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Plate XXI 
 
Plate XXI 
 
The Art of 
 
 Polychromatic Decorative 
 
 Turning 
 
 A Practical Manual for the Professional 
 and Amateur Turner 
 
 BY 
 
 GEORGE ASHDOWN AUDSLEY, LL.D. 
 
 ARCHITECT 
 
 AUTHOR OF “THB ORNAMENTAL ARTS OF JAPAN," “THE PRACTICAL DECORATOR," ETC. 
 
 AND 
 
 BERTHOLD AUDSLEY, Architect 
 
 ILLUSTRATED WITH TWENTY-ONE PLATES 
 
 BOSTON 
 
 SMALL, MAYNARD AND COMPANY 
 PUBLISHERS 
 1916 
 

 i --! 5 ’ 
 
 * ' • j 3>j 'A V‘- : 
 
 
 
 
PREFACE 
 
 N O apology is necessary for the production of 
 the present manual, devoted as it is to the 
 full description of the practically new and certainly 
 the most beautiful branch of the wood-turner’s art. 
 
 We trust the subject will be found written and 
 illustrated in a manner calculated to attract and 
 instruct all, and especially amateurs, who take an 
 interest in the fascinating art of ornamental turning. 
 
 We have endeavoured to make every step in the 
 processes described perfectly clear to the reader, and 
 we think that the numerous illustrations will be 
 found of practical and suggestive value. 
 
 G. A. A. and B. A. 
 
CONTENTS 
 
 CHAP. PAGE 
 
 I. Introductory 3 
 
 II. Coloured Woods Suitable for Decorative 
 
 Turning . . . . . . . 17 
 
 III. Decoration by the Process of Studding . . 33 
 
 IV. Decoration by the Process of Lamination . 53 
 
 V. Decoration by the Process of Geometrical 
 
 Inlaying.77 
 
 VI. The Practical Application of Polychromatic 
 
 and Decorative Turning ..... 101 
 
 vii 
 
LIST OF ILLUSTRATIONS 
 
 PLATES 
 
 I. and II.—Illustrating the Process of Studding 
 
 III., IV. and V. —Illustrating the Process of Lami¬ 
 nation 
 
 VI. to XV. and XXI. —Illustrating the Process of Geo¬ 
 metrical Inlaying 
 
 XVI. to XX.— Illustrating the Practical Application of 
 the Several Processes Described in the Manual 
 
 ILLUSTRATIONS IN TEXT 
 
 PAGE 
 
 A Rod of Turned Studs, and Template . . .41 
 
 Section of a Laminated Cylinder showing Con¬ 
 struction . ..71 
 
 Illustration of a Cylinder Longitudinally Lami¬ 
 nated . 73 
 
 Diagrams showing the Construction of an Inlaid 
 
 Medallion 
 
 IX 
 
 85 
 
CHAPTER I 
 
 INTRODUCTORY 
 
THE ART OF POLYCHROMATIC 
 AND DECORATIVE TURNING 
 
 CHAPTER I 
 
 INTRODUCTORY 
 
 N otwithstanding the great attention that 
 
 has been paid to the art of turning, both 
 by skilled professional and amateur lathe-men; not¬ 
 withstanding the immense amount of ingenuity and 
 patience that has been expended by those throughout 
 the country who have made the turning of wood 
 and ivory their favourite hobby; and notwithstanding 
 the truly ingenious and marvellously accurate auto¬ 
 matic appliances and accessories connected with the 
 lathe, which have long been at the service of the 
 turner who is fortunate enough to be able to ac¬ 
 quire them—costly as they invariably are,—and the 
 mass of elaborate work that has been the product 
 of them, there still remains a fertile and practically 
 unworked field for the essays both of the professional 
 and of the amateur turner endowed with ordinary 
 manipulatory skill, and (what is of equal importance) 
 
4 
 
 DECORATIVE TURNING 
 
 artistic taste and a keen appreciation of the har¬ 
 monies of colour, and their values in a decorative 
 direction. 
 
 That the highly ornamental and decorative turnery, 
 to the practical description and illustration of which 
 the present manual is devoted, seems to be either 
 unknown or totally neglected by even the most 
 expert and enthusiastic turners of this country, was 
 forcibly pressed on our notice while surveying the 
 Exhibition held by the Worshipful Company of 
 Turners in the Mansion House, London, in October, 
 1910. Neither in this nor in any other exhibi¬ 
 tion of the turner’s art that has come under our 
 notice, has there been a single specimen of the class 
 of artistic and decorative turning which we have 
 recently had the privilege of bringing into public 
 notice—apparently for the first time in the history 
 of turning—in the pages of the English Mechanic 
 and World of Science; and which we have the 
 opportunity of again doing, in a more extended and 
 much more fully illustrated manner, in this treatise. 
 
 In the Exhibition above alluded to there were 
 many admirable specimens of ordinary plain turning, 
 and a few ambitious pieces, showing very accurate 
 automatic turning and expert manipulation of the 
 turning-tools; but each of these was executed in 
 a single wood only and that of a somewhat sombre 
 colour, and, accordingly, could lay but little, if any, 
 
INTRODUCTORY 
 
 5 
 
 claim to be effective from a decorative-art point 
 of view. We did not observe a single exhibit in 
 which even two woods of contrasting colours were 
 associated. Of purely mechanical turning there were 
 a few very elaborate specimens—chiefly, as usual, 
 in ivory—showing the great excellence of the high- 
 class lathe of to-day, with its wonderful array of 
 complicated chucks and automatic cutting tools. 
 
 As we have substantially said elsewhere, 1 when 
 one examines the many complex designs or patterns 
 produced through the agency of the several ingenious 
 chucks —the “Geometric,” the “Eccentric,” the 
 “ Oval,” the “ Compound Eccentric and Oval,” &c., 
 —with or without the “ Rose Engine,” one cannot 
 help marvelling at the perfection to which the 
 mechanician has brought such lathe-accessories, while 
 the labour of the operator of these and the atten¬ 
 dant automatic tools is practically overlooked: here 
 it is the lathe with the man, not the man with the 
 lathe. Other objects, usually of ivory, due in their 
 formation and enrichment to different chucks, and 
 revolving cutters, held in the slide-rest, and actuated 
 by the overhead motion, are usually of the flimsiest 
 and most inartistic forms. These may properly be 
 classed as curiosities of the lathe, of no real practi¬ 
 cal value, which, from their liability to be injured 
 and their certainty to accumulate dust, require to 
 1 English Mechanic , February io, 1911. 
 
6 
 
 DECORATIVE TURNING 
 
 be kept under glass shades. We do not desire 
 to unduly disparage such accurate and ingenious 
 mechanical work, although it does not appeal to such 
 artistic sense as we possess, but we maintain that 
 there is a wider and far more interesting style of 
 work for the man and the lathe , which has yet to be 
 fully developed by the artistic and skilful turner. 
 We feel guaranteed, from practical experience, in 
 asserting that the class of ornamental and decorative 
 turning alluded to is the most artistic, beautiful, 
 and useful of all the more elaborate products of 
 the wood-lathe. However elaborate and perfect in 
 detail and execution a piece of turned work in ivory 
 or any single wood may be, it cannot fail to be more 
 or less ineffective from a decorative-art point of 
 view; in fact, the more elaborate and minute its 
 surface details are, the less will it commend itself, save 
 perhaps as a proof of the excellence of the purely 
 mechanical movements and tools employed in its 
 execution. 
 
 There is one highly favourable condition connected 
 with the production of the class of ornamental work 
 treated of in the present manual, namely, that it does 
 not in any case call for the employment of an ex¬ 
 pensive, high-class lathe, with its complex mechanical 
 accessories already mentioned : on the contrary, very 
 beautiful and highly decorative work, such as is illus¬ 
 trated in our plates, can be readily executed on the 
 
INTRODUCTORY 
 
 7 
 
 simplest lathe used for wood-turning, supplemented 
 by a few keen-cutting brace-bits . 1 It goes without 
 saying, however, that the possessors of more com¬ 
 pletely equipped lathes enjoy a great advantage over 
 their less favoured brothers in the art; for while 
 those who may be the possessors of simple lathes 
 will have to be content to work within somewhat 
 circumscribed limits—at least in certain processes,— 
 and will have to depend very largely on accuracy 
 of eye and dexterity of hand in the production of 
 truly artistic works, the favoured possessors of ex¬ 
 pensive lathes, furnished with all the modern divid¬ 
 ing and mechanical cutting appliances, have, it must 
 be admitted, a practically boundless field for their 
 labours, in which accuracy of eye and great manual 
 
 1 In support of this statement, it may be mentioned that the 
 late William James Audsley, who may be said to have been the 
 father of this style of turning in perhaps its highest decorative 
 development, executed all his elaborate work on a very simple and 
 inexpensive lathe, with the ordinary hand-rest and turning-tools, 
 and the common brace and centre-bits. Among his works are a 
 set of large candlesticks, of a Gothic form, executed in about half- 
 a-dozen woods of different contrasting colours, inlaid, studded with 
 ivory, and enriched with precious stones. Also a series of about 
 two dozen large circular medallions of elaborate geometrical inlaid 
 woods and ivory, each containing in its centre a large precious 
 stone—carbuncles, amethysts, and topazes, cut en cabuchoti, being 
 used—which decorated the oak case-work of a small chamber organ 
 in the possession of the late James Lord Bowes, of Liverpool. 
 Precious stones, of course, do not in any sense belong to this class 
 of turnery, but the fact that in these instances they were deemed 
 appropriate additions, surely goes far to prove the beauty of the 
 turned work which formed their artistic settings. 
 
DECORATIVE TURNING 
 
 dexterity are but little called into play. But there 
 are other senses or acquirements which are as neces¬ 
 sary to success in the art now under consideration 
 as are accuracy of eye and dexterity of hand, and 
 these cannot be denied the possessor of the humblest 
 lathe, nor can they be bought along with the most 
 expensive lathe procurable to-day, should the pur¬ 
 chaser not possess them by nature or cultivation. 
 We allude, in the remarks just made, to the sense 
 of form and beauty, absolutely essential in the pre¬ 
 paration of satisfactory designs; and the sense of 
 colour-harmony, equally essential in the artistic 
 arrangements or combinations of the coloured woods 
 which form the palette of the turner. It cannot 
 for a moment be questioned that an artistic appre¬ 
 ciation of form, suitable for any article contem¬ 
 plated, and a true sense of the value of colour in 
 its harmonies of analogy and contrast, are all-impor¬ 
 tant factors in the successful production of works 
 of ornamental and decorative art, and especially so in 
 the case of such works produced through the more 
 or less mechanical operations of the turning-lathe. 
 
 Second only in importance to the possession of a 
 good steady-working lathe, and the ordinary turning 
 and boring tools already alluded to, is the acquisi¬ 
 tion of a suitable selection of coloured woods ; for 
 without the latter the decorative turner will find it 
 difficult to produce works of much variety in their 
 
INTRODUCTORY 
 
 9 
 
 colouring, or artistic excellence in colour-combinations. 
 It is, fortunately, not absolutely necessary that he 
 should have a great number of the different woods 
 at his disposal; but it is almost imperative that he 
 should have a collection presenting the most vividly 
 contrasting colours possible, ranging from the soft 
 white of holly, through the available tints of yellow, 
 orange, red, purple, green, and brown, to the intense 
 black of the choicest Mauritius ebony. Woods 
 affording these tints, of a more or less pronounced 
 character, number, according to the list given in the 
 following chapter, thirty-six. To these may be 
 added African black-wood, iron-wood, lignum vitae, 
 log-wood, Brazil-wood, olive-wood, partridge-wood, 
 pheasant-wood, yew-tree, and yellow-wood. Neither 
 these nor all of the woods described in the following 
 chapter are by any means necessary in the hands of 
 the most ambitious turner, nor are they required 
 for the execution of the most elaborate work that 
 could well be devised. It will be seldom that more 
 than six different woods will be called for in the 
 richest work: in this matter, good taste should 
 always dictate the proper reserve. Ivory, we may 
 remark, should, on account of its intense whiteness, 
 be used very sparingly, and then only for the pro¬ 
 duction of sharp effects in colour combinations : this 
 condition is a gain, because of its great cost in pieces 
 of large size. 
 
IO 
 
 DECORATIVE TURNING 
 
 Apart from the ordinary processes employed in 
 plain turning, in which only one kind of wood is 
 used, the processes which have to be resorted to in 
 the production of works of ornamental and decora¬ 
 tive turning are properly grouped under three prac¬ 
 tically distinct treatments, all of which may be used 
 separately, or in any desirable combination, according 
 to the design and character of the article in the 
 construction and decoration of which they are to be 
 employed. 
 
 The first, and at the same time the simplest and 
 easiest treatment or mode of decorative turning is 
 that which may be correctly designated Studding: this 
 is appropriately employed for the ornamentation or 
 effective enrichment of flat bands and rings, small 
 surfaces of suitable form, and, but more rarely, certain 
 salient members of important mouldings. As is 
 more fully explained in Chapter III., studding may 
 be simple or compound, or, in other words, plain or 
 pattern. It is simple or plain when it consists of a 
 succession of studs, of the same size, arranged in 
 a direct line on a band, ring, or moulding, or singly 
 on any surface. It is the latter when the studs are 
 of the same or different sizes, so arranged on any 
 surface as to form patterns or devices. Studding 
 may also be flat (that is, inserted flush) or raised; 
 and it should invariably be of a colour contrasting 
 with that of the ground on which it appears : otherwise 
 
INTRODUCTORY 
 
 11 
 
 it is very ineffective. Perhaps, on this account, ivory 
 may find in this form of decoration its most legiti¬ 
 mate introduction. Studding can be used alone or in 
 association with either of the other treatments. 
 
