing or matting. Finishing. It is now only necessary to touch the parts in the hollows with a composition made by grinding vermilion, gamboge, and red lead, very fine, with oil of turpentine, and applying it carefully with a small brusli in the parts required, and your work is completed. upholsterer's companion. 81 Sometimes the finishing is done by means of shell- gold, which is the best method ; it should be diluted "with gum-Arabic, and applied with a small brush. To make shell-gold. Take any quantity of leaf-gold, and grind it, with a small portion of honey, to a fine powder; add a little gum-Arabic and sugar-candy, with a little water, and mix it well together ; put it in a shell to dry until you want it. Silver-size. Take tobacco-pipe clay, grind it fine with a little black lead and Genoa soap, and add parchment- size as directed for the gold-size. Note. — Any soap would most probably answer as well as Genoa soap; but it is here directed, as it has been found to answer very well. Silvering. Silvering is at present but little in use, though some old works still look very well, and it might be introduced with advantage to many works; the great fault is that it is apt to tarnish ; but may be pre- served, with very little diminution to its beauty, by applying a thin coat of the cleanest copal or mastic varnish. The process for silvering is exactly the 82 CABINET-MAKER AND same as for gilding; but the matting must be done by mixing a small quantity of flake Avliite in a powder, with a little Prussian blue (just sufficient to tinge it) along with plain size or white of egg. To make liquid foil for silvering glass globes, bent mirrors, ^c. To half an ounce of lead, add half an ounce of fine tin, and melt them together in an iron ladle ; when in a state of fusion, add half an ounce of bismuth ; skim off the dross, remove the ladle from the fire, and, before it cools, add five ounces of quicksilver, and stir the whole well together, ob- serving not to breathe over it, as the evaporation of the silver is very pernicious. In mixing, avoid breathing the fumes that are evaporated, as it is a poison of the most deadly nature. Another method. To four ounces of quicksilver, put as much tin foil as will become barely fluid when mixed ; have your globe clean and warm, and inject the quick- silver by means of a clean earthen pipe at the aper- ture, turning it about till it is silvered all over ; let the remainder run out, and hang it up. upholstfrer's companion. 83 An excellent receipt to burnish gold-size. One ounce of blacklead, ground very fine, one ounce of deer-suet, one ounce of red chalk, and one pound of pipe-clay, ground with weak parchment- size to a stiff consistency ; to be used as directed in the article "Size for oil gilding," page 74. To gild leather for bordering-doors, folding- screens, cfc. Damp a clear brown sheepskin with a sponge and water, and strain it tight, with tacks, on a board, suf- ficiently large ; when dry, size it with clear double size ; then beat the whites of eggs, with a whisk, to a foam, and let them stand to settle ; then take books of leaf-silver, a sufficient quantity, and blow out the leaves of silver on a gilder's cushion ; pass over the leather carefully with the egg-size, and with a tip- brush lay on the silver, closing any blister with a piece of cotton ; when dry, varnish them over with yellow lacker till they are of a fine gold colour. Your skin being thus gilt, you may then cut it into strips as you please, and join with paste to any length. Perform the foregoing operation in the height of summer, when the air is clear, dry, and warm, that the skin may dry well before you size it, and the size may have the desired effect upon the pores, 84 CABINET-MAKER AND and no further, and the silver will not tarnish be- fore you lacker it. To gild the borders of leather tops of lihrary-tahles^ zvorJc-boxes, ^c. The tops of library-tables, &e., are usually covered with Morocco leather, and ornamented with a gilt border, and are usually sent to the bookbinder for .that purpose. The method by which they perform it is as follows : — They first go over that part intended to be gilt with a sponge dipped in the glair of eggs, which is the whites beaten up to a froth, and left to settle ; and the longer made or older it is so much the better ; then, being provided with a brass roller, on the edge of which the pattern is engraved, and fixed as a ^Yheel in a handle, they place it before the fire till heated, so that, by applying a wetted finger, it will just hiss; while it is heating, rub the part with an oiled rag, or clean tallow, where the pattern is in- tended to be, and lay strips of gold on it, pressing it down with cotton : then with a steady hand run the roller along the edge of the leather, and wipe the su- perfluous gold off with an oiled rag, and the gold will adhere in those parts where the impression of the roller has been, and the rest will rub off with the oiled rag. upholsterer's companion. 85 BRONZING. The art of bronzing is equally useful to the cabinet-maker as the smith — the carved and turned work in furniture being frequently finished in imita- tion of bronze, and, if well done, has a very elegant effect, and adds much to the beauty of the article. It is by no means a difficult process, but neverthe- less requires considerable care and judgment to arrive at perfection. To bronze figures. For the ground, after it has been sized and rubbed down in a similar manner as if for gilding, take Prussian blue, verditer, and spruce ochre ; grind them separately in water, turpentine, or oil, accord- ing to the Avork ; mix them together in such propor- tions as will produce the colour you desire ; then grind Dutch-metal, commonly called bronze, in the same material you grind your colour, laying it on the prominent parts of the figure ; and, if done with care, it will produce a grand effect. There are several different colours of bronze, which are best imitated by the powders sold at 86 CABINET-MAKER AND almost all colour-shops, called bronze-powders, in- dependent of the one here mentioned of Dutch- metal, which it will be best to purchase, as they are made, not without considerable trouble, by dis- solving different metals in aquafortis, and precipi- tating the solutions by means of sal-ammoniac, and washing the precipitate in water, and drying it on blotting-paper. The ingenious artist will suit the colour of the bronze by mixing corresponding colours of paint for a ground. To bronze on ivood. Having stained those parts intended for bronzing black, by any of those methods shown under the article " Staining," take japanners' gold-size, and mix with a small portion of Roman ochre and Prus- sian blue ; go over the blacked parts lightly ; then suffer it to dry till it feels just sticky to the fingers, but not to come off; then, with a hard ball of cotton dipped in any of the bronze powders, rub those places that are prominent, and, if you think proper, give it a thin coat of japanners' gold-size, thinned with spirits of turpentine. Or you may alter the colour of your bronze, by mixing either more or less blue, as also other colours, as verditer green by it- upholsterer's companion. 87 self; but do not put your colour on thick over the black stain, but rather glaze it on, — for it is not wanted in a body, but should be rather transparent, as it makes it more of a metallic appearance. To bronze brass figures for ornaments. After having lackered your brass-work in those parts you wish to look like gold, take for those parts as are intended to appear as bronze any quantity of umber, either burnt or in its natural state, according to the colour you require, and grind it with a small quantity of spirits of wine. Do the same with verditer, and also spruce ochre. Keep these colours separate for use, and, when wanted, take some pale gold-lacker and mix with it a portion of these ingredients till you get the colour required ; then apply this mixture in the same manner as directed in lackering brass-work, (page 88.) You may also mix with it any coloured bronze-powder, for the sake of variety. A little experience, and a few experiments with these com- positions, will enable the woi-kman to imitate any bronze or colour he pleases. 88 CABINET-MAKER AND PART rv. Earkcviug, Japanning, ITarnisljing, ^c OF LACKERING, JAPANNING, VARNISHING, AND POLISUING CABINET AND UPHOLSTERY WORK GENERALLY. LACKERING. Among the arts that lend their assistance to the cabinet-maker, in the completion of many of his articles of furniture, that of lackering must not be forgotten. To do "what the cabinet-maker may require, few directions are "necessary, it being a simple and easy process. To laeher brass-tvorJc. If your work is old, clean it first, according to the directions hereafter given ; but if new, it will merely require to be freed from dust, and rubbed with a piece of wash-leather, to make it as bright as possible. Put your work on a hot iron plate (or the hob of your fire-place will be a good substitute) Ull it is mode- rately heated, but not too hot, or it will blister your upholsterer's companion. 89 lacker ; then, according to the colour you wish, take of the following preparations, and, making it warm, lay hold of your work with a pair of pincers or pliers, and with a soft brush apply the lacker, being careful not to rub it on, but stroke the brush gently one way, and place your work on the hot plate again till the varnish is hard ; but do not let it remain too long. Experience will best tell you when it should be re- moved. Some, indeed, do not place it on the stove or plate a second time. If it should not be quite covered, you may repeat it carefully ; and, if pains be taken with your lacker, it will look equal to metal gilt. To make gold lacker for brass. Rectified spirits of wine, half a pint ; mix half a pound of seed-lac, picked clean, and clear of all pieces (as upon that depends the beauty of the lacker) with the spirits of wine ; keep them in a warm place, and shake them repeatedly. When the seed-lac is quite dissolved, it is fit for use. Another lacker. Take of the clearest and best seed-lac a quarter of a pound, and of dragon's-blood a quarter of an ounce ; pound them well together, add a gill and a 90 CABINET-MAKER AND half of tlie best spirits of wine, set it in a warm place to dissolve ; strain ii, and it is fit for use. Superior lacker for brass. Take of seed-lac, three ounces ; amber or copal, ground on porphyry, one ounce ; dragon's-blood, twenty grains ; extract of red sandal-wood, fifteen grains; oriental saffron, eighteen grains; very pure alcohol, twenty ounces. To apply this varnish to ornaments or articles of brass, expose them to a gentle heat, and dip them into the varnish ; two or three coatings may be applied in this manner, if necessary. The varnish is durable, and has a beau- tiful colour. Articles varnished in this manner may be cleansed with water and a bit of dry rag. Pale gold lacker. Dissolve, in a quarter of a pint of spirits of wine, as much gamboge as will give it a bright yellow ; then add three ounces of aced-lac, finely powdered and sifted ; set it in a sand-bath to dissolve. When that is the case, bottle and stop it well till wanted for use. Lacker ivith spirits of turpentine. Take seed-lac two ounces, sandaric or mastic upholsterer's companion. 