London.Puilishedby Sherwood, Gihert &.Bper.lS2 
 
THE 
 
 CABINET MAKER'S GUIDE; 
 
 Uulc^ antr $tt0t ructions 
 
 IN THE ART OF 
 
 VARNISHING, DYING^ STAINING, JAPANNING, POLISHING, 
 LACKERING, AND REAUTIFYING 
 
 WOOD, IVORY, TORTOISESHBIX, & RESTAI.. 
 
 Observations on their Management and Ajyplicatidn. 
 
 INCLUDING AN APPENDIX, 
 
 CONTAINING SEVERAL VALUABLE TABLES. 
 
 FIFTH EDITION, 
 
 CONSIDERABLY AUGMENTED BY THE ADDITION OF 
 SEVERAL NEW ARTICLES, RECEIPTS, &C. 
 
 By G. a. SIDDONS. 
 
 LONDON : 
 
 
 SHERWOOD, GILBERT, AND 
 
 PIPER, 
 
 PATERNOSTER ROW. 
 
 
 MDCCCXXXVII, 
 
 op'i^cw 
 
 s 
 
 TS 
 
 
 as(^ 
 
 
 sso 
 
 
 185-? 
 
ADVERTISEMENT 
 
 TIFTH EDITION. 
 
 The rapid sale of Four Editions of this 
 work has induced the Editor to offer to 
 the public a Fifths which, from the many 
 important additions made, he trusts will 
 now form a complete pocket companion 
 for the Cabinet Maker, as well as a neces- 
 sary and useful addition to liis tool- 
 chest : and though the price is somewhat 
 enhanced, from the plates and extra matter 
 contained in it, still that will not be found, 
 
IV ADVERTISEMENT. 
 
 on a comparison with the former work, to 
 be such as will put it out of the workman's 
 power to avail himself of the benefits 
 a book of general reference like the 
 present is calculated to afford. 
 
 There are many processes in the art of 
 Cabinet- Making, which are of themselves 
 simple, and materially useful to the work- 
 man, though not perhaps generally known. 
 It is therefore the intention in this edition 
 to fill up what was wanting in a former, by 
 introducing some articles, which, though not 
 strictly applying to this art, yet will be 
 found of great benefit, and will materi- 
 ally assist him in his operations. For which 
 purpose, besides a variety of new receipts 
 in the articles already before the public, 
 three entire new ones will be introduced, 
 viz. Lines or Drawing, Turning and Sol- 
 dei-ing. The value of which, particularly 
 to the country workman, must be allowed 
 
ADVERTISEMENT V 
 
 to oe of some consequence, as they will 
 enable him to perform many operations 
 which, without their assistance, would not 
 only Retard the work in hand, but in many 
 cases prevent him undertaking the work 
 itself. 
 
 As in the introduction to the former edi- 
 tion, some rules and cautions were laid 
 down with respect to the cliusing and ma- 
 nagement of his tools, so in this I shall give 
 some further directions, to prove the truth 
 and correctness of them ; and show how 
 some may be substituted for others, or in 
 the absence of proper ones, particularly 
 adapted to their several purposes, to app.y 
 other simple means to effect the same ope 
 rations; and indeed in every thing tha* 
 concerns the Cabinet Maker, or any thing 
 connected, however remote, with his calling, 
 it shall be our study to avail ourselves of 
 every thing applicable to our purpose from 
 
VI ADVERTISEMENT. 
 
 Other authors, as well as our own practica 
 experience; being careful to set down 
 nothing but what is in practice found to be 
 available. 
 
INTRODUCTION 
 
 Nothing is more calculated to improve 
 tlie mechanical arts than giving publicity 
 to the various processes used among work 
 men in therr several trades ; many have 
 oeen the publications in which various 
 receipts have been given ; but in practice 
 not a few have been found to fail, not 
 perhaps because of themselves they were 
 inapplicable, but owing to a want of some 
 practical illustrations to enable the work- 
 man to ascertain, not only the proportion 
 of the several ingredients, but the method 
 of properly mixing them, and also the 
 proper mode of application; another incon- 
 venience, which, in many instances, is a 
 
VIU INTRODUCTION. 
 
 comDiete bar to the dissemination of prac- 
 tical knowledge, is the expensive nature of 
 many works in which valuable receipts are 
 interspersed. The Cabinet Maker's Guide 
 is; perhaps, the only work that may pro- 
 perly be called a Manual of the Arts, and 
 the rapid sale which it met with, is a proof 
 of the estimation in which it was held, 
 though even there, much room is left for 
 improvement, particularly in the practical 
 application of the rules and cautions ne- 
 cessary to be observed to ensure success ; 
 and many subjects connected with the 
 general plan still remain untouched : the 
 object of the present work is to embody 
 all that is useful in the Cabinent Maker's 
 Guide, and adapt to practice what is 
 there given ; as w^ell as to enlarge on the 
 original plan, so as to make it a com- 
 pendium of general practical utility. The 
 various trades of the Cabinet Maker, 
 Chair Maker, Japanner, Gilder, and Lac- 
 kerer, are so intimately connected, that 
 tliere is scarce a handsome piece of furni- 
 
INTRODUCTION. IX 
 
 7jre where the combination of their joint 
 efforts is not necessary ; and this inconve- 
 nience, if it may be so designated, is 
 particularly felt in country manufactories ; 
 and it is almost universally the case, that a 
 workman in one branch is entirely ignorant 
 of the methods ueed by another ; for 
 instance, the Cabinet Maker is, perhaps, 
 generally speaking, unacquainted with the 
 method to be used in giving his work the 
 finishing stroke, by varnishing or gilding 
 the several' parts, which are necessary to 
 add to the beauty of the whole : now a 
 knowledge of how these different opeia- 
 tions are performed, even in case it is put 
 into other hands to finish, will enable him 
 to leave his part in such a state that the 
 utmost perfection will be attained by those 
 into whose hands it is to pass for comple- 
 tion ; the present work is therefore under- 
 taken with a view of supplying what was 
 thought deficient in the Cabinet Maker's 
 Guide, and applying practical illustrations 
 lo those receipts wJ^eve it was necessary. 
 
X INTRODUCTION. 
 
 cither to the thorough understanding of 
 the receipt itself, or showing on what its 
 good or bad quaHties depend. 
 
 I shall conclude this introduction by 
 pointing out the characteristics of a good 
 workman, and give some practical rules as 
 concerns the ascertaining the good or bad 
 qualities of the tools necessary for the 
 trades to which this publication is more 
 particularly addressed; and first, it is 
 necessary, in order to form a good me- 
 chanic, that he should strive, with unceas- 
 ing assiduity, to excel in that branch to 
 which his labours are more particularly 
 directed ; that he should study truth and 
 accuracy in the several parts, and beauty 
 in the finishing strokes : in order to attain 
 these several requisites he should observe 
 with care the several methods used by 
 othei^ workmen, and if he can note down 
 the various operations that contribute to 
 the excellence of his art, by no means to 
 neglect it, as he will in time gain a fund of 
 knowledge necessary in his labours ; with 
 
INTRODUCTION. Xt 
 
 regard to the truth and accuracy of his 
 work, he should pay particular attention 
 to keep his tools in proper order, for the 
 time expended in being careful in that 
 respect will be amply repaid by the ease 
 and accuracy with which the several pai'ts 
 of his work will correspond. If careful in 
 this respect, he will save a deal of trouble 
 in the finishing operation, which must be 
 conducted with great care and attention, 
 not attempting to hurry its complelion ; 
 as that, in many cases, would act in dia- 
 metrical opposition to his wishes ; but nar- 
 rowly to observe the progress he makes, 
 and if any accident should occur, it will 
 mostly be soon remedied ; on the contrary, 
 if with hurry, and inattention to any thing 
 but getting the work out of his hands, it 
 ■willj in many cases, cost him more labour 
 and trouble to repair, than the whole 
 operation would do when conducted with 
 care ; these maxims will not only conduce 
 to make a good mechanic, but what is of 
 as greai consequence, a ready workman. 
 
Wl INTRODUCTION. 
 
 Wkli respect to choosing the tools used 
 in the trades to which I have alluded as the 
 most necessary, and in which all may be 
 comprehended, are planes, saws, and chi- 
 sels, and we will consider them with re- 
 spect to the wood they are manufactured 
 from, and the steel which form the cutting 
 part of them ; and first, beech is in gene- 
 ral, and ought to be always used, for the 
 purpose of the stocks, handles, &c., as it is 
 of a tough texture, and not liable to spUt 
 or warp so much as any other ; now there 
 are two kinds of beech, usually known by 
 the names of black or red beech, and the 
 white beech ; the former is by far the best 
 in every respect, and may be always known 
 by its colour, and texture, which is darker 
 and more hard in substance ; the white is 
 also more apt to warp, and soon wears 
 with use; it should therefore always be 
 rejected as improper ; again, if you ex- 
 amine a piece of beech end- ways, you will 
 perceive the grain runs in streaks, which 
 among workmen, is called the heat of the 
 
INTRODUCTION. Xll 
 
 wood ; and in all planes this grain or beat, 
 which is the hard fibrous particles of the 
 wood, should run in a direction perpendi- 
 cular to the face of the plane, which in 
 that case appears full of little hard specks ; 
 whereas, if the beat runs parallel to the 
 face, it will appear in irregular streaks, 
 which situation of the grain should always 
 be avoided, as the face will be apt to weai 
 uneven, and more subject to warp and 
 twist : again, in 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 box arc 
 let into that part of the face that forms 
 the quirk of the mouldings, but that, when 
 possible, should be avoided, as the texture 
 of the two woods are very different, and 
 the different temperature of the atmo* 
 sphere will cause a difference in their con- 
 traction, and consequently the plane will 
 be liable to cast : if it is at any time in 
 
XIV INTRODUCTION. 
 
 troduced, I would recommend only a small 
 piece just at the mouth of the plane, firmly 
 dove-tailed in, which will not be so apt to 
 derange the accuracy of the plane. 
 
 With respect to saws, chisels, and other 
 edge tools, their goodness depends upon 
 the quality of the steel, which should be 
 uniform throughout, and it is always better 
 to have them tempered rather too hard than 
 soft, for use will reduce the temperature ; or 
 if at any time it is necessary to perform the 
 operation yourself, the best method I can 
 recommend 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 melted lead for 
 a few minutes, till its gets sufficiently 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 
 ])lue ; when that is the case, take it out, 
 rub it again with the tallow, and let it 
 cool : if it should be too soft, wipe the 
 
INTRODUCTION. X/ 
 
 grease off, and repeat the process ^^tholfi 
 the tallow, and when it is sufficiently hoi, 
 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 expensive, but, in many 
 cases, impossible to do it at home, a plum- 
 ber''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. 
 
 With respect to choosing your brushes 
 for varnishing, it is necessary that they 
 })osse?s elasticity combined with softness, 
 and tnat the hairs aie sufficiently fixed, so 
 
XVI INTRODUCTIOK. 
 
 that taking hold of one hair, it wih not 
 pull out or separate from the rest: the 
 larger brushes are usually made of bristles, 
 the smaller of camel's-hair: the former 
 must be firmly tied to the handle, and the 
 string well glued : the latter are best put 
 into a tin case, and after being used must 
 always be cleaned according to the direc- 
 tions given in the course of this work. 
 
 By paying proper attention to these 
 directions, and a little care, the workman 
 will be enabled to keep his tools in order, 
 and to select such as are proper for the 
 purpose they ai*e intended. 
 
 G A. S. 
 
T2B 
 
 CABINET MAKER S GUIDE. 
 
 CABINET WORK. 
 
 GENERAL OBSERVATIONS. 
 
 As the beauty of Cabinet work depends on 
 the care with which it is finished, I shall, as a 
 proper introductory article, point out some 
 methods of proceeding which will add much to 
 its beauty, and furnish hints to the workman 
 for perfecting his art. The usual method of 
 cleaning off any piece of cabinet furniture, is 
 simply by scraping and glass-paper ; which in 
 many instances, particularly if the grain is any 
 ways soft, will not produce that face which is 
 requisite for it to bear a good polish, either 
 witii wax or oil ; another reason is, that it is 
 B 
 
2 CABINET WORK. 
 
 difficult at all times to meet with gooa g;]&^9 
 paper, which is always requisite. 
 
 To make Glass-pa-per. 
 
 Take any quantity of broken window-g-Iass, 
 that which has rather a green appearance on 
 the edge is best, pound it in an iron mortar, 
 then have two or three sieves of different 
 degrees of fineness, ready for use when wanted ; 
 lake any good tough paper, fine cartridge is tho 
 best, and having levelled the nobs and bumps 
 from both sides with pumice-stone, take it at 
 each corner on a board, and with good clear 
 glue, diluted with about one-third more water 
 than is uted generally for wood-work, go 
 quickly over the paper, taking care to spread it 
 even with your brush ; then, having your sieve 
 ready, sift the pounced glass over it lightly, but 
 to cover it in every part ; let it remain till the 
 glue is set, take it from the board, and shake 
 off the superfluous glass, again into the sieve, 
 and hang it in the shade to dry : in two or three 
 days it will be fit for use. 
 
CABINET WORK. 
 
 jSote. — This paper will be much better than 
 any you can buy, as sand is frequently mixed 
 ■ wich the glass, and coloured to deceive tiie 
 purchaser. 
 
 To make Strong Glue jit for Inlaying or 
 Veneering, 
 
 Take the best glue, which is known by its 
 transparency, and of rather a light brown, and 
 being free from clouds and streaks, dissolve it 
 in the usual quantity of water, and to every 
 quart add one ounce of isinglass and a gill ot 
 the best vinegar. 
 
 To clean ike face of soft Mahogany, or otkei 
 porous Woods. 
 
 After scraping and sand-papering in the 
 usual manner, take a sponge and well wet the 
 surface to raise the grain, and with a piece of 
 fine pumice-stone, free from stony particles, and 
 cut the way of the fibres, rub the wood in the 
 direction of the grain, keeping it moist with 
 B 2 
 
CABINET WOR K. 
 
 water : let the \vork dry, then if you wet it 
 again, you will tindthe grain much smoother, 
 and it will not raise so much ; if you now re- 
 peat the process, you will find the surface 
 perfectly smooth, and the texture of the wood, 
 to appearance, much hardened : by this means, 
 common soft Honduras mahogany will have a 
 face equal to the finest Hispaniola. 
 
 Note. — If this does not fucceed quite to your 
 satisfaction, yoa may still improve the surface, 
 by using the pumice-stone with cold drawn 
 liaseed oil, in the same manner as you have 
 proceeded above with uater, and this will be 
 found to put a most beautiful, as we\\ as a 
 durable face to your work, which may then be 
 polished or varnished as required. 
 
 Another way to Clean and finish Mahogany 
 JVork. 
 
 After having scraped and sand-papered your 
 work as smooth as possible, go over every part 
 with a brush dipped in the furniture oil, and let 
 it remain all night ; then have ready the powder 
 
CABINET WOllK. 5 
 
 oi the finest red-brick, which tie up in a cotton 
 slocking and sift it equally over the work the 
 next morning, and with a leaden or iron weight, 
 wrapped up in a piece of carpet, rub your work 
 well the way of the grain backwards and for- 
 wards till it has a good gloss ; if you think it not 
 sufficient, or if the grain ap[)ears any ways 
 rough, repeat the process, being careful not to 
 put too much of the brick dust, as it should not 
 be rubbed dry, but rather as a paste upon the 
 cloth ; after you have made the surface perfectly 
 smooth, you may clean your work oflf with a 
 rubber of carpet, and some fine mahogany saw- 
 oust. This process will give not only a good 
 gloss and face to your work, but will make a 
 surface that will improve by wear; indeed, by 
 this process, soft Honduras mahogany will have 
 the appearance of good hard Spanish. The 
 only thing against this process that I am aware 
 of is, that it tends to darken the mahogany, and, 
 according to the present fashion of furniture, 
 that process which is most calculated to pre- 
 serve the light appearance of the wood is 
 s3 
 
U CABINET WORK. 
 
 preferred; but this is tasfe, and perhaps ere 
 long it may be the fashion to admire dark in 
 preference to light coloured wood, ana then 
 this process will be as much admired as that of 
 polishing with wax is at the present day. 
 
 To darken light Mahogany. 
 
 It frequently happens in repairing of old fur- 
 niture that we cannot match the old wood with 
 any new of the same colour, therefore, in order 
 that, after the repairs are completed, the pieces 
 introduced should not appear as patches, it is 
 usual to wash the new work with some soap- 
 lees, or for want of which, dissolve some quick- 
 lime in water and use in the same manner ; but 
 here we should be careful not to let either be 
 too strong, or it will make the wood too dark; 
 therefore it is best to use it rather weak at first, 
 and if not dark enough, we have only to repeat 
 the process till the wood is darkened to our 
 mind 
 
CABINET WORK. T 
 
 To raise old Veneers, 
 
 In repairing old cabinets, and other furniture, 
 the workman is frequently at a loss to know 
 how to get rid of those blisters which appear 
 on the face, in consequence of the glue under the 
 veneer failing or causing the veneer to separate 
 from the ground in patches, and as these blisters 
 are frequently so situated that, withoiU separat- 
 ing 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 breaking the veneer into 
 pieces. I will here, therefore, show how this 
 operation may be easily performed without 
 any difficulty, and the veneer preserved per- 
 fectly whole and uninjured, ready for relaying 
 the same as a new piece. First wash the surface 
 with boiling water and coarse cloth, to remove 
 any dirt or grease, then place it before the fire, 
 or heat it with a caul, oil its surface with com- 
 
8 CABINET WORK. 
 
 mon Unseed oil, place it again lo the fire, and 
 the heat will make the oil penetrate quite 
 through the veneer and soften the glue under- 
 neath, then whilst it is hot raise the edge gently 
 with a chisel, and you will find it separate 
 completely from the ground : hut here you 
 must be careful not to use too great force, or 
 you will spoil your work ; again, if it should get 
 cold during the operation, you must apply more 
 oil, and heat it again, repeating this process till 
 you have entirely separated the veneer ; you 
 may then wash off the old glue, and proceed to 
 lay it again as a new veneer, either by hand 
 or with a caul ; but a caul is the better method 
 
 Glueing up and Veneering Card-table-tops , 
 Secretary Fronts, ^c. 
 It has always been a desideratum among 
 workmen to veneer this kind of work in such a 
 manner that it will stand, as almost every 
 method commonly used will cause the piece 
 either to warp in winding, or otherwise to get 
 hoiiovv, after the work is finished, on its upper- 
 
CABINET WOEK. 
 
 d 
 
 side ; ai>d however careful the workman may be 
 in laying his veneer this will frequently happen ; 
 indeed I have seen table-tops veneered upon 
 a ground of old seasoned wood that have not 
 stood better than if it had been on comparatively 
 fresh timber ; some workmen prefer cauls for 
 laying their veneer, as they say it is not so apt 
 to warp, there being no occasion in that case to 
 wet the veneer ; but this has its disadvantages, 
 and will in general, I will venture to say, not 
 succeed so well as when the veneer is carefully 
 laid by hand ; but which ever mode is adopted, 
 more depends upon the manner of preparing the 
 ground, than in that of laying the veneer. The 
 method of doing it is as follows : select that 
 piece of deal which is freest from knots, and 
 having slit it down the middle, or, which is 
 better, take a piece out of the heart, and place 
 the boards cut to the required length in a warm 
 place for two or three days, then joint them up, 
 placing a heart edge and an outside edge 
 together, when dry, cut your top again between 
 each joint, and joint it fresh ; then you will have 
 
10 CABINET WORK. 
 
 a top glued up of pieces about two inches wide, 
 and if you have been careful in making your 
 joints good, you will have a top which will not 
 be liable to cast after it is veneered. 
 
 Note. — You may use wainscot or mahogany 
 instead of deal, making your joints in the same 
 manner, which some workmen prefer, but I 
 have always found good strait-grained deal and 
 free from knots answer very well. 
 
 It is also a good plan, after having veneered 
 your top. &c. by hand, to lay it on the ground 
 on some shavings, with the veneer downwards, 
 as it then dries gradually, and is much less 
 likely to cast than by drying too quick. 
 
 To cut Steel Plates for Scrapers. 
 
 Every workman knows that part of the blade 
 of a broken saw is the best scraper he can use, 
 but as it is very hard it is difficult to be cut 
 into the form required for a scraper, as it is very 
 tedious to cut it with a file ; the best, and at 
 ihe same time the most expeditious, is to mark 
 out the size you wish, and place the piece of 
 
CABINET WOER 1* 
 
 the blade or steel plate in a vice whose chaps 
 shut very close, placing the mark even with the 
 face of the vice, and the part of the plate that 
 is to be cut to waste above the vice, then with 
 a cold chisel or a common steel firmer that has 
 its basil broken oflf, holding it close to the vice 
 and rather inclined upw^ards, begin at one end 
 of the steel plate, and with a sharp blow of the 
 hammer it will cut it, keep going on by degrees, 
 and you will with a great deal of ease cut it to 
 the shape required ; you have only then to 
 grind the edges of your scraper level, and rub 
 it afterwards on your Turkey-stone, and it is 
 complete. 
 
 To Set and Sharpen Saivs. 
 
 It frequently happens, in the country parti 
 cularly, that great inconvenience is experienced 
 from the delay necessary in sending your saws 
 to the tool-makers to be sharpened, and many a 
 good saw is spoiled from not knowing how to 
 set It as it ought to be ; the general mode 
 adopted by workmen is to use an instrument 
 
12 CABINET WORK. 
 
 with notches in it to receive the saw blade, 
 and termed a saw-set ; this method is very apt 
 to break oflf the teeth, particularly if the saw is 
 very hard ; it may not therefore be unacceptable, 
 particularly to the young mechanic, if I describe 
 a method easy in its operation and not so liable 
 to injure the saw. I will therefore describe 
 the whole process of sharpening and setting a 
 saw, which, with aliitle practice, will enable the 
 workman, not only to save himself that expence, 
 but do it equally well with any tool-maker. 
 
 The first thing to be done is to run a file 
 doWn along the edge of the teeth till by looking 
 along the edge you see them range in a direc* 
 line, you may then set your saw in the follow- 
 ing manner : lay the blade on a smooth piece of 
 lead, or for want of which, on the end of your 
 trying plane, then with a square steel punch 
 give a gentle tap on it with a hammer, after 
 placing it on one of the teeth, do the same with 
 every alternate tooth; then reverse the saw and 
 punch the teeth on the other side, and look down 
 your saw that the teeth are all equally set, thea 
 
CABINET WOEK. 18 
 
 begin with your file at the part of the saw 
 nearest the handle ; to sharpen or file the teeth 
 to a good point you must hold your file so that 
 it shall make an angle with the saw-blade of 
 about thirty degrees, or two-thirds that of a 
 mitre angle, observing to shift the file for every 
 alternate tuoth in an opposite inclination, and 
 bringing each tooth to a very sharp point, and 
 keep the upper edge of your file very nearly 
 level and horizontal ; every tooth will then repre- 
 sent a sharp chisel and cut as it goes, without 
 tearing, as is often the case, from not paying 
 attention to these particulars. '^-, 
 
 To make Paste for laijing the Cloth, or 
 Leather, or Table-tops, Sfc. 
 
 To every pint of the best wheaten flour add 
 rosin, very finely powdered, about two large 
 spoonfuls, of alum one spoonful in powder, mix 
 them all well together, put them into a pan, 
 and add by degrees soft or rain water, carefully 
 stirring it till it is of the consistence of thinnisb 
 cream, put it into a sauce-pan over a clear fire, 
 c 
 
14 CABINET WORK. 
 
 keeping it constantly stirred that it may not ^et 
 lumpy ; when it is of a stiff consistence, so that 
 the spoon will stand upright in it, it is done 
 enough ; you must be careful to stir it well from 
 the bottom, that it does not burn, which it is 
 very apt to do if not well attended to ; you have 
 now only to empty it out into a pan, and cover 
 it over till cold^ to prevent a skin forming on She 
 top, which would make it lumpy and improper 
 for use. 
 
 Note. — This paste will be found very supe- 
 rior for the purpose, as it is very adhesive. To 
 use it for cloth or baize, spread it evenly and 
 smoothly-, or on the top of the table, and lay 
 your cloth on it, pressing and smoothing it with 
 a flat piece of wood ; let it remain till dry, then 
 trim the edges close to the cros^-banding ; as if 
 you cut it close at first, it will in drying shrink 
 and look bad \>here it meets the banding all 
 round. If it is used for leather, the leather 
 must be first previously damped, and then the 
 paste spread over it ; it is then laid on the table, 
 and rubbed smooth and level with a linen cioth. 
 
CABINET WORK. 15 
 
 and the edges cut close with a short knife, to 
 the banding. Some lay their table-cover with 
 glue, instead of paste, and perhaps for cloth it 
 is the best method, but for leather it is not 
 proper, as the glue is apt to run through ; and 
 in using it for cloth, great care must be taken 
 that your glue is not too thin, and that you rub 
 the cloth well down with a thick piece of wood 
 made hot at the tire, for the glue soon chills ; 
 you may in this method cut ojQT the edges close 
 to the border at once. 
 
 A Glue for Inlaying Brass or Siher Strings, 
 FatteraSf Sfc, 
 
 To every pint of common glue take about the 
 quantity of two table-spoonfuls of finely pow- 
 dered rosin, and the like quantity of finely pow- 
 dered brick-dust, and incorporate the whole 
 well together ; it will hold the metal much 
 faster than plain glue, which is generally used. 
 
 To take out Bruises in Furniture. 
 
 Wet the place well with warm water, then 
 take brown paper five or six times doubIe,well 
 c 2 
 
16 DYING WOOD. 
 
 soaked in water, lay it on the bruise, apply on 
 that a hot flat iron till the moisture is evapo- 
 rated, and if the bruise is not gone, repeat the 
 same ; after two or three applications, the dent 
 or bruise will be level with the surface ; or if 
 the bruise is small, soak it with warm water, 
 and apply a red hot poker very near the surface, 
 keeping it continually wetted, and you will soon 
 find the indentation vanished. 
 
 Fur taking Stains out of Mahogany. 
 
 Mix six ounces of spirit of salt and half an 
 ounce of powdered salt of lemons. Drop a 
 little on the stains, and rub it with a cork till it 
 disappear, then wash off with cold water. 
 
 Fur Cleaning Mahogany. 
 
 To a pint of furniture oil (p. 182) mix half a 
 pint of spirit of turpentine, and half a pint of 
 vinegar, with which wet a woollen rag, and 
 rub the wood the way of the grain^ then polish 
 with a flannel and soft cloth. 
 
 DYING WOOD. 
 
 It being necessary to say something as to 
 the quality, nature, and texture of the wood 
 
DYING WOOD. It 
 
 most fit for dying, 1 shall state my remarks in 
 the following order : 
 
 First, the wood mostly used to dye black, is 
 pear-tree, holly, and beech, all of which will 
 take a beautiful black ; it should at the same 
 time be observed, not to take wood which has 
 been long cut, or aged, but as fresh as possible; 
 I have likewise found, that after the veneers 
 have had one hour's boiling, and taken out to 
 cool, that the colour has struck much stronger. 
 It should likewise be noticed, that after the 
 veneers are dyed, they should be dried in the 
 air, and not by the fire, or in a kiln of any 
 kind, as it tends to destroy the colour. 
 
 Secondly, in order to dye blue, green, red, 
 or other colours, take clear holly; put the 
 veneers first in a box or trough with clean 
 water, and let them remain four or five days, 
 changing the water once, or twice, as you find 
 occasion ; the water, acting as a purgative in 
 the wood, will bring forth abundance of slime, 
 &c.; let them dry about twelve hours before 
 they are put in the dye ; by observing this, you 
 c 3 
 
18 DYING WOOD. 
 
 Will iiiid the colour strike quicLer, and he of a 
 brighter hue. 
 
 Fi^e Black, 
 
 Have a chair-maker's copper fixed, into 
 which put six pounds of chip logwood, and as 
 many veneers as it will conveniently hold, with- 
 out pressing too tight; fill it with water, and 
 let it boil slowly for about three hours ; then 
 add half a pound of powdered verdigris, half 
 a pound of copperas, and four ounces of bruised 
 nut-galls, filling the copper up with vinegar as 
 the water evaporates; let it boil gently two 
 hours each day, till you find the wood to be 
 dyed through ; which, according to the kind, 
 will be in more or less time. 
 
 Another Method for a good Black. 
 
 Procure some liquor from a tanner's pit, or 
 make a strong decoction of oak-bark, and for 
 every gallon of the liquor take a quarter of a 
 pound of green copperas and mix them well 
 together. After your veneers are prepared as 
 
DYING WOOD. 19 
 
 above shewn, put the liquid in your copper and 
 make it quite hot, but not to boil ; immerse 
 your veneers in it and let them remain for an 
 hour, take them out and let them be exposed to 
 the air till nearly dry, then repeat the process 
 as often as may be necessary to produce a good 
 colour, or till you see it has penetrated its sub- 
 stance ; you may then add some logwood to the 
 solution, and place your veneers again in it, and 
 let the whole simmer for two or three hours, let 
 the whole cool gradually, and dry your ve- 
 neers in the shade, they will be found to have 
 acquired a very fine black. 
 