 The second treatment or mode of decorative 
 turning is that which we have designated Lamination: 
 this is variously employed in the production of colour- 
 effects in mouldings and plain cylindrical and other 
 suitable surfaces, and, occasionally, for the effective 
 rendering of special ornamental features. In this 
 mode of decoration, the harmonious arrangement of 
 colour, both in contrast and analogy, is of the greatest 
 importance; and in its practice there may be said 
 to be practically no limit to the exercise of the 
 taste and ingenuity of the turner in the selection 
 and combination of the coloured woods at his dis¬ 
 posal. Even the arrangements of only three or 
 four properly-contrasted woods need never fail of 
 producing beautiful decorative effects. 
 
 Though the few processes employed in this mode 
 of decorative turning are not so easy as those neces¬ 
 sary in studding, they present no difficulties to even 
 the amateur who is fairly skilled in the use of the 
 lathe. All the processes are simple, only calling for 
 accuracy of manipulation, ordinary care, and patience. 
 No appliances are necessary beyond those furnished 
 by the simplest form of wood-lathe, and such tools 
 as are commonly found on the bench, and a simple 
 
12 
 
 DECORATIVE TURNING 
 
 hand-screw for glueing-up. Notwithstanding these 
 facts, lamination, when properly executed, and with 
 harmonious colouring, imparts to the plainest cylin¬ 
 drical surface a very beautiful and highly decorative 
 character. All details respecting the process of 
 lamination, assisted by illustrations, are given in 
 Chapter IV. 
 
 The third treatment or mode of decorative turning 
 may be designated Geometrical Inlaying , being based, 
 in all its practical forms or designs, on combinations 
 of the circle and portions of the circle disposed geo¬ 
 metrically : in these combinations, harmonious colour¬ 
 ing has to play an important part. This mode of 
 decoration is best and most legitimately displayed in 
 the shape of circular plaques or medallions, containing 
 the inlaid devices executed in choice woods of har¬ 
 monious colours, such devices being, in every one of 
 their constituent parts, products of the lathe. The 
 medallions so produced, when inlaid flush or very 
 slightly in relief, form beautiful and refined orna¬ 
 ments or decorations for various articles of household 
 furniture, or other objects produced in the lathe ; and 
 the tasteful and ingenious turner can by their means 
 elevate even the simplest and plainest of such articles 
 into veritable works of decorative art. This subject 
 is treated very fully in Chapter VI. Although the 
 processes of geometrical inlaying are somewhat more 
 difficult and more tedious than those of the two 
 
INTRODUCTORY 
 
 i3 
 
 modes of decorative turning already described, and 
 although higher designing powers, combined with 
 accurate draughtsmanship, are called into practice in 
 the preparation of the geometrical designs, the results 
 fully repay all the thought and labour expended. A 
 full dissertation on this most interesting method of 
 decorative turning, accompanied by an ample series of 
 illustrations, will be found in Chapter V. We direct 
 the reader’s attention specially to Plate XXI., in 
 which are given photographic engravings—by the 
 three-colour process—of two medallions, actually exe¬ 
 cuted, in the lathe, by an accomplished amateur. 
 
CHAPTER II 
 
 COLOURED WOODS SUITABLE FOR 
 DECORATIVE TURNING 
 
CHAPTER II 
 
 COLOURED WOODS SUITABLE FOR 
 DECORATIVE TURNING 
 
 T HE present chapter is devoted to the names and 
 properties of the coloured woods suitable for 
 the use of the turner, and for the production of the 
 class of artistic turnery described in the present 
 manual. As the painter, before painting a picture, 
 “ sets his palette ” with all the colours necessary for 
 his work, so must the turner set his palette, so to 
 speak, with the selection of coloured woods necessary 
 for the effective rendering of the decorative pictures 
 he desires to paint in the lathe. The following classi¬ 
 fied list will assist him in developing his colour- 
 schemes according to his requirements. 
 
 Black Wood 
 
 Ebony .—This is practically the only really black 
 wood suitable for the art of the turner, and as it is 
 easily procurable of good quality and of sufficient size 
 for all ordinary purposes, it may be considered one of 
 the most valuable and indispensable woods for the 
 class of turnery now under consideration. There' are 
 
i8 
 
 DECORATIVE TURNING 
 
 different qualities of ebony in the market, but the 
 Mauritius ebony, which is the blackest in colour and 
 the closest and finest in grain, should alone be used. 
 Even this kind should be carefully selected; all 
 pieces containing grey streaks or imperfections of 
 any sort should be rejected. Fine black ebony is 
 most effective in every branch of decorative turning, 
 as will be realised on reference to the illustrations 
 given in this manual. 
 
 Purplish Woods 
 
 Rose-wood .—Of this well-known wood only the 
 closest-grained kind should be selected by the turner, 
 while its colour should be of an intense purple, closely 
 approaching black. This wood is chiefly valuable 
 for large surfaces in which a somewhat softer effect 
 is desired than can be furnished by black ebony. 
 Rose-wood can, however, be used instead of ebony 
 in many details; it also forms a very pleasing 
 ground for bright inlays. 
 
 Purple-wood or Amaranthus .-—A Brazilian wood 
 which has the peculiarity of rapidly changing its 
 original colour. When freshly cut or turned it has a 
 dark gray tint, but this ineffective colour changes by 
 exposure to a deep purple. The turner who uses this 
 wood, on account of this purple colour, should test it 
 thoroughly by exposure to air and light, so as to satisfy 
 himself as to its conduct. If the result is satisfactory, 
 
COLOURED WOODS 
 
 19 
 
 and the wood assumes a somewhat pronounced purple 
 tint, the turner will find it very valuable as an effective 
 contrast to the brighter yellow woods. 
 
 Kinr-wood or Violet-wood .—This is another wood 
 
 o 
 
 imported from Brazil. It is, when of the best quality, 
 one of the most beautiful of the coloured woods. 
 It is richly streaked with violet markings of different 
 depths of tone, and is a most desirable wood in the 
 hands of the decorative turner. When used for inlay¬ 
 ing, the direction of its markings should receive due 
 consideration. Choice pieces cannot be obtained much 
 above two inches in diameter. 
 
 Reddish Woods 
 
 Ruby-wood or Red Saunders .—A valuable red wood 
 grown in India. It is hard and heavy, but works 
 well in the lathe. As it varies somewhat in colour, 
 the brightest and most evenly toned pieces should 
 be selected by the decorative turner. It is one of 
 the dye-woods. 
 
 Brazil or Pernambuco wood .—A dark red wood 
 which can be effectively combined with other and 
 lighter-coloured woods. Care must be taken to select 
 perfect pieces only; and the turner must bear in mind 
 that whatever its colour may be when freshly turned, 
 it will become considerably darker on exposure to the 
 air. This is also a dye-wood. 
 
20 
 
 DECORATIVE TURNING 
 
 Thuja or Thuya .—A bright red wood inclining to 
 orange, fine turned specimens of which can be seen 
 in the collection of foreign woods in the Museum 
 at Kew Gardens. The wood is closely figured, but 
 not of a nature to render it unsuitable for use in 
 small surfaces. When introduced in geometrical 
 inlaying, small pieces will be commonly required, and 
 these should be carefully selected of as uniform a 
 colour as possible. It is an invaluable wood to the 
 decorative turner on account of its rich colour, and, 
 fortunately, it can be readily obtained from the dealers 
 in foreign woods. 
 
 Padouk .—An Indian wood of a rich red colour, 
 and commonly presenting several varieties of tone in 
 a piece of reasonable size. Like thuja, it is invalu¬ 
 able to the decorative turner, furnishing one of the 
 richest reds at his command. In some respects it 
 is more useful than ruby-wood or thuja. The light- 
 toned padouk is very useful in soft combinations, 
 and in harmonies of analogy, associated with the 
 darker red woods, or with its own darker tones. The 
 turner should, accordingly, carefully select a plank 
 of this wood presenting as many varieties of tone 
 as possible. Padouk turns admirably, but demands 
 care in boring, as it is liable to chip. It repays all 
 the care bestowed on its manipulation. It receives a 
 high polish. It can easily be obtained of any desirable 
 dimensions. 
 
COLOURED WOODS 
 
 21 
 
 Braxiletto .—A wood of a ruddy colour, inclining 
 toward orange, in which well-marked streaks fre¬ 
 quently appear. It is imported from Jamaica, in 
 pieces which reach about seven inches in diameter. 
 This wood turns well, and its colour is effective 
 when associated with the lighter tints of the yellow 
 woods. It is also a dye-wood. 
 
 Tulip-wood .—-This is a valuable wood in the 
 hands of the decorative turner. Its colour is a 
 light and somewhat bright red with darker red streaks, 
 having a rich appearance when freshly turned, but, 
 unfortunately, it loses some of its brightness when 
 exposed to air and light. When immediately French 
 polished after it is finished in the lathe it does not 
 fade so readily ; but, nevertheless, the fact that it 
 does change should be recognised by the turner 
 when forming his colour-schemes. 
 
 Cam-wood .—This is another valuable wood in 
 decorative turnery, being singularly fine and close 
 in its grain. When freshly turned it is of an orange- 
 red colour, but this desirable tint is not permanent, 
 changing by exposure to a red approaching the 
 brown scale. As in the case of tulip-wood, this 
 fact should be borne in mind by the turner. Cam¬ 
 wood is the finest of all the red dye-woods. 
 
 Bar-wood .—An African wood of a dark red 
 colour, which turns well, and is valuable in low- 
 toned colour-schemes. Pieces for the lathe, end-grain, 
 
22 
 
 DECORATIVE TURNING 
 
 are commonly under three inches in diameter, but 
 long-grain pieces can be obtained of any useful size. 
 It is also a dye-wood. 
 
 Beef-wood .—A fine and useful wood, imported 
 from New South Wales, usually in round logs reach¬ 
 ing up to about twelve inches in diameter. Its 
 colour is that of rich red Spanish mahogany, with 
 dark red markings distributed closely throughout 
 it, producing, in the finer specimens, a very pleasing 
 effect. As it can be obtained in end-grain pieces 
 of any desirable size, it becomes a useful wood for 
 large surfaces which are to receive richly-coloured 
 designs executed in lighter-tinted woods. 
 
 Rata .—A New Zealand wood, of a dark red 
 colour, very close-grained, and heavy. It can be 
 obtained of any desirable size, and is trustworthy in 
 every respect. 
 
 Rosetta-wood .—This is wood of an orange-red 
 colour having darker markings. When freshly turned 
 its colour is singularly vivid; but, unfortunately, 
 the lighter tints darken somewhat on long exposure. 
 The wood is close-grained and hard, and, accordingly, 
 turns well. 
 
 Red cedar {Juniperus virginiana ').—This wood 
 is commonly known as “ pencil cedar.” Its pale 
 and very subdued reddish hue renders it useful in 
 certain combinations of more richly-coloured woods. 
 It should be used in flush-work only, where it is 
 
COLOURED WOODS 
 
 2 3 
 
 little liable to be injured, its great softness rendering 
 this disposition desirable. The richest, brightest, 
 and most uniformly coloured pieces should be selected 
 by the turner. It should not be used end-grain. 
 
 Spanish mahogany .—The richest coloured speci¬ 
 mens of this wood may be found useful by the 
 turner as a background for bright combinations, but 
 it is not so good as beef-wood for decorative purposes. 
 
 Greenish Woods 
 
 Calemberg .—This wood is of an olive-green colour, 
 in which darker tones appear. Choice pieces, having a 
 clear and uniform colour, are much to be desired by 
 the decorative turner, especially for works in which 
 low tones and subdued contrasts with warm-tinted 
 woods are preferred. From the similarity of its grain 
 to that of the ordinary yellow sandal-wood, and being 
 also scented, it has been named green sandal-wood. 
 
 Green ebony .—This is a West Indian wood, of 
 great use to the turner, being hard, durable, and 
 capable of receiving a high polish. On account of 
 its dull green colour, which has been compared to 
 that of a green fig just approaching maturity, this 
 wood is valuable for grounds to receive inlays of 
 light contrasting and brightly coloured woods. 
 Choice pieces of uniform tint should alone be used 
 in good work. 
 
24 
 
 DECORATIVE TURNING 
 
 Laburnum .—This well-known wood has been too 
 much neglected by the turner, probably because the 
 value of its peculiar colour and general appearance 
 has not been realised in the common class of turnery 
 hitherto practised. The best laburnum is grown in 
 Great Britain, the Alpine variety yielding a blackish 
 wood. The British laburnum is of a greenish-brown 
 colour, being variously marked and figured in good 
 specimens. It can be procured in sizes sufficient for 
 all ornamental purposes, and should certainly be 
 included in the palette of the decorative turner. 
 