91 two ounces, dragon's-blood a quarter of an ounce, gxxva. gutte twenty grains, clear turpentine one ounce, and the best spirits of turpentine sixteen ounces. This lacker, though certainly not equal to those made with spirits of wine, is, from its cheapness, often very useful for the more common purposes. It does not dry so quick, nor is it so durable ; but for such purposes as lackering silvered leather, &c., it answers very well. We may here remark that Ave may vary the colour of our lackers by using more or less, or altering the proportion of the colouring material ; and at the same time notice that all the colouring sub- stances that are of a resinous quality, or that will give out their colouring matter when infused in spirits, are proper to be used in the composition of lacker. We may therefore make lackers of almost any colour, by selecting different colouring materials, and mixing them with the other compositions used as the basis of all lackers, such as seed-lac, shell-lac, &c. To clean old brass-tvorJc for lackering. Make a strong ley of wood-ashes, which may be strengthened by soap-lees; put in your briss-work, and the lacker will soon come off; then have ready 92 CABINET-MAKER AND a mixture of aquafortis and water, sufficiently strong to take off the dirt; wash it afterwards in clean water, and lacker it with such of the above compo- sitions as may be most suitable to your work. JAPANNING. Japanning is generally performed by persons brought up to the practice of the art exclusively; but, as it frequently happens that japanned work receives damage when it is very inconvenient (either for dis- tance or other circumstances) to send for a japanner to repair it, it may not be improper to lay down the most simple methods used in that branch. Take care to provide yourself with a small muller and stone, to grind any colour you may require ; and observe that all your wood-work must be pre- pared with size, and some coarse material mixed with it, to fill up and harden the grain of the wood, (such as may best suit the colour intended to be laid on,) which must be rubbed smooth with glass paper when dry ; but in cases of accident, it is seldom necessary to re-size the damaged places, unless they are considerable. A.lways grind your colours smooth in spirits of upholsterer's companion. 93 turpentine ; then add a small quantity of turpen- tine and spirit-varnish ; lay it carefully on with a camel 's-hair brush, and varnish it with brown or white spirit-varnish, according to the colour. You will also find a box, filled with currier's shavings, useful for cleaning your stones and pallet with, for they should never be laid by dirty, as the beauty of the work depends a great deal on keeping all your colours separated : therefore, before you grind another colour, the first should be well wiped off your stone. For a hlack japan. Mix a little gold-size and lampblack: it will bear a good gloss without varnishing over. To imitate hlack roseivood. The work must be grounded black, after which well grind • some red lead, mixed up as before directed, which lay on with a flat stiff brush, in imitation of the streaks in the wood : after which, take a small quantity of lake, ground fine, and mix it with brown spirit-varnish, carefully observing not to have more colour in it than will just tinge the varnish : but, should it, on trial, be still too red, assist it with a little umber ground very fine, with which pass ovijr 94 CABINET-MAKER AND the whole of the work intended to imitate black rosewood, and it will have the desired effect. If well done, when it is varnished and polished it will scarcely be known from rosewood. Instead of the umber in the above, you may use a small quantity of Vandyke brown ; it is much more transparent than the umber. INDIA JAPANNING. The great peculiarity in the Indian method is the embossing, or raising the figures, &c., above the sur- face or ground, and the metallic or bronze-like hue of the several designs ; the grotesque appearance of the several ornaments, whether figures, landscapes, or whatever other designs they are embellished with, being so totally different from every principle of perspective, and so opposite to every idea wo have of correct drawing. Nothing but the study of Chinese models themselves will enable the workmen to imitate, with any degree of precision, their several characteristics. We can, therefore, only give such directions for preparing the ground, embossing the designs, and producing the peculiar effect of Chinese japan, as will enable the ingenious mechanic to upholsterer's companion. 95 execute any work of the kind with truth and accu- racy, according to any copy given, while it must remain with him to use taste and judgment in effect- ing a likeness which will characterize this peculiar manufacture. Ground for Chinese japan. Mix any quantity of the finest whiting to the con- sistency of paint with isinglass size ; lay on your wood two or three coats, observing to put it on evenly and smoothly, and not too thick ; let it dry ; then rub it gently with a soft rag and water till the surface is quite level and polished ; if you add a small portion of honey to the mixture, it will render it less liable to crack or peel off. If your ground is to be black, which is the most usual one, give it a coat or two of the black japan mentioned in the common method of japanning, and it is prepared for your figures, &c. Another ground. Mix fine plaster of Paris with size not too thick, and apply it quickly, for it soon gets hard. Two coats, in most instances, will be sufficient. Aftei it is quite dry, polish it with fine glass paper, and rub it with a wet soft cloth ; then give it two or throe coats of drying linseed oil, or as much as 96 CABINET-MAKER AND it will soak up. When dry, it is ready for japan- ning. To make black jajpan. Grind ivory or lampblack very fine with tur- pentine, add a little lac varnish or copal varnish, and temper it to a proper consistency with varnish for laying on your ground. Give your work two or three coats at least, using a gentle heat, as di- rected in varnishing. To trace your designs on the ground. Having drawn the figures on a piece of white paper either with ink or pencil, rub the back of it with fine chalk or whiting, and shake all the loose powder off: lay it on your ground, and trace or go over every part of your outline with the end of a blunt bodkin, or other similar instrument ; you will then have a sketch in faint outline on your ground. You may then proceed to put in your figures, &c., with any colour you wish, or bronze them. To raise figures on your work. Prepare a mixture of whiting and size, (some prefer the whites of eggs,) of a consistency to flow freely from your pencil, the hairs of which must upholsterer's companion. 97 be rather long. Begin with a figure, or otiier part — but do not do too much at a time — and trace the outline correctly, with a free hand ; then take a piece of stick pointed at the end, dip it into your composition, and fill up the inside of your outline. Continue to put more of the mixture on till it is raised sufficiently above the surface. Let it get quite dry, and then polish it with a small camel's- hair pencil and clean water, so as to make it perfectly smooth and level. Care must be taken in this pro- cess, that your composition is not too thin, or it will spread beyond the bounds of your outline, — but just so thick as to drop from the stick. Some mix with the whiting a portion of flake-white, or dry white- lead. This is an improvement, and for very par- ticular work should be adopted. BRONZES PECULIARLY ADAPTED FOR INDIA JAPANNING AND SIMILAR PUR- POSES, Crold, Put any quantity of gold-leaf into a stone mortar, together with a small portion of honey and a littlo water ; grind them well together, till the gold seems dispersed throughout the whole paste ; add by de- 98 CABINET-MAKER AND grees more water till it is quite thin, keeping it con- tinually stirred ; let it settle, and pour the water off, as near as you can, without w'asting your gold; re- peat the washing till you see the gold in the form of a fine powder at the bottom. Then pour the water clean off, and turn the gold out on a piece of blotting- paper ; keep it from the dust, and, when all the moisture is evaporated, put it into a bottle for use. This is a very expensive bronze, and used only for those works which are very particular. But a very good substitute may be had by treating Dutch- metal in the same manner ; but be sure to keep this close-stopped, or it is very apt to tarnish. Gopjjer. Put some very fine filings of copper into an iron mortar, and beat them the same as that of the gold- leaf or Dutch-metal ; instead of using honey, you may pound it dry with a portion of sal-ammoniac, and then wash it as above ; keep this also from the air. Brass filings may be treated in the same manner. Silver May be made with silver-leaf, treated in the same manner as directed for gold. This must also be upiiolsterer'.s companion. 