 Fine Blue, 
 
 Take a clean glass bottle, into which put 
 one pound of oil of vitriol ; then take four 
 ounces of best indigo, pounded in a mortar into 
 small lumps; put them iuto the phial (taking 
 care to set the bottle in a basin or earthen 
 glazed pan, as it will ferment); after it is 
 quite dissolved, provide an earthen or wooden 
 vessel, so constructed that it will conveinently 
 
20 DYING WOOD. 
 
 hold the veneers you mean to dye; fill it 
 rather more than one-third with water, into 
 which pour as much of the vitriol and indigo 
 (stirring it about), as will make a fine blue 
 which you may know by trying it with a piece 
 of white paper or wood ; put in youi veneers, 
 and let them remain till the dye has struck 
 through. 
 
 Note. — The colour will be much better if the 
 solution of indigo in vitriol is kept a few weeks 
 before using it ; also the best trough you can 
 use, being either made of common stone, like a 
 stone sink, but of proper dimensions, say about 
 four feet by eight or nine inches, which will be 
 suflliciently large for veneers intended to be 
 stained; or you may procure one made of arti- 
 ficial stone of any dimension, which will not 
 cost so much ; also you will find the colour 
 strike better if, previous to putting your veneers 
 into the blue dye, you boil them in plain water 
 tii2 completely soaked through, and let them 
 remain for a few hours to dry partially, pre- 
 vious to immersing them in the Aye, 
 
DYING WOOD. fl 
 
 Another Blue, 
 
 Take any quantity of soft water and tifirow 
 in pieces of quick lime, stirring it well ; let it 
 settle and strain or pour oif the clear part, then 
 to every gallon of this add ten or twelve ounces 
 of the best turnsole, put the whole into your 
 trough with your veneers, which should be of 
 white holly, and prepared as usual by boiling 
 in water ; let them simmer gently till you find 
 the colour sufficiently penetrated, but be care- 
 ful not to let them boil in it, as it would injure 
 colour. 
 
 Fine Yellow. 
 
 Take of the root of barberry four pounds, 
 reduce it, by sawing, to dust, which put in a 
 copper or brass trough ; add four ounces of tur- 
 raerick, to vvhich put four gallons of water, 
 then put in as many white holly veneers as the 
 liquor will cover, boil them together for three 
 hours, often turning them ; when cool, add two 
 
22 DYING WOOD. 
 
 ounces of aqua-fortis, and you will find the ' 
 dye strike through much sooner. 
 
 Another Yellow, much Brighter. 
 
 To every gallon of water necessary to cover 
 your veneers, add one pound of French berries, 
 in which boil your veneers till the colour has 
 penetrated through ; have ready the following 
 liquid, which add to the infusion of the French 
 berries, and let your veneers remain for two 
 or three hours, and you will find the colour 
 very bright. 
 
 Liquid for Brightening and Setting the 
 Colours. 
 
 Take strong aqua-fortis, a sufficient quantity, 
 and to every pint add one ounce of grain tin 
 and a piece of sal-ammoniac, of the size of a 
 walnut^ setting it by to dissolve, shaking 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. 
 
 N, B. — This will be found an admirable 
 
DYING WOOD. 23 
 
 liquid to add to any colour, as it not only 
 brightens it, but makes it less likely to fade 
 from exposure to the air. 
 
 Bright Green. 
 
 Proceed as in either of the above receipts to 
 produce a yellow ; but instead of adding aqua- 
 fortis, or the brightening liquid, add the vitrio- 
 lated indigo, as much as will produce the de- 
 sired colour. 
 
 Another Green. 
 
 Take of the best verdigris four ounces, sap 
 green half an ounce, and indigo half an ounces 
 dissolve them in three pints of the best vinegar, 
 put in your veneers and gently boil till the 
 colour is penetrated sufficiently. 
 
 Note. — You may vary the hue of the green 
 by altering the proportion of the ingredient, 
 and I should advise, unless wanted for a parti- 
 cular purpose, to leave out the sap green, as it 
 IS a vegetable colour that is apt to change, or 
 turn brown wlien exposed to the air, 
 
24 DYING WOOD. 
 
 Bright Red. 
 
 Take two pounds of genuine Brazil dust, 
 aod four gallons of water, put in as many 
 veneers as the liquid will cover, boil them for 
 (hree hours ; then add two ounces of alum, and 
 two ounces of aqua-forlis, and keep it luke- 
 warm until it has struck through. 
 
 A?wther Red. 
 
 To every pound of logwood chips add two 
 gallons of water, put in your veneers, and boil 
 as in the last ; then add a sufficient quantity of 
 the brightening acid till you see the colour to 
 your mind, keep the whole as warm as you can 
 bear your iSnger in it, till the colour has suffi- 
 ciently penetrated. 
 
 Note. — The logwood chips should be picked 
 from any extraneous substances uith 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 ; 
 
DYING WOOD. 25 
 
 for if it is stale it will look brown, and will not 
 yield so much colouring matter. 
 
 Purple, 
 
 Take 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 well, 
 for at least three hours ; then add srx ounces of 
 pearl-ash and two ounces of alum, let them 
 boil two or three hours every day, till you find 
 the colour struck through. 
 
 Note. — The Brazil dust in this receipt is 
 perhaps superfluous, as it only contributes tc 
 make the purple of a more red cast, for the 
 pearl-ash does not act upon it, to change it 
 from a red to a purple. 
 
 Another Purple, 
 
 Take two pounds of logwood, either in chips 
 or powder, and boil it in four gallons of water 
 along with your veneers ; then after boiling till 
 the colour is well struck in, add by degrees 
 some vitriolated indigo till the purple is of the 
 
 D 
 
256 DriNG WOOD. 
 
 shade required, which may be known by tryinfl; 
 it with a piece of paper ; let it then boil for one 
 hour, and keep the liquid in a milk-warm state 
 till you find the colour has penetrated the 
 veneer. This receipt, wiien properly manaojed, 
 will produce a very brilliant purple, which will 
 not be so likely to fade as the foregoing. 
 
 Orange, 
 
 Let the veneers be dyed, by either of the 
 methods given, of a fine deep yellow, and while 
 they are still wet and saturated with the dye, 
 transfer them to the bright red dye, till you 
 find the colour has penetrated equally through- 
 out. 
 
 Silver Grey, 
 Take a cast-iron pot of six or eight gallons, 
 and from time to time collect old iron nails, 
 hoops, &e. &c., expose them to the weather 
 till they are covered with rust ; add one gallon 
 of vinegar, and two of water, boil all well for 
 ao hour ; then have your veneers ready, w'nich 
 
DYING WOOD. 27 
 
 must be air-wood (not too dry), put them in 
 the copper you use to dye black, and pour the 
 iron liquor over them ; add one pound of chip 
 logwood, and two ounces of bruised nut-galls; 
 then boil up another pot of the iron liquor to 
 supply the copper with, keeping the veneers 
 covered, and boiling two hours a day. 
 
 Another Grey. 
 
 Expose any quantity of old iron, or what is 
 better, the borings of gun barrels, &c. in any 
 convenient vessel, and from time to time sprinkle 
 them with diluted spirits of salts till they are 
 very thickly corroded ; 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 tlie copper, and cover them with 
 this liquid ; let it boil for two or three hours 
 till well soaked, then add to every gallon of 
 liquor a quarter of a pound of green copperas, 
 keep the whole at a moderate temperature till 
 the dye has sufficiently penetrated, 
 
 d2 
 
28 STAINING. 
 
 STAINING. 
 
 GENERAL OBSERVATIONS. 
 
 Staining differs from the process of dying, 
 inasmuch as it merely penetrates just below the 
 surface of the wood, instead of colouring its 
 substance throughout, as it does in dying •, and 
 the one is used for beautifying the face after 
 the work is finished, while the other is employed 
 on tho wood before it is manufactured, in the 
 state of veneers, to be cut into strings or bands 
 to be used for inlaying borders, patteras, &c., 
 and which has of late years got much out of 
 use, principally owing to the fault so much 
 complained of, of the colours flying, or fading, 
 and which was in consequence of not taking 
 that care in the operation which it required, 
 and in not using any thing but simply the infu- 
 sion of different colouring materials, without 
 adding anything to set the colour, in the way 
 we have recommended. 
 
STAINING. 29 
 
 Staining is chiefly in use among chair-makers,, 
 and when properly conducted and varnished, 
 has a most beautiful appearance, and is ^ess 
 likely to meet with injury than japaning. 
 
 Black Stain for immediate Use. 
 
 Boil half a pound of chip log-wood in two 
 quarts of water, then add one ounce of pearl- 
 ash, and apply it hot to the work with a brush; 
 take half a pound of logwood and boil it as 
 before in two quarts of water, adding half an 
 ounce of verdigris and half an ounce of copperas; 
 strain it off, and put in about half a pound of 
 rusty steel filings, and apply as before. 
 
 To stain Beech a Mahogany Colour, 
 
 Take two ounces of dragon's blood, break it 
 in pieces, and put it into a quart of rectified 
 spirits of wine; let the bottle stand in a warm 
 place, shake jt frequently, and when disso^'«i^ 
 It is fit for use. 
 
 Another Method for Black Statu, 
 Take one pound of logwood, boil it in four 
 
 D 3 
 
80 STAINING. 
 
 quarts of water, add a double handful of walnut 
 peeling, boil it up again, take out the chips, 
 add a pint of the best vinegar, and it will be 
 fit for use ; apply it boiling hot. 
 
 Note. — This will be much improved, if, aftci 
 it is dry, we take a solution of green copperas 
 dissolved in water, in the proportion of an 
 ounce to a quart, and apply it hot to the above. 
 
 To imitate Rose-wood, 
 
 Take half a pound of logwood, boil it with 
 ihree pints ox water till it is of a very dark red, 
 to which add about half an ounce of salt of 
 tartar, and when boiling hot stain yonr 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 near the appearance of dark rosewood. 
 
 Another Method. 
 Stalu your wood all over with the b!ao\ 
 
STAINING. 81 
 
 stain, and when dry, with a brush as above, 
 dipped in the brightening liquid, form red veins 
 in imitation of the grain of rose-wood, which 
 will produce, when well managed, a beautiful 
 eflfect. 
 
 Note. — A handy brush for the purpose, will 
 be made by taking a flat brush, such as is used 
 for varnishing, and cutting the sharp points off 
 the hairs, and making the edge irregular, by 
 cutting out a few hairs here and ih.ere, you will 
 have a tool which, without any trouble, will 
 anitate the grain with great accuracy. 
 
 To imitate King or Botany Bay JVood, 
 Take French berries half a pound, and boil 
 ihem in two quarts of water, till you have a 
 deep yellow, and with it, boiling hot, give two 
 or three coats to your work ; let it be nearly 
 dry, then, with the black stain, form the grain 
 with your brush : to be used hot. 
 
 N.B, — You may, for variety, after giving it 
 two or three coats of yellow, give one of strong 
 logwood liquor, which will heighten the colour, 
 and then use the black stain as directed. 
 
S2 STAINING. 
 
 A common Red for Bedsteads and common 
 Chairs. 
 
 Archil, as sold at the shops, will produce a 
 very good stain of itself when used cold; but if 
 after one or two coats being applied and suf- 
 fered to get almost dry, we brush it over wiih 
 a hot solution of pearl-ash in water, it will 
 improve the colour. 
 
 Fa stain Horn in imitation of Tortoise-shell. 
 
 Take an equal quantity of quick-lime and 
 red-lead, mix it up with strong soap lees, lay 
 it on the horn with a small brush, in imitation 
 of the mottle of tortoise-shell ; vThen it is dry, 
 repeat it two or three times. 
 
 Another Method, 
 Grind one ounce of litharge with half an 
 ounce of quick-lime, to the consistence of paint, 
 with a sufficient quantity of liquid salt of tartar, 
 put '> on the horn with a brush, in imitation of 
 torioise-sheij, and in three or four hours it wJlI 
 
STAIKiNG. 33 
 
 have produced the desired effect ; it may then 
 be washed off with clean water : if not deep 
 enough, it may be repeated. 
 
 Another Method still bntter. 
 
 Take a piece of lunar caustic, about the size 
 of a pea, and grind it with water on a stone, 
 and mixing with it a sufficient portion of gum 
 arabic to make it of a proper consistence, you 
 may apply it with a brush to your horn, in 
 imitation of the veins of turtle or tortoise-shell. 
 
 Note. — It would, perhaps, be as well to mix 
 with it a portion of red lead, or any other 
 powder, to give it a body. This, if properly 
 applied, will stain the horn quite through 
 without hurting its texture or quality; only be 
 careful when the horn is sufficiently stained, to 
 let it be soaked for some hours in plain water* 
 previous to finishing and polishing it. 
 
 To stain Ivory or Bone Red. 
 
 Boil shavings of scarlet cloth in water, and 
 add by degrees pearl-ashes till the colour is 
 
m STAINING. 
 
 extracted, add a little roach alum, which will 
 clear the colour, then strain it through a liDen 
 cloth. Steep your ivory or bone in a solution 
 of aqua-fortis, not too strong, then take it out 
 and put it into your scarlet dye till the colour 
 is to your mind ; you must be careful not to let 
 your aqua-fortis 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, 
 you must 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 ; if you wish any white spots or marks 
 to remain on your work, cover the places you 
 wish to remain white with wax, and the stain 
 will not penetrate in those places, but leave the 
 ivory of its natural colour. 
 
 To stain Ivory or Bo?ie Black, 
 
 Make a pretty strong solution of nitrate of 
 silver, (lunar caustic) in water, and steep your 
 
STAINI>JG. 35 
 
 ivory or bone in it, take it out again in about 
 an hour, and expose it to the sun-shine to dry, 
 and it will be a perfect black. 
 
 Another Method j or Black, 
 
 Steep your bone or ivory for three or four 
 days in the following mixture: boil nutgalls 
 bruised in water till all the virtue is extracted, 
 add to this a small portion of pearl-ash ; when 
 you bave taken the ivory out and it has got 
 somevirhat dry, put them into the black stain 
 meniioned in the first part of this article, let 
 them remain some time for the dye to penetrate, 
 take them out and let them dry gradually. 
 
 To stain Ivory or Bone Green. 
 
 Steep your work in a solution of verdigris 
 and sal-ammoniac in weakish aqua-fortis, in the 
 proportion of two parts of the former to one of 
 the latter, being careful to use the precautions 
 mentioned for staining red. 
 
S6 TO STAIN MUSICAL 1KSETUMENT8. 
 
 To stain Ivory, Sfc, Blue. 
 
 Let your materials be first stained green, then 
 dip them in a strong solution of pearl-ashes 
 and water. 
 
 To stain Ivory, Sfc, Yellow. 
 
 Make a strong solution of allum in water 
 put in your ivory, &c., and keep the whole 
 some time near boiling, take them out and 
 immerse them in a hot mixture of turmerick and 
 water, either with or without the addition of 
 French berries, letting them simmer for about 
 half an hour, you will find your ivory stained 
 of a beautiful yellow. 
 
 Note. — In staining all ivory or bone, be sure 
 to let your work dry very gradually, or it wil\ 
 be apt to split or crack. 
 
 TO STAIN MUSICAL INSTRUMENTa 
 
 Fine Crimson. 
 Take one pound of good Brazil, and boil it 
 
TO STAIN MUSICAL INSTRUMENTS .57 
 
 in three quarts of water for an hour ; strain it, 
 and add half an ounce of cochineal ; boil it 
 again for half an hour gently, and it will bo fit 
 for use. 
 
 If you would have a more scarlet tint, put 
 half an ounce of saffron in a quart of water, 
 boil it for an hour, and pass over the work pre- 
 I'ous to the red stain. 
 
 Pur-ple, 
 
 Take a pound of good chip logwood, to 
 which put three quarts of water, boil it well for 
 an hour • then add four ounces of pearl-ash, 
 and two ounces of indigo pounded, and you will 
 have a good purple. 
 
 Fine Slack, 
 
 .n general, when black is required in musical 
 instruments, it is produced by japanning ; the 
 work being well prepared with size and lamp- 
 black, take some black japan (which is sold at 
 the varnish makers), after which, varnish and 
 polish it. 
 
 B 
 
3S TO STAIN MUSICAL INSTRUMENTS. 
 
 Note. — A black stain is sometimes required, 
 as for finger boards, bridges, &c., and flutes 
 a resometimes stained ; you may then proceed 
 as directed in staining, but tho wood ought to 
 be either pear, apple, or box-wood ; but the 
 latter is preferable, which may be rubbed over, 
 when dry, with a rag or flannel dipped in hot 
 oil, Nvhich will give it a gloss equal to ebony. 
 
 Fine Bin?. 
 
 Take a pound of oil of vitriol in a clean glass 
 pbialj, into which put four ounces of indigo, and 
 proceed as before directed in dying. 
 
 Fine Green* 
 
 Take three pints of tne strongest vinegar, to 
 which put four ounces of the best verdigris 
 pounded or ground fine, half an ounce of sap 
 green, and half an ounce of indigo. 
 
 Note. — Perhaps distilled vinegar, or verjuice, 
 would be an improvement. 
 
 Bright Yellow. 
 There is no need whatever to stain the wood, 
 
VARNISHING. 
 
 S9 
 
 as a very small bit of aloes put into the varnish 
 vvHI make it of a good colour, and Las the 
 desired effect. 
 
 To stain Box-wood Brown. 
 
 Hold your work to the fire that it may 
 receive a gentle warmth, then take aqua fortis, 
 and with a feather, or brush, pass over the 
 work till you find it change to a fine brown 
 (always keeping it near the fire); you may then 
 oil and polish it. 
 
 Note. — The wood most proper for musical 
 instruments, such as violins, guitars, &c. is air- 
 wood ; or good sycamore, without blemisJi, 
 when varnished, will look rich. 
 
 VARNISHING. 
 
 GENERAL OBSERVATIC-NS. 
 
 It is the custom, in order to heigliteii the 
 beauty of tine wood, and give additional lustre 
 
40 VARNISHING. 
 
 to furniture, &c. to varnish it; the simplicity 
 of the process requires but little to be saia on 
 the subject, but that nothing may be wanted lo 
 benefit the workman, I 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 varnisb, that the 
 work may appear as beautiful as possible. 
 
 In London it is hardly wortli while to make 
 varnish, unless in large quantities, as there are 
 several shops where it may be had very good, 
 and at a fair price; but in the country, where 
 the carriage is an object, and you cannot depend 
 upon the genuineness of the article, it is 
 necessary to be known by the practical mecha- 
 nic. The varnish ia general sold for varnishing 
 furniture, is white hard varnish. 
 
 Vautions respecting the making of Varnish^ 
 As heat in many cases is necessary to dissolve 
 tlie gums used in making varnish, the best way, 
 when practical, is to use what the chemists call 
 a sand bath, which is simply placing the vessel 
 
VAaNISHING. 41 
 
 ia which ihe varnish is, in another filled with 
 f and, and placed on the lire ; this will generally 
 be sufHcieat to prevent the spirits catching fire; 
 but in case of such accidents (which not 
 unfrequently happens), it will be best to take a 
 vessel sufficiently large that there shall be litt'e 
 danger of spilling any ; indeed the vessel should 
 never be more than two-thirds filled, but in 
 case of accident, have ready nt hand a piece of 
 board sufficiently large to cover the top of the 
 vessel in case of its taking fire, as also a wet 
 wrapper, in case it should be spilt when on fire, 
 as water by itself thrown on it, would only 
 increase the mischief; and the person who 
 attends the varnish pot should have his hands 
 covered wdlh gloves, and if they are made of 
 leather, and rather damp, it will effectually 
 prevent injury. I would particularly impress 
 these cautions on tlie workman, as, from practical 
 knowledge, I have several times witnessed 
 shocking personal injury from the neglect of 
 these cautions. 
 
42 VARNISHING 
 
 G neral Directions in choosing the Gums and 
 Spirits used. 
 
 When you purchase a quantity of gum, first 
 examine it, and see that it consists for the most 
 part of clear transparent lumps without a mix- 
 ture of dirt; next, when you get it home, select 
 the clearest and lightest pieces for the most 
 particular kinds of varnish, reserving the others, 
 when separated from extraneous matter, for the 
 coarser varnishes. In choosing spirits of winCc 
 the most simple test is by immersing the finger 
 in it, and if it burns quickly out without 
 burning the finger, it is good ; but if, on the 
 contrary, it is long burning, and leaves any 
 dampness 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 maybe likewise 
 ascertained in the same manner by weighing it, 
 and by noticing tlie degree of inflammability it 
 possesses; the most inflammable is the best* and 
 
VARNISHING. 43 
 
 a person much in the habit of using il, will tefl 
 by the smell its good or bad qualities ; for good 
 turpentine has a pungent smell, and the bad a 
 very disagreeable one, and not so powerful. 
 
 To varnish a Piece of Furniture, 
 First observe the work to be clean ; then see 
 if any knots or blemishes require filling up, 
 which must be done with cement of the same 
 colour ; have your varnish in an earthen pot, 
 with a piece of wire diametrically across the 
 top, slackened downwards, to stroke the brush 
 against; then see that your brush is clean, and 
 free from loose hairs, dip your brush in the 
 varnish, stroking it across the wire, and give 
 the work a thin and regular coat; soon after 
 that another, and another, always 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 coats, let it get quite hard (which you 
 will prove by pressing your knuckles on it,ix it 
 
44< VAJBNI3HING. 
 
 leaves a mark ft is not hard enougli); (.hen with 
 the three first fingers of your hand rub tha 
 varr.ish tiil 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 ; give it then another coat, and 
 let it stand a day or two to harden. 
 
 Note. — The best vessel for holding your 
 varnish is commonly sold at colour-shops, called 
 a varnish pan; it is constructed of tin with a 
 false bottom ; the interval between the two 
 bottoms is filled with sand, which being heated 
 over the fire, keeps the varnish fluid and 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, and wi'.h a wire 
 across in the same manner as recommended in 
 the above directions. 
 
 To keep your Brushes in order. 
 The brushes used or varnishing are either 
 €at in tin. or round tied firm to the handle, and 
 
VARNISHING. 4o 
 
 enher made of camels' hair or very fine bristles, 
 in the use of which it is necessary to be very 
 careful in cleaning them aftei" being used, for 
 if laid by with the varnish in them they are 
 soon spoiled ; therefore after using them, wash 
 them well in spirits of wine or turpentine, 
 according to the nature of your varnish ; after 
 which you may wash them out with hot water 
 and soap, and they will be as good as new, and 
 last a great while with care ; and the spirits 
 that are used for cleaning, may be used to mix 
 with varnish for the more common purposes, or 
 the brushes may be cleaned merely with boiling 
 Waaler and strong yellow soap. 
 
 To make the best white hard Varnish. 
 
 Rectified spirits of wine, two gallons ; gum 
 sandrach, five pounds ; gum mastic, one pound ; 
 gum anime, four ounces ; put these in a clean 
 can, or bottle, to dissolve, in a warm place, 
 frequently shaking it, if (when the gum is 
 dis-olved) you strain it through a law^n sieve it 
 is lit for use. 
 
46 VAENISHING. 
 
 To make Mastic Varnish proper for varnisUing 
 Pictures or Drawings, 
 
 To every quart of spirits of turpentine, put 
 one pound and a quarter of (he cleanest gum 
 mastic, set it 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, you may thin it with 
 spirits of turpentine. 
 
 To make Turpenti?ie Varnish, 
 
 To one gallon of spirits of turpentine, add 
 five pounds of clear rosin pounded; put it in a 
 tin can, on a stove, and let it boil for half au 
 hour ; when the rosin is all dissolved, let it cooi, 
 and it is fit for use. 
 
 To 77take Varnish for Violins, 4'c. 
 Take half a gallon of rectified spirits of wine, 
 to which put six ounces of gum mastic, and 
 half a pint of turpentine varnish ; put the above 
 in a tin can, keep it in a very warm place, 
 frequently shaking it, until it is di.ssclved 
 
VARNISH! KG. 47 
 
 strain it, and keep it for use. Should yon fi'"id 
 it harder than you wish, you may add a little 
 more turpentine varnish. 
 
 To varnish Harps and Di(lci?}iers in the 
 Indian Manner, 
 
 Prepare the work with size and red ochre ; 
 then take ochre, burnt umber, and red lead, weli 
 ground, and mix up a dark brown colour in 
 turpentine varnish, adding so much spirits of 
 turpentine that you may just be able to work it, 
 pass over your work fair and even ; and while 
 it is yet wet, take a muslin sieve, and sift as 
 much Dutch metal (bronze) upon it as you 
 think requisite to produce the effect ; aftet 
 which, varnish and polish it. 
 
 ro Varnish Drawings, or amj kind of Paper 
 or Card Work, 
 
 Take some clear parchment cuttings, boil 
 them in water in a clean glazed pipkin, till 
 they produce a very clear size, strain it. and 
 keep it for use. 
 
48 VARNISHING. 
 
 Give ycur work two coats of the above size, 
 passing quickly over the work, not to disturb 
 the colours; proceed as beibre directed with 
 your varnish. 
 
 Another Method still better. 
 
 Take one ounce of the beyt isinglass, dis- 
 solve it in about a pint of water by simmering 
 it over the fire ; strain it through fine muslin, 
 and keep it for use. 
 
 Try the size on a piece of paper (heat it to a 
 moderate heat), and if it glistens it is too thick ; 
 then add more water, if it soaks into the paper 
 it is too thin; add or diminish the isinglass till 
 it merely dulls the surface ; then take your 
 drawing, and give it two or three coats, being 
 careful (particularly in the first coat) to bear very 
 lightly on the brush (which should be a flat tin 
 camel's hair), and plenty of size to flow freely 
 from it, otherwise you may damage the drawing. 
 
 Then take the best mastic varnish and with it 
 give at least three coats, and the effect will an- 
 swer your most sanguine wishes. 
 
VARNISHING, 49 
 
 Note, — This is the method used by many 
 emineat artists, and is found superior to any 
 that has been tried. 
 
 Amber Varnish, 
 
 lake amber eight ounces, in powder, and two 
 of gum lac; melt the amber by means of heat, 
 in a glazed pipkin, with half a pint of the be^t 
 spirits of turpentine; and when melted, add 
 the gum lac, place it on the fire again, and 
 keep stirring it with a piece of wood till all 
 dissolved, then add one ounce of the clearest 
 cold drawn linseed oil; stir it well together, 
 and strain it for use. 
 
 Oil Varnish 
 
 Take any quantity of the best linseed oil, let 
 it boil for an hour, then to every pound of oil 
 add a quarter of a pound of the clearest rosin 
 in powder, stir it well till dissolved; then add 
 for every pound of oil used, one ounce of spirits 
 of turpentine, strain it and bottle for use. 
 
 Note. — This is a cheap and good varnish for 
 
50 VAH^TSHING. 
 
 sash rames, or any work where economy is re- 
 quired ; it has besides the property of bearing 
 hot water without being damaged, and is not 
 subject to crack or scratch. 
 
 Copal Varnish 
 
 Takes pirils of wine one quart, gum copal one 
 ounce, and shell-lac half an ounce ; reduce the 
 gums to powder, put the spirits in a jar or 
 bottle, add the gums, place the whole in a warm 
 place, with the cork lightly in the bottle ; shake 
 it occasionally, and when the gums are quite 
 dissolved, strain and bottle for use. 
 
 To make a Colourless Copal Varnish. 
 
 As all copal is not fit for this purpose, in or- 
 der to ascertain such pieces as are gc.id, each 
 must be taken separately, and a single dron of 
 pure essential oil of rosemary, not alterea by 
 keeping, must be let fall on it. Those pieces 
 that soften at the part that imbibes the oil, are 
 good \ reduce them to powder, which sitt 
 through a very fine hair sieve, and put it into a 
 
VARNISHING. 51 
 
 glass, on the bottom of which it must not lie 
 more than a finger's breadth thick, pour upon it 
 essence of rosemary to a similar height ; stii 
 the whole for a few minutes, when the copal 
 will dissolve into a viscous fluid. Let it stand 
 or two hours, and then pour gently on it two 
 or three drops of very pure alcohol, which dis- 
 tribute over the oily mass by inclining the bottle 
 in different directions with a very gentle mo- 
 tion ; repeat this operation by little and little, 
 till the incorporation is efiected, and the varnish 
 reduced to a proper degree of fluidity. It must 
 then be left to stand a few days^ and when 
 clear, be decanted off. This varnish thus made 
 without heat, may be applied with equal suc- 
 cess to pasteboard, wood, and metals, and takes 
 a better polish than any other ; it may be usee 
 on paintings, the beauty of which it greatly 
 heightens. 
 
 Turpentine Copal Famish. 
 