 Yellowish Woods 
 
 Box-wood .—Of all the woods approaching yellow 
 in colour, box-wood is the most valuable to the turner ; 
 in fact, it is, like ebony, indispensable in decorative 
 turnery. It forms, on the one hand, an effective 
 medium of demarcation between darker-coloured 
 woods; while, on the other hand, it forms an 
 admirable ground for the display of richly-coloured 
 designs, and furnishes an element of importance in 
 designs executed on dark grounds. These facts 
 will be readily realised on studying the designs 
 illustrated in the present manual. Only the finest 
 and lightest-coloured wood, free from discolorations 
 of any kind, should be selected for grounds and for 
 general use ; but for some special colour combinations, 
 
COLOURED WOODS 
 
 2 5 
 
 the deepest yellow box-wood will, in all probability, 
 be preferred by the artist in decorative turnery. 
 This variety is only to be found in the finest wood 
 imported from Turkey. 
 
 Fustic .—This is a valuable decorative wood of 
 a yellow colour, inclining to the green scale. It can 
 be procured in pieces sufficiently large for any 
 purpose in decorative turnery, and even up to eight 
 inches in diameter. It is effective in all the offices 
 pointed out in the above remarks on box-wood, 
 while it is more effective in large surfaces than that 
 wood. It is largely used in dyeing. 
 
 Satin-wood .—The satin-wood used by the turner 
 should be that imported from St. Domingo; and 
 of this, the brightest yellow and most lustrous 
 pieces should be selected. Having a beautiful 
 figure, it is highly suitable for the portions of any 
 work which present sufficiently large surfaces to 
 display its peculiar richness. These surfaces are 
 admirable for the reception of inlaid designs exe¬ 
 cuted in boldly - contrasting and deeply-coloured 
 woods. On the other hand it can be effectively 
 used in small pieces in the formation of designs. 
 
 Canary -wood or Amarillo. — This is a South 
 American wood, close-grained, and of a deep yellow 
 colour, inclining to orange in the finer specimens. 
 It is a most valuable wood in the hands of the 
 decorative turner, producing fine contrasts of colour 
 
26 
 
 DECORATIVE TURNING 
 
 when associated with ebony, rose-wood, and other 
 dark woods, and pleasing harmonies of analogy in 
 conjunction with the rich brown woods. 
 
 Mulberry (Morus indica ).—An Indian wood of 
 a yellow colour, close-grained, and very tough. It 
 is a desirable wood in decorative turnery, although 
 not indispensable. 
 
 Lance-wood. —This well-known wood is of a pale 
 yellowish cream colour, lighter in tint than box-wood. 
 It can be used instead of box-wood in vivid con¬ 
 trasts of colour. 
 
 Sandal-wood .—This wood, so largely used for 
 various ornamental purposes, is a useful material in 
 decorative turnery, especially when a subdued yellow 
 colour, inclining to a tawny-brown tint, is desirable 
 in low-toned harmonies, or for quiet grounds to re¬ 
 ceive richly-coloured devices. The best sandal-wood 
 for turnery comes from Malabar, and can be pro¬ 
 cured of any size likely to be called for by the 
 decorative turner. 
 
 Brownish Woods 
 
 Cangica-wood or Angica-wood .—A Brazilian wood 
 of a yellowish-brown colour. It is highly suitable 
 for turnery, and for this purpose pieces as uniform 
 in tint and as plain in figure as possible should be 
 selected. 
 
COLOURED WOODS 
 
 27 
 
 Coromandel or Calamander .—-The best quality of 
 this wood is grown in Ceylon. It is a slightly figured 
 wood, its ground-colour being of a warm brown colour 
 through which are blackish markings. It is intensely 
 hard, but turns well. It has been classed as a variety 
 of ebony. It can usually be obtained of the largest 
 size likely to be called for in decorative turnery. 
 
 Princes-wood. — This wood is imported from 
 Jamaica in logs up to about seven inches in diameter. 
 It is a pale yellowish-brown, veined w r ood, very suit¬ 
 able for decorative turnery. 
 
 Cocus or Cocoa-wood .—This West Indian wood is 
 very well known to the professional turner. It is 
 suitable for the most elaborate class of ornamental 
 turnery, being hard and singularly close in the grain. 
 It would be very valuable in decorative work if it 
 retained its light yellowish-brown colour, streaked 
 with darker brown, when first worked, but, unfortun¬ 
 ately, it changes to a very deep brown on exposure. 
 
 Snake-wood .—-This beautiful and somewhat scarce 
 wood is of a warm hazel colour, through which are 
 distributed numerous black markings, which, from 
 their slight resemblance to the dark scales on the 
 skin of a snake, have given the name to the wood. 
 It can be used with considerable effect by the decora¬ 
 tive turner, if artistically contrasted and properly 
 disposed with respect to its markings. It can be 
 obtained only in pieces of small diameters. 
 
28 
 
 DECORATIVE TURNING 
 
 Amboyna or Kiabooka-zvood .—This wood is im¬ 
 ported from Singapore. It is a beautiful wood of a 
 colour ranging from orange-brown to a reddish-brown, 
 covered with small curls and knot-like markings; it 
 is evidently of the nature of a burr. In the turner’s 
 hands it cannot be said to be effective, unless used 
 for plain and somewhat large surfaces where its figure 
 can be seen to advantage. It forms, however, a good 
 ground for bright inlays, or studding of ivory, holly, 
 or box-wood. 
 
 Bullet-wood .—The finer wood that bears this name, 
 which is stated to come from Berbice, is of a uniform, 
 hazel-brown colour, and is very close-grained and 
 hard. It is in every way suitable for ornamental 
 turnery, and to some extent in decorative work. 
 This finer quality is scarce, and not commonly to be 
 found in the market. The bullet-wood which comes 
 from the Virgin Isles, West Indies, is not so desirable, 
 being of a weak greenish-brown colour. 
 
 Zebra-wood .—This is a beautiful wood of an 
 orange - brown colour, with dark brown stripes 
 commonly approaching straight lines. The variety 
 to be selected by the turner is the Brazilian, shipped 
 from Rio Janeiro. Like all richly marked or figured 
 woods, it is most suitable for surfaces of sufficient size 
 to allow its character to be well seen. When used 
 in decorative inlays, very choice pieces should be 
 selected and matched, and their stripes should be 
 
COLOURED WOODS 
 
 29 
 
 symmetrically arranged in directions so as to assist 
 the design in which they are introduced. 
 
 White Wood 
 
 Holly .—This is the only wood that approaches 
 a pure white that is of value to the decorative turner. 
 It is a remarkably clean, close-grained, and tough 
 wood, and turns admirably. The turner must be 
 careful to use only pieces that have been properly 
 cured, seasoned, and dried. When it has been so pre¬ 
 pared, it presents a clear and uniform white appearance, 
 and can be safely used. To the decorative turner, 
 holly is of the highest value, coming next to ivory 
 in effect, while, in many combinations of colour, it 
 is superior to it on account of its softness of tone. 
 It is unfortunate, however, that it is practically im¬ 
 possible to obtain this invaluable wood (from any 
 dealer in hard-woods), properly cured and seasoned, 
 of a greater thickness than a quarter of an inch. This 
 fact limits its use to a considerable extent, except in 
 flat work or in the process of geometrical inlaying. 
 In lamination it will seldom be required above the 
 thickness stated. 
 
CHAPTER III 
 
 DECORATION BY THE PROCESS OF 
 STUDDING 
 
CHAPTER III 
 
 DECORATION BY THE PROCESS OF STUDDING 
 HE first and simplest mode of decoration by the 
 
 I use of turned work, as mentioned in the pre¬ 
 ceding chapter, is that which embraces all the varieties 
 of plain- and pattern-studding. Simple though this 
 mode of decoration may be, and calling, as it does, for 
 comparatively little skill in its practice, it is, when 
 properly executed, extremely effective, especially when 
 woods of boldly-contrasting colours are used, with 
 or without the employment of ivory. This latter 
 material lends itself admirably to this process of 
 studding, not only because it can be generally used 
 in small and inexpensive pieces, but from the fact that 
 it furnishes the most pronounced and vivid contrast 
 possible to grounds of ebony and the other dark 
 woods. An illustration of the simplest form of ivory 
 studding on an ebony ground or band is given at B 
 in Plate I. At A, in the same plate, an equally simple 
 treatment is shown, in which the studding is repre¬ 
 sented to be of ebony on a ground of holly, which 
 produces the most pronounced contrast possible in 
 wood at the command of the turner. The art of 
 
 33 
 
 c 
 
34 
 
 DECORATIVE TURNING 
 
 studding simply consists of inserting into a flat or any 
 suitably curved surface of some variety of coloured 
 wood, first brought to the desired form in the lathe, 
 a series of circular studs of some other wood of a 
 strongly contrasting colour, as mentioned above, or of 
 an analogous tint, when a soft and subdued effect is 
 desired ; the studs being so arranged or disposed as 
 to impart to that surface a well-marked decorative 
 character—a character that cannot be produced in any 
 one description of wood, by any process of simple 
 turning, or by the resort to automatic tools operating 
 on such a surface alone. 
 
 Beyond extreme accuracy in setting out the centres 
 of the holes for the reception of the studs, and 
 ordinary skill in the use of the lathe and the few 
 necessary hand-tools, little is called for in the work¬ 
 man but good judgment and taste in the selection of 
 the material for the studs, with regard to that of the 
 ground into which they are to be inserted, so as to 
 produce the artistic effect aimed at. 
 
 The only tools absolutely necessary in addition to 
 the usual wood-lathe accessories and hand-turning 
 tools, are a good steady-working brace and a set of 
 very sharp and clean-cutting bits—preferably, for this 
 class of work, those known as the “ Jennings’ Patent 
 Bits,” which are of the screw-pointed, double-cutting, 
 twist form. Of these only the smaller sizes are likely 
 to be required, and the shorter make should be 
 
PROCESS OF STUDDING 
 
 35 
 
 preferred. Ordinary centre-bits may be used, but these 
 require to be kept in the sharpest and most perfect 
 condition. It is desirable to prepare them for work 
 requiring so great accuracy by reducing the size and 
 altering the edges of their centre-points, so as to pre¬ 
 vent their working in any direction from the centres 
 originally set out. Before using either form of bit, 
 the centre holes should in all cases be accurately and 
 deeply pricked with a sharp-pointed awl; the fine 
 holes so made will guide the bits during the process 
 of boring the holes for the studs. Doubtless the 
 good workman will decide all such matters to his own 
 satisfaction, as experience is the best teacher and guide. 
 In all probability, the possessors of high-class lathes, 
 fitted with dividing-plate, slide-rest, and overhead- 
 motion, will reject such every-day tools as the brace 
 and bits, and have recourse to their automatic revolving 
 cutters and drills, therewith producing more accurate 
 and, perhaps, cleaner work. But we have known 
 work executed without these exact mechanical and 
 automatic appliances as perfect in every respect as the 
 most exacting artist could desire. In our opinion 
 there is a charm about work that bears the unmistak¬ 
 able stamp of direct and expert hand execution, which 
 is necessarily absent in purely mechanical productions. 
 As we have said elsewhere, “ the element of difficulty, 
 and the demand for accuracy of eye and dexterity of 
 hand, have, and always should have, great charms for 
 
DECORATIVE TURNING 
 
 36 
 
 the true artist.” The necessity for accuracy in the 
 designing and execution of both plain- and pattern- 
 studding will be evident to every one interested in 
 woodwork who examines the plates devoted to the 
 illustration of this mode of decorative turning, and 
 those in which it is shown associated with, and 
 subordinate to, the more elaborate methods of decora¬ 
 tion. 
 
 In the foregoing remarks two styles of studding 
 have been mentioned, and, accordingly, before pro¬ 
 ceeding further, it is desirable that what is signified by 
 the terms -plain-studding and pattern-studding should 
 be clearly stated. Plain-studding comprises all dis¬ 
 positions of single studs which do not in themselves 
 form ornamental designs or patterns. The most 
 effective disposition is in a single row, at regular 
 intervals, such as appears in diagrams A, B, C, and D, 
 in Plate I., the practical application of which is well 
 illustrated in the design for a tall candlestick shown in 
 Plate V., in which rows of ivory studs ornament the 
 lowest member of the base and the four ebony bands 
 in the shaft, below and above the central knop. The 
 other styles of studding also illustrated in this plate 
 will be alluded to further on. Plain-studding is again 
 shown applied to cylindrical bands in diagrams B and 
 C in Plate III. As applied, in a circular fashion, in 
 flat work, effective examples are furnished by the 
 medallion illustrated in Plate XIII., and by the 
 
PROCESS OF STUDDING 
 
 37 
 
 compound medallions in Plate X. Plain-studding, 
 inserted in grounds surrounding elaborate designs, is 
 illustrated in the medallions represented in Plate IX. 
 
 Plain-studding may assume a simple form, the studs 
 being of a single material—wood or ivory—as repre¬ 
 sented in diagrams A and B, in Plate I., or they may 
 be rendered ornamental in themselves by being turned 
 of different materials, such as wood and ivory, or two 
 woods of contrasting colours, after the fashion repre¬ 
 sented in diagrams C and D in the same plate. In 
 the former the studs are shown to be of ivory with 
 ebony centres, while those in the latter diagram 
 are shown to be of ebony with ivory centres; the 
 colours of the grounds dictating the contrasting treat¬ 
 ment of the studs. 
 
 The term 'pattern-studding practically explains itself, 
 signifying any arrangement of studs-—preferably plain 
 —which produces either an open or close pattern or 
 ornamental device. Open pattern-studding is the 
 simpler and easier in manipulation of the two classes 
 named, because the studs employed in it retain their 
 ordinary circular form, and are inserted invariably in 
 detached positions in the ground, so as to produce the 
 open patterns required. Examples of this class of 
 studding are illustrated in diagrams B, C, and D 
 in Plate II. 
 