99 kept Avell stopped in a bottle, and wrapped in paper, as it is as apt to change as the Dutch-metal. Tin. Melt grain-tin in a ladle over the fire ; when in a fluid state, add, by degrees, quicksilver, and stir it well. It will be transformed into a grayish powder, which, for the sake of variety, you may use with others, either alone or mixed. By mixing these difterent bronzes together, you may produce a great variety, that will add much to the beauty of your work ; and we may here remark, that there is a variety of colours in gold-leaf, all of which will produce a differently coloured powder. In the city, a variety of coloured bronzes can be procured at the colour shops, at less expense than we can make them : but not so in the country. We have, therefore, here set down those that are most generally useful. Method of applying the bronze. Go over the part you intend to bronze with gold -size or varnish ; when it is sufficiently dry — that is, when it does not adhere to the finger, but feels clammy — - dip a piece of cotton, rolled into a hard ball, in your bronze-powder, and dab it on the place to be bronzed. 100 CABINET MAKER AND To japan ivork-hoxes, ^c. There is a very pretty method of ornamenting boxes, cabinets, &c., so that the figures appear of the colour of the wood, and the ground black ; this, by many, is produced by first tracing out the pattern, and then pricking-in those parts which shall appear as the ground, either black or any colour at fancy. This is a very tedious process, and even when finished with the greatest care, will not appear regular or well defined in the pattern. The following method will be found very expeditious, and at the same time very correct ; it is but little known, and, as such, will to the practical japanner be the more acceptable. It may also be applied to many other purposes than here alluded to. The following preparation is neces- sary, and may be termed tlie stopping out mixture; it is made by dissolving the best white beeswax in spirits of turpentine till it is of the consistency of varnish. Keep this mixture in a bottle, and, when wanted for use, mix sufiicient for your present pur- pose with white lead in powder, or flake-white, to give it a body — but not too thick, only so that it will flow freely from your pencil. Having tr-iced your design, go over those parts which you wish to remain of the colour of your wood, and let it dj j ; then mix upholsterer's companion. 101 ivory-black, in very fine powder, with parchment or isinglass-size, and go evenly and smoothly over every part of your work. It will now appear wholly black, or of whatever colour you have mixed with your size. Let the whole get thoroughly dry ; then, with a stiflf brush dipped in plain spirits of turpentine, rub the whole of the work well, and those parts that have been gone over with the stopping-out mixture, will come oflF, leaving your black or other colour perfect. It will then appear as if you had pricked-in your work, but much more sharp, and will, if carefully done, have a beautiful effect. You have now nothing more to do than varnish your work, as in general, and polish it as directed under the article Polishing, page 113, In finishing your work in the manner of Indian japan, you must not be sparing of your varnish, but give it eight or ten coats, so that it will bear polishing. Sealing-wax varnish. ' For fancy work, this has of late years been much used, and, if well applied and your wax good, will be a very good imitation of India japan. The method of making the varnish or japan is very easy, being simply reducing the wax to a coarse powder, and pouring the best spirits of wine on it 102 CABINET-MAKER AND in a bottle, and letting it gradually dissolve without heat, shaking the bottle occasionally till it is all dis- solved. A two-ounce stick of the best wax will be enough for a quarter of a pint of spirits. Recollect that much depends on the goodness of the sealing-wax, and that you may vary the colour of the varnish by using differently coloured wax. As this varnish diies very quickly, it should not be made until it is wanted for use. VARNISHING. Of late years, varnishing has arrived at a state of perfection which enables the workman of the pre- sent day to finish his work in a style far superior to any thing previously known. By the help of this useful auxiliary, he can heighten the beauty of fine wood, and give additional lustre to furniture. The simplicity of the process requires but little to be said on the subject ; but we shall endeavour, as clearly as possible, to lay down some rules and cautions necessary to be observed, both in the making and method of using varnish, that the work may appear as beautiful as possible. In the city, it is hardly worth while to make var- nish, unless in large quantities, as there are several upholsterer's companion. 103 shops where it may be had very good, and at a fair price ; but in the country, where the carriage is an ob- ject, and you cannot depend upon the genuineness of the article, it is necessary to be known by the prac- tical mechanic ; yet, where it can be purchased, we should recommend it to be had. The varnish generally sold for varnishing furniture is white hard varnish. Cautions respecting the making of varnish. As heat in many cases is necessary to dissolve the gums used in making varnish, the best way, when practicable, is to use what the chemists call a sand- bath, which is simply placing the vessel in which the varnish is in another filled Avith sand and placed on the fire. This will generally be sufficient to prevent the spirits catching fire ; but to avoid such an acci- dent, (which not unfrequently happens,) it will be best to take a vessel sufiiciently large that there shall be little danger of spilling its contents ; indeed, the vessel should never be more than two-thirds filled. However, a piece of board sufiiciently large to cover the top of the vessel should always be at hand in case the spirits should take fire ; as also a wet wrapper, in case it should be spilt, as water itself thrown on would only increase the mischief. The person who attends 104 CABINET-MAKER AND the varnish-pot should have his hands covered with gloves, and, if* they are made of leather and rather damp, it will effectually prevent injury. These cautions should he well observed, or shocking per- sonal injury may result from their neglect. General directions in choosing gums and spirits. In purchasing gum, examine it, and sec that it con- sists for the most part of clear, transparent lumps, without a mixture of dirt. Select the clearest and lightest pieces for the most particular kinds of var- nish, reserving the others, when separated from extraneous matter, for the coarser varnishes. In choosing spirits of wine, the most simple test is by immersing the finger in it; if it burns quickly out, without burning the finger, it is good ; but if, on the contrary, it is long in burning, and leaves any damp-- ness remaining on the finger, it is mixed with inferior spirit. It may be also compared with other spirit, by comparing the weight of equal quantities; the lightest is the best. The goodness of spirits of turpentine may be likewise ascertained in the same manner by weighing it, and by noticing the degree of inflamma- bility it possesses. The most inflammable is the best ; an(i a person much in the habit of using it will tell by upholsterer's companion. 105 the smell its good or bud qualities ; foi' good tur- pentine has a pungent smell, and the bad a very disagreeable one, and not so powerful. To varnish a piece of furniture. First make the work quite clean ; then fill up all knots or blemishes with cement of the same colour. See that your brush is clean, and free from loose hairs ; then dip it in the varnish, stroke it along the wire raised across the top of your varnish-pot, and give the work a thin and regular coat ; soon after that, another, and another, ahvays taking care not to pass the brush twice in the same place. Let it stand to dry in a moderately warm place, that the varnish may not chill. When you have given your work about six or seven scats, let it get quite hard, (which you will prove by pressing your knuckles on it ; if it leave a mark, it is not hard enough ;) then, with the first three fingers of your hand, rub the varnish till it chafes, and proceed over that part of the work you mean to polish, in order to take out all the streaks or partial lumps made by the brush ; then give it another coat, and let it stand a day or two to harden. The best vessel for holding varnish is sold at colour-shops, called a varnish-pan. It is constructed 106 CABINET-MAKER AND of tin, ultli ;i false bottom; the interval between the two bottoms is filled with sand, which, being heated over the fire, keeps the varnish fluid, and it flows more readily from the brush. There is a tin handle to it, and the false bottom comes sloping from one end to the other, which causes the varnish to run to one end. It has also a wire fixed across the top, to wipe the brush against. To make tlie beat u'Jiite hard varnish. Rectified spirits of wine, one quart ; gum san- darac, ten ounces ; gum mastic, two ounces ; gum anime, half an ounce ; dissolve these in a clean can, or bottle, in a warm place, frequently shaking it. When the gum is dissolved, strain it through a lawn sieve, and it is fit for use. To keep brushes in order. The brushes used for varnishing are either flat in tin, or round, tied firm to the handle, and made either of camel's-hair or very fine bristles. It is necessary to be very careful in cleaning them after being used ; for, if laid by with the varnish in them, they arc soon spoiled. Therefore, after using, wash them well in spirits of wine or turpentine, according to the na- ture of your varnish ; after which, you may wash upholsterer's companion. 