a high degree of smoothness. When stain is put on with a flat hog-hair tool, it is usually softened by a skilful but moderate application of a badger-hair softener. The steel comb is chiefly employed for streaking artificial oak, and the mattler is used for variegating and uniting the shades and tints of mahogany. Flannels and sponges are often worked with instead of brushes, but the implements most serviceable for veining or engraining purposes are small badger sash tools and sable pencils. The effect produced by a coat of stain cannot be ascertained until it has been allowed a sufficient drying period. | the stained space, and when the streaks are all correctly produced, the veins are formed with white stain, made by digesting oz. pearl white, subnitrate of bismuth, and 1 oz. of isinglass, in 2 gills of boiling water. The tone of this stain may be modified by being diluted with water, or tinted with other stains. To Imitate Various Woods.-Showy elmroot, after being delicately darkened, passes in appearance for Italian walnut. To imitate the contour and rich ground of rosewood upon inferior white materials, produce the ground shade by sponging with a decoction of Brazil wood, and the fibril veins by brushing parWorrall's Process for Imitating Woods. tially with black liquor, which is pre-The surface of the wood is first made pared by boiling logwood chips, sulphate perfectly smooth and level, and if close- of iron, and steel filings, in equally prograined the surface is covered with portioned quantities of vinegar and strong or dilute alkalies, such as potash, water. Sometimes a graining comb is soda, and ammonia, or other alkalies and passed over the ground shade longituditheir carbonates, or with ethylic, or nally, and with a slight vibrating momethylic ethers and alcohols, or spirits tion, so as to effect natural-looking of turpentine, camphine, benzole, and streaks, previous to the pencilling or chloroform, or with oils of, or solutions veining. The aspect of ebony may be of, soaps, hot or cold, so as to soften and given to any species of wood by the apdissolve out the resinous substances na-plication of three distinct coats of black turally present in the cells or pores of liquor; and after being smoothed, the the wood. If the wood is very close-counterfeit ebony may be embodied with grained, the surface is to be covered white polish; this greatly helps to prewith any corrosive acid, such as concen- serve the transparent density of the trated sulphuric, nitric, hydrochloric, dyed material. or chromic acids, so as to corrode, or etch the soft parts of the wood, and leave the harder parts elevated, and to enlarge the pores; this process is repeated until the desired effect is obtained. Imitating Oak Wainscot. - 1. To make American ash like oak wainscot, both in vein and shade, commence by sketching out, upon certain parts of the ashen exterior, the requisite white veins by means of a camel-pencil with white stain; that done, coat the veins with thin varnish, and then darken the general ground, dealing carefully throughout the entire process with the veined portions. 2. The best mode of producing a representation of oak wainscot upon white materials like beach and fir, is as follows;-A coat of Stephens' satinwood stain is regularly laid on, then a soft graining comb is gently drawn along There is a method of colouring woods not generally known in the trade; the surface to be coloured is smeared with a strong solution of permanganate of potash, which is left on for a longer or a shorter time, according to the shade required; in most cases 5 minutes suffice. Cherry and pear tree woods are most easily attacked, but a few experiments will serve to show the most favourable circumstances; the woody fibre decomposes the permanganate, precipitating peroxide of manganese, which is fixed in the fibre by the potash simultaneously set free. When the action is ended, the wood is carefully washed, dried, and afterwards oiled and polished in the ordinary way. The effect of this treatment on many kinds of wood is surprising, particularly on cherry woods, to which a beautiful red Mordants.-The virtues of dye-stuffs may be much enhanced by the addition of a mordant to modify and fasten the shades they impart. Spirit of nitre for the satinwood stain; a powerful solution of oxalic acid for the oak; and dilute nitrous acid for the mahogany. dish tone is communicated. The colour | the wood while hot; when dry, go over is permanent in light and air. the whole with pearlash solution, 2 drams to the quart. Light.-2. Put 2 oz. of dragon's-blood, well bruised, into 1 quart of oil of turpentine; let the bottle stand in a warm place, shake frequently, and when dissolved, steep the work in the mixture. 3. Raw and burnt sienna. Grind the raw sienna on a painter's stone, mixed with beer; this will give a very light mahogany stain. Then grind the burnt, and add as much of it to the raw sienna as is required to make it the necessary colour; lay it on moderately thin with a brush, and then wipe it off with a piece of wadding or cotton wool; when dry, oil, size, varnish, or polish it, whichever required. It is very cheap. Imitating Mahogany.