 The term close-studding is conveniently used to 
 signify the combination of studs, properly of differently 
 
38 
 
 DECORATIVE TURNING 
 
 coloured materials, which are so closely associated 
 as to touch or cut into each other in the formation 
 of simple ornamental devices, such as are represented 
 in diagrams E and F in Plate I., and A in Plate II. 
 An example of the use of such studding for the 
 decoration of an otherwise plain surface or ground is 
 furnished by the conical base of the candlestick illus¬ 
 trated in Plate V. 
 
 In the formation of the patterns and devices above 
 alluded to, two classes of studs may be employed, 
 namely, flat or flush, and raised. The former class 
 is that most suitable for general use, being not only 
 the easiest to execute, but in some respects the most 
 effective. Raised studs are, however, desirable in 
 certain designs, and in some salient positions, as, 
 for instance, in the central knop of the candlestick 
 in Plate V. All the diagrams in Plate II. show 
 the introduction of raised studs in combination with 
 flat ones. Of course such designs are not dependent 
 on the introduction of the raised studs, for they can 
 all be effectively executed in flush studding. 
 
 Before giving the desirable hints respecting the 
 coloured woods most suitable for the effective rendering 
 of the studding illustrated in Plates I. and II., we 
 may outline the processes called for in the production 
 of such studding. 
 
 Supposing a single row of studs is required upon 
 a flat band, such as that which forms the lowest 
 
PROCESS OF STUDDING 
 
 39 
 
 member of the candlestick in Plate V., and that the 
 band has been turned very closely to its required size, 
 the next proceeding is to indicate the central line 
 of the studding by slightly scratching it on the band 
 as it revolves in the lathe, and, subsequently, accurately 
 dividing the line into as many equal parts as there are 
 to be studs. When the surface is parallel to the axis 
 of the article, as in the case of the candlestick, the 
 division of the scratched line may be most readily 
 accomplished by placing around the band, and against 
 the line, a narrow strip of paper and cutting through 
 its overlapping ends, thereby obtaining the exact 
 circumference of the band. The strip of paper can 
 then be laid flat, and easily and accurately divided into 
 the desired number of parts, and its edge marked with 
 the same. The paper should again be coiled around 
 the band, with its marked edge laid close to the scratch, 
 and temporarily fixed in place with a little gum or 
 paste at intervals, but so as to be easily removed. 
 The divisions can now be correctly pricked on the 
 scratch, indicating the centres of the holes that have 
 to be bored for the reception of the studs. These 
 simple directions are here given, because it is not a 
 very easy matter to strike the divisions on the article 
 direct, numerous trials, probably of a somewhat tedious 
 character, being necessary, accompanied with numerous 
 undesirable pricks on the band. Of course, if the 
 lathe is furnished with a dividing-plate, the markings 
 
40 
 
 DECORATIVE TURNING 
 
 for the centre of the holes can be made directly 
 on the article, without any resort to division by hand. 
 When the studding is to be executed on an inclined, 
 concave, or convex member, the paper must be aban¬ 
 doned, and the dividing done directly on the same. 
 In every case the centres so marked must, before the 
 boring is commenced, be deeply pricked with the 
 sharp-pointed awl already mentioned, for accuracy in 
 the subsequent boring is absolutely necessary. 
 
 When the work has been successfully brought to 
 this stage, the boring of the holes may be proceeded 
 with, the most suitable bits being used according 
 to the nature of the wood. The depth of the holes 
 may vary, according to the size of the studs, from 
 three-sixteenths to three-eighths of an inch. If the 
 boring is to be done by means of the brace and bit, as 
 it probably will be in nine cases out of ten, the article, 
 on or off its chuck, must be temporarily removed from 
 the lathe, and held in a favourable position either in 
 the ordinary bench-jaws or some suitable screw-box. 
 On the other hand, if the boring is to be done by 
 a tool held in a slide-rest and driven by an overhead 
 motion, the article will of necessity remain in the lathe, 
 and subject to the proper adjustment of the dividing- 
 plate. When bored, in either fashion, the article is 
 ready to receive the studs. 
 
 The studs must be turned so as to fit accurately 
 the holes bored for their reception. When small 
 
PROCESS OF STUDDING 
 
 4 1 
 
 and of a single kind of wood, or of ivory, they are 
 most conveniently turned in a rod, and parted to 
 about the proper length to fill the holes and to pro¬ 
 ject very slightly from the surface of the article. 
 The accompanying illustration, Fig. i, shows the 
 manner in which the studs may be most readily 
 turned and parted. The rod should be first brought 
 to a uniform diameter throughout, using a template 
 bored by the proper bit, halved as shown at A, to 
 determine the same. It should then be parted with 
 
 Fig i.—A rod of turned studs, and template. 
 
 a small parting-tool, and each stud very slightly 
 tapered, as indicated. The studs may be finally separ¬ 
 ated with a fine saw. When all the studs are turned 
 and ready for insertion, they must be dipped in thin 
 freshly-made glue, and gently hammered or pressed 
 into their holes. After the glue has become dry, it 
 is desirable that any portions of the studs which may 
 project somewhat from the surface of the object 
 should be cut away with a fine saw, or roughly 
 filed down, so as to reduce the subsequent turning 
 to a minimum, and to secure a perfect finish. Great 
 care is required in this final operation to prevent 
 injury to the studs, which are liable to be chipped. 
 
42 
 
 DECORATIVE TURNING 
 
 In the execution of such open pattern-studding 
 as is illustrated in diagrams B, C, and D in Plate II., 
 proper means must be adopted to accurately mark 
 upon the surface or ground to be studded the 
 
 centres of the holes that have to be bored. These 
 centres can, with care, be set out directly upon the 
 ground by the aid of the ordinary drawing instru¬ 
 ments ; but with greater ease and certainty, as the 
 ground is likely to be curved, by means of paper 
 patterns. These patterns simply consist of accurate 
 drawings of the arrangements of the studs, the centres 
 for which are pricked through the paper. In using 
 these it is only necessary to first determine the 
 
 central point of the design on the ground, and 
 
 drive a fine needle into it: then passing the needle 
 through the centre of the middle stud, as drawn, 
 press the pattern down in proper position on the 
 
 ground, and accurately prick upon it the centres 
 of the other studs forming the design. If a design 
 is to be repeated, say in the manner indicated on 
 the conical base of the candlestick illustrated in 
 Plate V., it is only necessary to again and again 
 adjust the pattern where required, in the same manner, 
 and prick all the centres. The centres are then to 
 be very accurately and deeply pricked with the 
 pointed awl, the holes bored, and the studs glued 
 in and finally turned down, as directed above for 
 plain-studding. 
 
PROCESS OF STUDDING 
 
 43 
 
 In the execution of such close pattern-studding 
 as is illustrated in diagrams E and F, in Plate I., 
 and A, in Plate II., exactly the same process as that 
 just outlined should be followed, save in the matter 
 of boring. As in such patterns all the studs ex¬ 
 cept the central one have to be partly cut away to 
 admit of the insertion of the central stud, it is 
 obvious that the holes for the outer studs must be 
 bored, and the studs glued in and dressed off, either 
 in the lathe or by the file, before the hole for the 
 central stud can be bored, the bit employed cutting 
 away the small portions of the outer studs necessary 
 to admit of the insertion of the stud which com¬ 
 pletes the design. When the central stud, in each 
 design, has been glued in and roughly dressed off, 
 the entire studded portion must be returned to the 
 lathe and the surface finally turned and finished, 
 being polished in any desirable manner. 
 
 In executing raised studding, the processes above 
 described have to be slightly altered. In the first 
 place, the raised studs have to be completely finished 
 in the lathe before they are applied, and, in the 
 second place, all the flat studding must be executed, 
 and the entire studded surface must be finally turned 
 and polished, before the raised studs are glued in. 
 The shape in which the studs should be turned 
 so as to enter and slightly overlap the edges of 
 their holes is clearly indicated in all the sections 
 
44 
 
 DECORATIVE TURNING 
 
 given in Plate II. The projecting portions of the 
 studs are shown hemispherical in all the designs; 
 but any other form can, of course, be adopted as 
 the taste of the turner may suggest. We may, 
 however, remark that the hemispherical or simple 
 convex form is the best and most effective one to 
 use in all ordinary cases. 
 
 One other class of stud has to be described, 
 namely, that in which two contrasting materials are 
 used, preferably ebony and ivory, or ebony and holly. 
 This class of studding is represented in diagrams C 
 and D in Plate I. In forming such studs the inner 
 portions can be turned in the manner illustrated in 
 Fig. i ; but in completing the studs each one has 
 to be chucked and turned separately, the hole for the 
 reception of its inner portion being turned out, the 
 portion glued in, and the stud brought to the proper 
 size and condition for insertion in any object, just 
 as in the case of the plain studs already described. 
 Owing to the time and trouble involved in forming 
 studs of this compound class, they are likely to be 
 used sparingly, and only in very choice specimens of 
 the art of the decorative turner. 
 
 In all the preceding remarks in the present 
 chapter we have spoken of studding, in all its 
 different forms or classes, as applied to surfaces 
 turned in the lathe ; but it must not be understood 
 that such surfaces are the only fields for the artistic 
 
PROCESS OF STUDDING 
 
 45 
 
 display of plain- and pattern-studding. Both classes 
 of studding are equally valuable when used for the 
 decoration of flat surfaces, as may be readily realised 
 on an examination of the plates in the present 
 treatise devoted to the illustration of articles of 
 furniture. It will also be realised that studding 
 is an admirable attendant on other and more 
 elaborate systems of decorative turning, on flat 
 surfaces either produced in the lathe or on the 
 planing bench. 
 
 We may conclude the present chapter with a 
 few practical hints respecting the arrangements of 
 coloured woods best suited for the effective execu¬ 
 tion of the several designs of plain- and pattern- 
 studding illustrated in Plates I. and II. 
 
 Plate I .—Diagrams A and B show single rows 
 of plain-studding in counterchanged contrast. In 
 diagram A the ground is shown light and the studs 
 black. In actual work the ground may be of such 
 woods as box, satin-wood, maple, or even the more 
 humble sycamore. The studs may be of ebony 
 or rosewood when a very pronounced contrast is 
 desired ; or, when a less forcible contrast be aimed 
 at, of some rich red wood as padouk, thuja, or 
 ruby-wood. If a still softer contrast is preferred, 
 the studs may be of tulip-wood or cangica-wood, 
 or of still lighter-coloured woods if a harmony of 
 analogy is desired. If the ground be flat, it may 
 
4 6 
 
 DECORATIVE TURNING 
 
 be of bleached holly, which, as it can only be 
 obtained up to a quarter of an inch in thickness, 
 must be glued upon some other wood serving as 
 a support. As holly is the whitest wood known, 
 the greatest possible contrast is secured by studding 
 it with ebony; but very pleasing contrasts are ob¬ 
 tained by using any of the red woods. 
 
 Diagram B shows a treatment directly the 
 reverse of the preceding. In actual work the 
 ground may be of ebony or rosewood of the closest- 
 grained and darkest kind, while the studs may be 
 of ivory, or, if not larger than a quarter of an inch 
 in diameter, of holly. If a softer effect be desired, 
 the studs may be of boxwood or satin-wood. The 
 ground may, on the other hand, be of some lighter 
 and richer wood, such as purple-wood, king-wood, 
 Brazil-wood, padouk, thuja, calemberg, or Coro¬ 
 mandel. These hints are given by way of leading 
 suggestions; for when one bears in mind that there 
 are, at the lowest computation, about thirteen 
 woods of a reddish colour, seven of a yellowish 
 colour, three of a greenish colour, eight of a 
 brownish colour, and three of a purple colour— 
 all of which are well suited for the use of the 
 decorative turner—it is obvious that almost count¬ 
 less combinations are possible, while many of them, 
 besides those already suggested, would be found 
 very refined and pleasing. 
 
PROCESS OF STUDDING 
 
 47 
 
 Diagrams C and D show single rows of inlaid 
 studs in counterchanged contrasts. In diagram C 
 the ground is of a dark tint, representing some 
 wood of a medium depth of colour, such as 
 
 padouk, thuja, or calemberg, the studs to be 
 of ivory with ebony inlays, or, if a less forcible 
 contrast is desired, of boxwood with ebony or 
 rosewood inlays. In diagram D the ground is of 
 a lighter character, representing such a wood as 
 
 laburnum, tulip-wood, or fustic, the studs to be 
 of ebony inlaid with ivory or holly. 
 
 Diagram E shows a very simple form of close 
 pattern-studding, with the addition of single de¬ 
 tached studs. The ground, shown black, may be 
 of ebony or rosewood; the outer studs of the 
 trefoils to be of box or satin-wood, and the central 
 studs of tulip-wood, princes-wood, or laburnum. 
 The detached studs may be of any of the lighter 
 woods just named. When less forcible contrasts 
 
 are desired, the ground may be of green ebony or 
 
 any of the rich red woods. 
 