 Take of gum copal, one ounce and a ha* , 
 the very best oil of turpentine, eight ounces^ 
 F 2 
 
62 VARNISHING 
 
 put the turpentine into a vessel, which place in 
 a sand bath when it is very hot ; but being 
 cautious not to let it boil ; then gradually add 
 the gum copal, stirring it with a wooden spa- 
 tula, adding fresh gum as the other dissolves , 
 when all thoroughly incorporated, take the vessel 
 off the bath and let it cool, let it remain covered 
 over for a few days to settle, and decant it 
 clear off. 
 
 Xote, — In making this varnish it frequently 
 happens that the gum will not melt so readily as 
 it ought, which in general is owing to the tur- 
 pentine not being sufficiently rectified, but when 
 that is good it will always succeed. It is best 
 also to let your turpentine be exposed for some 
 time in the sun in a corked bottle, that the wa- 
 teiy particles may be g:radua!ly dissipated ; the 
 bottle should not be stopped quite tight. 
 
JAPANUIJJG 53 
 
 JAPANNING. 
 
 GENERAL OBSERVATIONS. 
 
 It frequently happens that japanned work 
 receives damage, when it is very inconvenient 
 (either from distance or other circumstances) to 
 send for a japanner to repair it; therefore it 
 may not be improper to lay down the most 
 simple methods used in that branch. 
 
 First, provide yourself with a small mullei 
 and stone, to grind any colour you may require. 
 
 Secondly, provide yourself with white hard 
 varnish, brown varnish, turpentine varnish, ja- 
 pan gold size, and spirits of turpentine, which 
 you may keep in bottles for the purpose. 
 
 Thirdly, provide yourself with flake white, 
 red-lead, vermiliion, lake, Prussian blue, king's 
 and patent yellow, orpiment, spruce and brown 
 ochre, mineral green, verditer, burnt umber, 
 and lamp black, to which may be added raw 
 sienna and burnt sienna, with the best yeliow 
 F 3 
 
54 JAPANNING.. 
 
 ochre and light red (or burnt ochre), aud Vaa- 
 Uyke brown. 
 
 Observe — That all your wood-work must be 
 prepared with size, and some coarse material 
 mixed with it to fill up and harden the gram of 
 the wood (such as may best suit the colour in- 
 tended to be laid on), which must be rubbed 
 smooth with glass papei' when dry; but in cases 
 cf accident^ it is seldom necessary to re-size the 
 damaged places, unless they are considerable. 
 
 With the foregoing colours you may match 
 almost any colour now in use in japanning, 
 always observing to grind your colours smooth 
 in spirits of turpentine ; then add a small quan- 
 tity of turpentine and spirit-varnish, lay it care- 
 fully on with a camel-hair brush, and varnish 
 it with brown or white spirit-varnish, accord- 
 ing to the colour. 
 
 Note. — You will find a box filled with cur- 
 riers* shavings useful for cleaning your stones 
 and pallet with, for they should never be laid 
 by dirty, as the beauty of the work de- 
 pends a great deal on keeping all your colours 
 
JAPANNING. 65 
 
 separated, and that before you grind anoiber 
 colour, the i^rst should be vveii wipea ofi your 
 stone. 
 
 For a Black Japan. 
 Mix a little gold size and lamp-black, it will 
 bear a good gloss without varnishing over. 
 
 To imitate Black Rose-wood. 
 
 The work must be grounded black, after which 
 take some red lead, well ground, and mixed up 
 as before directed, which lay on with a flat slifi 
 brush, in imitation of the streaks in the wood ; 
 after which take a small quantity of lake, 
 ground fine, and mix it with brown spirit-var- 
 nish, carefully observing not to have more co- 
 lour in it than will just tinge the varnish ; but 
 should it happen on trial, to be still too red, 
 you may easily assist it with a little umber 
 ground very fine ; with which pass over the 
 wh le of the work intended to imitate black 
 rose wood, and it will have the desired effect. 
 
 II well done, when it is varnished and po- 
 
^'0 JAPANNING. 
 
 lished, it will scarcely be known Irom rose 
 wood. 
 
 Note, — Instead of the umber in the above, 
 you may use a small quantity of Vandyke brown, 
 as it is much more transparent than the umber. 
 
 INDIA JAPANNING. 
 
 GENERAL OBSERVATIONS. 
 
 This art has of late been successfully prac- 
 tised in this country, and many pieces of cabinet 
 work executed that with difficulty could be 
 distinguished from the real India Japan. I 
 shall, therefore, endeavour to give some de- 
 scription of the art as now practiced. One great 
 peculiarity in tbe Indian method is the embos- 
 sing, or raising the figures, &c. above the sur- 
 face or ground, and the metallic, or bronze-like 
 hue of the several designs, also the grotesque 
 appearance of the several ornaments, whether 
 figures, landscapes, or whatever other designs 
 
INDIA JAPANNING. 57 
 
 ihev are embellished with, being so totally dif- 
 ferent from every principle of perspective, and 
 so opposite to every idea we have of correct 
 drawing. Nothing but the study of Chinese 
 models themselves will enable the workman to 
 imitate with any degree of precision their seve- 
 ral characteristics. I shall, therefore, contenl 
 myself with giving such directions for preparing 
 the ground, embossing the designs, and pro- 
 ducing the peculiar effect of Chinese Japan, as 
 will I trust enable the ingenious mechanic to 
 execute any work of the kind, vvith truth and 
 accuracy, according to any copy given, while 
 it must remain with him to use his taste and 
 judgment in producing original designs, charac- 
 terizing this peculiar manufacture. 
 
 Ground for Chinese Ja^pafi. 
 
 Take any quantity of the finest whitening, 
 
 ana mix it up to the consistence of paint witn 
 
 isinglass size ; lay on your wood two or three 
 
 • coats, observing to put it on evenlv and smoothly, 
 
 -and not too thick; hi it dry; and rub it gently 
 
58 INDIA JAPANNING. 
 
 with a soft rag and water till the surface is 
 quite level and polished ; you may if you please 
 add a small portion of honey to the mixture, 
 which will render it less liable to crack or peel 
 off. If your ground is to be black, which is 
 the most usual one, you may give it a coat or 
 two of the black japan mentioned in the com- 
 mon method of japanning, and it is prepared for 
 your figures, &c. 
 
 Another Ground. 
 
 Take fine plaster of Paris, and mix it with 
 size not too thick, and apply it quickly, for it 
 soon gets hard ; two coats in most instances will 
 be sufficient: after it is quite dry, polish it with 
 fine glass paper, and rub it with a wet soft 
 cloth; you may now give it two or three ooals of 
 drying linseed oil, or as much as it will soak 
 up ; when dry it is ready for japanning. 
 
 To make Black Japan. 
 
 K^nnd ivorv or lamp-black very fine with 
 ♦urpentine, and a little lac varnish or copal var- 
 
INDIA JAPANNING. 69 
 
 nish, and temper it to a laropcr consistence with 
 varn>sh for laying on yojr ground; you must 
 give your work two or three coats at least, using 
 a gentle heat as directed in varnishing. 
 
 To trace your Design on the Ground. 
 
 Having drawn what figures you please 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, 
 
 Make a mixture of whiting and size; or 
 some prefer the whites of eggs, of a consis- 
 tence to flow freely from your pencil, the hairs 
 of which must be rather long. Begin with a 
 • figure, or other part, but do not do too much at a 
 
60 INDIA JAPANNING. 
 
 at tjuie, and trace the outline correctly with a 
 free hand ; take then a piece of stick pointeii at 
 the end, and 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 soft camel-hair 
 pencil and clean water, which will make it per- 
 fectly saiooth and level. Care must be taken 
 in this process, 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 vyhite lead. This is an 
 improvement, and for very particular work 
 should be adopted. 
 
 Gold Bronze. 
 
 Take any quantity of ffold leaf, empty out 
 of the book into a stone mortar, add a little 
 honey, and a small portion of water, grind it 
 well together, till the gold seems dispersed 
 throughout the whole paste, add by degrees 
 
INDIA JAPANNING. 6l 
 
 more water till H b qw'xie thin, keepiiij; it con- 
 tinually stirred ; let it settle, and pour the 
 water off* as near as you can without wasting 
 your gold, then repeat the washing till you see 
 the crold 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. 
 
 Note. — This is a very expensive bronze and 
 used only for those works which are very par- 
 ticular ; however a very good substitute may be 
 had by treating Dutch metal in the same man- 
 ner, but you must be sure to keep this close 
 stopped, or it is very apt to tarnish. 
 
 Silver Bronze, 
 
 This may be made with silver leaf trealed 
 ai the same manner as above directed for gold ; 
 but this must be kept also well stopped in a 
 bottle and wrapped in paper, as it also is as 
 apt to change as the Dutch metal. 
 G 
 
b^ INDIA JAPANNING. 
 
 Capjjer Bronze. 
 
 Procure some very fine tilings of copper, pul 
 them into an iron mortar, and beat them the 
 same as that of the gold leaf or Dutch metal, 
 except, instead of using honey, you 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. 
 
 i ' Tzn Bronze, 
 
 Take any quantity of grain^tin and melt it in 
 a ladle over the fire, when it is in a fluid state 
 add by degrees quicksilver, and stir it well, \t 
 will be transformed into a greyish powder, 
 which for the sake of variety you may use with 
 others, either alone or mixed. 
 
 Note. — We may, by mixing these different 
 bronzes together, 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 ofw'hichwill proUiice 
 a different coloured powder. 
 
INDIA JAPANNING. 6S 
 
 In London we can procure a variety of co- 
 loured bronze at the colour shops, and at less 
 expence than we can make them, but for the 
 sake of the country workman I have 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, and when it is sufficiently 
 dry, that is, when it feels tackey, as workmen 
 term it, or does not adhere to the linger, but feels 
 clammy, dip a piece of cotton, rolled hard into 
 a ball, in your bronze powder, and dab on the 
 places intended to be bronzed ; or you may mix 
 your powder with varnish and apply it at once 
 to the parts intended ; but the first method I 
 prefer, as it not only saves material, but your 
 bronze looks more brilliant. 
 
 To Japan Work-Boxes ^c. 
 
 There is a very pretty method of ornament 
 ing boxes, cabinets, <&c. so that the figures, &c 
 shall appear of the colour of the wood and th« 
 G 2 
 
64 INDIA JAPANNING. 
 
 ground black ; this by many is produced by 
 first tracing out your pattern, and then prick- 
 ing 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 pat- 
 tern; suppose, for instance, wo wish to orna- 
 ment our work with a plain trellis pattern, so 
 that the cross bars shall appear of the colour of 
 the wood, and the squares which they enclose 
 of a black or any other colour ; here would be 
 no great difficulty in drawing the trellis bars 
 with any colour, so as to leave the squares, but 
 it is extremely troublesome and tedious to prick 
 in the squares and leave the bars. The follow- 
 ing method will be found very expeditious, and 
 at the same time very correct; it is but very 
 little known, and as such will to the practical 
 japanner be the more acceptable; it may also 
 be applied to many other purposes than the 
 one here alluded to. The following prepara- 
 tion is necessarv, and which I shall denomi- 
 
INDIA JAPANNING. 65 
 
 nate by the term stopping out mixture ; it is 
 made by dissolving the best white bees-wax 
 in spirits of turpentine till it is of the consis- 
 tence of varnish ; keep this mixture in a bottle, 
 and when wanted for use mix sufficient for 
 your present purpose 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 now traced your design, go over 
 those parts which you wish to remain of the 
 colour of your wood and let it dry ; then mix 
 ivory black in very fine powder with parch- 
 ment or isinglass size, and go over evenly and 
 smoothly every part of your work ; it will now 
 appear wholly black, or of whatever colour you 
 have mixed with your size; let the whole get 
 thoroughly dry, then with a stiffish 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 ofl', leaving your black or other colour per- 
 fect; it will then appear as if yoa had pricked 
 Id your work, but much more sharp, ana will 
 
 63 
 
66 
 
 INDIA JAPANNING. 
 
 if carefully done, have a beautiful olFect ; you 
 iiave now nothing more to do than varnish 
 vour ^oA, as in general, and polish it as di- 
 rectpd under the article Polishing. 
 
 Note. — In finishing your work in the manner 
 or Indian japan, you must not be sparing of 
 vour 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 Indian 
 lapan. The method of. making the varnish or 
 'apan is very easy, being simply reducing the 
 wax to a coarse powder and pouring the best 
 spirits of wine on it in a bottle, and letting it 
 gradually dissolve without heat, shaking the 
 bottle occasionally till it is all dissolved. One 
 shilling stick of wax will be enough for about 
 a quarter of a pint of spirits 
 
 'Note. — As much depends on the goodness 
 of the sealing wax, the following is the best 
 
POLISHING. 67 
 
 method of preparing it. Take of sheTi or seed 
 iEC, the shell is best, two ounces, the best 
 white resin one ounce, and vermillion in fine 
 powder one ounce, melt the whole into a mass, 
 «?tirring it well to make the colour even through- 
 out, you need not for this purpose form it into 
 sticks, but merely pour it out on a piece of 
 marble in a cake to cool. If you wish your 
 wax of any other colour, you must substitute any 
 other colour powdered instead of vermillion ; 
 thus; for black substitute ivory black ; for green, 
 verdigris or crystals of verdigris ; blue, verditer 
 or smalt; yellow, turpeth mineral or masticoU 
 jiurple, vermillion and smalt mixed, and so fee 
 any other colour. 
 
 POLISHING. 
 
 GENERAL OBSERVATIONS, 
 
 First, the varnish for cabinet-work should 
 be very clear and bright, otherwise it will give 
 a dingy shade to all light-coloured woods. 
 
68 POLISHING. 
 
 Secondly, some persons polish wilU roUeo 
 stone, otners with putty- powder, and 1 liave 
 seen varnish polished with common whiting 
 and water ; but Tripoli will be found to 
 answer the best. 
 
 To Polish Varnish. 
 
 It has been considered by many as a matter 
 of difficulty, they have furnished themselves 
 with a quantity of materials, and as often failed 
 of success, the process being rather tedious. 
 
 Take two ounces of Tripoli powdered, put 
 it in an erthen pot or basin, with water io 
 cover it; then take a piece of fine flannel four 
 times doubled, lay it over a piece of cork rub- 
 ber, and proceed to polish your varnish, always 
 wetting it with the Tripoli and water ; you 
 will know when the process is done, by wiping 
 a part of the work with a sponge, and observe 
 whether there is a fair and even gloss ; take a 
 bit of mutton suet and fine flour and clean oflf 
 the work. 
 
 Caution, — You itmasI be careful not to rub 
 
POLISHING. 69 
 
 the work too hard, nor longer than is necessary 
 to make the face perfectly smooth and even. 
 
 The French Method of Polishing. 
 Take a piece of fine pumice-stone and water 
 and pass regularly over the work with the 
 grain, until the rising of the grain is down 
 then take powdered Tripoli and boiled linseed 
 oil, and polish the work to a bright face, which 
 will be far superior to any other polish, but it 
 requires much more time. 
 
 To Polish Brass Ornaments Inlaid in IVooa. 
 
 First, carefully observe to have your brasS'- 
 work filed very clean with a smooth file ; the^ 
 take some Tripoli, powdered very fine, and va\T 
 it with linseed^oil, and with a rubber made from 
 a piece of old hat, or felt, you may polish the 
 work as you would polish varnish, until yoi 
 have the desired eflfect. 
 
 If the work is ebony, or black rose -wood, 
 take some elder-coal powdered very fine, a!?f! 
 
70 POLISHING. 
 
 apply it diy after you nave done with the Tri- 
 poli ; it will produce a superior polish. 
 
 To Polish Ivory. 
 Ivory is best polished with putty and water, 
 by means of a rubber made of hat, which in a 
 short time produces a fine gloss. 
 
 To Polish any Work of Pearl, 
 Take pumice-stone, finely powdered (and 
 washed to separate the impurities and dirt), 
 with which ycu may polish it very smooth; 
 then take putty-powder as directed for ivory, 
 and you will have a fine gloss and a good 
 colour. 
 
 To Polish Marble. 
 
 It frequently happens that the cabinet-maker 
 has a table-top of marble to remount, wiiich is 
 scratched and requires repolishing; ; the follow- 
 ing is the process used by the mason, and will 
 perhaps not be unacceptable in a work like the 
 present. Procure a piece of sandstone with a 
 
POLISHING. fl 
 
 very fine grit, then with that rub your slab 
 backwards and forward?, using very fine sand 
 and water, till your marble appears equally 
 rough and not in scratches; next use a finer 
 stone and finer sand, till its surface appears 
 equally gone over, then with fine emery powder 
 and a piece of felt or old hat, wrapped round a 
 weight, rub it till all the marks left by the 
 former process is worked out, and it appears with 
 a comparative gloss on its surface ; afterwards 
 finish the polish with putty powder and fine 
 clean rags, taking care as soon as the face ap- 
 pears of a good gloss not to put any more 
 powder on your rags, but rub it well, and in a 
 short time it will appear as fresh as when out 
 of the mason's hands. 
 
 To Polish Tortoise-shell or Horn. 
 
 After having scraped 'your work perfectly 
 smooth and level, rub it with very fine sand- 
 paper or Dutch rushes, then with a bit of feft 
 dipped in finely powdered charcoal with water, 
 and lastly with rotten-stone or putty powder ; 
 
r^i 
 
 tben with a piece of soft wash-leather, damped 
 with a little yweet oil, to iiujsu it. 
 
 FRICTION VARNISHING OR 
 FRENCH POLISHING. 
 
 GENERAL OBSERVATIONS 
 
 The method of varnishing furuiture, by means 
 of rubbing it on the surface of the wood, is of 
 comparatively modern date, though bees-wax 
 has been used, either by itself, or mixed with 
 spirits of turpentine, for a very considerable 
 period, for that purpose, and which at first pro- 
 duces a very good gloss, though it does not 
 wear well, and is particularly liable to spot 
 with wet, and look smeary when touched with 
 the fingers ; to remedy these inconveniences, 
 and put a harder face, which shall not be so 
 liable to scratch as varnish, and yet have an 
 equally fine face, the French polish was intro- 
 
FRENCH POLISHING. 73 
 
 duced, and as it would be unpardonable in a 
 work like thi?, to omit a full direction of thd 
 process, and also the various preparations oi 
 the different compositions necessary, it is hero 
 introduced that nothing might be wanting to 
 make this work as complete as possible. 
 
 All the polishes are used much in the same 
 way, therefore a general description will be a 
 sufficient guide for the workman. If your work 
 is porous, or the grain coarse, it will be neces- 
 sary, previous to polishing, to give it a coat of 
 clear size previous to your commencing with 
 the polish, and when dry, gently go over it with 
 very fine glass-paper, the size will fill up the 
 pores and prevent the waste of the polish, by 
 being absorbed into the wood ; and also a 
 saving of considerable time in the operation. 
 Place your work so that the light may shine on 
 it in an oblique direction, to enable to you see, 
 by looking sideways, how the polishing pro* 
 ceeds. 
 
 Make a wad with a piece of coarse flannej 
 or drugget, by rolling it round and round, over 
 H 
 
74 nilCTtON VARNISHING, OR 
 
 which, on the side meant to polish with, put 
 very fine linen rag several times doubled, to be 
 as soft as possible ; put the wad or cushion to 
 the mouth of the bottle, containing the prepa- 
 ration (or polish) and shake it, which will damp 
 the rag sufficiently, then proceed to rub your 
 work in a circular direction, observing not to do 
 more than about a square foot at a time ; rub 
 it lightly till the whole surface is covered, re- 
 peat this three or four times, according to the 
 texture of the wood ; each coat to be rubbed 
 until the rag appears dry, and be careful not 
 to put too much on the rag at a time, and you 
 will have a very beautiful and lasting polish ; 
 be also very particular in letting your rags be 
 very clean and soft, as the polish depends, in a 
 great measure, on the care you take in keeping 
 it clean and free from dust during the operation. 
 
 The True French Polish, 
 To one pint of spirits of wine, add a quarter 
 of an ounce of gum-copal, a quarter of an ounce 
 of gum-arahic^ and one ounce of shed-iac. 
 
FRENCH POLISHING. 5 
 
 Let your gums be well bruised, and sifted 
 through a piece of muslin. Put the spirits and 
 the gums together in a vessel that can be closo 
 corked, place them near a warm stove, and fre- 
 quently shaking them, in two or three days they 
 will be dissolved : strain it through a piece of 
 muslin and keep it tight corked for use. 
 
 1 An Improved Polish. 
 
 Take a pint of spirits of wine, add, in fine 
 powder, one ounce of seed-lac, two drachms of 
 gum-guaiacum,tvTO drachms of dragon's blood, 
 and two drachms of gum-mastic; expose them, 
 in a vessel stopped close, to a moderate heat for 
 three hours, until you find the gums dissolved; 
 strain it off into a bottle for use, with a quarter 
 of a gill of the best linseed oil to be shaken up 
 well with It. 
 
 Note. — This polish is more particularly in- 
 tended for dark-coloured woods, for it is apt to 
 give a tinge to light ones, as satin-wood, or 
 airwood, kc. owing to the admixture of the 
 dragon's blood, which gives it a red tinge. 
 h2 
 
76 FRICTIOX VARNISHING, Ok 
 
 Water Proof Polish. 
 
 Take a pint of spirits of wine, two oiinces of 
 l^um-benzoin, a quarter of an ounce ot gum- 
 sandrach and a quarter of an ounce of gum- 
 anime ; these must be put into a stopped bottle, 
 and placed either in a sand-bath or in hot water 
 till dissolved, then strain it ; and after adding 
 about a quarter of a gill of the best clear poppy 
 oil, and well shook up, put by for use. 
 
 7 
 Bright Polish. 
 
 A pint of spirits of wine to two ounces of 
 gum-benzoin and half an ounce ofgum-sandrach, 
 put in a glass bottle corked, and placed in a 
 sand-bath, or hot water, until you find all the 
 gum dissolved, w^ill make a beautiful clear 
 polish for Tunbridge-ware goods, tea-caddies, 
 $LC. : it must be shaken from time to time, and 
 when all dissolved, strained through a fine 
 muslin sieve and bottled for use. 
 
FKEKCH POLISHING. T7 
 
 Prepared Spirits, 
 
 This preparation is useful for finishing after 
 any of the foregoing receipts, as it adds to the 
 lustre and durability, as well as removing every 
 defect which may happen in the other polishes; 
 and it gives the surface a most brilliant appear- 
 ance. 
 
 Half a pint of the very best rectified spirits of 
 wine, two drachms of shell-lac, and two drachms 
 of gum-benzoin. Put these ingredients in a bottle, 
 and keep it in a warm place till the gum is 
 all dissolved, shaking it frequently; when cold, 
 add two tea-spoonfuls of the best clear white 
 poppy oil, shake them well together and it is 
 fit for use. 
 
 This preparation is used in the same manner 
 as the foregoing polishes, but, in order to remove 
 all dull places, you may increase the pressure 
 in rubbing. 
 
 Strong Polish. 
 
 To be used in the carved parts of cabinet* 
 h3 
 
78 FRICTION VARNISHING, kc. 
 
 work with a brush, as in standards, pillars, 
 claws, &c. 
 
 Dissolve two ounces of seed-lac and two 
 ounces of white rosin in one pint of spirits of 
 wine. 
 
 This varnish or polish must be laid on warm, 
 and if the work can be warmed, also, it will be 
 so much the better ; at any rate moisture and 
 dampness must be avoide • 
 
 Directions for Cleaning and Polishing Old 
 Fu?milure. 
 
 Take a quart of stale beer or vinegar, put a 
 handful of common salt, and a table-spoonful of 
 spirits of salt, boil it for a quarter of an hour ; 
 you may keep it in a bottle, and warm it when 
 wanted for use ; having previously washed your 
 furniture with soft hot water to get the dirt off, 
 then polish, according to the directions, with 
 any of the foregoing polishes. 
 
 I 
 
CLEANS! XG. 
 
 CLEANSING. 
 
 19 
 
 To Clean and Restore the Elasticity of Cane 
 Chair Bottoms, Couches, Sfc, 
 
 Turn up the chair bottom, &c. and with hot 
 water and a sponge, wash the cane-work well, so 
 that it may be well soaked, should it be dirty 
 you must add soap ; let it dry in the air, and 
 you will find it as tight and firm as when new, 
 provided the cane is not broken. 
 
 To Clean OU Brass-work for Lackering: 
 
 First boil a strong lye of wood-ashes, which 
 you may strengthen by soap-lees *, put in your 
 brass-work, and the lacker will immediately 
 conae off; then have ready a pickle of aqua-fortis 
 and water, strong enough to take off the dirt, 
 wash it immediately in clean water, dry it well 
 and lacker it. 
 
80 , CLEANSING. 
 
 To clean Silver Furniture. 
 
 Lay the furniture, piece by piece, upon a 
 charcoal fire, and when they are just red, 
 lake them oft and boil there in tartar and 
 water, and your silver will have the same 
 beauty as when first made. * 
 
 A Receipt to Clean Marblcy Sienna, Jasper, 
 Porphyry, Szcola, S^c. 
 
 Mix up a quantity of the strongest soap-lees 
 with quick-lime, to the consistence of milk, 
 and lay it on the stone, &c. for twenty-four 
 hours, clean it afterwards with soap and water, 
 and it will appear as new. 
 
 Note. — This may be improved by rubbing 
 or polishing it afterwards with fine putty-pow- 
 der and olive oil. 
 
 To take hik Spots out of Mahogany. 
 Apply spirits of salts with a rag, until the 
 spot disappears, immediately wash with clear 
 water. 
 
CLEANSING. 81 
 
 J other Method. 
 
 To half a pint of soft Vvater, put an ounce of 
 oxalic-acid, and half an ounce of butter of anti- 
 mony ; shake it well, and when dissolved it will 
 be very useful in extracting stains out of ma- 
 hogany, as well as ink, if not of too long 
 standing. 
 
 K. To take out Spots of Grease or Oil from 
 
 P Cloth, 
 
 Drop on the spot some oil of tartar or salt of 
 wormwood, left in a damp place till it turns 
 into a fluid ; then immediately wash the place 
 with lukewarm soft water, and then with cold 
 water, and the spot will disappear. 
 
 Note. — This will be found very useful, as it 
 frequently happens that the cloth of card tables, 
 and the inside flaps of secretaries, are spotted and 
 greasy, which by proceeding as above will com- 
 pletely take out every spot of grease. 
 
8S CLEANSINA 
 
 To take out Wax Spots from Cloth or Silk. 
 
 Put on each spot a piece of soft soap, and 
 place it in the sun, or gently warm it before the 
 fire, let it remain some time, then wash it off 
 with soft water, and the spot will have disap- 
 peared. 
 
 Another Method. 
 
 Drop spirits of turpentine or spirits of wine 
 on the spot, then witli a spunge rub it gently, 
 repeat it till the spot disappears. 
 
 To clean Carpets or Tapestry. 
 
 Let your carpet be first well beat, and freed 
 from dust ; then tack it down to the floor \ 
 mix half a pint of bullock's gall with two 
 gallons of soft water, then scrub it well with 
 soap and (his gall mixture; let it remain till 
 quite dry, and it will be perfectly clean:5ed, and 
 look like new, as the colours will be restored 
 to their original brightness ; the brush you U86 
 
CLEANSING. 83 
 
 must not be too hard, but rather long in tli« 
 hairs, or you will rub up the nap and damage 
 your work. 
 
 To clean Or Molu Ornaments. 
 When the expence of regilding these orna- 
 ments is an object, the following method will iji 
 a great measure restore them to their original 
 beauty ; but if very much worn the only way is 
 to take off what remains cf the original gilding» 
 and clean them well, by immersing them in 
 aqua-regia, or a mixture of muriatic acid and 
 aqua-fortis, and repeating the original process 
 which is similar to that of gilding buttons; 
 however, if not in a very bad state, if you let 
 your ornament lay some little time in a weakish 
 mixture of aqua-fortis, and then wash them 
 directly in water, lay them on your hot plate, 
 and when sufficiently heated apply very pale gold 
 lacker, and they will look very well, as what 
 remains of the original gilding will not be 
 injured by the aqua-fortis, though the other 
 parts as well as the gold will be perfectly 
 cieansen ^rom every dirt or tarnish 
 
S4i SILVERING. 
 
 SILVERING. 
 
 GENERAL OBSERVATIONS 
 
 The art of silvering looking-glasses, or 
 plate glass, when conducted in the large way, 
 requires great care and practice, and is almost a 
 trade of itself, and the apparatus necessary is 
 very expensive, therefore not worth the while of 
 any one's undertaking without a considerable 
 business in that way ; but for the sake of the 
 mechanic, I will endeavour to explain the 
 process which may be conducted in the small 
 way, particularly when at a distance from 
 London, with advantage by the cabinet-maker, 
 who by the bye ought to combine the several 
 trades of that with carver and gilder, as well 
 as japanner and varnislier, for it is seldom in a 
 country town that they are thought of as sepa- 
 rate trades, therefore every thing in the furni- 
 ture way is sent to the cabinet-maker to be 
 
SILVERING S5 
 
 made or repaired ; the requisites necessary are, 
 first, a large stone, or plate of cast iron made 
 perfectly smooth and level. Secondly, a suffi- 
 cient number of square lead or iron vveights of 
 from seven to fourteen pounds weight each. 
 Thirdly, a quantity of tin-foil. And, lastly, 
 good distilled quicksilver, free from any impu- 
 rities, for on the goodnessof it dependsthe beauty 
 of the silvering. 
 