-When curlyveined birch and beech have been regularly brushed with aquafortis and dried at the fire, they both look remarkably like mahogany. A decoction of logwood and fustic, when put on in a tepid state, produces a similar effect. The French mode consists in brushing the white timber with a dilute solution of nitrous acid; it is then coated once or twice with finishing spirit, in which a quantity of carbonate of soda and dragon's-blood has been dissolved, the proper proportions to 1 gill of spirit being of an ounce of the soda, and of an ounce of the blood; the wood is afterwards finished with varnish or polish of a reddish-brown tint. In producing this shade of colour, London stainers frequently use a rich brownish-red kind of chalk, the colour of which is analogous to that of fine Spanish mahogany. It is commonly applied in the form of a dry powder, by means of a brush, and then well rubbed with another brush or coarse flannel. To Stain Beech a Mahogany Colour.Put 2 oz. of dragon's-blood, broken in pieces, into a quart of rectified spirits of wine; let the bottle stand in a warm place, shake it frequently; when dissolved it is fit for use. Imitation of Mahogany.-Plane the surface smooth, and rub with a solution of nitrous acid. Then apply with a soft brush 1 oz. of dragon's-blood dissolved in about a pint of alcohol, and with of an ounce of carbonate of soda mixed and filtered. When the brilliancy of the polish diminishes, it may be restored by the use of a little cold-drawn linseed oil. Mahogany Stain.-Dark.-1. Boil lb. of madder and 2 oz. of logwood chips in 1 gall. of water, and brush well over To Remove Stains from Mahogany.Mix 6 oz. of spirit of salt and oz. of powdered salt of lemons. Drop a little of this mixture on the stains, and rub well with a cork until they disappear, then wash off with cold water. Imitating Rosewood. 1. A transparent liquid rose-pink, used in imitating rosewood, consists in mixing lb. of potash in 1 gall. of hot water, and lb. of red sanders wood is added thereto; when the colour of the wood is extracted, 2 lbs. of gum shellac are added and dissolved over a quick fire; the mixture is then ready to be used on a groundwork made with logwood stain. 2. Boil lb. of logwood in 3 pints of water till it is of a very dark red, add oz. of salts of tartar. While boiling hot, stain the 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 black stain. This imitation will very nearly equal the appearance of dark rosewood. 3. Stain with the black stain, and when dry, with a brush as above dipped in the brightening liquid, form red veins in imitation of the grain of rosewood. A handy brush for the purpose may be made out of a flat brush, such as is used for varnishing; cut the sharp points off, and make the edges irregular by cutting out a few hairs here and there, and you will have a tool which will actually imitate the grain. Bronzing Inlaid Work.-A method used for decorating inlaid work is the use of a bronzing liquid, which consists of a fluid bronze composition formed by combining metallic powder of gilding and bronze powder with collodion, which composition is capable of being applied as a bronze liquid to surfaces of wood, iron, or any solid material, for the purpose of coating the same for decoration or preservation. To Imitate King or Botany Bay Wood. -Boil lb. of French berries in 2 quarts of water till of a deep yellow, and while boiling hot give two or three coats; when nearly dry, form the grain with black stain, which must also be used hot. For variety, to heighten the colour, after giving it two or three coats of yellow, give one of strong logwood liquor, and then use the black stain as directed. Black Stain.-Boil 1 lb. of logwood in 4 quarts of water, add a double handful of walnut peel or shells; boil it up again, take out the chips, add a pint of the best vinegar, and it will be fit for use; apply it boiling. This will be improved, if, when dry, a solution of green copperas, an ounce to a quart of water, applied hot over the first stain. Black Stain for Immediate Use.-Boil lb. of chip logwood in 2 quarts of water, add 1 oz. of pearlash, and apply it hot to the work with a brush. Then take lb. of logwood, boil it as before in 2 quarts of water, and add oz. of verdigris and oz. of copperas; strain it off, put in lb. of rusty steel filings; with this go over the work a second time. Brown Stain.-Paint over the wood with a solution made by boiling 1 part of catechu, cutch, or gambier, with 30 parts of water and a little soda. This is allowed to dry in the air, and then the wood is painted over with another solution made of 1 part of bichromate of potash and 30 parts of water. By a little difference in the mode of treatment, and by varying the strength of the solutions, various shades of colour may be given with these materials, which will be permanent, and tend to preserve the wood. Red Stain.