 Diagram F gives a somewhat more elaborate 
 design in close pattern-studding, in which the ground 
 is light, representing boxwood, satin-wood, or maple ; 
 and the studding, for the most part black, represent¬ 
 ing ebony or rosewood, the centres of the quatre- 
 foils to be of some rich red wood, such as padouk 
 or thuja. This design can, of course, be executed 
 
4 8 
 
 DECORATIVE TURNING 
 
 on a dark ground, the same system of colouring 
 being followed as suggested above with relation to 
 the design in diagram E. 
 
 Plate II .—Diagram A shows a simple design in 
 close pattern-studding, with the introduction of 
 raised studs. The ground is dark, indicating the 
 use of some richly-coloured wood, but one not too 
 dark to prevent the ebony studs which form the 
 quatrefoils presenting a sufficient contrast. The 
 -'raised central studs may be of boxwood, fustic, or 
 laburnum. The same design can be successfully 
 
 carried out on a lighter wood, such as satin-wood, 
 tulip-wood, fustic, or laburnum ; the quatrefoils 
 being in rosewood or ebony, and the raised studs 
 in ivory or light boxwood. 
 
 Diagram B shows a design in open pattern- 
 studding, also with the introduction of raised studs, 
 which in this case are of the same size as the flush 
 studs. The ground represents ebony or rosewood, 
 but woods of a richer character would be highly 
 suitable, such as violet-wood or Brazil-wood. The 
 studs may be of holly, boxwood, or satin-wood in 
 all cases; the raised studs, however, can be formed 
 of a different wood or of ivory, as taste may direct. 
 
 Diagram C furnishes another and simpler design 
 in open pattern-studding which can be successfully 
 executed on a ground of satin-wood, fustic, or 
 laburnum, the outer studs being of ebony, and the 
 
PROCESS OF STUDDING 
 
 49 
 
 central raised studs of any wood contrasting well 
 with the ground. For instance, if the ground be of 
 satin-wood, the raised studs may be of dark padouk, 
 and the flat studs of purple-wood or ebony. If the 
 ground be laburnum of a good light-green colour, 
 the flat studs may be of Brazil-wood or rich red 
 padouk, while the raised studs may be of ebony 
 or ivory. 
 
 Diagram D presents an effective arrangement of 
 small, detached studs, flat and raised. Patterns of 
 this class require considerable space and numerous 
 studs for their execution ; and they are best suited for 
 straight bands. They can be executed on grounds 
 of any kind of wood, and without the introduction 
 of raised studs. When applied to articles of furniture, 
 raised studs are undesirable, as they are dust holders. 
 
 D 
 
CHAPTER IV 
 
 DECORATION BY THE PROCESS OF 
 LAMINATION 
 
CHAPTER IV 
 
 DECORATION BY THE PROCESS OF LAMINATION 
 
 HE process of decorative turning, to the ae- 
 
 X scription of which the present chapter is de¬ 
 voted, differs essentially from that of studding, 
 described in the preceding chapter: it may also 
 be considered a more legitimate branch of lathe- 
 work, in so much that, practically, no tools are 
 required in its practice beyond those commonly 
 called for in the process of ordinary wood-turning. 
 The process of lamination is more concrete in its 
 results than that of either plain- or pattern-studding 
 as already described: at the same time it may be 
 pronounced more difficult; at least, it requires some¬ 
 what greater skill and more patience in its successful 
 manipulation. To the expert turner, however, even 
 with the simplest form of wood-lathe and the 
 ordinary turning tools, it presents absolutely no diffi¬ 
 culties. Taste in the matter of form and in the 
 harmonious and effective arrangement of the coloured 
 materials—woods and ivory—is absolutely necessary 
 for the production of artistic work. 
 
 S3 
 
54 
 
 DECORATIVE TURNING 
 
 While lamination is most effectively employed 
 for the decoration of plain or uniform surfaces pro¬ 
 duced in the lathe, which without it would be tame 
 and of little or no value from an artistic point of 
 view, it is also of considerable importance in giving 
 a distinctive value and force to many - membered 
 mouldings. It may be remarked, however, that in 
 decoration by lamination, elaborate mouldings or 
 other forms of minute projecting details are not 
 essential elements. In even the most ambitious essays 
 in this branch of decorative turning, mouldings or 
 other fanciful contours should be introduced with a 
 considerable degree of reserve, and always under the 
 dictates of good taste; and, further, they should 
 be introduced in a design more with the aim of 
 building up a well-considered colour-scheme, than 
 with the desire of displaying great manipulative skill 
 or complex tool-work. The decorative turner should 
 bear in mind that there is a proper place for every¬ 
 thing his art can legitimately compass; and that 
 it is a mistake to introduce anything that is un¬ 
 necessary or out of place, from an artistic point 
 of view, merely with the desire—laudable enough 
 in itself—to display his dexterity of hand, and with 
 the probable result of overloading his work with 
 undesirable elaboration. Plain surfaces and simple 
 forms are unquestionably the most suitable to receive 
 decoration by lamination. Artistic coloured effects 
 
PROCESS OF LAMINATION 
 
 55 
 
 are those which the turner should chiefly aim at 
 in such decoration; form, beyond what the design 
 of the work legitimately calls for, being of secondary 
 importance. It is proper to remark, in addition to 
 what has already been stated regarding the ordinary 
 turning-tools, that in the production of some forms 
 of delicately-detailed work, such as small, many- 
 membered mouldings or sinkings, specially-shaped 
 cutting-tools may be required, adapted for the pro¬ 
 duction of convex, concave, ogee, and other contoured 
 members, with ease and precision. 
 
 As has been briefly outlined in our introductory 
 chapter, lamination in turnery is the mode of pro¬ 
 ducing artistic, decorative, and colour effects, primarily 
 on plain surfaces, and, in a secondary degree, in 
 mouldings or other ornamental features, by associat¬ 
 ing, in direct contact, and on some definite system, 
 a selection of woods of different colour-values, and 
 arranging the same according to the harmonies of 
 analogy and contrast. When an arrangement accord¬ 
 ing to the harmony of analogy is desired, woods 
 have to be selected, the colours of which belong to 
 the same or analogous families, the result being a 
 very soft combination. On the other hand, when 
 the harmony of contrast is desired, woods belonging 
 to entirely different families of colour must be selected, 
 and so associated as to produce very pronounced 
 effects : the greatest contrast possible is produced 
 
56 
 
 DECORATIVE TURNING 
 
 by the direct association of ebony and holly (or 
 ivory). Woods of purple and light yellow colours, 
 and of bright red and green tints, produce other 
 and less vigorous contrasts. The introduction of 
 holly or ivory in all combinations imparts an increase 
 of contrast. 
 
 Lamination is generally and most legitimately 
 disposed at right-angles to the longitudinal or true 
 axis of the article turned, that is, in the manner 
 indicated in the four diagrams given in Plate IV., 
 and still more fully exemplified throughout the 
 candlestick illustrated in Plate V. In all these illus¬ 
 trations the different tints indicate the several lamina 
 or layers of differently-coloured woods. For the 
 sake of variation, and the production of certain other 
 decorative effects, the lamination may be disposed 
 in the direction contrary to that just mentioned, 
 that is, along, or parallel to, the direction of the 
 true axis of the article turned. This latter method 
 is much more difficult in the hands of the ordinary 
 turner, or one not expert in cabinet-work, from the 
 fact that, in addition to the lathe-work, it calls 
 for the use of the bench and its tools ; at the same 
 time it is neither so legitimate in turnery, nor so 
 happy in its decorative effects as is the former 
 method, illustrated in Plate IV. For the sake of 
 convenient distinction, the former method may be 
 properly designated transverse lamination , while the 
 
PROCESS OF LAMINATION 57 
 
 latter may, with equal correctness, be called longitudinal 
 lamination. 
 
 From what has already been said, it will be clearly 
 understood that decorative lamination assumes two 
 practically distinct forms; first, that which is confined 
 to plain or uniform surfaces, and in which both trans¬ 
 verse and longitudinal lamination may appear; and, 
 secondly, that which is used to accentuate and impart 
 richness of effect to mouldings and other features 
 turned in relief, and in which transverse lamination 
 can alone be introduced. As the latter method of 
 lamination is the simplest, and may be considered the 
 more legitimate one, from the ordinary turner’s point 
 of view at least, it may properly be described first. 
 
 As the several members constituting a moulding 
 or other projecting feature will necessarily be finished 
 separately in the lathe, in the form, for the most 
 part, of thin discs, flat on both sides, and simply 
 shaped at their edges, as indicated in diagram A in 
 Plate III., which is a section, showing in a discon¬ 
 nected manner the several members of the base 
 moulding shown in diagram B in its connected or 
 finished form, a special and simple method of chuck¬ 
 ing has first of all to be devised. The only permanent 
 lathe-chuck necessary in the process now under con¬ 
 sideration is the ordinary disc-and-screw one; on this 
 will be screwed, as required, a disc of any available 
 wood—preferably some close-grained hard wood—of 
 
58 
 
 DECORATIVE TURNING 
 
 sufficient thickness to amply cover the point of the 
 screw. The surface of the disc must be turned 
 perfectly flat, and upon it must be glued a piece of 
 thick manilla or cartridge drawing-paper; in some 
 instances a thin card will be found more serviceable 
 than paper. The slab of wood, which is to form 
 any member of the moulding to be executed, is first 
 planed, or brought to a perfectly level surface on 
 one side, and then glued on that surface and attached 
 to the paper on the chuck. When the glue is dry, 
 the chuck is again placed in the lathe, and the outer 
 surface of the attached slab is turned perfectly level, 
 being brought, at the same time, to its required thick¬ 
 ness ; its edge is then turned to the contour called 
 for in the design of the moulding. In turning the 
 edge, it will be found, in all probability, necessary 
 to cut away the surface of the wood chuck adjoining 
 it, so as to get room to use the finishing tool. The 
 edge can now be perfected in every respect and 
 polished. Nothing remains to be done but to turn 
 out the central dowel hole (shown in the diagram), 
 and to remove the completed disc from its chuck by 
 passing a thin table-knife between them, splitting the 
 paper or card. The paper that adheres to the finished 
 disc can be scraped off, and the glue removed with a 
 cloth dipped in hot water, or with glass-paper that 
 has been pasted on a piece of plate-glass. When all 
 the members of the moulding have been correctly 
 
PROCESS OF LAMINATION 
 
 59 
 
 turned and finished, in the manner just described, 
 each having been separately and specially chucked, 
 to save time and trouble, the whole can be glued 
 together in the following manner. The dowel, upon 
 which all the members of the moulding have to be 
 held in proper position, must be turned sufficiently 
 exact to the holes in the members to admit of a piece 
 of thick cartridge paper being wrapped around it 
 tightly, and pasted together at its overlapping edges, 
 but in no way attached to the surface of the dowel 
 so as to prevent its removal . 1 The dowel will, of 
 course, be made considerably longer than the depth 
 or thickness of the moulding in its finished state; 
 and two blocks of wood must be provided and bored 
 to receive the projecting ends of the dowel when the 
 members of the moulding are being glued together. 
 The gluing can now be proceeded with. When the 
 first member of the moulding has been put on the 
 papered dowel in a convenient position, the lower 
 surface of the next member must be covered thinly 
 with newly-made glue, and immediately pressed 
 against that already on the dowel. Each succeeding 
 member must be similarly treated; and then the 
 blocks must be placed over the free ends of the dowel 
 
 1 This is advisable in ordinary practice, but in some cases it may 
 be found advisable to permanently fix the dowel immediately in the 
 moulding. When this is desirable, the paper sheathing should be 
 omitted, allowing the moulding to be glued to the surface of the 
 dowel. 
 
6o 
 
 DECORATIVE TURNING 
 
 and against the moulding, and the whole pressed 
 tightly with a good hand-screw or screw-clamp. 
 When the glue is dry, the dowel can be withdrawn, 
 and the ends of the paper, which has become fixed 
 to the moulding in the process of glueing, can be cut 
 away level with the surfaces of the upper and lower 
 members. The moulding is now complete, and ready 
 to be attached to the article of which it is to form 
 a part. 
 
 In Plate III. five designs for base mouldings are 
 given in diagrams A-B, C, D, E, and F ; two mould¬ 
 ings of a capital or cornice character in diagrams G 
 and H; and three band or knop mouldings in 
 diagrams I, J, and K. Before passing on from this 
 plate it is desirable, to impart to it as great a practi¬ 
 cal value as possible, to suggest suitable combinations of 
 coloured woods in connection with the several mould¬ 
 ings illustrated. The base moulding at A and B can 
 have its plinth (shown black) of ebony or rosewood ; 
 its large round member of padouk ; its next, concave 
 member of green ebony, or, if a brighter contrast is 
 desired, of laburnum; the upper round member of 
 tulip-wood or canary-wood. The base-moulding C 
 may have its first or lowest member of thuja ; its second 
 member (shown black) of ebony; its third member 
 of fustic ; and its upper round member of tulip-wood 
 or princes-wood. The base moulding D may have its 
 first member of purple-wood ; its second member of 
 
PROCESS OF LAMINATION 
 
 61 
 
 the brightest cam-wood; its third member of choice 
 laburnum ; and its upper member of satin-wood. The 
 base moulding E may have its first member (shown 
 black) of ebony ; its second member of deep laburnum ; 
 its third round member of choice ruby-wood; its 
 fourth, concave member of satin-wood ; and its top 
 member of thuja. The base moulding F may have 
 its first member of ebony or rosewood; its second 
 small member of holly or light boxwood ; its third 
 large member of king-wood ; its fourth member of fine 
 satin-wood; and its top member of the brightest 
 padouk, or of rosewood, as indicated by being shown 
 black in the diagram. 
 