107 them out with hot water and soap, when they will be as good as new, and last a great while with care. The spirits that are used for cleaning may be used to mix with varnish for the more common purposes, or the brushes may be cleaned merely with boiling water and strong yellow soap. Mastic varnish for pictures or drawings. To one pint of spirits of turpentine put ten ounces of the clearest gum mastic; set the mixture in a sand-bath till it is all dissolved ; then strain it through a fine sieve, and it is ready for use. If too thick, thin it with spirits of turpentine. Turpentine varnish. To one pint of spirits of turpentine add ten ounces of clear resin, pounded; put the mixture in a tin can, on a stove, and let it boil for half an hour. When the resin is all dissolved, let it cool, and it is fit for use. Varnishes for violins, they will look very well, as what remains of the original gilding will not be injui'ed by the aquafortis, though the other parts, as well as the gold, will be perfectly cleansed from every dirt or tarnish. A green paint for garden-stands, Venetian blinds^ trellises, (j-c. Take mineral green, and white-lead ground in turpentine ; mix up the quantity you wish with a small quantity of turpentine-varnish. This serves for the first coat. For the second, put as much varnish in your mixture as will produce a good gloss. If you desire a brighter green, add a small quantity of Prussian blue, which will much improve the beauty of the colour. To preserve wood against injury from jire. Put into a pot an equal quantity of finely pul- ■verized iron-filings, brickdust, and ashes ; pour over them glue-water or size ; set the whole near the fire, and, when warm, stir them well together. With this liquid wash over all the wood-work which may be in danger, and on its getting dry give it a second coat, when it will be proof against damage by fire. upholstepxEr's companion. 149 To remove stains in tables. Wash the surface with stale beer or vinegar ; the stains will then be removed by rubbing them with a rag dipped in spirits of salts. To re-polish, proceed as you would do with new work. If the work be not stained, wash the surface with clean spirits of turpentine, and re-polish it with furniture-oil. Hints in melthig and using glue. The hotter the glue, the more force it will exert in keeping the two parts glued together; therefore, in all large and long joints, the glue should be ap- plied immediately after boiling. Glue loses much of its strength by frequent re-melting ; that glue, therefore, which is newly made, is much preferable to that which has been re-boiled. To reneto a polished surface. When furniture has been finished Avith wax com- position, the polish may be renewed by repeating the original process of the wax composition with a small quantity carefully rubbed off. To clean off tlie surface of solid ivork. First, smooth it with a finely-set smoothing-plane, 13* 150 CABINET-MAKER AND and reduce the ridges by a scraper ; then rub the surface with glass-paper, finishing it with the finest kind. If the wood be of an open grain, you must, in addition to the above, wet the surface uniformly with a wet sponge, and, when it is dry, rub it a second time with glass-paper, till sufiiciently smooth. Or, while the surface is wet, rub it with pumice- stone in the direction of the fibres; when it be- comes dry, wet it again, and the grain will be raised in a less degree than by the first wetting. The rubbing being again repeated, the surface will be found to be still more compact, and susceptible of a much finer polish. To clean lackered ivorh in brass furniture. If the stain or blemish be not too deeply seated, washing it with a soft linen or muslin rag wetted with Avarm water, will remove it. If this does not succeed, you have no resource but to re-lacker. To cast ornaments or moulding to resemble wood. Make a very clear cement of five parts of Flan- ders glue and one part of isinglass, by dissolving the two kinds separate-ly in a large quantity of water ; then, after having separated those parts upholsterer's companion. If)! which could not be dissolved, by straining them through fine linen, mix them together. The glue thus prepared must be so heated that the finger can barely endure the temperature ; a little water is thus evapo- rated, and the glue acquires more consistence. Mix raspings of wood or sawdust, passed through a fine sieve, with the glue, forming it into a paste. Having rubbed the plaster or sulphur mould with linseed or nut-oil, as in plaster casts, put in the paste, and press the parts by hand, so that no vacuity may remain ; and, in order that the whole may acquire a perfect form, cover it with an oiled board, and place a weight on it. When the cast is dry, re- move the rough parts ; if any inequalities remain, they are to be smoothed. The ornament thus pre- pared may be fixed with glue to the article intended. Cement stopiying. Mix equal quantities of sawdust, of the same wood required to be stopped, and clear glue ; and with this stop up the holes or defects of the wood. Where the surface is to be japanned or painted, whiting may be used instead of sawdust. Be sure to let the stopping dry before you attempt to finish the surface. 152 CABINET-MAKER AND To clean a veneered surface. Having scraped away the glue, tooth the surface in an oblique direction to the fibres, and, in pro- portion as the surface requires regularity, set the plane finer. The final part of the operation of planing is accomplished by a fine tooth plane. Remove all the marks of the tooth plane by a scraper, and finish the surface with glass-paper, or with pumice-stone and glass-paper. Veneers, being of a closer texture than solid wood generally, do not require so much labour as open-grained solid wood. Grease or dirt in French polish May be readily removed by rubbing it quickly over with a little spirit of turpentine; which, if carefully done, will not soften the varnish. Directions in the choice of tools. With respect to choosing the tools used in the cabinet trade, the most necessary are planes, saws, and cliisels. \Sc will consider thera first with re- spect to the wood of which they are manufactured ; and secondly the steel which forms their cutting edges. Beech is, in general, and should be always used for the stocks, handles, &c., as it is of a tough upholsterer's companion. 153 texture, and not so liable to split or warp as other woods. There are two kinds of beech, usually known by the names of black and red beech, and the white beech. The former is by far the best in every respect, and may be always knovrn by its colour and texture, which are darker and harder. The white is more apt to warp, and soon wears with use ; it should therefore always be rejected as im- proper. If you examine a piece of beech endwise, you will perceive the grain runs in streaks, which among workmen is called the heat of the wood ; in all planes, this grain or beat, which is the hard fibrous particle of the wood, runs in a direction perpendicular to the face of the plane, which in that case appears full of little hard specks ; whereas, if the beat runs parallel to the face, it will appear in irregular streaks, which situation of the grain should always be avoided, as the face will be apt to wear uneven, and more subject to warp and twist. In saw-handles, and stocks for bits, the beat should run in the same direction as the saw- blade, or in the same direction as the stock, when laid on its side. In moulding-planes, it is very fre- quently the case that pieces of boxwood are let into that part of the face that forms the quirk of 154 CABINET-MAKER AND the mouldings; but this, when possible, should never be done, as the two woods are very different, and the different temperature of the atmosphere will cause a difference in the contraction, and conse- quently the plane will be liable to cast. If it is at any time necessary, introduce a small piece just at the mouth of the plane, firmly dovetailed in, which will not be so apt to derange the accuracy of the plane. Tlie temper of saivs, chisels, and other edged tools. The quality of the steel should be uniform throughout ; indeed, it is always better to have them tempered rather too hard than soft, for use will reduce the temper. If at any time it is neces- sary to perform the operation yourself, the best method is to melt a sufficient quantity of lead to immerse the cutting part of the tool in. Having previously brightened its surface, plunge it into the molted lead for a few minutes, till it gets suffi- ciently hot to melt a candle, with which rub its surface ; then plunge it in again, and keep it there till the steel assumes a straw colour ; but be careful not to let it turn blue. When that is the case, take it out, rub it again with the tallow, and let it UPIIOLi^TERER's COMPANION. 155 cool. If it should be too soft, wipe the grease off, and repeat the process without the tallow ; and, when it is sufficiently hot, plunge it into cold spring-water, or water and vinegar mixed. By a proper attention to these directions, and a little practice, every workman will have it in his power to give a proper temper to the tools he may use. If a saw is too hard, it may be tempered by the same means ; but as it would be not only expen- sive, but, in many cases, impossible to do it at home, a plumber's shop is mostly at hand, where you may repeat the process when they are melting a pot of lead. But here observe that the temper necessary is different to other cutting tools : you must wait till the steel just begins to turn blue, which is a temper that will give it more elasticity, and, at the same time, sufficient hardness. INDEX. PAGB Anti-attrition, to make 134 Barometer scales, to silver 142 Beech, to stain a mahogany colour 66 Bedsteads, red stain for 68 Bone, to stain black 70 red 69 green 70 blue 70 yellow 70 Boxwood, to stain brown 72 Brass ornaments inlaid in wood, to polish 56 Brass figures, to wash over with silver 56 Brass-work, old, to clean for lackering 91 Brass, to imitate, in colouring 33 Bronze, do. do. 33 Bronzing, observations on 85 to bronze figures 85 brass figures for ornaments 87 Bronze, gold 97 copper 98 silver 98 tin 99 method of applying 99 14 157 158 INDEX. PAOH Brushes for varnishing, to keep in order 106 Buhl-work, observations on 49 shell or brass-work, to i)repare for cutting out 50 cutting out the pattern 50 gluing up the pattern 51 Cane chair-bottoms, to ciean 135 to restore the elasticity of 135 Carpets, to clean 140 Cement, mahogany coloured 123 bank-note 123 turners' 124 for broken glass 124 to stop flaws in wood 125 for joining china 125 another 125 stopping, to make 151 Chairs, common red stain for G8 Chisels, and other edge tools, to temper 154 Crystallized tin 144 Clock faces, &c., to silver 142 varnish for 143 Cloth, to remove oil or grease from 138 wax-spots from 139 Clouds, to imitate in colouring 35 Colouring, rudiments of. 31 Composition ornaments for picturc-fi'ames, &c 140 Compound linos and forms, for practice in drawing 19 ornaments and scrolls 20 Crimson curtains, to imitate in colouring 34 Drawing, first essay in IS Drawing, rudiments of, as applicable to articles of fur- niture 13 INDEX. l09 PAQB