 Method of Silvering Looking Glasses and 
 Plate Glass, 
 
 Have your stone or plate fixed firmly on a 
 strong table, spread your tin foil smoothly and 
 evenly on it to the size of the plate you intend 
 to silver, then take your quicksilver and pour it 
 on the foil, spread it evenly and smoothly with 
 a hare's foot, that it may adhere to the foil ia 
 every part, lay a smooth piece of strong blotting* 
 paper on it, and on that your plate to be 
 silvered, shoving it on from one end, that the 
 air may not be included betw^een that and the 
 glass ; now draw the ppner gently and regu- 
 
86 SILVERING. 
 
 larly from between the plate and glass, and 
 place your weights side by side, as the paper is 
 withdrawn, till the glass is entirely covered : 
 elevate the stone at one end, which will cause 
 the superfluous silver to run from between the 
 glass and foil, let it remain in that position for 
 about a week or ten days, and taking off your 
 weights, you will find (if the process has been 
 conducted with care) it silvered to your mind. 
 
 Note, — The stone should have a groove 
 round the top, that the superfluous silver can run 
 to the bottom, from whence it may be taken to 
 use for the same purpose again. 
 
 To make Liquid Foil for Silvering Glass 
 G lobes y Bent Mirrors, ^^c. 
 
 Take one ounce of clean lead, and one ounce 
 of fine tin, melt them together in a clean iron 
 ladle, then immediately add one ounce of bis- 
 muth, skim off the dross, remove the ladle from 
 the lire, and before it sets add ten ounces of 
 quicksilver \ stir the whole carefully together. 
 
BRONZE AND PAINTING. 87 
 
 observing not to breathe over it, as the evapora- 
 tion of the quicksilver is very pernicious. 
 
 Another Method. 
 
 Take four ounces of quicksilver, to which 
 put as much tin foil as to become barely fluid 
 when mixed ; have your globe (or bent mirror) 
 clean and warm, and either inject the quick- 
 silver by means of a clean earthen pipe at the 
 aperture, turning it about till it is silvered all 
 over, or, if a bent mirror, pour it gfintly into i(, 
 turn it about till the silver adheres all over, let 
 the remainder run out, and hang it up. 
 
 BRONZE AND PAINTING- 
 
 To Bronze Figures, 
 
 For the ground, after it has been sized and 
 rubbed down, take Prussian blue, verditer and 
 I 2 
 
S8 BORNZE AND PAINTING. 
 
 spruce ochre, grind them separately in water, 
 tujpentiiie, or oil, according to the work; mix 
 them together in such proportions as will pro- 
 duce the colour you desire ; then grind Dutch 
 metal, commonly called bronze, in the same 
 material you ground your colour ; laying it with 
 judgment on the prominent parts of the figure, it 
 VAill produce a grand effect. 
 
 Note, — There are several different colours 
 of bronze, which are best imitated by the 
 powders, sold at almost all colour-shops, called 
 bronze-powders, independent of the one here 
 mentioned of Dutch metal, and are made, not 
 without considerable trouble, by dissolving dif- 
 ferent metals in aqua-fortis, and precipitating 
 the solution 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 correspond- 
 ing colours of paint for a ground. 
 
BEONZE AXi: PAINTING 89 
 
 To Bronze on Wood, 
 
 The carved and turned work in cabinet fur- 
 niture is frequently done in imitation of bronze, 
 wnich if well done has a very elegant effect, 
 and adds much to the beauty of the article : it is 
 thus performed. Having stained those parts in- 
 tended for bronzing black, by any of the 
 methods shewn under the article Staming, 
 take japanners' gold size, and mix with a small 
 portion of Roman ochre and Prussian blue 
 go over the blacked parts lightly, then suffer i< 
 to dry till it feels just taekey or stickey to the 
 linger, but not to come off, then with a hard bali 
 of cotton, dipped in any of the bronze powder;, 
 rub those places that are prominent, and, if you 
 please, give it a thin coat of japanners' go I 
 size thinned with spirits of turpentine; you may 
 alter the colour of your bronze by mixing eithei 
 m re or less blue, as also other colours, as ver- 
 diter green by itself, but do not put your colour on 
 thick over the black stain, but rather glaze it OQ; 
 I3 
 
90 BRONZE AND PAtNTTXG. 
 
 for it is not wanted in a body, but should be 
 rather transparentj as it makes it more oi a me- 
 tallic appearance. 
 
 Tc bronze Brass Figures or Ornaments. 
 
 After having lackered your brass work in 
 those parts you wish to look like gold, you 
 must for those parts that are intended to appear 
 as bronze take 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 co- 
 lours separate for use, and when wanted take of 
 pale gold lacker, and mix with it a portion of 
 these ingredients till jou get the colour required ; 
 then apply this mixture in the same manner 
 as you are directed in lackering brass work ; 
 you may also, if you please, mix with it any 
 coloured bronze powder for the sake of variety; 
 a little experience, and a few experiments with 
 these compositions, will enable the workman to 
 imitate any bronze colour he pleases. 
 
BRONZE AND PAINTING. 91 
 
 To Bronze or Brown Gun Barrels, S^c» 
 
 Let your work be well cleaned and bright- 
 ened, then apply aqua-fortis or spirits of salts all 
 over it, and lay it by for a week till it appears 
 covered with rust, then with a cloth damped with 
 boiled lintseed oil, rub it well till it is perfectly 
 level and smooth ; then with a hard brush, and 
 bees-wax, rub it well till it has a good gloss ; 
 some put a very thin coat of very pale lacker 
 over the whole, to preserve it more effectually. 
 
 Note. — It is frequently the practice to make 
 the browning appear in streaks or veins ; this is 
 done by applying the aqua-fortis and spirits of 
 salt with a flat brush, such as the grainers of 
 wood use in painting ; you may also vary the 
 colours, either by mixing these two ingredi- 
 ents together in different proportions, or using 
 them separately ; the aqua-fortis producing a 
 kind of grey, and the spirits of salts a deep 
 brown or rust colour. 
 
92 BRONZE AND PAINTING. 
 
 Graining or imitatitig Woods, Marble, ^c. 
 
 This process, though more properly under 
 the department of the Painter, than that of the 
 Cabinet Maker, may not be unacceptae tobl the 
 latter. I shall, therefore, shew the mode usually 
 adopted ; but at the same time must remark that 
 nothing but practice, and a close attention to 
 nature, will enable the workman to excel in «hi3 
 art, though by pointing out the necessary tools 
 used, and the various processes made use of to 
 imitate the natural grain of wood, or marble, 
 will most materially assist the VTorkman in his 
 operations. The chief tools necessary are com- 
 mon brushes, as used by house-painters, sash tools 
 of diflferent sizes, camel hair pencils with long 
 and short hair, camel hair flat brushes in tin for 
 softening off; graining tools, which are flat 
 brushes of a few hairs in thickness, and of dif- 
 ferent widths, fastened into wooden handles, and, 
 lastly, horn combs made on purpose for graining; 
 and these are chiefly used for imitating oak, or 
 wainscot, though they will be found often useful 
 
BRONZE AND PAINTING. 93 
 
 for Other purposes ; they are sometimesfixed into a 
 wooden handle, in the same manner as a graining 
 tool, though generally in the form of a common 
 comb; they should be very thin and elastic, so as 
 to adapt themselves to the several mouldings they 
 are drawn over, in order to produce the grain so 
 peculiar to oak or wainscot. 
 
 The first thing to be attended to, is to make 
 a good ground, as much depends on this, in 
 order that your work shall appear to the greatest 
 advantage ; you must, therefore, after having 
 put on your priming, or first colour, when it is 
 dry, rub it well with pumice stone, in order to 
 make smooth all the lumps ; next put on your 
 colour for the ground^ v^'hich must be adapted to 
 the colour of the wood you wish to represent; 
 thus having determined upon what wood it is 
 to imitate, procure a piece for a model to work 
 from, and let it be well scraped, sand-papered 
 and polished ; observe which is the lightest parts 
 of it, which match as near as you can with 
 paint, and lay that on evenly and smoothly for 
 your ground colour, being careful that it has 
 
94) BRONZE AND PAINTING. 
 
 been well mixed and finely ground in oil, with 
 the necessary quantity of drier, or sugar of lead 
 ground in oil; let the ground then remain to 
 get perfectly hard and dry, it is then ready to 
 receive the finish by graining, which is done in 
 two different ways, viz. either in oil colour, or 
 in distemper ; the first is certainly to be pre- 
 ferred, as it stands better, is more durable, and 
 in most cases much handsomer, though at the 
 same time more difficult to execute, and not so 
 expeditiously performed. I prefer, in working 
 by this method, to use mixed with the colour, 
 which should be finely ground in oil, some 
 japanner's gold size, to expedite the drying; 
 and also to thin your colour to the proper con- 
 sistence, to use good spirits of turpentine, as it 
 makes the colour flow freely from your brush, 
 and enables you to soften and blend the dif- 
 ferent shades of your grain together. The 
 other method in distemper, is to have your 
 graining colour ground either in very thin 
 size, or stale beer; this method is very expe- 
 ditious, and at the same time enables you very 
 
BRONZE AND PAINTING. 9o 
 
 easUy to make any aUerations in your work, 
 as a wet sponge will immediately remove any 
 parts that are not to your mind. 
 
 There is one particular, which I must men- 
 don in the art of graining, which is, that you 
 must select those colours that are the most 
 transparent, and at the same time, have suffi- 
 cient body for your purpose, for if you use 
 opaque, heavy colours, though they may ap- 
 pear to match the tint, or have the hue re- 
 quired, will, when applied, give your work a 
 cloudy and muddy appearance, and the shades 
 will not soften or blend with each other. 
 
 As an attempt to give a particular descrip- 
 tion of the methods used for each particular 
 wood, would of itself form a volume, and 
 swell this much beyond the limits of a pocket 
 manual, I shall content myself by giving in 
 general terms the usual process of applying the 
 colour for graining, and suppose we have the 
 pattern before us, and the ground prepared as 
 above directed, as well as the graining colour. 
 The first thing we do is to go over the grounc 
 
96 BRONZE AND PAINTIJ5G. 
 
 in a slight manner, with the grain colour made 
 very thin with spirits of turpentine, and if 
 necessary, a little drying oil mixed with it, by- 
 taking a little on your brush and scumbling it 
 on ; that is, rubbing the brush over it in ail 
 directions as thinly as possible ; next, if it shouid 
 be in imitation of oak or wainscot, we scrape 
 it from top to bottom, or from side to side, 
 according to the way we have fixed on in our 
 minds the grain of the wood should run, going 
 over repeatedly, gently shaking your comb, 
 that the grain should not appear as perfectly 
 strait lines ; you will then have a perfect re- 
 semblance to the strait part of the grain of your 
 wood ; observe next, if there is any particular 
 dark or light streaks you wish to imitate, the 
 first is done with your colour flowing freely 
 from a camel hair pencil, and softened oflp with 
 your flat tin softener of camel's hair; if light, 
 dip your brush in plain spirits of turpentine, and 
 mark the light places, then gently brush them 
 with your softener, or very soft dusting brush, 
 and it will appear light to your mind ; for your 
 
BRONZE ANI> PAINTINa. 97 
 
 nark irregular grain imitate nature as near as 
 possible, with your flat graining brush dipped 
 jn the grain colour, which you may mend and 
 touch up with your camel-hair brush ; gently 
 soften it off and proceed, if there is irregular 
 light parts in the grain, lo imitate them either 
 with your graining brush, or camel-hair pencil 
 dipped in turpentine, brushing gently over with 
 your duster or softener ; you may then proceed 
 to finish by putting in stronger marks with 
 yOur camel-hair brush. Sometimes you will 
 find it convenient to rub off the colour in small 
 patches, to imitate your pattern, which may b? 
 done with a piece of wash leather ; at other 
 times, as in imitating yew-tree or knotty and 
 curly wood, you may twist up a piece of 
 bladder or thin parchment, and by giving it a 
 turn or twist on the ground, it will give a very 
 good representation of a knot or curl. YoiU 
 work is now to be suffered to get quite dry 
 and if very particular nicety is required, yoi 
 way glaze over those parts which require it. o 
 K 
 
98 BKONZK AND TAl^tiSd. 
 
 darken others at your pleasure ; if you are 
 not very particular, you may at once give it 
 two or three coats of clear copal varnish, or 
 moro will be required if the varnish is to b& 
 polished. 
 
 Nearly the same methods as above may be 
 resorted to when wc grain in distemper, except 
 using plain water instead of turpentine. The 
 process is much the same for marbling, except 
 't requires great dexterity in putting in the 
 veins, and there is no occasion of scumbling in 
 the colour in the ground, or even in many 
 cases in letting the ground dry, but doing it 
 all at once with opaque body colours, which 
 you soften into one another as required; and 
 in many cases it is necessary to sprinkle on 
 different colours from the brush, such as in 
 imitating porphyry, &c. These f-?w rules, if 
 joined with a close attention in studying from 
 nature, w^ill enable the ingenious mechanic soon 
 to make himself master of an art which adds so 
 much to the beautifying of our apartments/and 
 which has lately become so much in vogue, 
 
GILDING. 90 
 
 that a modern room can scarcely be said to be 
 finished without these decorative embellish- 
 ments. 
 
 Green Paint for Garden Stands, Venetian 
 Blinds, Trellisses, Sfc, 
 
 Take mineral green and white lead ground 
 in turpentine, mix up a quantity to your mind, 
 with a small quantity of turpentine varnish for 
 the first coat; for the second, you must put as 
 much varnish in the colour as will produce a 
 good gloss. 
 
 Note. — By adding a small quantity of Prus- 
 sian blue you will have the colour much 
 brighter. 
 
 GILDING. 
 
 GENERAL OBSERVATIONS. 
 
 Gilding on wood is performed in two dif- 
 ferent ways, and is called oil gilding when the 
 K 2 
 
J 00 GILDING. 
 
 proces.^ is performed by means of oil or varnish, 
 and is well calculated for out-door work, as it 
 tvill stand the weather, and bear washing: 
 ihe other, and bv far the most beautiful, is that 
 employed for picture frames, furniture, &c. 
 *nd is called burnish gildinoj, which, when well 
 executed, adds greatly to the ornamental work 
 fiften introduced, either in the internal decora- 
 Oon of rooms, or the carved work and reeding 
 H furniture. As both these methods are so 
 necessary to the workman, 1 shall be particular 
 in laying down such rules and directions, that, 
 with a little care and practice, the ingenious 
 mechanic will soon be able to execute any 
 piece of work wherein the assistance of gilding 
 is necessary, and where a regular gilder is not 
 at hand. 
 
 Necessary Requisites to he provided with. 
 
 First, a sufficient quantity of leaf-gold, 
 which is of two sorts, the hio-Ii gold, as it is 
 called, and the pale gold; the former is much 
 the best, but the latter very useful, as being 
 
GILDING. 101 
 
 of a different colour, you may introduce, if 
 necessary, a variety ; it is also cheaper, there 
 fore to be preferred where expense is an 
 object. 
 
 Secondly, A gilder's cushion, which is an 
 oblong piece of wood, covered with a piece of 
 what the bookbinders call rough calf-skin, and 
 is stuffed with flannel several times doubled, 
 and a border of parchment, about four inches 
 deep at one end, to prevent the air blowing 
 the leaves about when taken from the book and 
 placed on the cushion. 
 
 Thirdly, A gilding knife, with a strait and 
 very smooth edge, to cut your gold in the 
 pieces necessary. 
 
 Fourthly, Several camel-hair pencils of dif- 
 ferent sizes, and some tips, as they are called, 
 which is a few long camel's hairs put between 
 two cards in the same manner that the hairs 
 are put into tin cases for brushes, making, as 
 it were, a flat brush with a very few hairs. 
 
 Lastly, A burnisher, which is a crooked 
 piece of agate set in a long wooden handle. 
 k3 
 
103 GILDING. 
 
 To make Sizefo/ -preparing your Frames, Sfc 
 Take halt a pound of parchment shavings, or 
 cuttings of white leather; add three quarts of 
 water, and boil il in a proper vessel till it is 
 reduced to nearly half the quantity ; take it oft 
 the fire and strain it through a sieve : be 
 careful in the boiling to keep it well stirred, 
 and do not let it burn. 
 
 To prepare J/ our Frames or JVood-xvork. 
 
 First, with the above size alone, and boiling- 
 hot, go over your frames in every part ; then 
 take a sufficient quantity of whiting and mix 
 with some size, to the consistence of thick 
 cream ; go over every part of your frame, and 
 give it six or seven coats, carefully letting each 
 coat dry before you proceed with the next, and 
 you will have a white ground fit for gilding on 
 nearly, or quite, the sixteenth of an inch in 
 thickness. 
 
 Note. — You must not have your size too 
 thick, and it need not be put on, when mixed 
 
GILDING. 103 
 
 with the vThitjng, so hot as the first coat is by 
 itself: it will be better, in order to separate 
 the dirt or coarse parts of the whiting, to si ram 
 it through a sieve. — Vauxhail whiting is llie 
 be&t. 
 
 Polishing. 
 
 When the prepared frames are quite dry, 
 proceed to clean and polish theiu ; wet a small 
 piece at a time, and take a smooth fine piece oi 
 cloth dipped in water, rub the part till all the 
 bumps and inequalities are removed, and for 
 those parts where ihe fingers will not enter thi 
 mouldings, &c. wind the wet cloth round a 
 piece of wood adapted to the moulding or quirk ; 
 by this means you will make the surface all 
 smooth and even alike. 
 
 Note. — Where there is carved work, &c. 
 it will sometimes 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 has someiimei 
 
104 GILDING. 
 
 been the practice, after polishing, to go over 
 ..he work once with fine jellow or Roman 
 ochre, but in general this is hardly necessary- 
 
 Gold-Size, 
 
 Take fine boll-ammoniac, what quantity you 
 please, grind it fine with a rauller and stone, 
 scrape into ii a little beef suet, grind all well 
 together ; after which, mix in with a pallet 
 knife a small proportion of parchment size 
 with a double proportion of water. 
 
 Jnother Gold-Size, 
 
 Take a lump of tobacco-pipe clay, and grind 
 it into a very stiflf paste with thin size ; add a 
 small quantity of ruddle, and fine black lead 
 ground very fine, and temper the w^hole with a 
 small piece of tallow. 
 
 To 'prepare your Frames, Sfc.for Gilding, 
 
 Take a small cup, or pipkin, in which put as 
 much gold-size as you judge sufficient for tlio 
 Work in hand, add parchment-size, till it is just 
 
GILDING 105 
 
 sufficient to flow from the brush ; when quite 
 hot, pass over your work with a very soli 
 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 nobs, 
 Ac. that there may have been in the size: 
 your work is now ready lor applying the gold. 
 Note. — Your parchment-size should be of 
 &unh a consistence, when cold, as the common 
 jelly sold in the shops; for if too thick it will 
 be apt 10 chip, and if too thin it will not have 
 sufficient body. 
 
 Laying on the Gold. 
 
 This is tie most difficult part of the opera- 
 tion, and requires some practice; but I shall 
 endeavour so to describe the method that, with 
 a little caution and attention, it may be easily 
 performed. 
 
 Turn your gold out of the book on yout 
 cushion a leaf at a time; then passing your 
 gilding knife under it bring it into a convenient 
 
106 GILDING. 
 
 part of your cushion for cutting it into the size 
 of the pieces required; breathe gently on the 
 centre of the leaf, and it will lay flat on your 
 cushion ; then cut it to your mind by bringing 
 the knife perpendicularly over it, and sawing it 
 gently it will be divided. 
 
 Place your work before you, nearly horizon- 
 tal, and with a long-haired camel-hair pencil, 
 dipped in water (some use a small quantity ot 
 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 by 
 means of your tip; by drawing it over your 
 forehead, or cheek, it will damp it suflaciently 
 to adhere to the gold, which must then be 
 carefully transferred to your work, and gently 
 breathing on it, it will be found to adhere; but 
 you must mind that the part you apply it to is 
 sufficiently wet ; indeed, it must be floating, or 
 you will find the gold apt to crack : proceed in 
 this manner by a little at a time, and do not 
 attempt to cover too much at a time, till you find 
 by experience you are able to handle your gold 
 
GILDING. 107 
 
 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. 
 
 Bumishing. 
 
 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 tha 
 warmth of the room or state of the air, and 
 practice will enable you to judge when lo seize 
 the proper time. 
 
 When it is ready, those parts which you 
 intend to burnish must be dusted with a soft 
 brush, and wipey our burnisher with a piece of 
 soft wash-leather (quite dry) ; begin to burnish 
 about an inch or two in length at a time, taking 
 care not to lean too bard, but with a gentle and 
 
108 GILDING. 
 
 quick motion apply the tool til. you find it all 
 over equally bright. 
 
 Matting, 
 
 Those parts of your work which look dull 
 from not being burnished, are now to be 
 matted, that is, are to be made look like dead 
 gold ; for if left in its Datural state it will have a 
 shining appearance, \Thich must be thus rec- 
 tified: 
 
 Grind some vermillion, or yellow ochre, 
 very fine, and mix a very small portion either 
 with the parchment-size or wiih the white of 
 an egg, and with a very soft brush lay it even 
 and smooth on the parts intended to look dull ; 
 if well done, it will add greatly to the beauty 
 of the work. 
 
 Note. — The work must be well cleared of 
 superfluous gold, by means of a soft brush, 
 previous to burnishing or matting. 
 Finishing, 
 
 All that is now necessary is to touch the part? 
 in the hollows with a composition called ver- 
 
GILDING. 109 
 
 milie ; it is made by grinding vermillion, 
 gamboge, and red lead, very fine^ with oil of 
 turpentine, and applying it carefully with a 
 small brush in the parts required, and your 
 work is completed. 
 
 Note. — Sometimes the finishing is done by 
 means of shell-gold, which is far 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; 
 take a little gum-arabic and sugar-candy, with 
 a little water, and mix it well together, put it 
 in a shell to dry against you want it. 
 
 Silver Sise, 
 
 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 I have 
 made it as here directed, and found it answer 
 very well. 
 
110 GILDING. 
 
 Silvering, 
 
 Silvering is at present but little in use, thonsrli 
 I have seen some old works that stiil looked 
 very well, and I think it might be introduced 
 with advantage in many works ; the great fault 
 is, that it is apt to tarnish ; but which maj be 
 preserved 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 same as for gold ; but 
 the matting must be done by mixine; a small 
 quantity of flake white in pow-der, with a little 
 Prussian blue (just sutDcient to tinge it) along 
 with plain size or white of egg. 
 
 To Gild the Borders of Glass. 
 
 The art of gilding upon glass, which is 
 a revival and improvement upon attempts made 
 many years ago, is chiefly used for decorating 
 the borders of prints, in executing name plates, 
 and 'nscriptions for various purposes; as also 
 for jrnamenial decorations in a variety of 
 
elegant works, with different coloured grounds; 
 but as black is the most general in demand, I 
 shall first proceed to treat on that, in two ways 
 of performing it. 
 
 You are to procure some of the finest 
 isinglass, which you will distinguish by holding 
 between you and the light, when that which is 
 white and transparent is the best, and the con- 
 trary is totally unfit for this purpose. You are 
 to dissolve it in very clean water, pretty thick, 
 and strain it through a linen cloth ; then into a 
 tea cup, full of very clean milk war*n water, 
 put about the size of a pea of this isinglass 
 jelly, which let gently incorporate with the 
 water ; then, having your glass that is to be 
 gilt quite clear and free from any dirt or 
 grease, get some leaf gold, the less porous in 
 the beating the better, put it on a gilding 
 cushion, and cut it in pieces sized for your 
 purpose, according to the breadth you w^ant to 
 ha\e your work gilt; then touch with a hair 
 pencil, dipped in the thin isinglass water^ on 
 the glass ; and while moist, iay on your leaf 
 L 2 
 
nS GILDING. 
 
 gold, piece by piece, until you have the parts 
 you want covered. The leaf will instamly 
 adhere to the glass ; then place it within air of 
 the fire, in a slanting position, until it dries, 
 which will be in a few minutes. While it is 
 gently warm, take a piece of clean cotton wool, 
 and rub the gold on the glass smartly, until you 
 not only find the superfluous pieces of leaf gold 
 gone, but that likewise the part gilt receives a 
 kind of polish ; then proceed to lay on a second 
 coat of gold, in the same manner as the first, 
 drying it as before, and polishing it; and so a 
 third coat, which is fully sufficient, and to gild 
 properly cannot be dispensed with. Then take 
 the size of your print or drawing, which is to 
 be framed, and laying it on the gilt part of the 
 glass, mark where the corners are to come, with 
 a hair pencil, and some dark colour ; after 
 which, being provided with a long wooden 
 ruler, and a pointed piece of ivory, dravT two 
 parallel lines out of your gold, and with a 
 mahogany or deal stick, pointed cautiously, 
 work away the superfluous parts, leaving the 
 
GILDlKft. 113 
 
 gold fillet which is to encompass your picture, 
 sharp and neat ; when, if you have a mind to 
 ornament it by any other lines, to appear 
 black in the centre, lay on your ruler, and 
 with your ivory point scribe them, and then 
 vainish ; having some black japan, to which a 
 little burnt lamp black has been added to 
 deepen its colour. Paint it all over the gilt 
 part of your glass, and the space between it 
 and the edge, then set it to dry, v\hich will take 
 place in a few hours; when you are to lay out 
 the breadth of your black line that is to be 
 inside your gilding, scribe it with a sharp 
 point, and cut away the waste black with a 
 graver or some sharp instrument. 
 
 If you want to cut figures, or any kind of 
 ornament out of your gold, after your glass is 
 gilt, have a drawing of your design on paper, 
 at the back of which rub some powdered red 
 chalk, and the smallest quantity of fresh butter; 
 lay the paper on the gold, and with a bluntish 
 ivory point, go over the lines of the drawing, 
 and they will be nicely transferred on the gold ; 
 lS 
 
n^ GILDING. 
 
 when vou can, with an ivory point, trace them 
 out ot the gold, and shade them agreeable to 
 your fancy, or from the drawinsj you have by 
 you; and then, by mixing any colour you 
 choose with white copal varnish, you may vary 
 your ground as you think proper. 
 
 But the most important secret in the glass 
 gilding, is the method which only two or three 
 persons in London are acquainted with. In an 
 instant, after your glass is blackened, taking 
 away the parts where the gold is to appear, and 
 the remainder of the black to stand fast, by 
 which means the black gilding work is done in 
 one half the time, and with half the gold leaf. 
 The process is simple, and is thus performed: — 
 You are to get the very best black japan var- 
 nish, such as is used for the roofs of carriages, to 
 which you may add a very small share of 
 burned lamp black, very finely ground in spirits 
 of turpentine, then, with a large flat varnish 
 brush, give your glass one even thin coat, 
 holding it between you and the light, observinfif 
 it does not appear a thick dead black, but 
 
GILDING. 115 
 
 exhibits a degree of transparency, and not too 
 much, so as to prevent its appearing a good 
 black on the right side of the glass. After this, 
 you are to have your letters or ornaments, 
 drawn on paper, as before mentioned, and 
 trace it in the same manner on your black 
 varnish, when it is perfectly dry ; the drawing 
 will be very critically transferred to the black. 
 You are then to get a very fine needle, and fix 
 it in a wooden handle firmly; with which 
 you are to scribe the outlines of what black is 
 to come out, through the varnish, so as not an 
 edge hano;s to the main body of the black; 
 then take some thick brown paper, dip it in 
 water, and squeeze it gently, and spread it over 
 the parts of the varnish you wish to detach from 
 the glass; and in a few minutes, by raising 
 one edge of the black, it will all peel away as 
 clean from the glass as if it never was on iu 
 When all the black you want is taken out, lay 
 your glass to the fire, and the remaining par* 
 of the varnish will instantlybecome as hard a* 
 ever, and ready to have the gold put on. 
 
116 LACKEaiNO. 
 
 LACKERING. 
 
 GENERAL OBSERVATIONS. 
 
 The art of lackering is so nearly allied to 
 that of japanning, that it is scarcely necessary 
 to say much as to its application ; however, as 
 some directions may be thought necessary? 1 
 will endeavour to explain shortly the process. 
 