 The capital or cornice moulding shown at G may 
 have its first, or neck, member (shown black) of ebony 
 or rosewood ; its second member, or bell, of choice 
 laburnum or canary-wood; its third member of 
 bright padouk or thuja, divided by the narrow band 
 of holly or boxwood ; and the top member of ebony. 
 The moulding H may have its first, or neck, member 
 of ebony; its second member, or bell, of satin-wood ; 
 its third member of laburnum; its fourth member of 
 ruby-wood or dark padouk; and its top member of 
 black or dark-green ebony. 
 
 The band moulding shown at I can have its small 
 members at bottom and top of ebony or rosewood ; its 
 two concave members of satin-wood, and its large 
 central member of purple-wood or violet-wood. The 
 
62 
 
 DECORATIVE TURNING 
 
 band or knop moulding J may have its bottom and top 
 members of calemberg or fine green ebony ; its second 
 and sixth members of tulip-wood ; its third and fifth 
 members of holly or light boxwood ; and its central 
 member (shown black) of rosewood or ebony. The 
 band or knop moulding K may have its bottom and 
 top members of satin-wood or boxwood ; its second 
 and sixth members of tulip-wood or braziletto ; its 
 third and fifth members of ebony; and its central 
 fillet of satin-wood, or holly if a strong contrast is 
 desired. 
 
 The combinations of coloured woods given above 
 are all more or less illustrative of the harmony of con¬ 
 trast, but entirely different combinations can be 
 devised in which the harmony of analogy will pre¬ 
 dominate ; for this purpose woods will have to be 
 selected, the tints of which belong as closely as practi¬ 
 cable to any one family, or to, at least, any two allied 
 families of colour. It is only when extremely subdued 
 and softly graduated effects are desired that harmonies 
 of analogy are likely to be preferred to the more or 
 less pronounced effects produced by contrasts of 
 colour. Harmonies of analogy are less successful, as 
 a rule, in the mode of decorative turning now under 
 consideration than in that to which the following 
 chapter is devoted. In the scheming of mouldings, 
 such as have been described above and illustrated in 
 Plate III., positive contrasts of colour will always be 
 
PROCESS OF LAMINATION 
 
 63 
 
 found more satisfactory than any softer harmonies, 
 because, as every designer must know, all mouldings 
 are largely under the influence of shading and positive 
 shadows, which necessarily exercise a strong subduing 
 effect. Base mouldings, from their position with 
 regard to falling light, are affected with shadows in 
 a much less marked degree than mouldings which 
 overhang, such as those of the capital or cornice form 
 represented in diagrams G and H in Plate III., or 
 even those of the band or knop form, represented in 
 diagrams I, J, and K, the lower portions of which 
 overhang to some extent. In the decoration of plain 
 surfaces by the process of lamination, either harmonies 
 of contrast or analogy can be resorted to, and, indeed, 
 if artistically arranged, both the harmonies can be 
 combined with results that will leave nothing to be 
 desired. 
 
 Directing attention to Plate IV., in which are 
 represented four cylinders decorated by the process of 
 lamination, we may point out that in diagrams A and 
 D harmonies of contrast are alone intended, while in 
 diagrams B and C both harmonies of analogy and 
 contrast may be introduced with very pleasing results. 
 Suggestions respecting the various woods to be em¬ 
 ployed in the general formation and effective lamina¬ 
 tion of these cylinders or shafts will not be out of place 
 here. 
 
 The cylinder represented in diagram A may 
 
6 4 
 
 DECORATIVE TURNING 
 
 have its ends and central portion of almost any 
 richly-coloured wood ; and as the surfaces of these 
 portions may be of considerable size a favourable 
 opportunity is afforded for the use of boldly-figured 
 woods. Accordingly, such choice woods as brazi- 
 letto, amboyna, king-wood, snake-wood, zebra-wood, 
 and richly-figured satin-wood can be used with good 
 effect. While all these three portions can be of 
 the same wood, it is not necessary that such should 
 be the case, for very pleasing and highly decorative 
 effects can be obtained by introducing in the end 
 portions a wood differing in colour and figure from 
 that introduced in the larger central portion; for 
 instance, if the latter portion is made of snake- 
 wood or zebra-wood, the ends may be of braziletto 
 or tulip-wood, and vice versa. None of the arrange¬ 
 ments suggested will necessarily interfere with the 
 effectiveness of the contrasting lamination in the 
 narrow bands, which should in all cases be of holly 
 (or ivory) and ebony, as indicated, when a sharp 
 contrast is desired; or of boxwood and rosewood 
 when a softer effect is preferred, and when satin- 
 wood is not used for the larger portions. 
 
 The cylinder represented in diagram B calls for 
 a more elaborate arrangement of coloured woods 
 than that required in connection with the cylinder 
 above described; it has in its construction thirteen 
 lamina, necessarily employing four, and allowing the 
 
PROCESS OF LAMINATION 65 
 
 introduction (if considered desirable) of six differently- 
 coloured woods. In addition to this, the process 
 of plain-studding is employed in its decoration. 
 For the ends and central portion, woods of a medium 
 tint will be the most suitable, such as satin-wood, 
 tulip-wood, cam-wood, laburnum, canary-wood, sandal¬ 
 wood, and princes-wood. Such woods allow of the 
 introduction of others of a deeper and richer colour, 
 and of an analogous character, in the lamina, shown 
 of a darker tint, on each side of the ebony borders 
 of the studded lamina. The studded lamina can 
 be of ivory or light boxwood, or, if not more 
 than a quarter of an inch in thickness, they can 
 be of holly. It is much to be regretted that holly 
 of a fine white colour, and of good and thoroughly- 
 seasoned quality cannot be readily obtained above 
 a quarter of an inch thick. The studs in all cases 
 should be of ebony. 
 
 In the cylinder represented in diagram C a 
 somewhat different arrangement of coloured woods 
 is indicated. In the construction of this cylinder, 
 as in that of the preceding one, either four or six 
 differently coloured woods may be used, and to 
 both combinations ivory may be added in the shape 
 of the studs shown on the ebony lamina. When 
 only four woods are used, the broad lamina, adjoin¬ 
 ing the thin holly borders of the studded ebony 
 lamina, will be of the same wood; but when six 
 
66 
 
 DECORATIVE TURNING 
 
 woods are introduced, the end lamina will be of 
 different wood to that on each side of the central 
 portion of the cylinder (shown of a lighter tint) ; 
 for instance, the central portion may be of satin- 
 wood, the broad lamina adjoining it of ruby-wood, 
 and the end lamina may be of king-wood or green- 
 ebony. The narrow lamina, on the sides of the 
 ivory-studded black lamina, may be of holly or 
 pale boxwood. It would be impossible to enu¬ 
 merate the changes that could be made by the use 
 of six different woods in different combinations in 
 even so small an object as that represented in the 
 diagram. 
 
 In the cylinder represented in diagram D, the 
 arrangement of the coloured woods, indicated by 
 the different shades employed, points throughout to 
 a harmony of contrast, in which pattern-studding 
 assists the effect produced by the lamination. In this 
 case the ends and the central portion may either 
 be of the same wood, or the central portion may 
 be of any colour, while the ends may be of a wood 
 of a contrasting colour and preferably of equal value 
 or intensity of tone ; for instance, the central portion 
 may be of tulip-wood and the ends of very choice 
 laburnum, or vice versa. Again, padouk or thuja and 
 calemberg of the brightest quality may be similarly 
 associated. The narrow laminations in all cases to 
 be of holly and ebony, and the pattern-studding 
 
PROCESS OF LAMINATION 67 
 
 to be executed in ivory and ebony, or in holly and 
 ebony, as indicated. 
 
 In Plate V. is given a suggestive design for a 
 sideboard or mantelpiece candlestick, in the con¬ 
 struction of which are required plain turning ; lamina¬ 
 tion, both in the formation of the mouldings and 
 in the decoration of the plain cylindrical portions 
 of the shaft ; and plain- and pattern-studding. In 
 examining the design, the reader interested in turning 
 will observe the proper use of the base, knop, and 
 capital mouldings, all of which call for lamination 
 in the manner specially described with reference to 
 the diagrams given in Plate III. In the second 
 place, he will see the practical application, in the 
 shaft of the candlestick, of the laminated cylindrical 
 work above described, and specially illustrated in 
 Plate IV. As it is highly probable that a pair of 
 candlesticks would be fabricated at the same time, 
 we would suggest that a different pattern of lamina¬ 
 tion be adopted in the cylindrical members of their 
 shafts, while the treatment of all the other members 
 would remain the same; this slight variation would 
 destroy dead monotony, without affecting uniformity 
 of shape. It is not necessary, from an artistic or 
 decorative point of view, that the same arrangement 
 of the coloured woods should obtain in both candle¬ 
 sticks ; but it is, on the other hand, desirable that 
 a true balance of colour should be observed. The 
 
68 
 
 DECORATIVE TURNING 
 
 great variety of coloured woods at the disposal of 
 the turner should render this observance of the 
 balance of colour an easy matter under the guidance 
 of ordinary taste and judgment. The following 
 suggestions for the selection and arrangement of the 
 woods required in the construction of one candle¬ 
 stick, as represented by the different shades in Plate 
 V., may be serviceable to the turner inexperienced in 
 this class of work. 
 
 Commencing at the base of the candlestick:— 
 The ball-feet may be of any light or medium-coloured 
 wood, as they exercise no appreciable effect on the 
 colouring of the base. The first member of the 
 base to be of ebony or dark rosewood, studded with 
 ivory or holly, and its second convex member may 
 be of boxwood or pale satin-wood. The conical 
 portion, which presents a surface sufficiently large 
 for the display of figure, may be of amboyna, zebra- 
 wood, or thuja if a richer glow is desired ; the pattern- 
 studding to be of ivory and ebony, unless a quieter 
 effect is preferred, when boxwood may take the place 
 of the ivory. The moulding between the portion 
 just described and the shaft has four lamina : these 
 may be of boxwood, Brazil-wood, pale satin-wood, 
 and ebony. The cylindrical portions of the shaft may 
 have their lower and upper lamina of calemberg (of 
 bright, uniform tint) or choice laburnum, and their 
 central portions of rich tulip-wood or padouk; the 
 
PROCESS OF LAMINATION 69 
 
 decorative bands to have their outer lamina of ivory 
 or holly, and their inner ones of ebony studded with 
 ivory. The knop in the centre of the shaft to have 
 its small beads of ebony, its two concave members 
 of boxwood or pale satin-wood, and its central flat 
 member of purple-wood or rosewood, with its pro¬ 
 jecting studs of ivory, carrying half-balls of bright 
 red wood. Small carbuncles would be very suitable 
 and effective here, and they can be procured at small 
 cost from any working lapidary. The small neck¬ 
 moulding on the top of the shaft to be of ebony 
 and boxwood, as indicated. The bell of the capping 
 or capital, presenting as it does a plain surface of 
 considerable size, may be of some figured wood, either 
 similar to that selected for the conical base, or one 
 practically contrasting with it. The two upper lamina 
 to be respectively ebony and padouk, as indicated. 
 The candle tray to be of polished brass, copper, or 
 silver, as taste and means may dictate. 
 
 It may be said here that, to save space in the 
 illustration, the cylindrical portions of the shaft have 
 been drawn as short as such a design reasonably 
 permits; but it is obvious that they may be consider¬ 
 ably elongated with advantage, and decorated with 
 more elaborate lamination and with pattern-studding. 
 Although we have confined flush-lamination to these 
 portions of the candlestick, it would be quite as 
 effective if introduced, instead of the pattern-studding, 
 
7° 
 
 DECORATIVE TURNING 
 
 in the conical base. A broad belt of ebony or rose¬ 
 wood studded with ivory or some yellow wood, be¬ 
 tween narrow lamina of holly, would be effective in 
 a central position in this base. If the ebony or rose¬ 
 wood belt is of sufficient breadth, it may be effectively 
 decorated with pattern-studding, any of the patterns 
 represented in Plate II. being suitable, flush studs 
 alone being used. The bell, in the capping of the 
 candlestick, could also be enriched in a similar manner, 
 the lamination being narrow, unstudded, and, prefer¬ 
 ably, kept low or close to the neck-moulding from 
 which the bell springs ; the upper portion of the bell 
 should always be left plain, as horizontal lines would 
 tend to disturb the upward sweep of its curve. 
 