Drapery, bufF-coloureil, to imitate 34 chintz do. do 34 Drapery, white, to imitate 34 Dyeing wood, observations on 57 the kinds best suited for 57 Friction varnishing, or French polishing, observations on 117 French polish, the true, to make 118 another 119 improved 120 to remove dirt or grease from 152 Furniture, to varnish 105 old, to clean and polish , 122 to take bruises out of. 133 paste, to make 13G another method 136 oil, to make 137 another method 137 Geometrical terms explained and defined 21 drawing, definition of 13 Gilding, observations on 73 requisites necessary for , 74 size for oil-gilding 74 for preparing frames 75 preparing frames or wood-work for 75 to polish for 70 gold-size for 77 preparing frames, &c., for 77 laying on the gold 78 burnishing 79 matting, or dead gold 80 finishing 80 160 INDEX. FAGB Gilding, burnishing gold-size 83 Gilding metal, by dissolving gold in aqua-regia 146 Glass-paper 129 Glue, hints in melting and using 149 strong, for inlaying, &c 48 for inlaying brass, &c 5G Glues to resist moisture ., 120 Gluing, as applicable to veneers in table-tops, book-case fronts, &c 46 Green baize, to imitate in colouring 33 Gilt poles, do. do. 34 Glass, do. do. 33 Ground, do. do. 35 Grass, do. do. 35 Grease, to remove from cloth 138 Green paint for garden stands, &e 148 Gums, directions for choosing 1(T4 Horn, to stain in imitation of tortoise-shell 09 to polish 116 to solder or weld 140 India japanning, observations on 94 ground for Chinese japan 95 black japan, to make 96 to trace the design 96 to raise the figures 90 gold bronze for 97 copper bronze 98 silver bronze 98 tin bronze..' 99 Inlaying with shaded wood 53 with silver strings, to imitate 54 Ivory, to stain red 69 INDEX. 161 PAGE Ivory, to stain black 70 green 70 blue 70 yellow 70 to polish 115 to soften 139 to bleach 139 to silver 14G Japanning, observations on 92 to prepai-e colours for 92 bronzes adapted for 97 black japan 93, 96 black rosewood, to imitate 93 work-boxes, &c 100 Jasper, to clean 135 King, or Botany-Bay wood, to imitate by staining 08 Lackering, observations on 88 brass-work 88 gold lacker for brass 80 another lacker 89 superior lacker 90 pale gold-lacker 90 lacker with spirits of turpentine 90 work in brass furniture, to clean 150 Leather, to gild, for bordering of doors, screens, &c 83 for border of library-tables, &c 84 Liquid for brightening and setting colours in dyeing wood 61 Liquid foil, for silvering glass globes, bent mirrors, &c. 82 Looking-glass, to clean 147 162 INDEX. Pica Mahogany, to imitate in colouring 62 to clean the face of 130 work, to clean and finish 130 light, to darken 131 to take ink-spots out of 136 Marble, to clean 135 to imitate in colouring 33 porphyry, to imitate in colouring 33 Sienna, do. do. 33 Mona, do. do. 33 black do. do. 3-4 to polish IIG Mirrors, to clean 147 Moulding, to resemble wood, to cast 150 Mountains, to imitate in colouring 35 Musical instruments, to stain a fine crimson 71 purple 71 black 71 blue 72 green 72 bright yellow 72 brown 72 Oil, spots of, to remove from cloth or silk 138 Ormolu, to imitate in colouring 33 Ornaments for cabinet-work, directions for drawing of... 18 their terms explained 36 when and where most applicable 38 Ornaments, of what composed 36 foliage 30 mixed 36 festooned 37 arabesque 37 winding: 3'^ INDEX. 16o PAGE Ornaments, serpentined, or running 37 plaited 37 guilloche 38 fret 38 mosaic 38 buhl 38 Ornaments most appropriate for hall-chairs 39 library-chairs 39 drawing-room chairs 39 card-tables 39 library and writing-tables 40 dining-tables 40 drawing-room tables 41 sofas 41 ottomans 41 dressing-table, or toilette 41 window-seats 41 cheval dressing-glasses 42 sideboards 42 cot-bed 42 bedsteads 43 drawing-room window drapery 43 libraries 43 fire-screens 43 to resemble wood, to cast 15 Ormolu ornaments, to clean 147 Parchment, to render transparent 138 Paste for laying cloth or leather tops 127 Perspective terms explained and defined 21 Perspective drawing, definition of 13 illustrated by diagrams and experiments.. 19 Pictures, to clean 141 another receipt 142 1G4 INDEX. PiOB Plaster figures, to render durable 144 Portable glue 123 Porphyry, to clean 135 Plates, illustrative of cabinet and upholstery work — Plate 1, simple lines and forms 19 " 2, simple and compound do 19 " 3, compound ornaments and scrolls 19 " 4, compound ornaments and scrolls 20 " 5, examples of perspective 20 Polishing, observations on 113 varnish 114 French, method of 114 brass ornaments inlaid in wood 115 ivory 115 any work of pearl 115 marble IIG Polish, French, to make 118 water-proof, to make 120 bright, to make 121 strong, to make 122 for turner's work 134 prepared spirits for, to make 121 Polished surface, to renew 149 Prints, figures of, to make appear in gold 112 Purificatory process before d^^eing wood 57 Rivera, to imitate in colouring 35 Rosewood, to imitate in colouring 32 staining G7 Satin-wood, to imitate in colouring 33 Saws, to sharpen and set 132 Scagliola, to clean 135 Sliadowing, rudiments of. 28 Shell-gold, to make 81 INDEX. 165 PA(iB Silvering 81 observations on 73 Silver furniture, to clean 135 size, to make 81 Simple lines, for first practice in drawing 18 Silk, to remove oil or grease from 138 ■wax spots from 139 Sienna marble, to clean 135 Sky, the, to imitate in colouring 34 Solid work, to clean the surface of 140 Spirits of wine, directions for choosing 104 Stippling, how to perform 30 Staining wood, observations on G5 Stain, to improve the colour of any G8 Steel-scrapers, good, to cut 132 Tables, to remove stains from 149 Tapestiy, to clean 140 Tools, directions in the choice of 152 to temper 154 Tortoise-shell, to veneer 48 to imitate on copper 50 to polish 116 to solder or weld 140 Tracing paper, to make 145 Trees, to imitate in colouring 35 Varnishing, observations on 102 Varnish, sealing-wax 101 cautions respecting the making of 103 directions for choosing gums and spix'its for... 104 white-hard, to make 106 mastic, for pictures, &c 107 turpentine 107 166 INDEX. PAGE Varni.ih, for violins 107 for drawings or card-work 108 another and better method 108 amber 109 oil 109 copal 110 coloui'lcss copal 110 turpentine copal Ill for prints, &c., stands water, and shines liiie glass 112 for prints, to resemble oil 113 to polish 114 prepared spirits for 121 for clock faces 143 Velvet, to imitate in colouring 33 Veneering, observations on 45 as applicable to card and other tops, &c 4G Veneer, in buhl-work, to lay 52 Veneers, old, to raise and relay 47 Veneered surface, to clean 152 Verd antique, to imitate in colouring 33 Water, to imitate in colourinc; 35 Water-proof polish 120 Wax, black, to make 137 green, do 138 spots to remove from cloth 139 Window curtains, to imitate in colouring 34 Winding foliage, of what composed 37 Wood, to bronze 86 Wood, to dye a fine black 58 blue 59 yellow GO bright yellow Gl INDEX. 107 PAf!R Wood, to dye a fine bright green Gl green G2 bright red G2 purple G3 orange G4 silver gray G4 gray G5 Wood, to stain a fine black for immediate use GG beech a mahogany colour GG another black GG in imitation of rosewood G7 king or Botany-Bay wood G8 red, for bedsteads, &c G8 Wood, porous, to clean the face of 130 to preserve from fire 118 THE E N D- STEBEOTTPED BY L. JOHNSON & CO. PnlLADELPnlA. CATALOGUE PRACTICAL Al SCIITMC BOOKS, FUBLISHEID BY EMM CARET BAIRD & CO., Industrial Publishers and Booksellers, NO. 810 ^VALNUT STREET, FHILA-DELPHIA.. ■Bf^ Abj of tte Boots comprised in this Catalogue will be sent by mail, free of postage, at the publication price. ■S®" A Descriptive Catalogue, 96 pages, 8vo,, will be sent, free of postage, to any one who will furnisli the publisher with his address. ARLOT.— A Complete Guide for Coach Painters. Translated from the Frentch of M. Arlot, Coach Painter; for eleven years Foreman of Painting to M. Eherler, Coaoli Maker, Paris. By A. A. Fesquet, Chemist and Engineer. To which is added an Aji- pendix, containing Information respecting the Materials and the Practice of Coach and Car Painting and Varnishing in the United States and Great Britain. 12ino. ...... $1.25 ARMENGAUD, AMOROUX, and JOHNSON.— The Practical Draughtsman's Book of Industrial De- sign, and Machinist's and Engineer's Drawing Companion : Forming a Complete Course of ^Mechanical Engineering and Archi- tectural Drawing. From the French of M. Armengaud the elder, Prof, of Design in the Couservatflire of Arts and Industry, Paris, and MM. Armengaud the younger, and Amoroiix, Civil Elngineers. Ptcwritten and arranged witli additional matter and jtlates, selections from and examples of tlie most useful and generally employed mechanism of the day. By William .Johnson, Assoc. Inst. C. E., Editor of " The Practical Mechanic's .Joiirnal." Illustrated by 50 folio steel plates, and 50 wood-cuts. A new edition, 4to. .... $10.00 1 2 HEXRY CAREY BAIRD'S CATALOGUE. ARROWSMITH.— Paper-Hanger's Companion : A Treatise in wliieli tiie Praetieal Operations of the Trade are Sys- teniatieally laid down : with Coi)ioiis Directions I'rcparatory to Paper- ing; Preventives against the Eti'ect of Damp on A\ alls ; the Various Cements and Pastes Adajned to tlie Several Purposes of the Trade; Observations and Directions for the Panelling and Ornamenting of Rooms, cte. By Jami;s AliKuwsMiTii, Author of "Analysis of Dra- pery," etc. 12i'uo., cloth $1.25 ASHTON.— The Theory and Practice of the Art of De- signing Fancy Cotton and Woollen Cloths from Sample : Giving full Instraetions for Reducing Drafts, as well as the ^[ethods of Spooling and flaking out Haruess for Cross Drafts, and Finding any Required Reed, with Calculations and Tables of Yarn. By Fkedkkkk T. Ashtox, Designer, West Pittslield, Mass. With 52 Illustrations. One volume, 4to $10.00 BAIRD.— Letters on the Crisis, the Currency and the Credit System. By Henky Cakey Baiud. Pamphlet 05 BAIRD. — Protection of Home Labor and Home Pro- ductions necessary to the Prosperity of the Ameri- can Farmer. By Henry Carey- Baird. 8vo., paper 10 BAIRD.— Some of the Fallacies of British Free- Trade Revenue Reform. Two Letters to Arthur Latham Perry, Professor of History and Politi- cal Economy in Willianis College. By Hexuy Cakey' Baird. Pauij)lilet. ' 05 BAIRD.— The Rights of American Producers, and the Wrongs of British Free-Trade Revenue Reform. By Hen'ry Carey' Baird. Pamphlet 05 BAIRD.