 If the work is old, clean it according to the 
 directions given under the article Cleaning ; 
 if new, it will require nothing but being freed 
 from dust, and well rubbed with a piece of 
 wash-leather to make it as bright as possible. 
 Have a hot plate, or, for want of which, the 
 hob of your fire-place will be a good substitute; 
 lay your brass work on it till moderately 
 heated, but not too hot ; for that will blister 
 your lacker; then, according to the colour you 
 wish, take any of the following preparations, 
 and making it warm, lay hold of your brass- 
 work with a pair of pincers or pliers, and with 
 
LACKERING. 117 
 
 soft brush apply the lacker, being careful not 
 .0 ruD it on, but stroke the brush gently one 
 .vay, and place your work on the hot plate 
 5gain, till the varnish is hard; but do not let it 
 remain too long, experience will best tell you 
 when it should be removed (some, indeed, 
 never 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, will look equal to metal gilt. 
 
 To make Gold Lacker for Brass. 
 
 Take of rectified spirits of wine two quarts, 
 and three pounds of seed-lac (picked particu- 
 larly clean and clear of a!! black and brown 
 specks and pieces, as upon that depends entirely 
 the beauty of the lacker); add them together, 
 keep them warm, and shake them often : when 
 the lac is dissolved, it is fit for use. 
 
 Another Lacker. 
 
 Take of the clearest and best seed-lac one 
 pound, of dragon's-blood one ounce, pound 
 
118 LACKERIis^G. 
 
 them well together ; add a pint and a half of 
 the best spirits of wine, set it in a warm place 
 to dissolve, strain it and it is fit for use. 
 
 Pale Gold Lacker. 
 
 Dissolve in a pint of spirits of wine as much 
 garaboge as will give it a bright yellow, then 
 add three quarters of a pound of seed-lac, 
 finely powdered and sifted, set it in a sand- 
 bath to dissolve ; wen that is the case, bottle 
 and stop it well till wanted for use. 
 
 Superior Lac A er for Brass. 
 
 Take of seed-lac six ounces, amber or copal 
 ground on porphyry two ounces, dragon's-blood 
 forty grains, extract of red sandal wood thirty 
 grains, oriental saffron thirty-six grains, 
 pounded glass four ounces, very pure alcohol 
 forty ounces. To apply this varnish to orna- 
 ments or articles of brass, expose them to a 
 gentle heat, and dip them into the vainish; 
 rwo or three coatings may be applied in this 
 manner, if necesgary. The Tarnish is durable. 
 
LACKERINC. 119 
 
 8«d has a beautiful colour. Articles varnished 
 in this manner may be cleaned with water 
 and a bit of dry rag. 
 
 Note. — Not having myself tried this laoKer, 
 I cannot speak as to its good or bad qualities , 
 or why the pounded glass is introduced, unless 
 it is under the idea that it adds to its hardness, 
 which it may probably do, though it appears to 
 me to be a useless ingredient, unless the varnish 
 is exposed to a degree of heat sufficient to 
 make the glass run, which would assuredly 
 very much hurt, if not altogether spoil the other 
 ingredients; however, as it is a composition 
 that has been recommended, I here insert it, 
 that the workman may judge for himself. 
 
 Lacker, with Spirits of Ttcperntine, 
 
 Take seed-lac four ounces, sandarac, or 
 mastic, four ounces, dragon's-blood half an 
 ounce, gum gutte, thirty or forty grains, clear 
 turpentine two ounces, and the best spirits of 
 turpentine thirty-two ounces. 
 
 J\oie, — This lacker, though certainly, no 
 
120 LACKEETXG. 
 
 equal to those made with spirits of wine, {^ 
 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 
 ver}^ well ; we may here remark, that we may 
 vary the colour of our lackers, by using more 
 or less, or altering the proportion of the colour'- 
 ing material ; and at the same time, notice that 
 all the colouring substances 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 with the other compositions used as 
 the basis of all lackers, such as seed-lac, sheh- 
 lac, <&c. 
 
 BUHL WORK. 
 
 GENERAL OBSERVATIONS- 
 
 Is a term of modern date, applied to the 
 
BUHL WOR^. l^l 
 
 art of inlaying with turtle or tortoiseshell, 
 with brass or silver, and when well executed, 
 has a most beautiful effect. I shall endeavour 
 to furnish the workman with such practical 
 directions, that I trust will soon enable the 
 ingenious mechanic to accomplish that which 
 has hitherto been chiefly monopolized by 
 foreigners, but which, in my opinion, only 
 wants some familiar direction and practical 
 instruction, to enable British artists to equal, 
 if not outdo, their rivals. 
 
 The chief difficulty seems to be in the proper 
 mode of cutting out the pieces for inlaying, and 
 the method of veneering the work when the 
 several pieces are cut out. 
 
 To prepare your Shell and Brass ready for 
 cutting out. 
 Being furnished with a thin piece of brass, 
 of the usual thickness of a veneer, or as thin as 
 can be conveniently worked, make the faces on 
 both sides rough with a coarse file, or tooth 
 plane, and also a veneer of shell of the dimen 
 
122 BUHL WORK. 
 
 sions requisite, tooth that also; then warm 
 vour plates and veneers, pass a coat of glue 
 first over a plate of brass ; place over that a 
 thin sheet of paper, glue 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, when 
 they will be found to adhere together sufficiently 
 tight. 
 
 Cutting out your Veneer, 
 
 Having drawn the pattern you intend on 
 your shell ; or, if it will not appear sufficiently 
 plain, paste a piece of paper on its surface, and 
 let it dry, on which draw your design ; being 
 now provided with a bow-saw, the blade of 
 which is very thin and narrow, such as may be 
 made with a watch-spring, cut into about six 
 strips, and the stretcher of the frame at a suf- 
 ficient distance from the blade to enable you to 
 turn in any direction, according to your pattern, 
 and all made extremely light, begin by making 
 
BUHL WORK. 123 
 
 a small hole in your veneer in a part where 
 will not so much be observed (uniess tne 
 pattern comes quite out to the edge), and 
 invert your saw ; then very carefully follow 
 the lines of your pattern till it is all cut 
 through •, you will then have two pieces, which 
 may be again separated by exposing them to 
 steam or warm water ; then take the two cor- 
 responding pieces, one of brass and one of 
 shell, and when glued together according to 
 the following direction, you will have two 
 veneers, the counterparts in pattern with each 
 other, only where the brass is in one, the shell 
 will be in the other. 
 
 To glue up your Pattern, 
 Take two boards of sufficient dimensions and 
 heat them before the fire, and rub them well 
 with tallow to prevent the glue sticking to it ; 
 take a sheet of paper, on which lay youi 
 veneer, and having well rubbed some strong 
 glue into the vacancies where the pattern is to 
 be inserted, put it carefully in its place, rubbing 
 M S 
 
m 
 
 BUHL WORK. 
 
 it doua ^vitb a veneering hammer, over which 
 place another sheet of paper ; place the whole 
 between the hot boards, and press or screw 
 them together with hand screws ; 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 off, it is 
 then ready for laying, or applying to your 
 work. 
 
 Layi?ig your Veneer. 
 
 Having made your work perfectly level 
 with a tooth-plane, apply to your veneer the 
 glue recommended under the article Cabinet 
 Work, and lay it on your work ; then with a 
 hot board, termed a call, fasten it well 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 
 directions given under the article Polishing. 
 
 Note. — In order to add to the beauty of your 
 work, and produce a variety in the shade, it is 
 necessaiy, before laying your veneer, to give 
 
BUHL WORK. 125 
 
 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 vermillion ground 
 together ; king's yellow, Prussian blue, or any 
 colour you may fancy; and sometimes the sheet 
 is gilt on the side which you intend to lay on 
 your work ; this produces a very brilliant effect, 
 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 colours, only then you need not use 
 any other glue but that in common use, which 
 must be good. 
 
 InlaT/ing ivith Shaded JVood. 
 
 x\s the method of cutting out and veneering 
 has been shewn in the former part of this 
 article ; we shall only here shew the method 
 used to produce that shady brown edge, on 
 works inlaid with white holly, and which, 
 though now lately revived in our cabinet work, 
 lA 3 
 
126 BUHL WORK. 
 
 is of very antient date, and when well executed, 
 has a very pleasing and ornamental efiect; the 
 method most commonly adopted is as follows : 
 provide yourself with a shallow iron or tin-pot, 
 in which put a sufficieut quantity of fine dry 
 sand, to be level with the top edge of it, place 
 it on the fire till it is quite hot, then having 
 your veneer cutout of the required pattern, 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 injure the texture of the wood, 
 and by immersing more or less of the edge, you 
 produce a shaded appearance to your satisfac- 
 tion. I would here recommend the workman, 
 previous to beginning the operation, to have his 
 pattern before him, shaded with umber, or any 
 brown colour, in those parts you wish your 
 wood to be stained, as then he will be enabled 
 to copy as he proceeds the various shades of 
 the pattern, as the wood when once shaded 
 
BUHL WORK. 127 
 
 cannot 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 we may produce 
 the best possible effect; sometimes it is requi- 
 site to give a shadow in the centre or not on 
 the edge of your wood, and as this cannot be 
 done by dippinc; 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 
 required to be -darkened, letting it remain a 
 shoi't time, then shaking it off, and, if necessary, 
 apply more where the colour is not deep 
 enough. 
 
 To imitate Inlaying of Silver Strings, Sfc, 
 
 Thic process is sometimes employed in the 
 stocks, &c. of pistols, and if well executed has 
 a very good ejFect ; tlie first thing is to deter- 
 mine as to your pattern, which you must care- 
 fully draw upon your work, and then engrave, 
 or cut away the different lines with sharp 
 gouges, chisels, &c, so as to appear clean and 
 
BUHL WORK. 
 
 even, taking care to cut them deep enough, aad 
 rairier under, Hkc a dovetail, to secure the com- 
 posiiion afterwards to be put in the channels. 
 I he composition to resemble silver, may be 
 made as follows : take any quantity of the 
 purest and best grain tin, melt it in a ladle or 
 other convenient rectptacle ; add to it, while 
 in fusion, the purest quicksilver, stirring it to 
 make it incorporate, and when you have added 
 enough that it remain in a stiff paste, if too 
 soft, add more tin, and if not sufficiently fluid, 
 add quicksilver ; grind this composition on a 
 marble slab, or in a mortar, with 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 proceed 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 
 
CEMENTS. I2J9 
 
 fleaned off your work, hold it at a moderate 
 distance from the lire, which will give your 
 strings a beautil'ul gloss. 
 
 CExMENTS. 
 
 To make Cement Mahogany Colour. 
 Take two ounces of bees' wax, half an 
 ounce of rosin, melt them together ; then add 
 half an ounce o? Indian red, a small quantity of 
 yellow ochre, 10 bring it to the colour you 
 desire; keep it in a pipkin for use. 
 
 Portable Glue, or Bank-note Cemetit, 
 
 Take one pound of the best glue, boil and 
 strain it very clear ; boil likewise four ounces 
 of isinglass, put it into a double glue pot, with 
 half a pound of fine brown sugar, and boil it 
 pretty thick ; then pour it into plates or moulds: 
 
130 CEMENTS. 
 
 when cold, you may cut and dry them for the 
 
 pocket. 
 
 Note, — This glue is very useful to draftsmen, 
 architects, &c. as it immediately dilutes in 
 warm water, and fastens the paper without the 
 process of damping ; or it may be used by 
 softening it in the mouth, and applying it to the 
 paper. 
 
 Cement for Turners. 
 
 Take bees* wax one ounce, rosin half an 
 ounce, and pitch half an ounce, melt iYiem 
 together, and stir in it some very fine brick- 
 dust to give it a body ; if too soft, add more 
 rosin, if too hard, more wax : when nearly cold, 
 make it up into cakes or rolls, which keep for 
 use. 
 
 Note. — This will be found very useful for 
 fastening any piece of wood on your chuck, 
 which is done by applying your roller of cement 
 to the chuck, while going round; it will meh 
 the cement ; then apply the piece of wooa yoi 
 
CEAEENTS. 131 
 
 wish to affix to the chuck, and it will adhere 
 with sufficient force. 
 
 A Cement for Broken Glass, 
 
 Take one ounce of isinglass, steep it in half 
 a pint of spirits of wine, for twenty-four hours, 
 then let it dissolve over a slow fire (aluays 
 keeping it covered, or the spirit will evapo- 
 rate) ; then take six cloves of garlic, bruise 
 them well in a mortar, put them in a linen 
 cloth, and squeeze the juice into the isinglass, 
 mix all well together and keep it for use, it 
 being excellent to join glass ornaments, &c. &c. 
 
 A Cement to stop flaws or cracks in Wood, of 
 any Colour, 
 
 Take any quantity of fine saw-dust, of the 
 same wood your work is made with, put it into 
 an earthen-pan, and pour boiling water on it, 
 stir it well together, and let it remain for a 
 week or ten days, occasionally stirring it; 
 then boil it for some time, and it wih be of the 
 consistence of pulp or paste, put it into a course 
 
132 CEMKKTS. 
 
 cloth, and squeeze all the moisture from it' 
 keep it for use, and when wanted, mix a suffi- 
 cient quantity of thin glue to make it a paste; 
 rub it w-ell into the cracks, or fill up your holes 
 in your work with it, let it remain till quite 
 hard and dry ; you may then clean your work 
 a! J off together, and you will scarcely discern 
 the imperfection, if carefully done. 
 
 A Cement for Joining China, S^c. 
 
 Take any quantity of the white of eggs, and 
 beat them well to a froth, let them settle, add 
 soft grated or sliced cheese and quicklime ; beat 
 them well together, and apply a little to the 
 broken edges ; it will endure both the heat of 
 the fire and water. 
 
 Another Cement. 
 
 Take rosin half an ounce, gum-mastic four 
 ounces, pound them, and put them into a pipkiy 
 OR the fire to melt, stir them well ; to this add 
 about half an ounce of finely powdered glass, 
 and half an ounce of auick-Iime ; stir the whole 
 
CEMENTS. 135 
 
 well together: when nearly cold, form it into 
 sticks, on a stone, in the same manner as sealing 
 wax is made ; when you want to cement any 
 article, you must heat the broken edges suffici- 
 ently to melt your stick of cement, which rub 
 over thinly on both edges ; bring them ac3u- 
 rately together, pressing them close, and let 
 them cool ; which, if carefully done, your 
 work wilt-sooner break in any other part than 
 that where the cement has been applied. 
 
 J Strong Glue that will resist Moisture. 
 
 Dissolve gum-sandarac and mastic, of each 
 half an ounce, in half a pint of spirits of wine, 
 to which add half an ounce of clear turpentine, 
 then take strong glue, or, if you please, that in 
 which some isinglass has been dissolved ; then 
 putting your gums into a double glue pot, add 
 by degrees your glue, constantly stirring it over 
 the fire till the whole is well incorporated, 
 strain it through a cloth, and it is ready for 
 use ; you may return it into the glue-pot, an(J 
 add half an ounce of very finely powdered glass* 
 N 
 
1S4 TURNING. 
 
 use it quite hot, and if you join two pieces of 
 wood together with it you may, after it is 
 perfectly hard and dry, immerse thera in irater, 
 and your joint will not separate. 
 
 Another Glue for the same Purpose. 
 
 To two quarts of skimmed milk add half a 
 pound of the best glue, melt them together, 
 taking care they do not boil over, and you will 
 have a very stroflg glue that will resist damp 
 or moisture. 
 
 TURNING. 
 
 GENERAL OBSERVATIONS. 
 
 As most pieces of cabinet work are some- 
 what indebted to the turner for their embellish- 
 ments, some few hints to the cabinet-maker 
 may not be unacceptable in this panicuiar 
 br&ncli; though to enter fully into toe art 
 
L 
 
 TURNING. X35 
 
 itself, would not only be foreign to our purpose, 
 but would extend our pages much beyond th 
 scheme of the present undertaking; indeed, s 
 much has been written on this subject by othe* 
 writers, that a moderate volume would not be 
 suflicient to contain every minutia ot the art ; 
 all I shall therefore here attempt, will be, to 
 guide the workman to those sources whence he 
 may be able to gratify his curiosity, and give a 
 few hints in the mechanical operations them- 
 selves ; and I shall here suppose the cabinet- 
 maker acquainted with the lathe itself, as well 
 as the most common chucks and tools used in 
 the art. 
 
 First, then, with respect to the works already 
 written on the subject of turning. It is some- 
 what surprizing, that we find in the English 
 language very few authors who have at all 
 written on the elementary part of the art ; and, 
 perhaps, the only work that contains any thing 
 of the operative part of common turning, or 
 that describes the several kinds of laths, &c. in 
 u%e, is one that has now become extremely 
 N 2 
 
J36 TURNING. 
 
 scarce, but as far as it croes it gives a very 
 good insight into the aifferent methods, and 
 shews some curious operations that maybe per- 
 formed ; I allude to Moxoirs Mechanical Ex- 
 ercises published in the year 1677, and of 
 course, does not describe the many improve- 
 ments the lathe and apparatus has from time to 
 time undergone, but leaves it in the state it was 
 at that day; it is a work, however, that is 
 rarely to be met with, and may be considered 
 raiher as a curiosity than of great utility. 
 The next work we shall mention, is Martin's 
 Circle of the Mechanical Arts, which, as far as 
 it goes, gives a pretty clear insight into the 
 various operations of turning ; there are also 
 some short descriptions in the various Encyclo- 
 pedias and Dictionaries of Art and Science; the 
 best work on the subject, but which only treats 
 on excentric turning, is one lately published by 
 an ingenious amateur turner, Mr. Ibbetson, a 
 new edition of which has lately been published 
 bv W. Wetton of Fleet-street, Kookseller ; to 
 which is added, a very good description of the 
 
TUMNING 137 
 
 construction and application of the excentric 
 chuck ar.d slide rest; and liere I must take 
 occasion to notice (he various useiui purposes 
 to which this species of turning maybe applied 
 in cabinet-work ; for instance, patteras, and 
 handles of drawers, &c. may by this process be 
 beautifully ornamented, and, to the workman 
 who wishes to advance his art, his time will 
 not be ill bestowed in perusing this useful pub- 
 lication, as it will furnish many hints that will 
 materially assist hira in the decorative part of 
 his business. But while so few works are to 
 be found of modern date in the English lan- 
 guage, our neighbours, the French, seem to be 
 considerably before us in noting down and 
 publishing every thing curious in the art; the 
 two principal works are L'Art de Tourneur, 
 and Manuel de Tourneur, the last a very 
 elaborate one, being in two volumes quarto, 
 besides a quarto volume of beautiful plates; the 
 first is a folio of more ancient date, but well 
 worth the perusal of the mechanic ; but from 
 the very expensive manner in which these aad 
 n3 
 
J 38 TURNING. 
 
 almost all others are got up, it is out of the 
 power of most mechanics to spare sufficient lor 
 their purchase ; and, indeed, the major part of 
 them are now become extremely scarce; there 
 are also some minor works that give but short, 
 and far from clear descriptions of the various 
 methods used by the turner, even in the common- 
 place operations of his art ; however, from the 
 encouragement this work has met with, I pro- 
 pose to continue a series of guides adapted to 
 different trades, and shall, at least it is my 
 present intention, give one more particularly 
 adapted to the turner in all its various branches, 
 both in wood and metal, should the one which 
 follows this, and which is already in the press, 
 meet with the approval of the public; it is called 
 the Builder's Pocket Manual, and embraces 
 the arts of carpentry, joinery, masonry, and 
 bricklaying, and is intended as a pocket ma- 
 nual for the builder in general. — But to return 
 to our subject, much depends on the manner of 
 holding and applying the different tools to our 
 work ; and, also, we must take into account the 
 
TURNING. 1S9 
 
 nature of the wood we are working on. whei/.er 
 it IS soft or hard ; there are two nietrioas ol 
 reducing our block in the lathe to the lorm 
 required; the first is by shaving, and the 
 second, by scraping: soft wood must be formed 
 by the former method, and hard wood generally 
 by the latter ; for shaving, the rest must be 
 elevated somewhat above the centre of the 
 piece we are operating on, and the chisel or 
 gouge must be held in a slanting direction, so 
 as to take off a curly shaving as the wood 
 goes round, and the revolution must be pretty 
 quick; being careful that the tool does not take 
 too deep a hold, as it will endanger the splitting 
 of the stuff; for hard wood, the rest must be 
 elevated as near as may be to the height oi 
 the centre of the mandrill, and the tool applied 
 square and horizontal to your wood in the lathe, 
 making the surface smooth by scraping off 
 shavings, till you reduce the stuff to the form 
 required; and the lathe need not revolve so 
 qiuck. as the hardness of the wood, and the 
 friction would, in that case, soon spoil the 
 
140 TUENINC. 
 
 temper of your tools. The basil edge of your 
 tools should be nicely ground on a small stone, 
 that they may be ground rather concave, some- 
 what like a razor, that it may the more readily 
 touch your stuff, particularly in shaving soft 
 wood ; the edge of your chisels should be 
 ground to a basil on each side, and in a slanting 
 direction, forming an angle of about thirty 
 ilegrees; the handle must be long, in order to 
 have a good purchase, for otherwise, if you 
 encounter a hard knot, your work will be 
 gulled, or in holes and hollows; it requires 
 some judgment in the first instance, for one not 
 used to the process of turning, to prevent his 
 tool catching, and as it were digging out a 
 piece whenever any obstruction presents itself; 
 to guard against which, the best method is to 
 take off as little as possible at a time, and to 
 proceed cautiously, keeping your tool firm 
 against the rest, and raising or lowering the 
 handle of your tool, till you find you have it in 
 a proper posifion to work easily and freely. 
 In general, in turning, your work revolves to 
 
TCRNINO Hi 
 
 you : but you will oftep find it of advantage, 
 particularly in turning deal, or other wooa that 
 l>5 apt to splinter, to make it revolve in a con- 
 trary direction, that is from you ; but, then, 
 you must be careful to keep your tool firmly 
 down on the rest, or by placing your rest some- 
 what above the centre of your work, and at a 
 little distance from it; hold your tool so that the 
 handle is elevated above the edge or point; 
 these, and similar knacks are, however, to be 
 attained only by practice and attention to the 
 different effects observed. 
 
 To turn Screws. 
 
 In some lathes, there is- S coijtrivance, for 
 the purpose of cutting screws, by holding the 
 screw tool steady on the rest, while the mandril 
 moves backward and forwards, and forms the 
 screw; but the best and most usual method, is 
 to move the screw tool as the mandril revolves; 
 but here great care must be taken ibat you 
 move or slide the tool on the rest, proportionate 
 to the velocity of the revolution of the matidriij 
 
HS TURNING^ 
 
 the best method, is to have a small pulley on 
 the axis of the treddle wheel, of less diameter 
 than the mandril pulley, which causes the 
 lathe to revolve very slowly; by which means, 
 we are enabled better to guide our tool, and 
 enter it again and again in the same worm of 
 the screw, till it is deep enough. 
 
 To turn Black Reeds or Mouldings in Chair 
 Legs, S;c. 
 
 In turning chair or table legs, &c., where 
 we wish some of the mouldings to appear 
 black, it would be a difficult matter to stain 
 them after the work is finished ; therefore the 
 following method is used: having first turned a 
 cylinder of the dimensions of the largest part of 
 your leg, &c., turn the mouldings required to 
 be stained, leaving the rest of your w^ork rough ; 
 then, as your work revolves, apply the black 
 stain to those parts, and, v^rhen dry, polish them 
 with bees* wax, and a few of the shavings from 
 yoMF turning; bench ; you may then proceed 
 to finish turninej the other parts, and your 
 
TURNING. 143 
 
 mouMines will appear clean and neat, as 
 they were formed of ebony, ana fixed on tne 
 other parts of your work. 
 
 To make Anti-attrition. , 
 
 According to the specification of the patent, 
 it is made of one part of plumbago or black 
 lead ground very fine, and four parts of hogs- 
 lard or other grease mixed well together ; this 
 mixture prevents the effects of friction, much 
 better than oil or other grease, and will be 
 found very useful to the turner to apply to the 
 mandril, where it works in the puppet as well 
 as to the different centres, and will be found to 
 make the lathe work mnch easier, as well as be 
 a great saving in oil, which, with constant use 
 grows stiff, and sensibly impedes the motion ; 
 while this preparation once applied will last a 
 long time without requiring renewal. 
 
 Polish for Turner'' s Wcrk. 
 Dissolve your sandarac in spirits of wine,^ 
 in the proportion of one ounce of sandarac to 
 
half a pint of spirits , next, shave bees'-wax oae 
 ounce, and dissolve it in a sufficient qaanfity 
 of spirits of turpentine to make it into a paste ; 
 add the former mixture by degrees to it, then 
 with a woollen cloth, apply it to your work 
 while it is in motion in the lathe, and with a 
 soft linen rag polish it; it will appear as if 
 highly varnished. 
 
 LINES. 
 
 GENERAL OBSERVATIONS 
 
 As a knowledge of some of the principal 
 practical problems in geometry are essentially 
 lecessary to the mechanic, particularly where 
 ,uch nicety exists as is required in many parts 
 jf cabinet-making, I have thought proper, in 
 jrder to render this edition of the Cabinet 
 Makei's Guide as complete as possible, to in- 
 troduce some of the most useful, and have 
 
CABINET MAKERS GVLDE . 
 
fiQ I 
 
 J'latc ? 
 
 CABINET >IAKERS GriDE . 
 
A 7^ Z WE a 2) c d tQ 
 
 -Tlatc J. 
 
 CABtNET MAKERS GTJID£. 
 
A E K\ D 
 
 I. F B 
 
 J'/ate ^ 
 
 CABINIET MAKER'S GUEDE. 
 
LINES 14, 
 
 endravoured to illustrate them by reference to 
 mechanical operations ; such as ascertaining 
 the truth or correctness of the tools and work 
 itself, and by the assistance of this kind of 
 knowledge, the workman need never be at a 
 loss for a method of setting out his work, or of 
 substituting, in the absence of tools particu- 
 larly adapted to certain purposes, the compasses 
 and ruler for finding bevel lines, or drawing 
 particular curves. I have here adopted the 
 the term Lines, as it carries with it not that 
 difficulty which the title of geometrical pro- 
 blems do, and because some of the examples, 
 though depending on geometrical knowledge for 
 the proof of their accuracy, are more in the 
 nature of mechanical operations, and, hence, 
 easily understood by tne workman ; our inten- 
 tion being more to shew how the thing may be 
 done, than endeavouring to prove the truth or 
 correctness of it by a scientific demonstration ; 
 and as the term Lines is amongst workmen, m 
 common use, to denote any mechanical opera- 
 tion performed by the help of the rula and com- 
 
 
146 LINES. 
 
 passes, I have chosen it in preference to any 
 other that might, from its high sounding title, 
 deter those unacquainted with geometry from 
 referring to this article. I may perhaps, hence, 
 incur some censure ; but that will not deter me 
 from endeavouring to place in as c.ear a light, 
 and clothe in as simple a garment as possible, 
 some of the beautiful truths elicited from the 
 study of geometry as a science, and apply them 
 to the w^ants of the practical mechanic. 
 
 EXAMPLE I. 
 
 To extend a given strait line at j)leasure. 
 
 Let A B, (^Fig. 1. PL \.) be the given line, 
 and let it be required to extend it towards F, 
 in the same strait direction. — Fix your com- 
 passes on an} point of the line A B, as at C, 
 and open them to the distance C B, and strike 
 part of a circle as D B, then with the same 
 opening, and making the point E a centre, 
 describe part of a circle, (more that half a 
 circle) as C D E F, now place (with the same 
 
LINES. 347 
 
 opening of the compasses) one point in D, turn 
 ihe other over to E, and over again to F ; then. 
 i( you join the points B and F, B F will be a 
 continuation in the same strait direction of the 
 line A B, and the three points A B F will be 
 all in the same strait line. 
 
 iVo^<?.- -This will be found useful if youwish 
 to draw a strait line, and you have not a strait 
 edge long enough, for you may by this means 
 draw a line of any length, by first drawing it 
 the length of your rule or straight edge, and 
 then continue it at pleasure. 
 
 EXAMPLE IT. 
 
 To ascertain whether your strait edge is 
 correct. 
 
 Lay your strait edge A C B E, (Fig. 2. 
 PI. 1.) on a smooth level board, and draw a 
 ine as A C B along its edge, reverse it in the 
 position as shewn at A D B ; then, if its edge 
 still coincides with the line A C B it is correct; 
 or you may stick three fine needle points, 
 o 2 
 
148 LINES. 
 
 one nearly at each extremity, A and B, and 
 another any where near Ifie middle, as at C ; 
 then, if llie strait edge touches all three points, 
 and on being reversed, still touches them, you 
 may be sure your instrument is correct. 
 
 EXAMPLE III. 
 
 Between two points to find another point that 
 shall be in the same strait line with them. 
 