-1. Take 1 lb. of Brazil wood to 1 gall. of water, boil 3 hours with 1 oz. of pearlash, brush it hot on the wood, and while hot brush the wood with a solution made with 2 oz. of alum in 1 quart of water. 2. An infusion of Brazil wood in stale urine, in the proportion of a pound to a gallon for wood; to be laid on when boiling hot, and should be laid over with alum water before it dries. Or, a solution of dragon's-blood in spirits of wine may be used. Red Stain for Bedsteads and Common Chairs. Archil will produce a very good stain of itself when used cold; but if, after one or two coats being applied and suffered to get almost dry, it is brushed over with a hot solution of pearlash in water, it will improve the colour. Walnut Stain. - Water, 1 quart; washing soda, 13 oz.; Vandyke brown, 23 oz.; bichromate of potash, oz. Boi for 10 minutes, and apply with a brush, in either a hot or cold state. Oak Stain.-Equal parts of American potash and pearlash-2 oz. of each to about a quart of water. This gives a good stain; it requires careful application, as the American potash is a strong solvent, and will blister the hands; it softens a good paint-brush once using, so use a very common brush, and apply the staining with it. Keep it corked up in a bottle, and it is always ready for use; if it strikes too deep a colour, add more water. Ebony Stains.-1. Stain work with the black stain, adding powdered nutgall to the logwood and copperas solution, dry, rub down well, oil, then use French polish made tolerably dark with indigo, or finely-powdered stone blue. 2. Hold an ordinary slate over gas, lamp, or candle, until it is well smoked at the bottom, scrape a sufficient quantity into French polish, and well mix; then polish the article in the ordinary way. If there are any lumps gently rub them down and apply another coat. 3. Prepare a decoction of logwood by adding a small handful of chips to a pint of rain water. Allow this to simmer until reduced onefourth, and whilst the liquor is hot dress the work to be ebonized two or three times. To the remainder of the liquor add two bruised nut-galls, a few very rusty nails, bits of iron-hooping, or a piece of sulphate of iron the size of a walnut, and as much more rain water as will make about three-quarters of a pint of liquor. Apply this, which will be a black stain, hot as before, giving two coats, and when thoroughly dry, polish with ordinary French polish, to which sufficient powdered thumb-blue has been added to perceptibly colour the polish. Use a glazed pipkin in which to prepare the stain. Take care that no oil or grease comes in contact with the brushes used or the surface of the wood until ready for polishing. Let each coat of stain dry before the next is added, and rub down with well-used, fine glass-paper. Sycamore, chestnut, and plane-tree, are the best woods for ebonizing in the above manner. 4. Infuse gall-nuts in vinegar in which rusty nails have been soaked, rub the wood with the infusion, dry, polish, burnish. 5. Stain in the first place with a hot saturated solution of logwood, containing a little alum; and, when dry, brush it over with common writing ink. Graining Woods.-GROUNDS.— These are generally applied by the house painter, ready for the grainer. When the grounds are finished to the tint required for the woods to be imitated, they must be left to get quite dry; the work is then ready for the graining operations. Mahogany.-Orange chrome, Venetian red, and white-lead mixed in such proportions as will give the desired tint. Vermilion, raw and burnt sienna, are also employed to modify the shades. Rosewood.-Vermilion, Venetian red, a little scarlet lake, and white-lead. For ordinary work the scarlet lake may be dispensed with. Bird's-eye Maple and Satin Wood. White-lead mixed with a little yellow ochre, care being taken not to make the ground of too dark a tint, as the varnish | to be afterwards applied will still further darken it. All the colours for these light grounds must be rubbed quite smooth, and be well strained. Dark Oak.- 1. Raw sienna, burnt umber, white-lead, and Venetian red. 2. Yellow ochre, Venetian red, and white-lead. Wainscot Oak.-Dark.-Oxford ochre, white-lead and Venetian red, or chrome, yellow ochre, and white-lead. Light.-Yellow ochre and white-lead; the desired tint is obtained by the use of more or less of the yellow ochre. Oak Graining in Oil.