 We have now to briefly describe and to illustrate 
 the process of executing such transverse lamination as 
 is illustrated in Plates IV. and V. Taking one of the 
 cylindrical divisions of the shaft of the candlestick, 
 represented in the latter plate, as an example, the 
 process of executing the lamination there indicated 
 is as follows:—The piece of wood selected to form 
 the central portion of the cylinder must be of sufficient 
 length to extend, when turned, beyond the ends of the 
 cylinder when finished, so as to provide projecting 
 dowels for its attachment to the other portions of the 
 candlestick adjoining it. This piece of wood is centred 
 in the lathe, and the required portion of the cylinder 
 turned exactly to the necessary length, and very nearly 
 
PROCESS OF LAMINATION 
 
 7i 
 
 to its final diameter, its ends being truly squared to 
 the axis of the piece, so that the immediately adjoining 
 lamina may bed accurately upon them. The remainder 
 of the wood, at each end, must be 
 turned down truly to the size 
 determined on for the cores or 
 
 g 
 
 dowels. At this stage the turned c 
 piece assumes the form shown, in B 
 section, at A in the accompanying 
 illustration. The next proceeding A 
 is to prepare the several discs 
 required for the lamination and b 
 the completion of the cylinder; c 
 these are indicated, in section, at B 
 B, C, and D. The discs should D 
 be turned, on wood chucks, in 
 precisely the same manner as that 
 already described for the lamina¬ 
 tion of mouldings. The discs, 
 like the central portion A, must 
 be left of a diameter somewhat 
 larger than the final dimension, 
 
 and, after the paper and glue are Fig. 2.— Sections of a 
 . laminatedcylinder, show- 
 
 removed., their surfaces should be j n g construction. 
 
 lightly rubbed on a sheet of fine glass-paper, which 
 
 has been carefully pasted on a piece of plate-glass, 
 
 so as to remove any slight inequalities that may have 
 
 been left while in the lathe, and to secure perfectly 
 
72 
 
 DECORATIVE TURNING 
 
 close glue-joints. Too much care cannot be exercised 
 in this direction. Each ring, as turned and cleaned, 
 should be successively glued to the middle portion 
 and to each other, being screw-pressed between 
 blocks of wood, bored to receive the dowel portions. 
 When all the rings or lamina are glued on, the entire 
 piece must be replaced in the lathe, and its surface 
 turned down to a uniform level ready to receive 
 its studding. After scratching the centre lines on the 
 ebony lamina, and dividing the same for the number 
 of studs intended, the piece has to be removed from 
 the lathe, bored, and the studs glued in. The process 
 is completed by replacing the piece in the lathe, 
 turning its surface perfectly true and to the exact 
 diameter, and its ends to the required length, and 
 otherwise finishing and polishing the surface in any 
 desirable manner. To preserve the colours of the 
 woods, it should be French-polished, white polish being 
 used so as not to darken the ivory and holly when 
 such materials are introduced. 
 
 We may conclude our remarks on decorative 
 lamination by describing that class to which we 
 have given the distinctive name longitudinal lamina¬ 
 tion —namely, lamination along, or parallel to, the 
 true axis of the turned object. While there is 
 comparatively little use for this class of decorative 
 lamination, it cannot properly be ignored in such 
 a treatise as the present. It is, accordingly, necessary 
 
PROCESS OF LAMINATION 
 
 73 
 
 to briefly describe its nature and the process of its 
 construction. Unlike transverse lamination, to the 
 description of which the present Chapter, up to 
 this point, has been entirely devoted, longitudinal 
 lamination cannot be artistically used alone, nor 
 can it be considered a legiti¬ 
 mate offspring of the lathe. 
 
 On the other hand, when as¬ 
 sociated with transverse lamina¬ 
 tion, it is capable of producing 
 pleasing decorative effects. The 
 accompanying illustration, Fig. 3, 
 will convey some idea of the 
 class of lamination now under 
 consideration, unassociated with 
 transverse lamination. The trans¬ 
 verse section, shown below, clearly 
 indicates the mode of construc¬ 
 tion to be followed in the 
 formation of the most sub¬ 
 stantial longitudinal laminated 
 work. The lamination has to 
 be prepared at the bench, and quite independently 
 of the lathe ; the several layers of wood being planed 
 to the required thicknesses and securely glued together. 
 The manner in which the pieces, so prepared, are cut 
 and placed in association with the four filling-up pieces 
 (originally quadrangular, as indicated by the dotted 
 
 Fig. 3.—Illustrations of a 
 cylinder longitudinally la¬ 
 minated. 
 
74 DECORATIVE TURNING 
 
 lines) is clearly shown in the section. When all 
 the parts are built up and securely glued together, 
 the completed block has to be accurately centred in 
 the lathe and turned to the size and form required. 
 The finished appearance is shown at A. Pieces of 
 this class can be inclosed between transverse lamina¬ 
 tion with good effect. As in transverse lamination, 
 longitudinal lamination can be executed in any 
 combination of coloured woods, analogous or con¬ 
 trasting ; it can be enriched with both plain- and 
 pattern-studding in any tasteful manner. 
 
CHAPTER V 
 
 DECORATION BY THE PROCESS OF 
 GEOMETRICAL INLAYING 
 
CHAPTER V 
 
 DECORATION BY THE PROCESS OF 
 GEOMETRICAL INLAYING 
 
 HE process of decorative turning, to the full 
 
 1 description of which the present Chapter is 
 devoted, is somewhat more difficult and exacting 
 in its successful performance than either of the pro¬ 
 cesses described in the preceding two Chapters ; but, 
 at the same time, its results are much more effective 
 and beautiful than any that can possibly be pro¬ 
 duced by means of studding or lamination, alone 
 or in combination. 
 
 The process now under consideration is properly 
 designated geometrical inlaying , because the coloured 
 woods and ivory employed are laid or inserted into 
 each other, and invariably produce, if artistically 
 arranged, geometrical forms or devices. Geometrical 
 inlaying is strictly a product of the lathe, in so much 
 that all the work necessary for its production can 
 be executed in the lathe, if considered desirable, 
 with the single exception of the glueing of the 
 parts together as they are turned and bored. But 
 it is neither necessary, nor in all cases desirable, for 
 
 77 
 
7 8 
 
 DECORATIVE TURNING 
 
 the lathe to be resorted to exclusively, as will be 
 explained later. As all the elements employed in 
 the production of a work of geometrical inlaying 
 are originally or finally of a circular form, it might 
 reasonably be supposed, on first thoughts at least, 
 that little variety could obtain in its designs; but 
 in reality there is a very wide field for the inven¬ 
 tion, ingenuity, and taste of the turner. Designs 
 can be produced in almost endless variety, due to 
 the different arrangements and respective propor¬ 
 tions of the several circular elements, in combina¬ 
 tion with the varied effects of colour produced by 
 the association of the many coloured woods and 
 ivory at the disposal of the turner. A glance at 
 the plates which illustrate this branch of decorative 
 turnery will go far to satisfy the reader of the truth 
 of the statement just made, while their designs will 
 point the way to further treatments and combina¬ 
 tions. The designs and colour-combinations are 
 most readily produced on flat surfaces, but slightly 
 convex surfaces can be adopted if considered more 
 suitable for the article to be decorated. In all 
 cases, so far as legitimate turning is concerned, the 
 surfaces are in the form of circular medallions, as 
 shown in the plates. Flat medallions are most 
 suitable for insertion in articles of furniture or in 
 any flat surface ; while convex medallions form 
 beautiful decorations for the lids of circular boxes, 
 
PROCESS OF GEOMETRICAL INLAYING 79 
 
 produced in the lathe, and which may be further 
 enriched with lamination and plain- or pattern- 
 studding ; this the practical turner will very readily 
 understand. Both flat and convex medallions, when 
 used singly, can be inserted in flat surfaces; but 
 combinations of medallions, such as are represented 
 in Plates X., XI., and XII., are suitable for insertion 
 in flat surfaces only. At the same time it may be 
 pointed out that, while the medallions surrounding 
 the central one must be flat, there is no reason why 
 the central one should not be slightly convex or flat, 
 and slightly raised (say ^ inch) above the surface of 
 the other medallions. All flat, single, or compound 
 medallions, can be inserted flush with the general 
 surface of the article decorated, or slightly relieved 
 from the same ; but for useful articles of furniture 
 the flush method is to be strongly recommended, 
 while in many cases it is imperative: this matter 
 will be more fully touched upon when we speak of 
 the practical application of geometrical inlaying. 
 
 Single circular medallions are not only more 
 quickly made, but are of much more general use 
 when applied to turned works and articles of 
 furniture, than the compound forms. But most 
 beautiful and artistic effects are produced by the 
 geometrical arrangement of lesser medallions around 
 a larger central one. Such arrangements will readily 
 produce trefoils, quatrefoils (as shown in Plates X., 
 
8 o 
 
 DECORATIVE TURNING 
 
 XI., and XV.), or sexfoils (as shown in Plate XII.) : 
 even a greater number of surrounding medallions can 
 be employed, when they will necessarily be smaller 
 in diameter and simpler in design, somewhat after 
 the fashion shown in the interior of the lower 
 medallion in Plate IX. These lesser surrounding 
 medallions may, instead of being cut into by the 
 central medallion, be placed completely free of it, 
 when they assume, strictly considered, the place and 
 office of decorative studding: this disposition is 
 highly suitable for the decoration of articles of 
 furniture which present plain surfaces of considerable 
 size, adapted for the reception of such inlays. 
 
 While single circular medallions permit of a great 
 number of designs and colour-combinations, of which 
 the eleven given on the accompanying plates convey 
 some idea, the compound medallions, in their forms 
 and proportions, in the designs of their inner and 
 outer portions, and in their different coloured woods, 
 present, as has already been stated, a practically 
 unlimited source of variety. It is remarkable to find 
 how completely different the same design appears 
 when executed respectively in harmonies of contrast 
 and analogy, or in the same woods counterchanged in 
 their relative positions. 
 
 It will be observed, on examining the medallions 
 represented on Plates VII., VIII., IX., and X., that in 
 the process of geometrical inlaying, studding is largely 
 
PROCESS OF GEOMETRICAL INLAYING 81 
 
 resorted to, to enrich broad belts and the spandrils 
 created by the foliated designs; and in the lower 
 medallion in Plate XIII. lamination is indicated. In¬ 
 deed, all the ornamental work in this process may 
 be considered as studding carried to its highest de¬ 
 velopment, and on the largest scale desirable for 
 ordinary decorative purposes. In the circular medal¬ 
 lion in Plate IV., and in the compound quatrefoil 
 medallions in Plate X., plain-studding appears in the 
 main belts or rings, producing very striking effects : 
 these designs, however, are not dependent on the 
 studding, for they would be perfectly satisfactory 
 without it. The introduction of single studs in 
 the spandrils has always a good effect. In the 
 majority of designs their presence is certainly a gain, 
 as will be realised on glancing at the medallions given 
 in Plate IX., and still more notably in Plate VII., in 
 which large inlaid studs are shown in the spandrils 
 of the trefoil and quatrefoil. 
 
 Before specially commenting on the designs of 
 the several simple and compound medallions, and 
 giving suggestions respecting the appropriate woods 
 to be employed in their construction, it is desirable 
 that the reader should be made acquainted with the 
 method of fabricating them in the lathe, with the 
 occasional use of the brace and bits. The method 
 to be followed in fabricating all the geometrically- 
 inlaid medallions illustrated in the accompanying 
 
82 
 
 DECORATIVE TURNING 
 
 plates is extremely simple, while, perhaps, more than 
 ordinary skill, care, and patience are called for in the 
 accurate execution of their designs; but experience 
 has taught us that, to use a trite saying, reversed, 
 the game is worth the candle. In the first place it 
 is essentia] that a correct drawing be made of the 
 design to be carried out, so that all the component 
 parts may be made accurately to scale, and, in the 
 case of the smaller inlays and studdings, to suit the 
 sizes of the available brace-bits, the use of which is 
 called for in the foundation of the trefoil, quatre- 
 foil, and other foliated patterns 1 and studdings 
 shown in the plates. All the concentric rings 
 and fields of the medallions are, of necessity, formed 
 in the lathe, and on the simple wood-chucks de¬ 
 scribed in the preceding Chapter in connection with 
 the formation of laminated mouldings. On these 
 wood - chucks are prepared such plain or inlaid 
 members as are required in the production of the 
 foliated medallions represented in the several plates. 
 These members are subsequently inserted in the holes 
 
 1 If the holes for the reception of these inlays are to be bored 
 by means of revolving cutters in the lathe, through the agency of the 
 dividing-plate, slide-rest, and overhead-motion, it is, of course, 
 obvious that, in preparing the design, no necessity exists for confining 
 them to any special size, as must be the case when brace-bits of the 
 most desirable kind are to be used. It may be remarked, however, 
 that if the “p aten,: expansion bit” is used, all objection to the work of 
 the hand brace is removed ; these bits cannot be used for boring 
 small holes, such as are required for studding of the size introduced 
 in medallions. 
 
PROCESS OF GEOMETRICAL INLAYING 83 
 
 bored for their reception in the field of the medal¬ 
 lion proper, while it remains attached to its wood¬ 
 chuck. In the expeditious production of some of 
 the more elaborate medallions shown, and especially 
 those of compound form, numerous wood-chucks 
 will be required; but as these are only small pieces 
 of common wood, their number is a matter of 
 little importance: saving of time is the chief con¬ 
 sideration in high-class and exacting work of this 
 description. 
 