— Standard Wages Computing Tables : Am Imiirovcment in all former MethiMis of Ccii!|)Uta(iop, so arranged that wages for days, hours, or fractions of hours, at a s})ecified rate per day or hour, may be ascertained at a glance. By T. Spangleu Bai rd. 01>loiig folio $5.00 BAIRD.— The American Cotton Spinner, and Mana- ger's and Carder's Guide : A Practical 'fn-itisc rising tlii- most in'itV'ct and i'.\:u-t Tlicoiciifal and Practical De- scription of the Art (if l>istillati"n anil Ucctilication ; incluilinjr all of the most recent imjirovcnicnts in distilling,' ajjjiaratus; instructions for jircjiaring sj)irits from the numerous vei,'elal)les, fruits, etc.; direc- tions for the distillation anil }irc])arati"n of all kinds of brandies and other sjjirits, sj)irituous and other compounds, etc., etc. ]{y Jl. La Fayette Bykn, M. D. Ki,L,ditii Edition. To which arc added. Prac- tical Directions for Distilling, from the French of Th. Flini,', Brewer antl Distiller. 12mi) ^1.50 BYRNE. — Handbook for the Artisan, Mechanic, and Engineer : <,'omj)rising the (Irindiu'.,' and Sharjtening of Cutting Tools, Ahrasive Processes, Laj)idary A\'ork, (!cm and (ilass J-^nLrravin!.', \'arnishinj^ and Lackering, Ajijiaratus, Materials and Processes lor (irinding and Polishing, etc. iJy ()livi;k Bykne. Illustrated by l6o wood en- gravings. In one volume, Svo. ...... $5.00 BYRNE.— Pocket Book for Railroad and Civil Engi- neers : Containing New, Exact, and Concise Methods for Laying out Rail- road Curves, Switches, Frog Angles, and Crossings; the Staking out of work; Levelling; the (,'alcnlation of Cuttings; Embankments; Earth-work, etc. By OLIVER BYitXK. 18mo., full bountl, jwcket- bo(jk form. .......... $L75 BYRNE.— The Practical Model Calculator : For the I'.nginecr, Mechanic, Manufacturi'r of IJigine Work, Naval Architect, :Miner, and Millwright. By Ol-IVEK liYKNK. 1 volume, 8vo., uearly 600 pages $4.50 BYRNE.— The Practical Metal-Worker's Assistant: Com])rising ^Mctallurgic Chemistry ; the Arts of Working all Metals and Alloys; Forging of Iron and Steel ; Hardening and Temj>cring; Melting and Mixing; Casting and Founding; Works in Sheet Metal; The Processes Dependent on the Ductility of the Metals; Soldering; and the most Imi)roved Processes and Tools employed bv .Metal- Workers. "With tile Ajiplication of the Art of Electro-Metallurgy to ^Manufaeturing Processes; collected from Original Sources, and from the AVorUs of Iloltzapffel, Bergeron, Leupold, I'lumier, Naj)ier, Seoffern, (lay, Fairiiairn, and others. By Ol.iVEK BviiNE. A new, revised, and "imiiroved edition, to which is added .\n A]>i)endix, con- taining THK .MaN11A( TlllE Ol- IllSSIA.V SlI KET-1 KO.N. By JOIIN Pkiuy, M. D., F.lt.S. The MAMi'ACTruE ok Malleable Ikon Castings, and Imi'hove.mkxts in Besse.mkk Stkkl. I?y A. A. Fksqcet, Chemist and Engineer. With over (100 Engravings, illus- trating every Branch of the Subject. Mvo $7.00 Cabinet Maker's Album of Furniture : Comprising a ( 'olli'ctioii of Dcsi^rns for I'urMiiiirc. Illustrated by 48 Large and Beautifully Engraved Plaics. in one vol., ol)]ong $5.00 HENRY CAREY BAIRD'S CATALOGUE. 7 CALLINGHAM.— Sign Writing and Glass Emboss- ing: A Complete Practical Illustrated Mauuul of tlie Art. I5y James Cali>ingham. In one volume, 12mo .'^1.50 CAMPIN.— A Practical Treatise on Mechanical Engi- neering : Comprising Metallurgy, Moulding, Casting, Forging, Tools, Work- shop Machinery, Meclianical Manipulation, Manufacture of Steam- engines, etc., etc. Witli an Ajipendix on tlie Analysis of Iron iind Iron Ores. By Fuancis Camimn, C. K. To whicli arc^ addcil, Obser- vations on the Construction of Htcani Boilers, and lleniarks n])oa Furnaces used for Smoke Prevention; with a Chapter on Jvxplosions. By II. Armstrong, C. E., and .John Bourne. Rules for Calcnhiting the Cinuige Wlieels for .Screws on a Turning Lalhc, and for a Whccl- cntting Machine. By .J. La Ni('<;a. Mamigcnn'ot of Sti'cl, Jncliid- ing Forging, Hardening, Tempering, Annealing, Shrinking, anil Fx- pansion. And the Case-hardening of Iron. By G. Ede. Svo. Ulus- ti'ated with 29 i)lates and KM) wood engravings . . . $(i.00 CAMPIN.—The Practice of Hand-Turning in Wood, Ivory, Shell, etc. : With Instructions for Turning such works in Metal as may be re- quired in the Practice of Turning Wood, Ivory, etc. Also, an Appen- dix on Ornamental Turning. By Francis CaMPIN; with Numerous Illustrations. 12nio., cloth $3.00 CAREY.— The Works of Henry C. Carey : FINANCIAL CRISIOS, their Causes and I'JTects. Svo. paper . 25 HARMONY OF INTERESTS: Agricultural, Manufiicturing, and Commercial. 8vo., cloth $l.')Q MANUAL OF SOCIAL SCIENCE. Condensed from Carey's " Prin- cijiles of Social Science." By Kate JIcKkan. 1 vol. t2mo. $2.2.5 MISCELLANEOUS WORKS : comprising " Harmony of Interests," "Money," "Letters to tin; Prosi(kMit," " I^inancial Crises," " The Way to Outdo England Without Plighting Her," "Resources of the Union," " The Public Debt," " Contraction or Expansion ? " " Review of the Decade 1857-'(J7," " Reconstruction," etc., etc. Two vols., 8vo., cloth $10.00 PAST, PRESENT, AND FUTURE. Svo $2.50 PRINCIPLES OF SOCIAL SCIENCE. 3 vols., 8vo., cloth $10.00 THE SLAVE-TRADE, DOMESTIC AND FOREIGN; Why it Ex- ists, and How it may be Extinguished (1853). 8vo., clotli . $2.00 LETTERS ON INTERNATIONAL COPYRIGHT (18(i7) . 50 THE UNITY OF LAW: As Exhi))ited in the Relations of Physical, Social, j\lenta], and Moral Science (1872). In one volume, Svo., pp. xxiii., 4.''.;'.. ("lotli $3.50 CHAPMAN. — A Treatise on Ropemaking : As Practised in ])rivat(' and piilili<' l'o))e vards, with a Deseri)>tion of the Mannf'a.iurc, llnlcs, T;iblrs >sinthe, etc., the Preparation of Aromatic Wa- ters, Volatile Oils or Essences, Sugars, Syruj)S, Aroninfic Tinctures, Lirpieurs, Cordial Wines, Etterveseing Wines, etc., tiu- Airing of Brandy and the Improvement of Spirits, with Copious Directiois nnd Tables for Testing and Reducing Spirituous IJquors, et<'., etc. Translated and Edited from the French of Mil. Di'im.ais, .Mm' ot .Teune. By M. M('Kexn'ie, M.D. To which are added the ruitcsl States Internal Revenue Regulations for the Assessment and Coll<'ctioi\ of Taxes on Distillearatiis necessary in a Soaj) Factory, raetical Instructions in the mMnufa<-tiire of the various kinds of Soaj), the assay of Soaps, etc., etc. lOdited from Notes of LariiK', I'ontencjle, Jlalapayre, JMifour, and otliers, with large and important additions by Prof. H. DUSSAUCK, Chemist. Illustrated. 1 none vol., Svo. . $10.00 HENRY CAREY BAIRD'S CATALOGUE. 9 DUSSAUCE.— A General Treatise on the Manufacture of Vinegar : Theoretical and Practical. Comprising the various ^letiiods, by the Slow ami the t^i'ielv Processes, with Alcohol, Wine, Grain, Malt, Cider, Molasses, and Beets ; as well as the Fabrication of Wood Vinegar, etc., eic. By Prof. H. DussAUCE. In one volume, Svo. . . $.5.00 PUSSAUCE.—A New and Complete Treatise on the Arts of Tanning, Currying, and Leather Dressing : Comprising all the Discoveries and Improvements made in France, Great Britain, and the United States. Edited from Notes and Docu- ments of Messrs. Sallerou, Grouvelle, Duval, Dessables, Labarraque, Payen, llene, De Fontenelle, Malapeyre, etc., etc. By Prof. II. Drs- SAVCE, Chemist. Illustrated by 212 wood engravings. Svo. $25.00 PUSSAUCE— A Practical Guide for the Perfumer : Being a New Treatise on Perfumery, the most favurnble to the Beauty ■without being injurious to the Health, comprising a Desi-ription of the substances used in Perfumery, the Formula of more tlian lt>iH> Prei)a- rations, such as Cosmetics, Perfumed Oils, Tooth Powders, Waters, Extracts, Tinctures, Infusions, Spirits, Vinaigres, Essential Oils, Pas- tels, Creams, Soaps, and many new Hygienic Products not hitherto described. Edited from Notes and Documents of ^lessrs. Debaj", Ln- nel, etc. With additions by Prof H. DrsSAUCE, Chemist. 12mo. $3.00 DUSSAUCE.— Practical Treatise on the Fabrication of Matches, Gun Cotton, and Fulminating Powders. By Prof. H. DussAUCE. 12mo $3.00 Dyer and Color-maker's Companion: Containing upwards of 200 Eeceijits for making Colors, on the most approved ])rineiples, for all the various stj'les and fabrics now in exist- ence; with the Scouring Process, and plain Directions for Preparing, Washing-ofF, and Finishing the Goods. In one vol., 12mo. . $1.25 EASTON.— A Practical Treatise on Street or Horse- power Railways. Bv Alexander Easton, C. E. Illustrated by 23 plates. 8vo., cloth ^'-i-OO ELDER.— Questions of the Day : Economic and Social. By Dr. William Elder. Svo. . $3.00 FAIRBAIRN.— The Principles of Mechanism and Ma- chinery of Transmission : Comprising the Princijiles of Mechanism, Wheels, and Pulleys, Strength and Projiortions of Shafts, Coupling of Shafts, and Engaging and Disengaging Gear. By Sir W^illiam Fairbatkn, C.E., UL.D., F.R.S., F.G.'S. Beautifully illustrated by over I.IO w<»id-euts. In one volume, 12mo $2.50 FORSYTH.— Book of Designs for Headstones, Mural, and other Monuments : Containing 78 Designs. By James FoRSYTH. With an Introduotjon by Charles Boutell, M." A. 4to., cloth .$5.00 10 HENRY CAREY BAIRD'S CATALOGUE. GIBSON. — The American Dyer: A Practical Treatise on the Colorin.i^ of Wool, Cotton, Yarn and Cloth, in three parts. Part First gives a descriptive account of the Dye Stuffs; if of veffetal)le ori.!,'in, wliere produced, how cultivated, ami how prepared for use; if chemical, their composition, specific gravities, and general adaptal)ility, how adulterated, and how to de- tect the adulterations, etc. Part Second is devoted to the Coloring of AVool, giving recipes for one hundred and twenty-nine different colors or shades, and is supplied with sixty colored samples of Wool. Part Third is devoted to the Coloring of Paw Cotton or Cotton Waste, for mixing with Wool Colors in the Manufacture of all kinds of Fahrics, gives reci])es for thirty-eight ditl'erent colors or shades, and is supj)lied Avith twenty -four colored sani)des of Cotton Waste. Also, recii)es for a]ier mills in Ger- many and the United States; recently manager of the Puldic Ledger Paper Mills, near Elkton, Md. Illustrated by 110 wood engravings, and five large folding jilates. In one volume, 4to., cloth ; 398 pages $15.00 HUGHES. — American Miller and Millwright's Assist- ant. By Wm. Carter Hughes. A new edition. In one vol., 12mo. $1.50 HURST.