-1. Vandyke brown and raw sienna for dark oak, or finely-ground burnt umber and raw sienna for a lighter tint, mixed with equal parts of turpentine and linseed oil. Add patent driers. Lay this colour on thinly and evenly with a large brush; it does not dry very rapidly. Care must be taken not to lay on too much colour, or it is liable to have a dirty appearance. Stipple with a dry dusting brush, so as to distribute the colour evenly over the work. As in real oak it is invariably found that one side of a slab is coarser than the other, this peculiarity of pattern must be imitated in the combing process. Take a cross-cut gutta-percha comb, and draw it down one side of the panel, use a finer comh to complete it. This operation produces straight lines of the grain from top to bottom. Next take a fine steel comb, and go over all the previous combing; in drawing the comb down, give it a short, quick, wavy motion, or move it diagonally across the first lines, thus imitating the pores of the real wood. Cork combs may also be used, and some grainers use a coarse steel comb, with a fold of thin rag placed over the teeth. By a skilful combination of the combs, and a tasteful variation in their use, the different kinds of oak may be most successfully imitated. In graining joints of the various portions of a piece of a work, it must be remembered that in the real wood some of the grain would necessarily have a perpendicular direction, and another part would run horizontally, and that one part would appear lighter than another, owing to the different angles in which it would receive the rays of light. After combing, the figure, or veining, must be wiped out before the colour is dry. Hold several thicknesses of fine rag, or a piece of clean wash-leather over the thumb nail, wipe down a few veins, then move the rag or leather slightly, so as to present a clean surface for the next wipe. A piece of thin gutta-percha, softened in warm water, and pressed to the shape of the thumb, may be used to preserve the nail, but cannot be relied on to remove the colour so cleanly as the nail covered with rag or leather; it is useful for common work, as it protects the nail from injury and wear. After having wiped the figures, they must be softened in appearance by still further wiping the grain away from their edges with a small roll of clean rag, so as to imitate the appearance of the wood, where the grain is always darker than the parts next to it. When the oil colour is dry it must be overgrained. Overgraining. This operation is performed in the same manner both upon work which has been oil grained or spirit grained. In overgraining, watercolours are used; and, in order to make them adhere to the underlying graining, whether in spirit or in oil, it is necessary to prepare the work to receive them, otherwise they would run off the surface at once. One method is to rub dry powdered whiting quickly over the surface with a soft rag, removing superfluous powder afterwards, and the grainer can at once finish the work. Another plan, which is principally used when a large piece of work is in hand, is to rub a mixture of fullers' earth and water over the graining, and wait until it is perfectly dry before commencing to overgrain. Grind Vandyke brown, or burnt umber in water, and thin with equal proportions of water and tablebeer. The colour should be a trifle darker than the undergraining; a little practice will teach the tints that are best suited to the various woods to be imitated. The colour is applied by a wide hog brush, drawn over the work, generally in the direction of the veins formed by the combing. There are several descriptions of over graining brushes in use; those most generally employed are thin and flat, with occasional intervals between the tufts of hair. The knots and figures must be lightly touched up with the overgrainer, and the whole gone over quickly with a badger softening brush. The overgraining dries quickly, and the varnish may be then applied, although it is well to wait some hours, so as not to run any risk of removing the graining colour. Sometimes a tolerably strong solution of soda with a little burnt sienna is used for the figures, applying the mixture where these are required, and then washing over the work with a sponge and water. Wherever the soda has been applied, the graining colour will be removed. Go over the whole with a wash made of equal parts of tablebeer and water, and then overgrain, as above described. As a general rule avoid harsh contrasts between the graining colour and the ground. 2. In the mixing of oil graining colour it is necessary that the colour should work clean and free. Sometimes the colour will work stiff and dirty, and in this state will not only produce dirty work, but will occupy thrice the time in rubbing in, compared with colour properly mixed. Oil graining colour also requires to be megilped - that is, oil colour alone will not stand when it is combed; the marks made with the comb will all run one into the other, and will thus be obliterated. To prevent this running, the colour requires to be megilped, so that the comb marks will retain the exact form left by the comb. This is accomplished by the use of beeswax, soft soap, hard soap, lime water, whiting, and pure water. When beeswax is used, the best means of dissolving it is to cut the wax into thin shavings or shreds; these are put into a suitable can half filled with pure linseed oil, into which a red-hot poker is plunged, and stirred well. This will dissolve the wax thoroughly and miz |