 Let A and B, (Fig. 3. PL L) be the two 
 given points ; open your compasses to the 
 distance A B, and strike part of a circle as C 
 B D, then fix one point on B, and set off any 
 two distances, as B C and B D equal to each 
 other ; then from C as a centre, and with any 
 distance or opening of your compasses, (more 
 than half the distance from C to D,) draw a 
 portion of a circle as E F; then with D as a 
 centre, and the same opening of your compasses, 
 strike another portion of a circle as G H, and 
 where these portions or arches of circles cross, 
 or lAtersecL each other in I, the point i is the 
 
LINES. 149 
 
 point required, and the points A I and B are 
 all in the same strait line. 
 
 Note. — The same observation will here 
 apply, as in Example the First ; you may also 
 verify or prove the correctness of your strait- 
 edge by this method, for having drawn your 
 line as A B, find a point between them by this 
 method, and if this point falls in the line drawn 
 bj your strait-edge, you may be sure it is cor- 
 rect ; or, to make surety double sure, you may 
 find any number of points between A and B, 
 by only shifting the opening of your compasses 
 when you strike the arches intersecting 
 each other, for the wider the opening, the 
 nearer the point will approach to A, and the 
 contrary. 
 
 EXAMPLE IV. 
 
 From any point in a give?i line to draw 
 another line which shall be perpendicutar, 
 or square to it. 
 
 Let A B {Fig. 4. PL 1.; be tue given line, 
 o 
 
1 50 LINES. 
 
 and B the point of the line from which we 
 propose to draw another line square to it ; fix 
 the point of your compasses in the point B, and 
 vsith any opening, describe or draw a portion 
 of a circle as C E D, then with the same 
 opening, Sx one point at C, the other will reach 
 to E, there make a mark, and turn the leg 
 which was at C over to D, then if from E and 
 D as two centies, we strike two arches of 
 circles with the same or any other opening of 
 the compasses, crossing each other at F, if we 
 draw a line from F to B, that line will be per- 
 pendicular or square to the line A B. 
 
 Note. — It is plain, we might have taken any 
 other point than B in the line, but I chose that ; 
 as if we can draw a perpendicular from the 
 extremny of a line, we siiali not want any 
 Ofuer meth to draw it iroiu an\ utner poim. 
 
LINES. 151 
 
 EXAMPLE V. 
 
 From any foini above a sttmit line, to draw 
 another strait line that shall be perpendi- 
 cular to it. 
 
 Let A B (Fig. 5. PI. L) be the given strait 
 line, and C the given point above it. From C 
 as a centre, and with any opening of your 
 compasses that will extend beyond the line 
 A B, strike a portion ot a circle, cutting the 
 line A B in D and E, then make D and E two 
 centres ; from which, strike two portions of cir- 
 cles (with any other opening of the compasses 
 than that by which you struck D iL,) crossing 
 each other in F; then, if you lay your ruler or 
 strait-edge on the points C and F, and draw 
 the line C F G, it will be perpendicular or 
 square to the line A B. 
 
 Note. — If the opening of your compasses 
 had been greater than that by which you struck 
 the circle D E, the point F would have been 
 above C, but the truth of tnis method would 
 
162 LINES. 
 
 have been still the same, or you might, without 
 altering your compasses have struck two arches 
 below the line A B, and it would equally have 
 answered the intended purpose. 
 
 EXAMPLE VI. 
 
 To ascertain whether your square is correct. 
 
 Having shot the edge of a board quite strait, 
 v/hich we will suppose to be represented by the 
 Ime A B, {Fig. 6. PL L) place your square 
 against the edge, as represented in the plate at 
 C D E. and draw a line along the edge of the 
 blade as C D, then reverse the position of your 
 square, as shewn at F D G; then, if the edge 
 F D corresponds to the line C D, it is correct, 
 if not, it must be altered ; thus, supposing the 
 end F does not touch the line while the point 
 D meets it, you must take off a shaving from 
 the blade near the stock, and try it again till 
 tne square in the two positions perfectly cor- 
 responds to the line drawn along the edge of 
 ne blade ; a^ain if the point F overhangs or 
 
LI^ES. 15S 
 
 crosses the line drawn along C D, a shaving 
 must be taken from the blade near the end D, 
 till your instrument is properly adjusted. 
 
 Note. — It is plain that you may also adjust 
 your square, by drawing a correct perpendicular 
 line by the two former cases or examples ; and, 
 also, that you may by the help of them, square 
 any piece of stuff, should you not be provided 
 or have handy a proper square for the purpose. 
 
 EXAMPLE VII. 
 
 To draw a line parallel to, or equally distant 
 from another line given, and through a 
 given point. 
 
 Let A B [Fig. 7. PL 1.) be the given line, 
 and C the point through which wc wish to draw 
 another line parallel to, or equi-distant from 
 A B. Fix one point of your compasses on the 
 point B, and extend the other to C, the given 
 point, and draw the portion of a circle as C D ; 
 tnen, with the same opening, and taking any 
 otner point A as a centre, strike the arch F E; 
 
It54 LINES. 
 
 now take the distance D C in your compasses, 
 and place it from E to F, where make a mark, 
 then through F and C, draw the line F C, and 
 it is parallel to, or equi-distant from the line 
 AB. 
 
 Note. — This problem is readily performed 
 by the workman by means of a gauge, but it 
 often happens, that you have not a gauge 
 whose stock is long enough to reach the re- 
 quired distance, or you may not have a gauge 
 handy; you will then find that this will be a 
 ready and useful method of supplying the want 
 of a tool, which will either not answer your 
 purpose, or which you have not at the moment 
 at hand ; though you may have your compasses 
 and rule ready, if not a strait-edge, and which 
 the first example will enable you to shift 
 without. 
 
 EXAMPLE VIII. 
 
 To make an angle or bevel equal to a given 
 angle or bevel. 
 
 Let C A B {Fig, 8. Pi. 1.) be any angle or 
 
Lf NES. i 55 
 
 bevel given, and it is required to make any 
 other angle or bevel equal to it. From A as a 
 centre, and with any opening of the compasses 
 strike an arch as C B, cutting A C and A B in 
 C and B, and let D E be a line on which we 
 are to draw another meeting, it is the same 
 angle as C B meets A B ; with the same open- 
 ing of the compasses as the arch C B was 
 struck, make D a centre, and describe or strike 
 the arch E F, then take the distance B C in 
 your compasses, and apply it from E to F, and 
 join F D, then is the angle F D E equal the 
 angle or bevel CAB. 
 
 Note. — This example may be practically 
 useful to the workman, when he is unprovided 
 with his tool or instrument called a bevel, for if 
 the two ends of a board are to be cut equally 
 bevelling, he may cut the one to the bevel re- 
 quired ; and, by this example, he may without 
 the assistance of his bevel, make the other 
 equally bevelling. Or, he may find the bevel of 
 any angle into which he wishes to fit a piece of 
 stuffy and cut his wood he wishes to fit into it 
 
156 LINES. 
 
 at the required bevel or angle, without the 
 assistance of any other instrument than his 
 square and compasses ; and here I would take 
 occasion to remark, that to the workman who 
 is at all acquainted with lines, the great utility 
 and benefit he would experience in always 
 being provided with the most useful of all tools, 
 a pair of compasses, a? he must, I am confi- 
 dent, already have seen the great assistance 
 they will be to him, in a great measure, super- 
 ceding the use of other tools fitted to particular 
 purposes*, at least, they will furnish him with 
 the moans ot proceeding with his work; 
 though, not perhaps quite so readily as without 
 their assistance. 
 
 EXAMPLE IX. 
 
 Tb divide a given line into two equal parts, 
 
 or to bisect a given line. 
 
 Let A B (Fig. I. PI. 2.) be the given line, 
 
 which we wish to divide into two equal parts; 
 
 open your compasses to any distance greater 
 
LINES. 157 
 
 than ifce half of the given line, and with A and B 
 the two extremities of the line, as centres draw 
 two portions of circlescrossing each other in C and 
 D, then draw a straight line from C to D and 
 where it crosses the line A B in E is the point 
 required, and the distance A E is equal to B E, 
 or the line A B is divided into equal parts. 
 
 Note. — It will be here observed, that the 
 1 ne C D is perpendicular to A B, and hence 
 another method is shown of drawing a line 
 square or perpendicular to another, besides that 
 shown in Example 4. 
 
 EXAMPLE X. 
 
 To divide any strait line, into afiy number 
 of equal parts. 
 
 Let A B [Fig. 2. PI. 2.) be the straight line, 
 to be divided into any number of equal parts 
 (say four) from either end of the line, as at A 
 draw another line of any length, as A C be- 
 veiling to it, or making any angles C A B, 
 take any opening in your compasses and set ofl'tbe 
 p 
 
158 LINES. 
 
 distance A F, then turn the legs over from F to 
 E, and from E to D, and from D to C, then the 
 line A C will evidently be divided into four 
 equal parts ; now join the points C and B and 
 from D E and F, draw the lines DIE Eland 
 F G parallel to C B, and the points G H and 
 I will divide the line A B into the required 
 number of (four) parts. 
 
 Note, — This Example may practically be 
 performed thus; after having drawn and di- 
 vided, or set off the line A C the number of 
 parts required, set your bevel to the angle, the 
 line B C makes with A B, which we will sup- 
 pose the strait edge of your stuff, and with it 
 thus set, draw D I E H and F G, then is 
 your edge divided as required. We may here 
 also observe that by this method we may divide 
 a line into any number of unequal parts that 
 shall be in the same proportion to each other, 
 as another line is divided into, for supposing the 
 line A C divided into any numher of un- 
 eqoal parts, for instance, A F equal 3 inches, 
 F £ equal 4 inches, E D equal 5 inches, and 
 
LINES. 159 
 
 D C equal 6 inches, that in the whole line A C 
 of 18 inches is divided unequally in these pro- 
 portions we have only to join C B and draw the 
 parallel lines as before, and the line A B will 
 be divided into the same number of parts, and 
 eaoh part bearing the same proportion to each 
 other as the part the line A C is divided into. 
 This may be practically useful to ihe cabinet- 
 maker in setting out the distances for the partitions 
 ofachest of drawers, where the drawers diminish 
 in depth from the bottom drawer, which is the 
 deepest ; for instance, if we have a chest of 
 drawers three feet six inches high, and the 
 drawers are required to diminish gradually, 
 each drawer an inch less than the next in depth; 
 and suppose there is four drawers, and the par- 
 titions four in number, each three quarters of 
 an inch wide, we set out our work as follows, 
 shoot the edge of a board straight, which we 
 suppose A B in the figure, then draw A C, 
 and set off A F any number of inches, F E aa 
 inch wider, E B another inch wider, and D C 
 still another inch wider ; then will the dis» 
 P 2 
 
160 LIKKS. 
 
 tances, as A C, be each an inch wider than the 
 one next to it, we have onlv to join C B and 
 set your bevel to it, and draw I D H E, and 
 G F, then if A B is the height of your drawers, 
 it will be divided in the proportion required, 
 the whole length of A B must be equal to the 
 height of the chest without the partitions. 
 
 EXAMPLE XI. 
 
 To divide, or bisect a gzve?i angle into two 
 equal farts* 
 
 Let C A B [Fig. 3. PL 2.) be any angle, 
 which we wish to divide into two equal parts, with 
 any opening of the compasses strike an archC B 
 irom A as centre, then form C and B as two 
 centres, strike two arches with any opening of 
 the compasses, crossing each other in D, and 
 from A draw the straight line A D, which will 
 divide the angle CAB into two equal parts. 
 
 Note. — This example may be applied to 
 finding the mitre of a cross-band or any pTece 
 of stuff; thus, divide the angle the two edges 
 
LINES. 161 
 
 ma^e with each other as here shown, and set 
 }ourbeveito ibis line; you may also prove 
 the correctness of yonr mitre square by this 
 method ; by accurately squaring ycur stuff 
 and dividing the angle as shown, then if apply- 
 ing your mitre square to the edge, its blade 
 corresponds to this line, you may be assured 
 your mitre square is correct. 
 
 EXAMPLE X. 
 
 Tojind the cerdre of any arch of a circle. 
 
 Let ABC {Fig. 4. PL 2.) be any arch or 
 portion of a circle, make a mark at any 
 point, B ; then with B and C as two centres, 
 strike two arches crossing each other in F and 
 G ; then with A and B as two other centres, de- 
 scribe two other arches across each other in D 
 and E ; then draw the line F G and D E, and 
 produce them till they cross each other in H ; 
 then is H the centre of the circle of which the 
 arch A B C is a part of its circumference. 
 
 Note, — It is plain by the same means wc 
 *• 3 
 
162 LINES. 
 
 may draw a circular arch, which shall pass 
 through three given points, provided these 
 points are not in the same straight line, for if 
 we proceed as directed in drawing the lines D 
 E and F G to meet in H, if we set the compasses 
 to the distance H A it will, if we strike a 
 circle with opening, pass through the other 
 point B and C; this will also be found practi- 
 cally useful in a variety of operations ; for in- 
 stance, we frequently, in working, obliterate the 
 original centre, from which we struck our 
 circle, which by this method we can at any 
 time easily find again, or if we wish to fit a 
 piece of work into a circular bow or recess, 
 which we will suppose to be A B C, we lay 
 down the distance A C for the opening, and 
 measure the straight distance A B and B C, 
 and make the triangle ABC; we have immedi- 
 ately the three points A B C, to find the length 
 of a line or lath, to strike an arch which will 
 enable us to work by so as to fit the recess. 
 We may also find the centre of a circle, with- 
 out drawing any lines without its ciroamler 
 
LINES. 163 
 
 ence, thus Iiaviiig drawn two arches from B and 
 C as centres, crossing each other in G, open the 
 compasses still wider, and draw two arches 
 crossing each other in I; do the same from A 
 and B at E and K these lines drawn through 
 G I and E K, will cross each other in H, 
 which is the centre required ; this will be found 
 useful for recentreing a piece of turned work, 
 as the pillar of a table, when the centre is losi 
 or cut off. 
 
 EXAMPLE XIII 
 
 To draw a tangent or line, ivhich shall meet 
 a circle in any given point. 
 
 Let A B C {Fig. 5. PI. 2.) be Ine circle, 
 and A the given point, join A and D, the given 
 point and the centre of the circle, and draw a 
 line as D BE, making A B equal to A D ; 
 then on B as a centre with the opening A D 
 draw a semi-circle DAE; then through E and 
 A draw the line E A E, which will be a 
 tangent to the circle in the point A. 
 
164 LINES. 
 
 Note. — We have here another method of 
 drawing any line perpendicular or square to 
 another given line, for let A D be the given 
 line, assume any point as B, and with B A as 
 the radius, strike a circle passing through A 
 and cutting A D; then from where it cuts A D 
 (which we here suppose at D) draw through D 
 and B a line, cutting the circle drawn in E ; 
 then if we join E A it will be perpendicular or 
 square to A D. 
 
 EXAMPLE XIV. 
 
 To draw ivithin a circle a polygon, or regu- 
 lar figure, whose sides shall be each equal to 
 each other. 
 
 Let A E C D [Fig. 6. PI. 2.) be the circle, 
 draw a diameter as D B E, and draw another 
 diameter at right angles, a square to it as A C, 
 divide A B into two equal parts in G and 
 draw F G H parallel to D E, join H C and E 
 C, then is the line H C the side of a triangle 
 of equal sides, drawn in the circle, and the 
 
LINES, 165 
 
 line E C the side of a square in the circle ; 
 now divide D B into two equal parts in K, and 
 draw K C, set one foot of your compasses on K, 
 and with the opening equal to K B draw the 
 arch B L ; ag^ain with one foot of the compasses 
 as C and the opening equal to C L, draw the 
 arch L M and join M C, make M N equal 
 to M C and join N C, then is the line N C 
 equal the side of the pentagon or figure of five 
 eqnal sides ; next, vyith the centre C and dis- 
 tances C B, draw the arch B I and join I C, 
 then is I C equal the side of the hexagon or 
 figure of six equal sides ; again if we divide C 
 H the (side of the inscribed triangle) into tv\o 
 equal parts in the point O, and strike the arch 
 O P from the centre C and draw C P, it will 
 be the side of the heptagon or figure of seven 
 sides very nearly, for we have no perfectly 
 correct nifthodof doing it; however this is so 
 near, that it approaches the truth by a quantity 
 less than the thousandth part of the radius of 
 the circle : and lastly, if we bisect or divide th^* 
 angle ABE into two equal parts, and draw 
 
166 LINES. 
 
 the line B Q and draw A Q, it will be the 
 sides of the octagon required. 
 
 Note. — I have here shown all the methods 
 of drawing polygons from three to eight sides, 
 which is amply sufficient for the workman, and 
 which I would advise him to drav\ at large 
 in separate figures, that he may always have 
 them at hand ; and should he ever want 
 figures of a greater number of sides than here 
 shown, he may find them by dividing the side 
 of a polygon of half the number of sides he 
 wants, into two equal parts, and drawing a 
 line through the point of division from the 
 centre of the circle till it cuts its circumference, 
 he will have the length of the sides required. 
 
 EXAMPLE XV. 
 
 To describe any arch whose altitude or open- 
 ing IS given, and likewise its opening with- 
 out knowing its centre. 
 Let A B (Jig. 1. PI. 3.) be the opening 
 
LINES. 1f)T 
 
 of the arch, C D its height or spring ; get out 
 two laths, E A C and C B F, whose length 
 shall be each equal at least to A B, and fasten 
 them together so that they shall form an angle at 
 their joining equal to the angle A C B, then in 
 the poinds A and B fix two nails or pins ; nov\? if 
 we slide the laths along, against the pins or 
 nails, the point C will describe an arch of the 
 required altitude. 
 
 Noie,-— This will be found not only a very 
 ready but accurate way of striking arches of 
 very large circles, where it is either impossible 
 or inconvenient to draw them with a long lath, 
 or string from the centre of the circle ; you 
 may also by this means readily ascertain whe- 
 ther any recess is the portion of a circle, for 
 if w^ith your bevel or two laths we fix them to 
 the angle A C B, if by keeping the endalwavs 
 close at A and B the meeting of them in C al- 
 ways touches the concavity of the recess, you 
 may rest assured the recess is a portion of 
 a circle 
 
L[N£S. 
 
 EXAMPLE XVI. 
 
 To trisect or divide any given angle into 
 three equal parts, or angles. 
 
 Let A B C [Fig, 2. PL 3.) be any angle 
 which we wish to divide into three*equal parts, 
 with any opening; of your compasses describe 
 or strike a semi-circle from B as a centre ; hav- 
 ing produced or continued the line A B towards 
 F, take a lath of any convenient length, and 
 having marked a distance from one end equal 
 to A B, place one end on the line A F, and 
 having placed a pin or nail in the point C, 
 slide the lath backward and forward till E F 
 the distance on the lath equal to A B is in 
 such a position that the point E falls in the 
 circumference of the semi-circle, then is the 
 angle E F D equal to one-third of the angle C 
 B A; we have only therefore to draw the line 
 G B parallel to C F, and the line G B divides 
 the angle C B A into three parts required. 
 
 Note. — This example will enable the work- 
 
LINES. 159 
 
 man mechanically to draw in any circle a 
 polygon or figure of nine sides, called an ennea- 
 gon, for if we have described an equilateral 
 triangle within the circle, we trisect or divide 
 ihe arch each side includes, we shall have the 
 enneagon required. 
 
 EXAMPLE XVII. 
 
 To draw any arch of an ellipse or oval by 
 means of ordinates^ or by finding a numher 
 of foints through which we may draw the 
 curve by hand. 
 
 Let A B (Fig. 3. PI, 3.) be the opening 
 of the arch C D. its spring or rise, on C as a 
 centre strike the semi-circle E D F, with the 
 opening of your compasses equal to C D, di- 
 vide E C into any number of equal parts, and 
 draw the perpendiculars a 1, ^ 2, c 3, c?4, and 
 from these points divide also A C into the same 
 number of equal parts you divided E C into, 
 a»d draw perpendicular lines from these points, 
 vls k I p m g, *kc. then transfer the lines 
 4 
 
170 LINES. 
 
 a I, b 2, A^c. to /c o, I p, &c., and through the 
 points 0, p, g, and draw with a steady hana 
 a curve hoe, which will be the elliptic arch re- 
 quired. The same may be done in the other 
 half of the arch CD B, or you may make 
 your mould to half the arch, and turn it over 
 on D B, which is the usual method. 
 
 EXAMPLE XVIII. 
 
 To draw a circular arch by means of the in- 
 ter section of lines. 
 
 Let A B [fig. 4. PL 3.) be the opening o 
 the arch on the centre or middle point betweei. 
 A and B ; at C erect a perpendicular C D E 
 equal to twice the spring of your arch : join A 
 E and B E and divide these lines into any 
 number of equal parts as 1, 2, 3, 4, &c., and 
 a, b, c, d, &c.; then join « 1 , i 2, c 3, &c., and 
 if you have divided the lines A E and B E in- 
 to a number of parts pretty close together, their 
 intersection will form a neat curve line very 
 nearly circular, particularly if it is a flat arch. 
 
LINES. 171 
 
 Note* — This kind of arch amongst builders 
 isiermed a scheme arch, 
 
 EXAMPLE XIX. 
 
 To draiv an ellipse or oval, with a pair of 
 compasses of any required length and breadth. 
 Let A B P {Fig. 1. PI. 4.) be the given 
 length, C D half the width of the oval ; with 
 the distance A D or B D in your compasses, 
 and with C as a centre, draw two arches cut- 
 ting A B in the points E and F, which are 
 called the two foci of the oval, next with F 
 and E as centres, strike the arches E G and F 
 H, with the distance in your compasses equal 
 F G and E H, also with E and F, as centres, 
 and the distance in your compasses equal twice A 
 E, or twice F B, strike two arches crossing G 
 E and H F in G and H, again with the dis- 
 tance H E or G F, and the centres G and H, 
 strike two arches crossing each other in I, join 
 G I and H I, then with the centre I and dis- 
 tance 1 C strike ihe arch G C H, and with 
 Q 2 
 
17i2 
 
 LINES. 
 
 K and L as centres, and distance K G or L 
 H, describe the arches G A and H B and half 
 tne ellipse or oval is drawn ; you may then do 
 the same on the other side the line A to com- 
 plete the oval. 
 
 Note. — The method here shown has not, I be- 
 lieve, been in any other work, shown as a method 
 of drawing ellipses, it is perhaps the most accu- 
 rate method that can be adopted with the com- 
 passes only, as according to the method of con- 
 struction, the points G and H will always be 
 in the circumference of a true ellipse. 
 
 EXAMPLE XX. 
 
 To find the centre and two diameters of any 
 ellipse, having onli/ the circumference given. 
 
 Let A C B D [Fig. 2. PL 4.) be the cir- 
 cumference of an ellipse of which we wish to 
 find the two diameters, draw any two lines as 
 FE, and H G parallel to each other and cutting 
 the curve in four points. Divide F Eand H G 
 into two equal parts in the points I and K, and 
 
LINES* 17 ' 
 
 draw the line I K, divide it in two parts in L, 
 and from L as a centre strike any circle that 
 will cu tthe curve in four points, as at M N O P ; 
 divide O P and M N in two parts in Q and 
 R, and through Q and R draw a straight line, 
 which will cut the curve in A and B, and A B 
 is the largest diameter or length of the oval, 
 and the point L. the centre of the ellipse; then 
 if through I we draw C D perpendicular to 
 A B it will be the shortest diameter or width of 
 the oval. 
 
 Note. — This example will be found particu- 
 larly useful to the cabinet-maker, as it enables 
 him at any time to assertain with accuracy the 
 two diameters of any elliptic table top or skreen, 
 should the original diameter be obliterated, 
 which must be the case when finishing our 
 work ; and in the case of skreens it enables us 
 to draw a line, whereby to fix on the spring or 
 ring, so that when mounted it shall stand ^UJte 
 perpendicular. 
 
 03 
 
174 SOLDERING. 
 
 SOLDERING. 
 
 GF5NERAL OBSERVATIONS. 
 
 It may seem somewhat unconnected with 
 the business of the cabinet maker to introduce 
 an article in this work, that has a reference 
 more to the workers in metal, than to those in 
 wood ; but having experienced the want of a 
 knowledge how to repair broken brass work by 
 soldering the parts together, I am induced to 
 give this article a place, that nothing may be 
 wanting to assist the workman, in all the ope- 
 rations that may fall in his way to execute. 
 And as in the country it frequently happens 
 either that ^^our brass work wants some altera 
 lion, or some accident has happened in the car- 
 riage, that requires a little repair by means ot' 
 soldering, it is not only a great saving of time, 
 bat (expense, to be enabled to do it one's self; 
 
SOLDERING. 1 T5 
 
 particularly when the operation is so easily per- 
 formed ; in fact our tools frequently need, from 
 accident or otherwise, the help of this most use- 
 ful operation. 1 shall therefore, without further 
 apology, introduce some useful receipts and di 
 rections for this purpose ; but first I must re- 
 mark, that the pieces you would join together, 
 whether brass, lead or, iron, must be clean filed 
 or scraped, and fit each other as exact as possi- 
 ble, and that no grease or extraneous substance 
 be on the parts intended to be joined together, 
 and that the joints must be held firm togethe 
 either by twisting wire round them, or other- 
 wise, that they shall not slip when put into the 
 fire, to melt the preparation which is to hold (he 
 'oint together: for many purposes a common fire 
 or a little charcoal will answer our purpose ; 
 but in every village we have a smith's forge at 
 hand, w^hich sometimes will be necessary, and 
 if the workman has at hand, and is at all prac- 
 tised in the use of theblou-pipe, almost all small 
 "obsmaybe accomplished with its assistance, 
 for many purposes, a soldering iron, which is a 
 
176 SOLDERING. 
 
 piece of copper like a wedge, but rather pointed 
 at the end, rivetted into a piece of iron, which is 
 fixed into a wooden handle, will be very useful, 
 particularly when we are putting a brass bead- 
 ing round chairs, &c. , it frequently happens 
 that the pins, by which it is affixed, either 
 break off or are not in the exact place vtc wish 
 ilhem; we can then, with the help of the solder- 
 ng iron, either replace them or fix others in the 
 situation required, and thus make our work firm 
 and neat, without the delay and expense inci- 
 dent to sending it again to the brass founders ; 
 again, as the leading the inside of cellarets, 
 wine coolers, sarcophagases, &c., is a part of 
 the cabinet maker's employ, though often sent to 
 the plumber, who if not careful, often does 
 great damage to the work entrusted to him. I 
 shall therefore show how to solder or make the 
 necessary joinings in the lead used for linings, 
 as well as jobs and repairs, that often are neces- 
 sary, particuarly with the country workman ; 
 for in London it is scarcely necessary for the 
 workman to attend to anything but merely the 
 
 I 
 
SOLDERING. 1T7 
 
 particular branch in which he works, as the 
 necessary assistance towards finishing his work 
 s always at hand. 
 
 Brass Solder for Iron. 
 Thin plates of brass are to be melted between 
 the pieces that are to be joined ; if the work be 
 very fine, as when two leaves of a broken saw 
 are to be joined together, cover it with powdered 
 borax, melted with water, that it may incorporate 
 with the brass powder or filings, which are laid 
 on the joint. The piece must then be exposed 
 to the fire, without touching the coals, and 
 heated till you perceive the brass to run, fake 
 it immediately- from tie fire and leave it to 
 cool gradually. 
 
 Common Solder for lead or tin. 
 Put into a crucible or iron-ladle, two pounds of 
 lead ; and when melted throw in one pound of 
 tin. This composition is what '« generally 
 known under the name of solder. The method 
 of using it for lead, is to pour it on the joints. 
 
178 SOLDERING,^ 
 
 which are previously scraped clean, to some 
 little distance from the joint, and then with a 
 hot iron spreading it evenly and smoothly, and 
 with a coarse cloth or piece of felt, making it 
 as level as possible, occasionally heating it 
 with your hot iron, till you have made your 
 joint to your mind. 
 
 Note. — This will be found very useful in 
 soldering the joints of the lead linings of cel- 
 larets, &c. But as the lead used for that pur- 
 pose is very thin, you must be careful not 
 10 let your solder be poured too hot on your 
 lead, as it may cause that to run or melt, 
 and you must also prepare a groove in your work 
 to receive the joint, that when soldered it shall 
 all be level on the surface. 
 
 Hard Solder. 
 
 Melt together two pounds of copper and one 
 pound of tin. The tin must be added after 
 the copper is melted ; you may then either 
 cast it into a flat plate, to be filed into powder 
 for use, or granulated by pouring it through a 
 
SOLDERING. HQ 
 
 Wire sieve into cold water, or else hammered 
 mlo tliin leaves or plates. 
 
 Note. — This mixture requires less heat to 
 melt it, and, consequently, does not injure your 
 work so much as using brass filings, and has 
 also a whiter appearance.. 
 
 Soft Solder. 
 
 Melt in a pan of iron or crucible, one 
 pound of lead and two of grain tin, cast it into 
 cakes for use ; this will be found very useful for 
 soldering tin plates or pins on brass work, 
 such as headings and mouldings ; it is best done 
 with a solderinjj; iron, as described in the s:e- 
 neral observations, as when heated quite hot, 
 and applied to the plate or luajp of solder, some 
 of which will adhere to the copper end of the 
 soldering iron, which is rubbed on the joint 
 intended to be soldered, having previously 
 sprinkled it with a little powdered resin. 
 