— A Hand-Book for Architectural Surveyors and others engaged in Building: Containing Formula; useful in Designing Builder's work, Table of Weights, of the materials used in Building, Memoranda connected with Builders' work. Mensuration, the Practice of Builders' Jleasure- ment, Contracts of Labor, Valuation of Property, Summary of the Practice in Dilapidation, etc., etc. By J. F. Hurst, C. E. " Second edition, pocket-book form, full bound $2.50 JERVIS.— Railway Property : A Treatise on the Construction and Management of Railways ; de- signed to afford useful knowledge, in the popular style, to the holders of this class of property; as well as Railway Managers, Oflieers, and Agents. By John B. Jervis, late Chief Engineer of the Hudson River Railroad, Croton Aqueduct, etc. In one vol., 12mo., clotli $2.00 JOHNSTON.— Instructions for the Analysis of Soils, Limestones, and Manures. Bv J. F. W. .loHNSTOK. 12mo 33 12 HENRY CAREY BAIRD'S CATALOGUE. KEENE.— A Hand-Book of Practical Gauging : Fur the Use of Be-in iiei-s, u, wliidi is added, A Chapter on Distilla- tion, describing,' the process in operation at the Custom House -for ascertaininor the strength of wines. Bv James B. Keene of H M Customs. ,Svo. ••.."... ' '^1 *>•■'> KELLEY.— Speeches, Addresses, and Letters on In- dustrial and Financial Questions. By Hon. William I). Kelley, M. C. In one volume, 544 pa-es ^^'° $;i.00 KENTISH.— A Treatise on a Box of Instruments, And the Slide Kule ; with the Theory of Tri-ouometrv and Loga- ritlims, includin.i? Practical Geometry, Sun-eyintj, Measurinic of Tim- ber, Cask and JIalt Gauging, Heights, and Distances. By Thomas Kentish. In one volume. 12mo $1.25 EOBELL.—ERNI.— Mineralogy Simplified : A sliort Method of Determining and Classifying Minerals, by means , simple Chemical Experiments in the Wet Way. Translated from tlie last German Edition of F. Von Kobell, with an Introduction to Blow-pipe Analysis and other additions. By Henri Erni JI D late Chief Chemist, Department of Agriculture, author of " Coal" Oil and Petroleum." In one volume, 12mo 5;2..50 LANDRIN.— A Treatise on Steel: Comprising its Ther.ry, Metallurgy, Properties, Practical Working and Cse. By M. II (\ Land.iin, Jr.. Civil Engineer. Translated Irom the Frencli, witli iNotcs, by A. A. FESt^iET, Chemist and Engi- neer W itli an Appendix on the Bessemer and tiie Martin Processes lor Manufacturing Steel, from the Pci^rt of Ahram S. Hewitt United States Commissioner to the Universal Exposition, Paris lS(i7 ' hi one volume, 12mo '' ^^^^ LARKIN.— The Practical Brass and Iron Founder's Guide : A Concise Treatise on Brass Founding, Mouldintj, the jMetals and their Alloys, etc. : to wiiicli are added Recent Imi)royements in tiie Manu- facture of Iron, Steel t)y the Bessemer Process, etc., etc. By J\mfs Larkin, late Conductor of the Brass Foundry Deimrtmcnt in Rcaliy ^eafie & Co's. Penn AVorks. Philadelphia. " Fifth edition, revised' with Extensive additions. In one volume, 12mo. . . it;2.2.'i LEA VITT.— Facts about Peat as an Article of Fuel : \Vith Itcmarks ujxm its Origin and C(cii].(,sific.n, the Localities in wliich It is found, tile Mcihodsdf Prci)aration and Manufaclurc and the various Cscs to wiiicii it is applicahlc ; tut'ctiicr with many otiicr matters of Pra.'tical and Scientific Interest. To which is added ii cliap- tcron the 1 tiiization of Coal Dust with Peat for the Pnxhiction of an Excellent Fuel at .Moderate Cost, sj.eciallv adiii)ted for Steam S«'rvice By T. H. Eeavitt. Third edition. 12m"o. ftl -'■ HENRY CAREY BAIRD'S CATALOGUE. 13 LEROITX, C— A Practical Treatise on the Manufac- tuj e of Worsteds and Carded Yarns : Comiirising Practical Mechanics, with Ilules and Calculations api)liod to Spinning; Sorting, Cleaning, and Scouring Wools; the Englisli and French methods of Conihing, Drawing, and Spinning Worsteds and jManufacturing Carded Yarns. Translated from the French of CiiAKLES LerouX, Jlechanical Engineer, and Superintendent of a Spinning Mill, by Hokatio Painp:, M. D., and A. A. Fesqikt, Ciieinist and Engineer. Illustrated by 12 large Plates. To which is added an Appendix, containing extracts from the Reports of the Inter- national Jury, and of the Artisans selected by the Committee appointed by the Council of the Society of Arts, London, on Woollen and Worsted Ikiachinery and Fabrics, as exhibited in the Paris Universal Ex])(>si- tion, 1807". 8vo., cloth ^o.OO LESLIE (Miss).— Complete Cookery: Directions for Cookery in its Various Branches. By MiSS Lesi.IK. (JOth thousand. Thoroughly revised, with the addition of New Re- ceipts. In one volume, 12mo., cloth .$1.50 LESLIE (Miss).— Ladies' House Book : A Manual of Domestic lilcononiy. liUth revised edition. 12mo., cloth. LESLIE (Miss). — Two Hundred Receipts in French Cookery. Cloth, 12mo. LIEBER.— Assayer's Guide : Or, Practical Directions to Assayers, Miners, and Smelters, for the Tests and Assays, by Heat and by Wet Processes, for the Ores of all the principal Metals, of Gold and Silver Coins and Alloys, and of Coal, etc. By Oscar M. Lieber. 12mo., cloth. . . $1.25 LOTH.— The Practical Stair Builder: A Complete Treatise on the Art of Building Stairs and Iland-Rails, Designed for Carpenters, Builders, and Stair-Builders. Illustrated with Thirty Original Plates. By C. Edward Loth, Professional Stair-Builder. One large 4to. volume. .... ijiKi.OO LOVE. — The Art of Dyeing, Cleaning, Scouring, and Finishing, on the Most Approved English and French Methods: Being Practical Instructions in Dyeing Silks, Woollens, and Cottons, Feathers, Chips, Straw, etc. Scouring and Cleaning Bed and Window Curtains, Carpets, Rugs, etc. Frcncli and English Cleaning, :iny Color or Fabric of Silk, Satin, or Damask. By Thomas Love, "a Working Dyer and Scourer. Second American Edition, to which are added General Instructions for the Use of Aniline Colors. In one volume, Svo., 343 i)ages. $5.00 14 HENRY CAREY BAIRD'S CATALOGUE. MAIN and BROWN.— Questions on Subjects Con- nected with the Marine Steam-Engine : And Examination Pai^TS : with Hints for tlieir Solution. By TnOMAS J. Main, Professor of >ratheniatics, lioyal Naval (."ollej,'e, and THOMAS Bkown, Chief Engineer, n. X. 12mo"., cloth. . . . $1.50 MAIN and BROWN.— The Indicator and Dynamo- meter : Witli tlieir Practical Ajiplications to the Steam-Engine. By TlloM.\S J. Main", M. A.F. R., Assistant Professor Royal Naval College, Ports- mouth, and Tiio.MA.s Brown, Assoc. Inst. C. E., Chief Engineer, R. X., attached to the Royal Naval College. Illustrated. From the Fourth London Edition. 8vo. $1.50 MAIN and BROWN.— The Marine Steam-Engine. By Thom.vs J. Main, F. R. ; Assistant S. Mathematical Professor at the Royal Naval College, Portsmouth, and Thomas Brown, Assoc. Inst. C. E., Chief Engineer R. N. Attached to the Royal Naval Col- lege. Authors of " Questions connected with the Marine Steam-En- gine," and the " Indicator and Dynamometer." With numerous Illus- trations. In one volume, 8vo. ...... .$5.00 MARTIN.— Screw-Cutting Tables, for the Use of Me- chanical Engineers : Shownig the Proper Arrangement of Wheels for Cutting the Thread;* of Screws of any re(inired Pitch ; witii a Tal»lc for Making the Cni- versal Gas-Pipe Thread and Taps. By W. A. Martin, Engineer. 8vo 50 Mechanics' (Amateur) Workshop: A treatise containing plain and concise directions for the manipula- tion of Wood and Metals, including Casting, Forging, Brazing, Sol- dering, and CariKMitry. Bv the author of the " Lathe and its L'ses." Third edition. Illustrated". ,Svo .s.S.oO MOLESWORTH.— Pocket-Book of Useful Formulae and Memoranda for Civil and Mechanical Engi- neers. By fJtlLFORD L. Moi.ESWORTH, Member of tlie Institution of Civil Engineers, Chief Resident Engineer of the Ceylon Railway. Second American, from the Tenth London Edition. In oni- volume, full bound in pocket-book form. ....... $_'.(»» NAPIER. — A System of Chemistry Applied to Dyeing. By .Iamks Naimkr, F. C S. A New and Thoroughly lievised Edi- tion. ( 'om))lctcly l)r(iuglit \i\> to the present state of the Science, inclu- ding tlie Chemistry of Coal Tar Colors, Ity A. A. Fi:s7. Illustrated. In one Volume, Hvo., 4'J2 pages. . i;5.()(» HENRY CAREY BAIRD'S CATALOGUE. 15 NAPIER.—Manual of Electro-Metallurgy : Inuluiliiig the Application of the Art to MuiiuliiL'turing Processes. By James ISapiek. Fourth American, from tlie Fourth London edition, revised and enlarged. Illustrated by engravings. In one vol., 8vo. $2.00 NASON. — Table of Reactions for Qualitative Chemical Analysis. By Henry B. Nason, Professor of Chemistry in the Rensselaer Poly- technic Institute, Troy, New York. Illustrated by Colors. . 63 NEWBERY.— Gleanings from Ornamental Art of every style : Drawn from Examples in the British, South Kensington, Indian, Crystal Palace, anc' ^ther Museums, the Exhibitions of 1851 and 18G2, and the best Eng!:...i and Foreign works. In a series of one hundred exquisitely drawn Plates, containing many hundred examples. By Robert Newbery. 4to $15.00 NICHOLSON.— A Manual of the Art of Bookbinding : Containing full instructions in the different Branches of Forwarding, Gilding, and Finishing. Also, the Art of Marbling Book-edges and Paper. By James B. Nicholson. Illustrated, ll'mo., cloth. $2.25 NICHOLSON.— The Carpenter's New Guide: A Complete Book of Lines for Carjienters and Joiners. By Peter Nicholson. The whole carefully and thoroughly revised by H. K, Davis, and containing numerous new and improved and original De- signs for Roofs, Domes, etc. By Samuel Sloan, Architect. Illus- trated by 80 plates. 4to. $4.50 NORRIS.— A Hand-book for Locomotive Engineers and Machinists : Comprising the Proportions and Calculations for Constructing Loco- motives ; Manner of Setting Valves ; Tables of Squares, Cubes, Areas, etc., etc. By Septimus Norris, Civil and Mechanical Engineer. New edition. Illustrated. 12mo., cloth $2.00 NYSTROM.— On Technological Education, and the Construction of Ships and Screw Propellers : For Naval and Marine Engineers. By John W. Nystrom, late Act- ing Chief Engineer, U. S. N. Second" edition, revised with additional matter. Illustrated by seven engravings. 12mo. . . $1.50 O'NEILL.