 To Solder with Tin Foi.. 
 This method is particularly useful for small 
 
J 80 SOLDERING. 
 
 articles in brass work, and mathematical in- 
 struments, as it is very readily done, and mak&s 
 a very neat joint. The method is, after hav- 
 ing your metal filed to as close a joint as pos- 
 sible, wet the edges with a solution of borax 
 or sal ammoniac in water, and insert a thin leaf 
 of tinfoil, fasten altogether by means of a 
 piece of wire or a hand vice, and apply the 
 flame of a candle or lamp, by means of a blow- 
 pipe, to the joint, and as soon as the foil appear* 
 to run, your joint is completed ; or should the 
 joint be too large, you may place it over a char- 
 coal fire, and by blowing with a pair of bel- 
 lows till the solder runs, then take it off the fire 
 and let it cool gradually. 
 
 MISCELLANEOUS. 
 
 To make Black-wax. 
 Take two ounces of bees'-wax. halt ac 
 ounce of Bur^andy-pitch, melt them togclber^ 
 
MISCELLANEOUS. 181 
 
 then Hdd one ounce and a haU' of ivory-black 
 ground very line and dried. 
 
 s 
 
 Green-wax, 
 
 Take two ounces of bees*-\vax, melt it, and 
 add one ounce of verditer ; let the pipkin be 
 large enough, as it v^ill immediately boil up ; 
 stir it well, and add one quarter of an ounce of 
 rosin; it will be sufficiently hard, and ^ for 
 use. 
 
 To make Furniture Paste. 
 
 Scrape four ounces of bees'-wax into a pot or 
 basin ; then add as much spirits of turpentine 
 as will moisten it through ; at the same time 
 powder a quarter of an ounce of rosm and add 
 to it; when it is dissolved to the consistence of 
 paste, add as much Indian red as will bring it 
 to a deep mahogany colour : stir it up and it is 
 fit for use. 
 
 Another Method. 
 
 Scrape four ounces of beos'-wax as before, 
 ii 
 
18S MISCELLANEOUS. 
 
 then take a pint of spirits of turpentine in a 
 clean glazed pipkin, to which add an ounce of 
 alkanet root, cover it close and put it over a 
 slow fire, attending it carefully, that it may 
 not boil, or catch fire ; and when you perceive 
 the colour to be drawn from the root, by the 
 liquid being of a deep red, add as much of it 
 to the wax as will moisten it through ; at the 
 same time add a quarter of an ounce of pow- 
 dered rosin, cover it close, and let it stand six 
 hours, and it will be fit for use. 
 
 To make Furniture Oil. 
 
 Take linseed-oil, put it in a glazed pipkin, 
 
 with as much alkanet-root as it will cover ; let 
 
 it boil g^nlly, and you will find it become of a 
 
 strong red colour ; lei it cool, and il will be fit 
 
 for use. 
 
 Another Method. 
 
 Boil together, cold drawn linseed-oil and as 
 much alkanet-root as it will cover, and to every 
 quart of oil add two ounces of the best rose 
 pink ; when all the colour is extracted, strain it 
 
MISCELLANEOUS. 18S 
 
 off, and for every quart add a gill of spirits of 
 turpentine : and it will be a very superior 
 composition for soft and light mahogany. 
 
 To Soften Ivory, 
 
 Slice a pound of mandrake, and put it in a 
 quart of the best vinegar, into v^hich put your 
 ivory ; let it stand in a warm place for forty- 
 eight hours, you will then be able to be-nd the 
 ivory to your mind. 
 
 To Bleach Ivory. 
 
 Take a double handful of lime, and slack it 
 by sprinkling it with water, the i add Ihice 
 pints of water, and stir it up together; let it 
 settle ten minutes, and pour the water into a 
 pan for your purpose ; then take your ivory, 
 and steep it in the lime-water, tv>-enty-foiir 
 hours, after which boil it in strong alum-water 
 one hour, and dry it in the air. 
 
 To Solder or Weld Tortoise-shell or Rom. 
 
 Provide yourself with a pair of pincers a* 
 tongs, so constructed that you can reach four 
 R 2 
 
184 MISCELLANEOUS. 
 
 inches beyond the rivet ; then have your tor- 
 toise-shell filed clean to a lap-joint, oarefujiy 
 observing that thei^ is no grease about it ; wet 
 the joint with water ; apply the pincers hot, 
 following them with water, and you will find 
 the shell to be joined as it were one piece. 
 
 To Gild Leather for Bordervig Doors, 
 Folding Screens, S(c. 
 
 Take any quantity of clear brown sheep 
 skins, damp them with a sponge and water, 
 and strain them tight, with tacks, on a board 
 sufiiciently large; when dry, size them with 
 clear double size; then take the whites of eggs, 
 beat them 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 sil- 
 ver on a gilder's cushion; pass over the leather 
 carefully with the egg size, and with a tip 
 brush lay on the silver, closing any blister with 
 a bit of cotton ; when dry, varnish them over 
 with yellov\ lacker till they are of a fine gold 
 colour; your skins being thus gilt, you may 
 
MISCELLANEOUS. ^85 
 
 then cut them in strips as you please, and join 
 Avith paste to any length. 
 
 Observe — To perform the foregoing operation 
 in the height of summmer, when the air is 
 clear, dry, and warm, that .he skins may dry 
 well before you size them, and the size may 
 have the desired effect upon the pores, and no 
 farther, and that the silver may not tarnish 
 before you lacker it. 
 
 To Damask heather for Table Covers, Sfc, 
 Provide yourself with a blocks glued up, two 
 feet six inches long, and two feet wide, faced 
 with pear tree (or box is still belter) five 
 eighths of an inch thick, upon which have some 
 handsome pattern drawn, that has a good effect 
 in light and dark shades only, but it must be 
 divided so that it will match end for end, and 
 side for side; which pattern must be then cut 
 m relief in the same manner as the blocks for 
 printers or paper-stainers, and may be done by 
 any one who knows a little of chair carving; 
 thea strain your leather, dry on the block A/vilh 
 R 3 
 
186 MISCELLANEOUS. 
 
 tacks (face up\Tards), and with a glass ball rub- 
 ber of about four pounds' weight, pass to arid 
 fro over the leather, rubbing hard till you 
 produce the pattern perfectly glazed on the 
 leather. 
 
 Note. — If your cover is larger than the 
 block, you must be very careful in shiiting it, 
 that you may not injure the pattern. 
 
 If from your wood-block you have a pattern 
 east in brass, and nicely touched up by an en- 
 graver, and fixed on a block of wood, it will 
 answer much better, and the pattern will come 
 off much sharper and cleaner. 
 
 To make Parchment transparent. 
 
 Take a thin skin of parchment and soak it in 
 a strong lye of wood-ashes, often wringing it 
 out till you find it become transparent, then 
 strain it on a frame and let it dry. 
 
 Note. — This will be much improved, if after 
 it is dry you give it a coat, on both sides, of 
 clear mastic varnish d'luted with spinis of tur- 
 pentine. 
 
MISCELLANEOUS. 187 
 
 To make Co?nposilion Ornaments, for picture 
 Frcunes, S^c, 
 
 Take any quantity of whiting, as much as 
 you think you shall have occasion for, for pre- 
 sent use, mix it up with thinnish glue to the con- 
 sistence of putty, and having a mould ready, 
 rub it well all over with sweet oil, and press 
 your composition in it ; take it out and you will 
 have a good impression, which you may set by 
 to dry, or if wanted, you may, before it gets 
 hard, apply it to your work with thick glue, 
 and bend it into the form required for the 
 angles of your frames, &c. 
 
 Note. —If you have not a mould at hand, you 
 may make one of the composition from any leaf or 
 pattern you may wish to copy, and letting it 
 get quite hard, use it as a mould, first oiling it 
 well. 
 
 You will find this cociposition of great use 
 fo>' copying any patterr you may wish from 
 good moulds. 
 
188 MISCELLANEOUS 
 
 To imitate IFood^ S(c. fo-^ internal or external 
 Decorations. 
 
 Having prepared your ^YOod of a proper 
 ground with common oil-paint, prepare the 
 colour for the graining, hy grinding, very fine, 
 with stale beer, the colour you require, using 
 this in the manner of distemper, or drawing in 
 water-colours ; let it get quite dry, and give it 
 two of these coats of clear copal varnish. 
 
 An excellent Receipt for Burnish Gold Size. 
 
 One ounce of black lead, ground very fine, 
 one ounce of deer suet, one ounce of red chalk, 
 and one pound of pipe-clay, gound with weak 
 parchment-size to a stiff consistence, to be used 
 as directed under the article Gilding, 
 
 Note — This receipt is by an excellent prac- 
 tical workman. 
 
 To clean Picinref. 
 Having taken the picture out of its frame. 
 
MISCELLANEOUS. ^.89 
 
 take a clean towel, and making it quite wet, lay 
 it on the face of your picture, sprinkling it from 
 time to time with clean soft water ; let it re- 
 main w^et for two or three days, take the cloth 
 off and renew it with a fresh one; after wiping 
 your picture with a clean wet sponge, repeat 
 the process till you find all the dirt soaked out 
 of your picture ; then wash it with a so ft sponge, 
 and let it ^et quite dry ; rub it with some clear 
 nut or linseed oil, and it will look as well as 
 when Iresh done. 
 
 Another Method. 
 Put into two quarts of strong lye a quarter 
 of a pound of Genoa soap, rasped very fine, 
 with a pint of spirits of wine ; let them simmer 
 on the tire for half an hour, then strain them 
 through a cloth^ apply it with a brush to the 
 picture, wipe it off with a sponge, and apply it 
 a second time, which will remove all dirt ; then 
 with a little nut-oil, warmed, rub the picture 
 and let it dry ; this will make it look as bright 
 as when it come out of the artistes hand. 
 
190 MISCELLANEOUS. 
 
 To silver Clock Faces, the Scales of 
 Barometers, Sfc. 
 
 Take half an ounce of old silver lace, add an 
 ounce of the best aqua-fortis, put them in an 
 earthen pot and place them over a gentle fire 
 till all is dissolved, which will happen in about 
 five minutes, then take them off and mix it in 
 a pint of clear water, after which pour it into 
 another vessel, and free it from sediment ; then 
 add a spoonful of common salt, and the silver 
 will be precipitated in the form of a white pow- 
 der or curd ; pour off the acid, and mix the 
 curd with two ounces of salt of tartar, half an 
 ounce of whiting, and a large spoonful of salt 
 mix it up together, and it is ready for use. 
 
 In order to apply the above composicion, 
 clean your brass or copper plate with some rot- 
 ten stone and a piece of old hat ; rub it with 
 salt and water with your hand, take a little of 
 the composition on your finger and rub it over 
 your plate, and it will firmly adhere and cova>- 
 pfeUjiy silvei it, wash it well with water; 
 
MISCELLANEOUS. 191 
 
 when dry, rub it with a clean rag, and var- 
 nish it. 
 
 Note — This silver is not durable, but may 
 be improved by heating the article and repeat- 
 ing the operation till the covering seems thick 
 enough. 
 
 Varnish for Clock Faces, Sfc. 
 
 Tak-e of spirits of wine one pint, divide it 
 into four parts, mix one part with half an ounce 
 of gum mastic, in a bottle by itself; one part 
 of spirits, and half an ounce of gum sandrac in 
 another botile; and one part of spirits and half 
 an ounce of the whitest part of gum Benjamin, 
 mix and temper them to your mind; il' too thick, 
 add spirits; if too thin, some mastic; if too soft, 
 some sandrac or Benjamin when you use it, 
 warm the silvered plate before the fire, and 
 with a flat camel-hair pencil, stroke it over till 
 no white streaks appear, and this will preserve 
 the silvering for many years. 
 
 Cryslalb'sed Tin. 
 Take sheet tin, the best, and thickest covered 
 
592 MISCELLANEOUS. 
 
 with the metal you can get, clean it well with 
 whiting and water till the taco is well polished.; 
 warm it, or lay it on a hot plate, and with a 
 sponge or brush wet it well with strong spirits 
 of salts, you will soon see it shoot into beautiful 
 patterns; as soon as this happens, plunge it into 
 cold spring water ; you may then varnish it 
 with any colour you please, or leave it in its 
 natural state and varnish with clear varnish. 
 
 Note. — This has of late been much introduced 
 into furniture, and when well executed has a 
 beautiful appearance ; you may use it as a 
 veneer in a manner directed for buhl work, 
 having first given the side you intend to be gkied 
 to your work a good coat of paint, 
 
 Size for Oil Gilding. 
 
 Grind calcined red-ochre, with the best and 
 oldest drying oil, and mix with a little oil of 
 turpentine when used. 
 
 Note. — When you intend to gild your work, 
 first give it a coat of parchment size; then apply 
 tbe size wtiere requisite, either m patterns or 
 
miscellakeous. 198 
 
 letters, and let it remain till by touching it with 
 your finger it will just feel sticky; apply your 
 gold-leaf and dab it with a piece of cotton; lot 
 it remain for about an hour, and wash the 
 superfluous gold off with a sponge and water, 
 and, when dry, varnish it with copal varnish. 
 
 General Directions for dying Ivory or Bone, 
 
 First, let them be soaked for about twelve 
 hours in lime-water: take them out and immerse 
 them in weak aqua-fortis for about two or three 
 hours; you may then proceed as in dying wood, 
 only be careful not to let your dye be too hot. 
 
 T/ie Method of Gilding the Borders of Leather 
 Tops of Li^'rary Tables, Work Boxes, Sfc, 
 
 The tops of library tables, &c. are usually 
 covered with Morocco leather, and ornamented 
 with a gilt border, and are usually sent to the 
 book-binder 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 glare of eggs, which is the 
 s 
 
19i MISCELLANEOUS. 
 
 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 wheel 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 heat- 
 ing, rub the part with an oiled rag, or clean 
 tallow, w^here the pattern is intended 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 
 superfluous gold off v\'ith an oiled rag, and the 
 g-old will adhere in those parts where the im- 
 pression of the roller has been, and the rest will 
 rub off with the oiled rag. 
 
 To prepare Plaster Figures* 
 
 Having trimmed your figure or ornament from 
 all superfluous knobs, &c. sot it fn a warm 
 place to get thoroughly dry; then have a vessel 
 large enough to contain it, which fill so mucb, 
 as when the plaster figure is placed in it, it will 
 
MlSCELLA5vE0CS. 195 
 
 DC quite covered, with the best and clearest 
 linseed oil just \varm, Jet it remain in the vessel 
 for twelve or fourteen liours; then take it out, 
 let it drain, and set it in a place free from 
 dust; and when ihe oil is quite dry, the orna- 
 ment, or whatever is thus prepared, will look 
 like wax, and will bear washing without injury. 
 
 To make Transparent, or Tracing Paper. 
 
 Dissolve a piece of white bees'-wax, about 
 the size of a walnut in half a pint of spirits of 
 turpentine; then having procured some very fine 
 white wove tissue paper, lay it on a clean board, 
 and with a soft brush dipped in this liquid, go 
 over it on one side, and then turn it over, and 
 apply it to the other; hang it up in a place free 
 from dust, to dry; it will be ready for use in a 
 few days; some add a small quantity of resin, 
 or use resin instead of wax. 
 
 Note. — This will be found very useful to the 
 
 vvorkmen for copying any ornaments or figures, 
 
 as by merely laying it on the work, you can 
 
 with a pencil trace every Ime, and if you 
 
 s 2 
 
196 MISCELLANEOUS. 
 
 please copy it correctly on fair paper, at your 
 leisure ; or if it is a pattern for Buhl work, 
 you may paste your tracing paper on the work 
 you wish to cut, and follow your pattern, as 
 directed under the article Buhl work : it will 
 be also found very handy for copying sketches 
 or drawings. 
 
 Or-Molu. 
 
 This beautiful method of preparing brass- 
 work is much in use amongst the French, and 
 till lately, scarcely applied to ornamenting of 
 furniture in this country ; perhaps, more owing 
 to the great expence in doing it, when com- 
 pared with the usual process of lackering : the 
 method by which it is performed, is somewhat 
 similar to that of gilding metal buttons, which 
 is by applying an amalgam of gold and 
 quicksilver to your brass- work, when well 
 cleaned, burnished &c.. and by means of heat 
 evaporating; or more properly volatilizing the 
 quicksilver, leaving a coat of gold on your 
 work, which is again burnished, and the colour 
 
MISCELLANEOUS. 197 
 
 heie^lened by a chemical process. But as it 
 is not only expensive, but very deleterious to the 
 health of the workman, it would be useless to 
 describe minutely the VThole process. 
 
 To Gild Metal by dissolving Gold in Aqua 
 
 Regia. 
 
 Dissolve gold in aqua regia, and into the 
 solution dip linen rags ; lake ihem out and dry 
 them gently; then burn them to tinder; alter 
 you have well polished your work with this, take 
 a cork .and dipping it into common salt and 
 water, and afterwards into the tinder, rub your 
 work vYcII, and its surface will be gilt^ 
 
 Note — Aqua regia is composed of two parls 
 of nitroLs acid [aqua fortis) and one part of 
 marine acid {spirits of salt) mixed together. 
 
 To clean Mirrors^ Looking Glasses, S(c. 
 
 Take a soft sponge, wash it well in clean 
 water, and squeeze it as dry as possible ; then 
 dio it into some spiri*-s of wine, rub over tlie 
 8 3 
 
198 MISCELLANEOUS. 
 
 glass, then have some powder blue tied up in a 
 rag:, and dust it over your glass. ruD it lightly 
 and quickly with a soft cloth, afterwards finish 
 v\^iih a silk handkerchief. 
 
 To silver Ivory. 
 
 Take a small piece of nitrate of silver (lunar 
 caustic), and pound it in a mortar ; add soft 
 water to it, and mix well together; keep it in a 
 phial for use, and when you wish to diver your 
 ivory, you must either immerse in this solution 
 and let it remain till it turns of a deep yellow 
 colour, and then place it in clear water, and 
 exposed to the rays of the sun ; or if you wish 
 any figures, as cypher, &c. on your ivory, dip 
 a camel-hair pencil in the solution, and draw 
 what you desire on your ivory ; after it has 
 turned a deep yellovv, wash it well v^-ith water, 
 and place it in the sun-shine, occasionally 
 wetting it with pure water ; in a short time it 
 will turn of a black colour, which if well rubbed 
 will change to a brilliant silver. 
 
APPENDIX. 
 
 In order to render the Cabinet Maker's Guide a com- 
 plete Pocket Manual for the workman, as well as a 
 book of reference, it has been thought that the addition 
 of some useful Tables would not be unacceptable in a 
 •work of this nature. 
 
 The following have, therefore, been contrived, and 
 ■will show, by inspection, the superficial content of any 
 board or plank, w ithout having recourse to duodecimals, 
 or cross-multiplication ; and will enable any one at all 
 acquainted with the simple rules of arithmetic, to find 
 the content suflBciently accurate for any practical pur- 
 pose, though they might have been extended to show the 
 fractional part« of inches to any degree of accuracy 
 required , 
 
 Explanation of Tables I. and II. 
 
 Table 1, — If we call the left hand column feet, and 
 tfi» lop row incnes, all the other columns will show 
 
^00 
 
 APPENDIX. 
 
 TABLE I. 
 
 1 
 
 o 
 
 o 
 
 o 
 
 1° 
 
 1° 
 
 o 
 
 o 
 
 o 
 
 o ! o o 
 
 o 
 
 
 '- 
 
 o» 
 
 n 
 
 1;, 
 
 |; 
 
 CO 
 
 »^ 
 
 00 
 
 ^ 2 z: 
 
 ^ 
 
 1 - 
 
 l2 
 
 C5 
 
 00 
 
 1 i^ 
 
 CO 
 
 
 n 
 
 1 c« -^ 
 
 o 
 
 r—' 
 
 c. 
 
 ^ 
 
 (N 
 
 « 
 
 ^ 
 
 «; 
 
 00 
 
 U 2 
 
 ::: 
 
 r. 2 
 
 oc 
 
 <c 
 
 ^ 
 
 <N 
 
 lo 
 
 2 °° 
 
 Ico 
 
 ^ 
 
 1 « 
 
 o 
 
 "^ o 
 
 - 
 
 cv 
 
 « 
 
 ■<»< 
 
 h 
 
 .^ « 
 
 1- 
 
 00 
 
 ai 
 
 c; 
 
 
 o 
 
 (O 
 
 o- 
 
 o 
 
 a. 
 
 CO 
 
 !« lo 
 
 <J1 
 
 w 
 
 n 
 
 o 
 
 C5 
 
 
 
 
 
 
 
 
 . 
 
 
 
 
 
 
 c 
 
 -' 
 
 ^ 
 
 m 
 
 n 
 
 1 
 
 •^ 
 
 CO 
 
 CO 
 
 «» 
 
 00 
 
 en 
 
 
 00 
 
 T. 
 
 o 
 
 00 
 
 ^ 
 
 o 
 
 
 ■V 
 
 o 
 
 00 
 
 ^ 
 
 o 
 
 00 
 
 . 
 
 
 
 
 
 
 
 
 • 
 
 • 
 
 
 00 
 
 
 
 "" 
 
 
 (V 
 
 n 
 
 1< 
 
 V 
 
 ■o 
 
 CO 
 
 CO 
 
 >- 
 
 
 
 <, 
 
 (V 
 
 Ci 
 
 •V 
 
 - 
 
 CO 
 
 _ 
 
 00 
 
 <n 
 
 o 
 
 «v 
 
 o 
 
 i> 
 
 . 
 
 
 
 
 
 
 • 
 
 
 
 
 
 
 
 o 
 
 - 
 
 — 
 
 (N 
 
 tM 
 
 n 
 
 TP 
 
 ■^ 
 
 •Oi 
 
 »« 
 
 CO 
 
 «>. 
 
 
 <© 
 
 o 
 
 50 
 
 o 
 
 CO 
 
 o 
 
 CO |o 
 
 CO 
 
 o 
 
 CO 
 
 o 
 
 CO 
 
 
 
 
 
 • 
 
 
 
 • 
 
 
 
 • 
 
 
 
 c 
 
 "" 
 
 "" 
 
 <M 
 
 ^ 
 
 « 
 
 n 
 
 
 r)< 
 
 •o 
 
 
 CO 
 
 
 
 o 
 
 00 
 
 oo 
 
 
 CO 
 
 - 
 
 ^ 
 
 S) 
 
 0, 
 
 J, 
 
 o 
 
 »^ 
 
 
 
 
 
 
 
 . 
 
 . 
 
 
 . 
 
 • 
 
 
 
 
 o 
 
 ■"■ 
 
 "■ 
 
 
 
 (N 
 
 « 
 
 
 ■* 
 
 TJ. 
 
 ■o 
 
 
 
 » 
 
 o 
 
 ^ 
 
 00 
 
 o 
 
 ^ 
 
 oo 
 
 o 
 
 Tj" 
 
 00 
 
 
 -* 
 
 
 • 
 
 
 • 
 
 
 • 
 
 . 
 
 
 • 
 
 • 
 
 
 
 
 o 
 
 o 
 
 - 
 
 - 
 
 "" 
 
 <v 
 
 ■M 
 
 « 
 
 n 
 
 n 
 
 <r>. 
 
 •^ 
 
 
 « 
 
 to 
 
 CD 
 
 c 
 
 n 
 
 CO 
 
 m 
 
 o 
 
 <n 
 
 CO 
 
 as 
 
 
 CO 
 
 • 
 
 
 
 
 
 
 
 
 
 
 
 
 
 o 
 
 
 
 "^ 
 
 " 
 
 — 
 
 "" 
 
 L>J 
 
 
 
 
 m 
 
 
 ^ 
 
 CO 
 
 » 
 
 o 
 
 o 
 
 <^. ,U 1 
 
 CO 
 
 00 
 
 o 
 
 
 <N • 
 
 
 • 1 
 
 
 
 
 • 
 
 • 
 
 
 . 
 
 
 
 , c 
 
 o 
 
 ° 1 
 
 o 
 
 o 
 
 "^ 
 
 - 1 
 
 "" 
 
 ■" 
 
 - 
 
 - 
 
 o» 
 
 i-- 
 
 CQ 
 
 CO 
 
 rt 
 
 »o 
 
 CO 
 
 t> 
 
 GO 
 
 Ci 
 
 c; 
 
 ^ 
 
 •M 
 
 'mSud'l m sdiiouj j,o fd^ 
 
APPENDIX. 
 
 201 
 
 TABLE IT. 
 
 Parts of Inches in IVidth. 
 
 
 I 
 
 i 
 
 4 
 
 1 
 
 k 
 
 i 
 
 1 
 
 i 
 
 
 2 
 
 
 
 k 
 
 o-i 
 
 0-5 
 
 1-0 
 
 1-i 
 
 1 • h 
 
 1-! 
 
 *s 
 
 3 
 
 
 
 i 
 
 0-1 
 
 1-i 
 
 !•* 
 
 1-^ 
 
 2-i 
 
 2-1 
 
 r 
 
 4 
 
 
 
 i 
 
 1 • 
 
 1 i 
 
 2-0 
 
 2-i 
 
 3 • U 
 
 3-i 
 
 
 5 
 
 
 
 1 
 
 1-i 
 
 1 -i 
 
 2-i 
 
 3-i 
 
 3-! 
 
 4-i 
 
 S 
 
 6 
 
 
 
 1 
 
 1-i 
 
 2-i 
 
 3- 
 
 3-5 
 
 4 i 
 
 5-i 
 
 
 7 
 
 
 
 1 
 
 1-1 
 
 3-^ 
 
 3-1 
 
 4-i 
 
 5 1 
 
 6-* 
 
 8 
 
 1 
 
 
 
 2 • 
 
 3 -0 
 
 4 • 
 
 5 • 
 
 6- 
 
 7 • 
 
 1 
 
 ^ 
 
 1 
 
 * 
 
 2-i 
 
 3-1 
 
 4-1 
 
 5-§ 
 
 6-J 
 
 7 •# 
 
 10 
 
 1 
 1 
 
 T 
 
 2-i 
 
 3-1 
 
 5 • 
 
 6-i 
 
 r-i 
 
 8- I 
 
 
 11 
 
 2-i 
 
 -i-i 
 
 5-i 
 
 6- i 
 
 8-i 
 
 ^■i 
 
 
 12 ii 
 
 * 
 
 3 • 
 
 4-i 
 
 6- 
 
 T h 
 
 9 • 1 10- il 
 
 their products in feet and inches ; thus, supposing 
 we have a board 8 feei long and 7 inches broad, the 
 meeting of the horizontal row at 8, and the perpendicular 
 column at 7, will be expressed thus — 4 • 8 : which is, 
 that the superficial content of such board is 4 feet 8 
 inches ; and so of any other. 
 
 If we call the left-hand perpendicular column inches, 
 and we wish to find the content of a piece of wood 9 
 inches by 7 inches, look at the meeting of the corre- 
 sponding columns to 9 and 7 for the answer 5 * 3, which 
 is 5 superficial inches and 3 parts, or twelfths of an inch. 
 
S0^2 APPENDIX 
 
 Table II. — Is exactly upon the same prfnciple; thus, 
 if we wish the content of 11 feet by | of an inch, wc 
 shall (by carrying our eye horizontally from 11 to where 
 it meets the perpendicular column marked |) find 6 • f ; 
 that is 6 inches and | of an inch superficial. 
 
 I might have given another table for parts of inches by 
 parts of inches, but in real practice this can be but very 
 seldom required, and in general the mea.5urement of a 
 board or plank is not taken nearer than half or quarter 
 inches, and that only in the width, as when the plank is 
 long in comparison to its width, the fraction of an inch 
 would make but verj- little diflference. 
 
 The following example will shew the use of the tables 
 to those unacquainted with cross-multiplication:— 
 
 Required the superficial content of a hoard 1 1 feet T 
 
 inches by 5 feet 3j inches. 
 
 Ft. In. 
 First, 11 feet multiplied by 5 feet, is 55 
 
 Second, 1 1 feet by 3 inches, by table I, is 2 • 9 . . 2 9 
 
 Third, 11 feet by J an inch, table II, is 5}. .0 5| 
 
 Fourth, 5 feet by 7 inches, table I, is '^ • II . .2 11 
 
 Fifth, 7 inches by 9 inches, table 1, is 1 • 9 . .0 1^ 
 
 which added together, is equal 61 2^ & -j? 
 
 Note. — The same example, worked by cross-multipli- 
 cation, would be equal to not quite § a superficial inc" 
 more than here given; a quantity of inconsiderable 
 magnitude. 
 
APPENDIX. 
 
 203 
 
 TABLE III. 
 
 c 
 
 C5H 
 
 O 
 
 Z'' 
 
 Ti 
 
 ^' 
 
 V 
 
 "ii* 
 
 !0 
 
 "- 
 
 00 C. 
 
 o 
 
 " = 
 
 cl 
 
 « 
 
 ■" 
 
 <n 
 
 CO 
 
 n 
 
 n 
 
 m 
 
 « 
 
 n n 
 
 OT 
 
 M 
 
 ^ 
 
 ~ 
 
 1 
 
 Hw 
 
 *, 
 
 - 
 
 H^ 
 
 -IN 
 
 ml 
 
 1 s 
 
 H<t 
 
 -Hi« 
 
 "- 
 
 i 
 
 CO 
 
 oT 
 
 ■^^ 
 
 :i^ 
 
 «o 
 
 ^ 
 
 1^ 
 
 "x' 
 
 'cj 
 
 O 
 
 z 
 
 3- 
 
 £ 
 
 (N 
 
 <N 
 
 ot 
 
 ^ 
 
 (N 
 
 *, 
 
 <» 
 
 (M 
 
 <N 
 
 ^ 
 
 w 
 
 (V 
 
 a 
 
 2 
 
 H-* 
 
 Him 
 
 nH 
 
 O^ 
 
 r-l|<t 
 
 -*) 
 
 m 
 
 O 
 
 -«<t 
 
 -*-i 
 
 coht 
 
 c 
 
 '^ 
 
 t~ 
 
 00 
 
 COl-f 
 
 c-f 
 
 o 
 
 's* 
 
 tlT 
 
 o 
 
 1 
 
 OV* 
 
 :t 
 
 " 
 
 - 
 
 -" 
 
 - 
 
 ■" 
 
 - 
 
 - 
 
 - 
 
 CN 
 
 ~h 
 
 CM 
 
 ^ 
 
 fl 
 
 H. 
 
 H., 
 
 .,. 
 
 CD 
 
 H. 
 
 H<M 
 
 Ml-* 
 
 ^; 
 
 -<t H51 
 
 nlfl 
 
 C1^ 
 
 o 
 
 o" 
 
 - 
 
 H« 
 
 . 
 
 "ST 
 
 « 
 
 KIT "IIN 
 
 « -r •« 
 
 «?" 
 
 «; 
 
 £ 
 
 
 — 
 
 "■ 
 
 " 
 
 "* 
 
 ■" 
 
 -' 
 
 1 
 
 " 
 
 " 
 
 J 
 
 .:; 
 
 .,. 
 
 ■HiJl 
 
 m 
 
 m 
 
 H. 
 
 -^' 
 
 -u 
 
 - 
 
 'hi 
 
 
 
 j5 
 
 <& 
 
 >- 
 
 Hl« 
 
 00 
 
 00* 
 
 00 
 
 OJ 
 
 
 O 
 
 2 
 
 i: 
 
 -Bl 
 
 fc 
 
 o 
 
 o 
 
 o 
 
 o 
 
 00 
 
 O 
 
 O 
 
 o 
 
 o 
 
 O 
 
 o 
 
 O 
 
 J 
 
 o 
 
 H^ 
 
 -^1 
 
 ml 
 
 ! 
 
 o 
 
 W-* 
 
 .1.1 
 
 nirt 
 
 - 
 
 HT 
 
 H|« 
 
 m 
 
 »• 
 
 « 
 
 « 
 
 7i? 
 
 « 
 
 ■a« 
 
 
 H0» 
 
 «5 
 
 ■^ 
 
 HN 
 
 w 
 
 is' 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 £ 
 
 o 
 
 O 
 
 o 
 
 o 
 
 o 
 
 o 
 
 O 
 
 O 
 
 ° 
 
 O 
 
 o 
 
 c 
 
 B 
 
 «5 
 
 -l-l 
 
 ^. 
 
 *^ 
 
 ■*•* 
 
 -1 
 
 -1 
 
 » 
 
 -w 
 
 -<<♦ 
 
 «ht 
 
204 ArPENDIX. 
 
 Explanation of Table III. 
 
 Table III. — Is continued for readily computing the 
 content of trees according to the common method of 
 measuring timber ; viz. by taking the girth and dividing 
 it into four equal parts, and is thus used : — Seeli in the 
 first column (or the other columns marked inches, and 
 enclosed between double lines) the length of the quarter 
 girth ; take out the opposite number and multi{.ly that 
 number by the length of the tree in feet, &c. the product 
 will be the content in solid feet, (fee. 
 
 The following example will shew its utility : — 
 
 What is the content in solid feet, ^c. of a tree, whose 
 length is 9 feet, and the quarter girth 16| inches. 
 
 Ft. In. 
 In the table, opposite J 6^, is 1 10 
 
 which, multiplied by 9 9 
 
 The content is therefore equal 16 6 
 
 Note. — The method here shewn will, in general, bo 
 within an inch or two of the tniR measure as given by the 
 usual method, and will not only be found very ready, 
 ut sufficienily accurate for most tractictl purposes. 
 
APPENDIX. 
 
 TABLE [V. 
 
 205 
 
 5 
 
 1 
 
 Inches 
 and 12th parts. 
 
 Inches 
 and 8th paits. 
 
 , 
 
 
 
 
 r"^ 
 
 " 
 
 1 
 
 
 2 
 
 
 
 3 
 
 
 
 2 
 
 2 
 
 i 
 
 I 
 1 
 
 3 
 
 
 
 4 
 
 
 
 3 
 
 3 
 
 4 
 
 
 
 6 
 
 
 
 4 
 
 4 
 
 5 
 
 
 
 7 
 
 
 
 5 
 
 5 
 
 6 
 
 
 
 9 
 
 
 
 6 
 
 6 
 
 7 
 
 
 
 10 
 
 
 
 7 
 
 7 
 
 8 
 
 1 
 
 
 
 1 
 
 
 
 8 
 
 9 
 
 1 
 
 1 
 
 2 
 
 
 
 17 
 
 10 
 
 1 
 
 % 
 
 3 
 
 
 
 25 
 
 20 
 
 2 
 
 5 
 
 4 
 
 
 
 33 
 
 30 
 
 3 
 
 7 
 
 5 
 
 
 
 42 
 
 40 
 
 4 
 
 10 
 
 6 
 
 
 
 50 
 
 50 
 
 6 
 
 
 
 7 
 
 
 
 58 
 
 60 
 
 7 
 
 2 
 
 S 
 
 
 
 67 
 
 70 
 
 8 
 
 5 
 
 9 
 
 
 
 75 
 
 80 
 
 9 
 
 7 
 
 10 
 
 
 
 83 
 
 90 
 
 10 
 
 JO 
 
 11 
 
 
 
 92 
 
 100 
 
 12 
 
 
 
 12 
 
 
 
 100 
 
 

 206 ArPENDix. 
 
 Exp^ANATION 0? Table IV, 
 
 Table r\^' will be found ver)- useful for changing feet 
 decimally divided into inches and parts of an inch, and 
 tbe contrary ; by means of which, dimension taken either 
 way may be readily changed to tbe other; an example in 
 each ease will show its utility. 
 
 Example 1. To change 56 himdredih •parts of a foot 
 into inches and parts. 
 In the first column, opposite 50, is G • 0, and opposite 
 0, is • 9, which added to the former is 6 inches and 9 
 twelfths of an inch. 
 
 Example 2. To change 10| inches into hundredth 
 parts of afoot. 
 
 -..In the column on the right of the double Ime marked 
 inches and eighth parts, we find opposite 10 inches 83, 
 and opposite | (that is six-eighths) is 6, which added to 
 83, gives 89 hundifedth parts of a foot. 
 
APPENDIX. 
 
 m 
 
 TABLE V. 
 
 Meas'iies of different Counties. ' Parts 
 
 Englisb 
 
 Amsterdam 
 
 Berlin 
 
 Brussel* , 
 
 China (Imperial Foot). 
 
 Constantinople 
 
 Copenhagen 
 
 Dantzic 
 
 Denmark 
 
 Florence 
 
 Genoa (the Palm)..., 
 
 Hamburgh 
 
 Leghorn 
 
 Leipsic . ..* < 
 
 Lisbon , 
 
 Madrid .. 
 
 Moscow 
 
 Naples (the Pahn)..., 
 
 Pari.s((he Foot) , 
 
 (the Metre) 
 
 ^iga : 
 
 Rome (the Palm) 
 
 Stockholm 
 
 Venice 
 
 Vienna , 
 
 Warsaw 
 
 1440 
 133.5 
 1428 
 1299 
 15)3 
 1678 
 loll 
 1329 
 1508 
 1433 
 1170 
 1343 
 1428 
 1489 
 1371 
 1319 
 1337 
 1240 
 1535 
 4731 
 1313 
 1055 
 1545 
 1638 
 1492 
 1684 
 
 Ft. In. 
 
 Lin. Pts 
 
 4* 3 
 
 4 
 
 5 
 
 11 
 
 1 
 
 4 
 9 
 6 
 2 
 9 
 10 
 7 
 5 
 
 
 Explanation of Table V. 
 
 Table V. will be found very useful for changing the 
 different measures of foreign countries to that of England, 
 and the contrarj' ; and is a selection from a very, exterisiv 
 
 t2 
 
APPENDIX. 
 
 one given by Dr. Button in his Mathematical Reoreatio», 
 and needs no explanation ; but that the second column is 
 calculated on the supposition, tbat the English foot is di- 
 vided into 12 inches, and each inch into 12 parts, called 
 lines, and each line into lU parts, making 1440 parts in 
 the English foot; and the foot of all the other countries 
 contains the number of the same parts they are equal to, 
 when compared to the English foot. 
 
 French Measures. 
 The English foot is to the Paris foot, as 1 to J -065977, 
 The English square foot is to the Paris, as 1 to 1-136307. 
 The English cube foot is to the Paris, as 1 to 1-21 1277. 
 
 Practical Rules, &c. for finding the 
 Superficial Content or Area of Plain 
 Figures and Solid Bodies. 
 
 1. T/ie Diameter of a Circle being given to find 
 
 Circumference. 
 
 Rule.— As 7 is to 22, or as 113 is to 355, so is the 
 
 diameter taken in any dimension, as feet, inches, &c. to 
 the circumference in the like measure. 
 
 2. The Diameter </ a Circle being given to find the 
 
 Area or superficial Content, 
 Rule.— Find the circumference by the first rule, tliea 
 
APPENDIX. sop 
 
 multiply half the circumference by half the diameter, aiK 
 the product will be the area. 
 
 Note. — For practical purposes you may measure the. 
 circumference with a striog, and half that length multi 
 plied by half the diameter is the area. 
 
 3. Any Sector of a Circle being given to find its Area. 
 
 Rule. — Measure the arc with a string ; then half that 
 measure multiplied by the radius of the circle (of which 
 the arc is a portion) is the area required. 
 
 4. To find the Area of an Ellipsis or Oval 
 
 Rule.— Multiply the longest diameter by the shortest, 
 and the product by the decimal '7854. 
 
 5. To find the Area of a Trianyle. 
 
 RcLE. — Multiply the length of the base by the perpen 
 dicular altitude of the triangle, and half that product is 
 the area. 
 
 Rdle 2. — When the length of the three sides are only 
 given, from half the sum of the three sides, subtract each 
 side severally ; multiply the half sum and the three re- 
 mainders continually together ; then extract the square - 
 root of the last product, it will give the area required. 
 
 6. To find the Area or superficial J^onte7it of a Globe, 
 RuiiE ].— Multiply the circumference by the diume^\ 
 and the product is the sup J^f Is or area 
 / It 
 
210 APPENDIX, 
 
 Rdle 2. — Maltiplythe diameter of the^lobe by Itself 
 and the product by 3-14159 for the area, 
 
 7. To find the Area of a Cylinder, 
 Rdle — Multiply the length by the circumference*' 
 this will give the area of tiie curved surface, to which add 
 the area of the circle at each end (by Rule 2) and you 
 have the whole superficial content of the cylinder. 
 
 8. To find the Superficial content of a Cone. 
 
 Rule. — Multiply half the circumference at the base, 
 by the slanting height, it will give the curved surface of 
 the Cone, to which add the area of the circle at the base' 
 and you will have the whole superfices 
 
 9. To find the Solidity of a Sphere or Globe. 
 
 R[TLE. — Find the surface (by rule 6,) multiply that by 
 the sixth part of the diameter, and you have the solid 
 content, 
 
 10. To find the Solid Coyitent of a Pyramid. 
 Rule. — Multiply the area of the base by the perpen- 
 dicular height, and divide that product by 3 for the solid 
 content. 
 
 1 1 . To find the Solid Content of a Cylinder. 
 Rulf.— Multiply the area of one end (found by 
 
 Rale 2) by the length, and the sum is the solid content 
 required. 
 
APPEND IX. 
 
 211 
 
 Ti^BLE VI. 
 
 Weight of a Cubic Foot of 
 
 lb. 
 
 oz. 
 
 
 Oak 
 
 57 
 
 73 
 15 
 41 
 62 
 63 
 60 
 41 
 36 
 34 
 31 
 23 
 49 
 41 
 44 
 59 
 49 
 44 
 37 
 57 
 83 
 49 
 50 
 40 
 35 
 84 
 56 
 83 
 44 
 
 13 
 2 
 
 
 15 
 
 13 
 4 
 
 
 15 
 9 
 6 
 2 
 
 15 
 9 
 5 
 
 
 
 1 
 
 11 
 8 
 
 
 4 
 7 
 4 
 1 
 
 10 
 J 
 5 
 1 
 
 9"^ 
 
 Oak heart of verv old 
 
 in 
 
 Cork 
 
 24 
 
 Elm Plank 
 
 67 
 
 Ash ditto 
 
 84 
 
 Beech 
 
 85 
 
 Alder 
 
 SO 
 
 Walnut 
 
 67 
 
 Willow 
 
 58 
 
 Male Fir 
 
 55 
 49 
 
 Poplar 
 
 Apple Tree • 
 
 38 
 79 
 
 Pear ditto 
 
 66 
 
 
 70 
 
 Medlar 
 
 94 
 
 Plum Tree 
 
 78 
 
 Cherry Tree 
 
 71 
 
 Filbert Tree 
 
 60 
 
 French Box 
 
 91 
 
 Dutch ditto. 
 
 M? 
 
 Dutch Yew 
 
 78 
 
 Spanish ditto > • • . 
 
 80 
 
 
 64 
 
 
 56 
 
 Pomegranate Tree ••.«.. 
 
 135- 
 
 Spanish Mulberrj' 
 
 89 
 
 Lignum Vitae , 
 
 J33. 
 
 Orange Tree 
 
 70^ 
 
 
 
APPENDIX 
 
 Explanation of Table VI 
 
 The only part that requires to be explained in this 
 j.able is the right-hand column, which expresses the 
 comparative weight of the difierent woods, the weight of 
 a cubic foot of river water being 1,000, and those num- 
 bers also express the number of avoirdupois ounces in a 
 cubic foot, supposing the wood to be well seasoned, and 
 free from knots. 
 
 Pini^ 
 
INDEX. 
 
 CABINET WORK. 
 
 General t^aervationt .. »• 
 
 To make GlRss-paper .. ,. ^ .. .. » 
 
 To make Strong Glueflt for Inlaying or Veneering .. 3 
 
 To clean the face of soft Mahogaoy, or other porous Wood ib. 
 
 Another way to clean and finish Mahogany Work . . 4 
 
 To dajken light Mahogany i 
 
 To raise oH Veneers 7 
 
 Glueing up and Veneering Card Table-tops, Secretary 
 
 Fronts, &c 
 
 To cut Steel Plates for Scrapers 10 
 
 To Set and Sharpen Saws H 
 
 To make Paste for laying the Cloth or Leather of Table- 
 tops, &c 13 
 
 A Glue for Inlaying Brass or Silver Strings, Patteras, &c; 15 
 
 To take out Bruises in Furniture 16 
 
 DYING WOOD. 
 
 General Obaervattont •• .. •• H 
 
 Fine Black •« .. .. •« ^ .. ..18 
 
214 INDEX. 
 
 Page 
 
 Another Method for a good Black 18 
 
 Pine Blue 19 
 
 Another Blue , 21 
 
 Fine Yellow )f». 
 
 Another Yellow much Brighter 22 
 
 Liquid for Brightening and Setting the Cc lours .. ib. 
 
 Bright Green 23 
 
 Another Green .. ,. .. .. .. ., .. ib. 
 
 Bright Red 24 
 
 Another Red ib. 
 
 Purple .. .. .. .. .. 5 
 
 Another Purple »• ib. 
 
 Orange 26 
 
 Silver Grey ib. 
 
 Another Gre^ 27 
 
 STAINING. 
 
 General Observations »» 26 
 
 Black Stain for immediate Use ■** 20 
 
 To Stain Beech a Mahogany Colour , ib. 
 
 Anuther Method for Black Stain .-. lb. 
 
 To imitate Rose -wood .. •« 30 
 
 Another Method o ib. 
 
 To imitate King or Botany Bay Wood 31 
 
 A common Red for Bedsteads and common Chairs .^ 32 
 
 To Stain Horn in imitation of Tortoise-shell . . or ib. 
 
 Another Method •■- 'h. 
 
 Another Method still Better <— 33 
 
 To Stain Ivory or Bone Red t- ib' 
 
 To Stain Ivory or Bone Black c- 34 
 
 Another Method for Black » '■- 35 
 
 To Stain Ivory ^ Bone Tjreen .. .. •• •« i** 
 
INDEX. 21S 
 
 To Stain Ivory, &c. Blue ( , 3« 
 
 To Stain Ivory, &c. Yellow ib. 
 
 TO STAIN MUSICAL INSTRUMENTS. 
 
 Fine Crimson ib. 
 
 Purple 37 
 
 Fine Black ib. 
 
 Fine Blue 33 
 
 Fine Green ib. 
 
 Bright Yellow i^ 
 
 To Stain Box-wood Brown .. ^ 39 
 
 VARNISHING. 
 
 General Observations ,, ., , 5|j^ 
 
 Cautions respecting the making of Varnish .. .. 40 
 General Directions for choosing the Gums and Spirits 
 
 used •• 42 
 
 To Varnish a Piece of Furniture 43 
 
 To keep your Brushes in order 44 
 
 To make the best white hard Varnish 45 
 
 To make Mastic Varnish proper for Varnishing Pictures 
 
 or Drawings 43 
 
 To make Turpentine Varnish .. .. — ,. jb. 
 
 To make Varnish for Violins, &c ib. 
 
 To Varnisli Harps and Dalcimers in the Indian Manner 47 
 To Varnish Drawings, or any kind of Paper or Card 
 
 Work ib. 
 
 Another Meth id still better .. 4S 
 
 Amber Varnish' •• .. , ,, 49 
 
 Oil Varnish ib. 
 
 Copal Varnish .... .«> 50 
 
tl INDEX. 
 
 /aft 
 
 To make a ColourlesB C opal Varn'sh 40 
 
 Turpentine Copal Varni sh .. ,. „ ^ .. 51 
 
 JAPANNING. 
 
 Creneral Observations '. , .. 53 
 
 For a Black Japan . . . . 55 
 
 To imitate Rose-wood .. ib, 
 
 INDIA JAPANNING. 
 
 General Observations 56 
 
 Ground for Chinese Japan .. .. 67 
 
 Another Ground . . . . ,, . 58 
 
 To make Black Japan . . .. *• ib 
 
 To trace your Design on the Ground 59 
 
 To raise Figures on your Work ib. 
 
 Gold Bronze 6o 
 
 Silver Bronze 61 
 
 Copper Bronze 62 
 
 Tin Bronze ib. 
 
 Method of applying the Bronze 63 
 
 To Japan Work-boxes, &c „ ,, ib. 
 
 Sealing-wax Varnish 66 
 
 POLISHING. 
 
 General Observations ^7 
 
 To Polish Varnish • .. .. 68 
 
 French :\;ethod of Polishing 69 
 
 To Polish Brass OrnameHts Inlaid in W>od .. .. ib. 
 
 To Polish Ivory • .. 70 
 
 To Polish any Work of Pearl . . .. ^ .. •• ib. 
 
INDEX. 817 
 
 Page 
 
 To Polish MarMe .. .. •• 
 
 .0 Polish Tortoise-shell or Horn .. .. .. .. 7^ 
 
 FRICTION VARNISHING, OR FRENCH 
 POLISHING. 
 
 General Observations 72 
 
 The True French Polish 74 
 
 An Improved Polish •. •. .. .. ss .. 75 
 
 Water Proof Polish /6 
 
 Bright Polish ib. 
 
 Pre] ared Spirits 77 
 
 Strong Polish ib. 
 
 Directions for cleaning and polishing old Fainiture . . 78 
 
 CLEANING. 
 
 To clean and restorethe Elasticity ofCane Chair Bottoms, 
 
 Couches, &c. •• .. •« 79 
 
 To clean old Brass-work for Lackering ib. 
 
 To clean Silver Furniture SC 
 
 A Receiot to clean Marble, &c ib. 
 
 To lake Ink Spots out of Mahogany '^ 
 
 Another Method 81 
 
 To take Spots of Grease or Oil from Cloth -v . . 3*. 
 
 To take out W&s. Spots from Cloth or Silk . . . . tfi 
 
 Another Method .. »• »« ^ •. .« ». iC. 
 
 To clean Carpets or Tapestry ib. 
 
 To clean Or-Molu Ornaments M 
 
 SILVERING. 
 
 General Observations S4 
 
 method of Silvering Looking Glasses and Plate frlass .. 8 
 U 
 
• NDEX. 
 
 To make Liquid Foil for Silvering Glass Globes, Bent 
 
 Mirrors, &e 88 
 
 Another Method 87 
 
 BRONZE AND PAINTING, 
 
 ^0 Bronze Figures lb. 
 
 To Bronze on Wood .. .. 89 
 
 To Bronze Brass Figures or Ornaments 90 
 
 To Bronze, or Brown Gun Barrels, &c 91 
 
 Graining, or imitating Woods, Marbles, &c. .. .. 92 
 Green Paint for Garden Stands, Venetian Blinds, 
 
 Trellises, &c 99 
 
 GILDING. 
 
 General Observations ib 
 
 Necessary Requisites to Ije provided with lOO 
 
 To make Size for preparing your Frames, &c 102 
 
 To prepare your Frames or Wood Work ib. 
 
 Polishing 103 
 
 Gold Size . . . . . . 104 
 
 Apotber Gold Size ib. 
 
 To prepare your Frames, &c for Gilding ib. 
 
 Laying on the Gold .. .. 105 
 
 Burnishing .. .» 107 
 
 Matting 108 
 
 Finishing ib. 
 
 To make Shell Gold 109 
 
 Silver Size .. -.. — ib. 
 
 Silvering «. liO 
 
 To Gild Borders of Glass ^ • »« .. ^ ft. 
 
INDaX. 219 
 
 LACKERING. 
 
 Page 
 
 GcneraH.'HJfUiSitont • ^ •. ». 116 
 
 To make Gold Lacker for Brass .. t« ^ ». 117 
 
 Another Lacker • 5h. 
 
 Pale Gold Lack,?» 118 
 
 Superior Lacker for Brass ib. 
 
 Lacker with Spirits of Turpentine 119 
 
 BUHL WORK. 
 
 General Observations .. .. .. .. .. 120 
 
 To prepare your Shell and Brass ready for cutting .. 121 
 
 Cutting out your Veneer 122 
 
 To Glue up your Pattern 123 
 
 Laying your Veneer 124 
 
 Inlaying with Shaded Wood 125 
 
 To imitate Inlaying of Silver Strings, &c 127 
 
 CEMENTS. 
 
 To make Cement Mahogany Colour 129 
 
 Portable Glue, or Bank-note Cement .. .. .. ib. 
 
 Cement for Turners 130 
 
 A Cement for broken Glass 13l 
 
 A Cement to stop Flaws or Cracks in Wood, of any 
 
 Colour ih. 
 
 A Cement for joining China, &c . »<, \32 
 
 Another Cement ib. 
 
 A strong Glue that will resist Moisture 15.? 
 
 Another Glue for the same purpose 1S4 
 
 u 2 
 
SSt INDEX. 
 
 TURNING 
 
 General Observations « „ 134 
 
 To tura Screws 141 
 
 To turn Black Reeds or Mouldings in Chair Legs, &c 142 
 
 To make Anti-Attrition 143 
 
 Polish for Turner's work .. .. ib. 
 
 LINES. 
 
 General Observations 144 
 
 Example 1. To extend a given line at pleasure .. 146 
 
 2. To ascertain whether your strait edge is 
 
 correct 1^7 
 
 3. Between t%vo points, to find another point 
 
 that shall be in the same strait line with them . . 148 
 
 4. Fro-m any point in a given line to draw 
 
 another line which shall be perpendicuJar or square 
 
 to it 149 
 
 5. From any point above a strait line to 
 
 draw another strait line that shall be perpendicular 
 
 to it lol 
 
 6. To ascertain whether your square is correct 152 
 
 7. To draw a line parallel to, or equally dis- 
 tant from, another line given, and through a given 
 point 153 
 
 8 To make an angle or bevil equal to a given 
 
 angle or bevil 154 
 
 — 9. To divide a given line into two equal pirts, 
 
 or to bisect a given line »^ 15 
 
INDEX. 2?l 
 
 Peer 
 
 Example 10. To divide any strait line into any numoer. 
 
 of equal parts .. ^57 
 
 11. To bisect or^divide a given angle into two 
 
 eoual Darts 1^0 
 
 12. To find the centre of any arch of a circle IGl 
 
 13. To draw a tangent or line, which shall 
 
 meet a cirCie in any given point .. ^ .. .. 163 
 
 — 14. To draw within a circle a polygon or 
 
 regular figure, whose sides shall be equal to each 
 
 other 1G4 
 
 15. To describe an arch whose altitude or 
 
 spring is given, and likewise its opening ; without 
 
 knowing its centre 166 
 
 —». 16. To bisect or divide any given angle into 
 
 three equal parts, or angles 168 
 
 — — — ^ 17. To draw any arch of an ellipse or oval by 
 
 means of ordinates 1 
 
 18. To draw a circular arch by means of the 
 
 intersection of lines 170 
 
 — 19. To draw an ellipse or oval, with a pair of 
 
 compasses of any required length and breadth .. 171 
 
 »— 20. To find the centre and *wo diameters of 
 
 any ellipse .. 1/2 
 
 SOLDERING. 
 
 General Observations .. .. 1 74 
 
 Brass Solder for Iron 177 
 
 Common Soider for Lead or Tin ib. 
 
 Hard Soider 178 
 
 Soft Solder )"'.) 
 
 To Solder with Tin-fo'l .. .. — »» .. ifc. 
 
INDEX. 
 
 MfSCELLANEOUS. 
 
 Patte 
 
 To make Black Wax .. », ,, .. 180 
 
 Green Wax .. .. 181 
 
 To make Furniture Paste .. ,, ,. .. ib. 
 
 Another Method ib. 
 
 To make Furniture on .. .. 182 
 
 Another Method .. *. lb. 
 
 To Soften Ivory 183 
 
 To Bleach Ivory ib. 
 
 To Solder or Weld Tortoise-shell or Horn . . . . ib. 
 
 To Gild Leather for bordering Doors, &c. . . . . i84 
 
 To Damask Leather for Table Covers, &c 185 
 
 To make Parchment transparent 186 
 
 To make Composition Ornaments for Picture Frames, &c. 187 
 
 To imitate Wood, &c. for internal or external Decorations 188 
 
 An excellent Receipt for Burnish Gold Size .. .. ib. 
 
 To clean Pictures * ib. 
 
 Another Method 189 
 
 To Silver Clock Faces, the Scales of Barometers, &c. 190 
 
 Varnish for Clock Faces, &c. 191 
 
 Crystallized Tin ib. 
 
 Size for Oil Gilding 192 
 
 General Directions for Dying Ivory or B^ne .. .. 193 
 The Method of Gilding the Borders of Leather Tops of 
 
 Library Tables, &e ib. 
 
 To prepare Plaster Figures .. ., .. .. 194 
 
 To make Transparent or Tracing Paper .. .. 195 
 
 Or-Molu 196 
 
 To Gild Metal bv Dissolving Gold in Aqua-Regia .. 197 
 
 To Clean Mirrors, Looking Glasses, &e ib. 
 
 To Silver Ivory 198 
 
INDEX. 
 
 APPENDIX. 
 
 Paet 
 Tables. &(!. • .. .. !»« 
 
 Prai'tica'i Rules, &c. tor findinar the Superficial Content 
 
 or Area of Plain Ficures and Solid Bodies .. 2 * 
 
 Weight of Jioaiea .. .. .. 2ti 
 
NICHOLSON'S 
 CODE OF MECHANICAL SCIENCE, 
 
 Being acomplete Encyclopcedia of Practical Knowledge; 
 containing nearly One Thousand Pages of Print, and 
 illustrated hy One Hundred Copper-plate Engravings, 
 comprising One Thousand Subjects o/" Mechanical 
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 velopment both of the Theory and Practice of the Productive Arts, 
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