— A Dictionary of Dyeing and Calico Print- ing: Containing a brief account of all the Substances and Processes in use in the Art of Dveing and Printing Textile Fabrics; with Practical Receipts and Scientific Information. By Charles O'Neill, Ana- lytical Chemist ; Fellow of the Chemical Society of London ; Member of the Literarv and Philosophical Society of Manchester ; Author of " Chemistry of" Calico Printing and Dyeing." To which is added an Essay on Coal Tar Colors and their apjilitjation to Dyeing and Calico Printing. By A. A. Fesquet, Chemist ami Knuincer. Witli an Ap- pendix on D"yeing and Calico Printing, as shown at the Universal E.\position, Paris, 18(57. In one volume, 8vo., 491 pages. . ijitJ.OO 16 HENRY CAREY BAIRD'S CATALOGUE. ORTON.— Underground Treasures : Unw and Where to Find Tlieiii. A Kcv lor the Ready Determination ot all the Lseful Minerals within the United States. By J \mes Orton, a. M. Illustrated, 12mo ^^1.50 OSBORN.— American Mines and Mining: Tiieoretioally and Practically (/oiisidered. By Pnjf. II. S. OsBORN. Illustrated by numerous engravings. Svo. {l)i preparation.) OSBORN.— The Metallurgy of Iron and Steel : Theoretical and Practical in all its Branches ; with special reference to American Materials and Processes. By II. S. O.suokn LL I) Professor of Mining and Metallnrtrv in Lafavettc CoUe-e' Easton' Pennsylvania. Illustrated by luimerous large folding dilates and ■wood-engravings. 8vo. . . . . . . ^ ^15 qq OVERMAN.— The Manufacture of Steel : Coritainin- the Practice and Princiidcs of \Vor]tion of Moulds for Iron, Bronze, Brass, and other Metals ; Plaster of Paris Sulphur \Vax, and other articles commonly used in Castintr; the Construction of Melting lurnaees, the Melting and Founding of Metals • the Com- position of Alloys and their Nature. With an Appendix containin" Receipts for Alloys, Bronze, Varnishes and Colors for (^astin"-s- also" Tables on the Strength and other (lualities of Cast Metals. Bv Fkkd- ERICK OvEii.M AN, .Mining Engineer, Author of " The Manufacture of Iron." A\ ith 4ii Illustrations. 12mo $1.50 Painter, Gilder, and Varnisher's Companion : Containing Rules and Regulations in cvcrvthini,' relating to the Arts of 1 ainting, < .iNling, \ arnishin-, Class-Staining, Graininir, Marbling, Sign-\Vriting, Mldu.g on Class, an.l Coach Painting an.l Varnishing Jests for the Detection of Adulterations in Oils, Colors etc ■ •uul a htatementof the Diseases to which Painters are peculiarlv liable with the Simplest and Best Hem.Mli,.s. Sixteenth Edition. Revised with an .\j.j,endix. Coiitainim: Colors and < olorin-- Theoretical and Practical. ( omprisin- .lescriptioiis of a great varietv of .Additional Pigments, their (Qualities and Uses, to which are added, Drvers and M.MJev! and Operations of Painting, etc. To-etlier witii Clievreul's I rincii>!c-s ot llarnioiiy and Contrast of Colors. iL'mo., cloth ."fil ."iO HENRY CAREY BAIRD'S CATALOGUE. 17 PALLETT.— The Miller's, Millwright's, and Engineer's Guide. By Henky Pallett. Illustrated. In one volume, 12mo. $3.00 PERCY.— The Manufacture of Russian Sheet-Iron. By .loiix Percy, M.U., F.Il.S., Lecturer on Jletallunjrv at the Royal School of Mines, and to Tlie Advaneed Class of Artillery Ofiicens at the Royal Artillery Institution, Woolwich ; Author of" Metallurgy." With Illustrations. Svo., i^aper 50 cts. PERKINS.— Gas and Ventilation. Practical Treatise ou Gas and Ventilation. With Special Relation to Illuminating, Heating, and Cooking by Gas. Including Scientific Helps to Engineer-students and others. AVith Illustrated Diagrams. By E. E. Perkins. 12mo., cloth $1.25 PERKINS and STOWE.— A New Guide to the Sheet- iron and Boiler Plate Roller : Containing a Series of Tables showing the Weight of Slabs and Piles to produce Boiler Plates, and of the Weight of Piles and the Sizes of Bars to produce Sheet-iron; the Thickness of the Bar Gauge in decimals ; the Weight per foot, and the Thickness on the Bar or Wire Gauge of the fractional parts of an inch ; the Weight per sheet, and the .Thickness on the Wire Gauge of Sheot-iron of various dimensions to weigh 112 lbs. per bundle; and the conversion of Short Weight into Long Weight, and Long W'eight into Short. Estimated and col- lected by G. H^ Pekkins and J. G. Stowe $2.50 PHILLIPS and DARLINGTON.— Records of Mining and Metallurgy ; Or Facts and ^Memoranda for the use of the Mine Agent and Smelter. By J. Arthur Philmp.s, Mining Engineer, Graduate of the Imperial School of Mines, France, etc., and John Darlington. Illustrated by numerous engravings. In one volume, 12mo. . . $2.00 PROTEAUX.— Practical Guide for the Manufacture of Paper and Boards. By A. Proteaux, Civil Engineer, and Graduate of the School of Arts arid Manufactures, and Director of Thiers' Paper ^lill, Puy-de-Dome. AV'ith additions, by L. S. Le Normand. Translated from the French, with Notes, by Horatio Paine, A. B., il. I). To which is added a Chapter on the Manufacture of Paper from Wood in the United States, by Henry T. Brown, of the " American Artisan." Illus- trated by six plates, containing Drawings of Raw Materials, Machi- nery, Plans of Paper-Mills, etc., etc. Svo $10.00 REGNATJLT.— Elements of Chemistry. By M. V. Regnaui.T. Translated from the French by T. FORREST Betton. il. D., and edited, with Notes, by James C. Booth, IMelter and Refiner U. S. Mint, and Wm. L. Faber, Metallurgist and Mining Engineer. Illustrated by nearly 700 wood engravings. Comprising nearly 1500 pages. In two volumes, 8vo., cloth. . . . $7.50 18 HENRY CAREY BAIRD'S CATALOGUE. REID.— A Practical Treatise on the Manufacture of Portland Cement : By IIenky Reid, C. E. To which is iidded a Transhition of M. A. Lipnwitz's Work, describing a New ifetiiod ado])ted in nsinii[)tion on the American Continent. With Incidental Statistics of tlie Iron Manu- facture. By R. C. T.VYLoU. Second edition, revisetl by S. S. II.M.- DICMAX. Illustrated bv five Maps and nuiiiv wood engravings. 8vo., cloth. ..."....■..'.. $10.00 TEMPLETON.— The Practical Examinator on Steam and the Steam-Engine : With Instructive References relative thereto, arranged for the Use of Kiiu'ineers, Students, and others. Bv W.M. TlCMl'LlvTuX, Enttineer. l-'mo ■ " .$l.i>5 THOMAS.— The Modern Practice of Photography. By R. W. Thomas, F. C.S. Svo., cloth 75 THOMSON.— Freight Charges Calculator. i;y A.Ni)Ki;w Thomson, Freii,'lit Auent. L'Jmo. . . . $1.25 TURNING: Specimens of Fancy Turning Executed on the Hand or Foot Lathe: With (ieometric, ( >val, and ICeceiitric Chucks, and Elliptical Cutting Franu'. By an .\mateur. Illustrated by .'50 exquisite Photograi»hs. 4to ' , . . . $J.OO HENRY CAREY BAIRD'S CATALOGUE. 21 Turner's (The) Companion: Containing Instructions in Concentric, Elliptic, and Eccentric Turn- ing: also various Plates of Chucks, Tools, and instruments ; and Di- rections for using the ICccentric Cutter, Drill, N'ertical C!utter, and Circular Rest; with Patterns and Instructions for working them. A new edition in one volume, 12nio. ..... $1.50 URBIN.— BRULL.— A Practical Guide for Puddling Iron and Steel. By Ed. Urbix, Engineer of Arts and Manufactures. A Prize Essay read before the Association of Engineers, Graduate of the Scliool of Mines, of Liege, Belgium, at the Meeting of 1 865-G. To which is added A Comparison of the Resisting Properties of Iron and Steel. By A. Brull. Translated from the French by A. A. Fesquet, Che- mist and Engineer, In one volume, 8vo $1.00 VAILE. — Galvanized Iron Corniee-'Worker's Manual; Containing Instructions in Laying out the Dilfercnt Mitres, and Ma- king Patterns for all kinds of Plain and Circular Work. Also, Tables of Weights, Areas and Circumferences of Circles, and other Matter calculated to Benefit the Trade. By Charles A. Vaile, Superin- tendent " Richmond Cornice Works," Richmond, Indiana. Illustra- ted by 21 Plates. In one volume, 4to $5.00 VILLE.— The School of Chemical Manures : Or, Elementary Principles in the ti se of Fertilizing Agents. From the French of M. George Ville, by A. A. Fesquet, Chemist and Engi- neer. AVith Illustrations. In one volume, 12 mo. . . §1.25 VOGDES.— The Architect's and Builder's Pocket Com- panion and Price Book: Consisting of a Sliort but Comprehensive Epitome of Decimals, Duo- decimals, Geometry and Mensuration ; with Tables of U. S. Measures, Sizes, Weights, Strengths, etc., of Iron, Wood, Stone, and various other Materials, Quantities of Materials in Given Sizes, and Dimen- sions of Wood, Brick, and Stone; and a full and ccmiplete Bill of Prices for Carpenter's Work ; also. Rules tor Computing and Valuing Brick and Brick Work, Stone Work, Painting, Plastering, etc. By Frank W. Vogdes, Architect. Illustrated. Full bound in pocket- book form $2.00 Bound in cloth. 1-50 WARN.— The Sheet-Metal Worker's Instructor: For Zinc, Sheet-Iron, Copper, and Tin-Plate Workers, etc. Contain- ing a selection of Geometrical Problems; also. Practical and Sim])le Rules for describing the various Patterns required in the difi'ereut branches of the above Trades. By Reuben H. Warn, Practical Tin- plate Worker. To which is added an Appendix, containing Instruc- tions for Boiler Making, Mensuration of Surfaces and Solids, Rules fof Calculating the Weights of different Figures of Iron and Steel, Tables of the Weights of Iron, Steel, etc. Illustrated by 32 Plates and 37 Wood Engravings. Svo. $3.00 22 HENRY CAREY BAIBD'S CATALOGUE. V/ARNER.— Now ThcorcmH, TabloH, and Diagrams for the Computation of Earth- Work: Duniifni-ii for tUf. iiv of hnt;iri';ern in J'r<;liiiiitiiiry (iiival<, '•oin|;ri«in(f Kxrilanalory f'ntt for I><-finitio;m an'l l'rol)l<;rri«, Ktia:/rani", an'l a H'-ri'-H of I,itli'(j.'raj)lii«r Drawinj^t ffini M'mIcN xh'iwinK all th. pro'lnc! lOlab')- rat') w«(rk with WmtnU-h, an'l at Hrnall kxfu-wu-. fly yAiny.HT I'. Wath'15, lat<; of "Tin: H; of DrilU, I/ithe T'»'r th<; Hannr ; tin: lli'wiilfjt vrifi'-'l hy A'rtual \'riu-A'u-'; ill tin; I>ath'', lln- Vi'-'-, an'l on th'- I'l'ior. T'»«'llnT with W'>rk«h'»p ManaKcnn-nf, Iv-'di'irny nf ,MaMiifa<-hir<-, fhc Htcarn- Kns{in<', li'iil'-ri*, ('n-.iri*, iJcltin!/, H/-., '■('•, I'.y lv.lir,l!T I', W'ATMfjN, lati- '7 En^ravin^x on Woo'l, an'l lhr<.»; I'lat-*;**. In one volume, Hvo. i/nprmM.) HENRY CAREY BAIRD'S CATALOGUE. 23 WILL. — Tables for Qualitative Chemical Analysis. By Pri^fcssdr IIKINKICU Wu.l., of (tiosson, (icrniany. iSovciitli eili- tion. Translated In- Chaki-Ks K. Himks, Ph. D., Professor of Natu- ral Seiciieo, Dickinson Collesje, Carlisle, Pa. . . . !f;i.50 WILLIAMS.— On Heat and Steam : Enibraoint; New Views of Vaj>orization, Condensntion, and Explo.«ions. By Charles Wye Williams, A. I. C. E. Illustrated. 8vo. $3.50 WOHLER.— A Hand-Book of Mineral Analysis. By r. Wom.EK, ProlVss