 After the design has been drawn correctly, the 
 next proceeding is to attach the piece of ebony or 
 other wood, which is to form the marginal-ring and 
 the foundation for all the inlays to the surface of 
 a suitable wood-chuck, with an intervening layer of 
 thick paper, as described in the preceding chapter. This 
 piece of wood should, under ordinary circumstances, 
 not be less than ^ inch in thickness, for it has to 
 receive all the inlays that compose the design, while 
 it retains a substantial character in itself. When the 
 piece has been turned to near its required diameter, 
 and its surface has been trued, the marginal-ring must 
 be formed by sinking the rest of the surface to the 
 depth of | inch. At this point it is desirable to refer 
 to the accompanying illustration, Fig. 4, in which 
 is given a series of diagrams, in section, indicating 
 the several steps necessary in the formation of the 
 medallion which is partly shown, in outline, in 
 
8 4 
 
 DECORATIVE TURNING 
 
 Diagram I. Diagram II. is a section of the ebony foun¬ 
 dation-disc, just described, showing its marginal-ring 
 A, formed by the sinking of the rest of its surface. 
 At the stage now reached, the chuck must be removed 
 from the lathe, and another chuck screwed on, which 
 has glued on its face the piece of boxwood, or some 
 other light-coloured wood, which is to form the inner 
 marginal-ring B. This piece must be carefully turned 
 to accurately fit the sinking in the ebony disc, in the 
 manner indicated in Diagram III., and after being 
 sliced from its chuck, must be glued into the sinking 
 in the ebony disc. The first chuck must now be 
 returned to the lathe, and after the boxwood insertion 
 is brought flush with the ebony, it must have its 
 interior part turned out, leaving the inner ring B, 
 as indicated in Diagram I. The next piece to be 
 prepared and inserted is that which is to form the 
 general ground C of the medallion, and this will 
 necessarily be of some richly-coloured wood, such as 
 padouk or purple-wood. The piece must be glued 
 in the usual manner to another wood-chuck, and 
 turned so as to accurately fit the sinking within the 
 inner marginal-ring B, as indicated in Diagram V. 
 When the piece is glued in place, and its surface 
 turned level and smooth, it is ready to receive the 
 design of the further inlays. The design should be 
 accurately drawn on a piece of paper cut circular to 
 the exact size of the medallion, and pasted evenly on 
 
PROCESS OF GEOMETRICAL INLAYING 85 
 
 Fig. 4.—Diagrams showing the construction of an inlaid medallion. 
 
86 
 
 DECORATIVE TURNING 
 
 its turned surface. This not only furnishes a perfect 
 guide in the boring operations, but greatly tends to 
 prevent chipping of the edges of the holes when first 
 cut by the centre-bits. Before using the bits, the 
 centres marked on the paper should be deeply pricked 
 into the ground with a sharp-pointed awl, so as to 
 properly hold the centre-points of the bits in correct 
 position. Too much care cannot be taken in this 
 direction, for the slightest deviation from the truth 
 will, in all likelihood, ruin the medallion, or at least 
 destroy its beauty. Of course, if the boring is exe¬ 
 cuted in a high-class lathe, with its dividing-plate 
 and revolving cutters, perfect accuracy will be secured ; 
 but satisfactory work from the hand of an artist is, 
 in our opinion, much to be preferred to anything 
 produced by automatic machinery. We may just 
 mention the fact that all the beautiful work of this 
 class executed by the late W. J. Audsley was entirely 
 the product of the hand and the simple wood-lathe. 
 When the six holes, required in the formation of the 
 sexfoil indicated in Diagram I., are bored through 
 the ground-piece C, down to the foundation-disc A, 
 as shown in Diagram VI., they are ready to receive the 
 circular inlays, two of which are shown at D, oppo¬ 
 site their holes, in Diagram VII. These circular inlays, 
 which may be of satin-wood if purple-wood is used 
 for the ground-piece C, or of laburnum if the ground- 
 piece is of padouk, can be turned on independent 
 
PROCESS OF GEOMETRICAL INLAYING 87 
 
 wood-chucks, or in the manner recommended for 
 studs and illustrated in Fig. 1. When accurately 
 fitted they must be glued into their holes, and 
 subsequently turned down flush with the existing 
 surface of the medallion, which for that purpose has 
 been replaced in the lathe. The next operation is 
 to turn out the ground and portions of the foliation- 
 pieces to admit of the circular inlay which is to form 
 the ring E, indicated in Diagram I. In Diagram VIII. 
 a section of the medallion is given at this stage ; and 
 opposite its sinking is the inlay E, in Diagram IX. 
 This inlay may be of rosewood if the foliation is 
 of satin-wood. When the inlay has been accurately 
 fitted and glued in, its surface must be turned flush 
 with the rest of the medallion ; and then its central 
 portion must be turned out so as to form the inner 
 ring, indicated at E, in Diagram I., and as shown, in 
 section, in Diagram X. The whole medallion is 
 completed by the insertion of the small central inlay 
 F, in Diagram I., and in the section given in Diagram 
 XI. It will be seen in the above description that, 
 in the entire process of constructing the medallion, the 
 brace and bit are used only in boring the six holes for 
 the reception of the inlays forming the foliation, every 
 other sinking required being cut in the lathe, in the 
 easiest manner, and with the ordinary hand-tools. 
 Although the medallion described is of a simple 
 character, and very similar in general design to that 
 
88 
 
 DECORATIVE TURNING 
 
 of the lower medallion in Plate VI., the description 
 of its formation practically covers all the processes 
 required in the production of the more elaborate 
 medallions represented in the other plates, with the 
 single exception of the process of studding, to which 
 we have devoted a chapter. But as no direct allusion 
 is made in that chapter to studding disposed in flat, 
 circular rings, such as appears in the medallions 
 illustrated in Plates X., XII. and XIV., we may 
 remark here that very special care must be exercised 
 in pricking the centres for, and in boring, the stud- 
 holes which have to be so close together. This care 
 is necessary because the slightest irregularity is very 
 observable in such circular dispositions; and there is 
 always a probability, in certain woods at least, of 
 chipping between the holes, unless the ring is end- 
 grain, when ordinary care and keen bits can be 
 depended upon. Such woods as ebony and boxwood 
 present no difficulties in this direction. In boring 
 such rings as are shown studded in Plates X. and 
 XIV., it is obvious that the most perfect work will 
 be performed by the use of the high-class lathe with 
 its dividing-plate, slide-rest, and automatic cutters or 
 drills. When the medallion is completed so far as 
 all its inlays are concerned, with or without studding, 
 its entire face has to be carefully turned flat, and 
 brought to a dead level by holding against it a piece 
 of plate glass on which fine glass-paper has been 
 
PROCESS OF GEOMETRICAL INLAYING 89 
 
 pasted; a few revolutions of the medallion will 
 remove any inequalities. The edge of the medallion 
 must now be turned to the exact diameter required ; 
 and when its face is polished, so as to bring out the 
 full colours of the woods employed, it can be sliced 
 from its wood-chuck and used for the purpose for 
 which it was designed. 
 
 In the following notes are given suggestions for 
 the combinations of coloured woods suitable for the 
 most effective rendering of all the medallions repre¬ 
 sented in the plates belonging to the present Chapter. 
 
 Plate VI .—The upper medallion to have its 
 marginal-ring of ebony ; its ground of amboyna or 
 laburnum, with the foliation-pieces and studs of box¬ 
 wood or satin-wood ; the inner black ring of ebony, 
 inclosing rings of tulip-wood and laburnum, and the 
 centre-stud of ruby-wood or some other red wood. 
 
 The lower medallion to have its marginal-ring of 
 ebony, with the light ring adjoining it of holly 1 ; its 
 ground of tulip-wood or thuja, with foliation-pieces 
 and the rings connecting them, as shown, of boxwood 
 or satin-wood ; its inner black ring of rosewood or 
 ebony, inclosing a ring of laburnum, and the centre- 
 stud of ruby-wood or bright padouk. 
 
 1 As holly cannot be easily procured above J inch in thickness, 
 it may be found advisable, if not necessary, to glue it (crosswise) to 
 another thin piece of wood, so as to enable it to fill up the depth of 
 the sinking in the ebony foundation-disc, and allow of the necessary 
 surface turning when inlaid. 
 
9° 
 
 DECORATIVE TURNING 
 
 Plate VII .—The upper medallion to have its 
 marginal-ring of ebony; its ground of fustic or 
 laburnum ; its four studs of ebony with ivory centres ; 
 and its four foliation-pieces, having their outer rings 
 of ebony, inclosing the white rings of ivory or holly ; 
 the inner rings of padouk, and the centre-studs of 
 satin-wood. The central portion, which cuts into the 
 foliation-pieces, to have its treatment the same as that 
 of the foliation-pieces. 
 
 The lower medallion to have its marginal-ring of 
 ebony, with the light ring adjoining it of satin-wood 
 or boxwood ; and its ground of thuja or padouk, 
 studded with ivory inlaid with ebony. The foliation- 
 pieces to be formed with rings of boxwood, rosewood, 
 and ivory or holly, with centre-studs of purple- 
 wood or calemberg. The central portion to have 
 rings of ebony, ivory or holly, and tulip-wood, and its 
 centre-stud of rosewood or green ebony. 
 
 Plate VHP —The upper medallion to have its 
 marginal-ring of ebony or rosewood, with the light 
 ring adjoining it of boxwood, and its ground of 
 calemberg or green ebony, studded with boxwood 
 inlaid with ebony. The four foliation-pieces to be 
 formed with outer rings of boxwood, inner rings of 
 ebony, and centre-studs of tulip-wood. The central 
 portion to have its outer ring of ebony, its inner ring 
 of boxwood, and its centre of ruby-wood or rich 
 padouk. 
 
PROCESS OF GEOMETRICAL INLAYING 91 
 
 The lower medallion presents, in its design, oppor¬ 
 tunities for fine effects in harmonies of analogy, 
 accentuated by contrasts. Its marginal-ring to be of 
 ebony, and its ground of holly, studded with rose¬ 
 wood. The dark rings of the outer members of the 
 foliated or flower-like design to be of rosewood. 
 Between these rings and the central ring, the three 
 series of members, shown in different shades, should 
 be of three woods of analogous colours, such as ruby- 
 wood, bright padouk, and tulip-wood ; or green ebony, 
 calemberg, and clear laburnum ; an arrangement of 
 orange and yellow woods may also be introduced in 
 an effective manner. The central portion to have its 
 outer ring of ebony, its inner ring of holly, studded 
 with rosewood, and its centre-stud of purple-wood 
 or king-wood. 
 
 Plate IX .—The upper medallion to have its outer 
 medallion of ebony, and its ground of satin-wood, 
 studded with rosewood. The six foliation-pieces to 
 have their rings of ebony and ivory, and their centres 
 of ruby-wood or very rich padouk. The central 
 disc to have its rings of ebony and boxwood, and its 
 field of green ebony, with the foliation of boxwood, 
 and the centre-stud of violet-wood. 
 
 The lower medallion to have its marginal-ring of 
 ebony; its ground of thuja, studded with ivory; and 
 its foliation-pieces, ringed with ivory or holly, and 
 filled in with laburnum or satin-wood. The inner 
 
92 
 
 DECORATIVE TURNING 
 
 disc to have its outer ring of ebony, its second ring 
 of canary-wood, studded with green ebony or purple- 
 wood ; its third and fourth rings of ebony and ivory, 
 and its central portion of boxwood, canary-wood, and 
 beef-wood, or violet-wood. 
 
 Plate X .—The upper compound medallion, com¬ 
 posed of five separately formed small medallions, can 
 only assume its complete quatrefoil shape when inlaid 
 into the woodwork of some piece of furniture, as 
 indicated in the back rail of the settee illustrated in 
 Plate XX. In this example the four medallions 
 forming the quatrefoil can have their marginal-rings 
 of ebony; their second rings of thuja or light padouk, 
 studded with ivory ; their third rings of ivory or holly ; 
 their fourth rings of ebony ; and their centre studs 
 of laburnum. The central medallion can have its 
 marginal-ring of ebony, with the light ring adjoining 
 of boxwood ; its ground of pure-toned calemberg ; its 
 foliation-pieces of holly or ivory ; and its central piece 
 of ebony and rich padouk or ruby-wood. The four 
 small detached studs to be of ebony inlaid with box¬ 
 wood. 
 
 The lower compound medallion to be formed 
 in the manner above described. The four medallions 
 forming the quatrefoil can have their marginal-rings 
 of ebony or rosewood ; their second rings of satin- 
 wood or boxwood, studded with purple-wood or 
 dark padouk; their third and fourth rings of ebony 
 
PROCESS OF GEOMETRICAL INLAYING 93 
 
 or rosewood and ivory; and their centre-studs of 
 calemberg or dark laburnum. The central medallion 
 can be carried out in the manner just described for 
 the four smaller medallions, with the exception of 
 its centre-stud, which should be of bright red 
 padouk or thuja, to contrast with the other greenish 
 centre-studs. The four detached studs to be of 
 ebony. 
 
 Plate XI .—In this plate are given two designs 
 for very elaborate compound medallions, which need 
 only be inlaid in very special pieces of decorative 
 furniture. The upper example can have its four 
 outer medallions formed with marginal-rings of 
 ebony; their second rings being of canary-wood 
 or bright yellow fustic; and their inner rings of 
 ebony. The grounds within these inner rings can 
 be of light boxwood, having the foliation-piece of 
 violet-wood or purple-wood; and the centre-studs 
 should be of ivory, as indicated. The central 
 medallion to have its marginal-ring of ebony; its 
 ground of light boxwood ornamented with ebony 
 studs, partly cut away, and joined together by a 
 narrow ebony, ring. Within this are three rings, 
 formed of ivory, ebony, and satin-wood, and a centre- 
 stud of violet-wood or very rich padouk. 
 
 The lower compound medallion can have its 
 four outer medallions formed with marginal-rings 
 of ebony, having the two inner rings of holly and 
 
94 
 
 DECORATIVE TURNING 
 
 rosewood. Their grounds, within these rings, to be 
 of choice laburnum or rich satin-wood studded with 
 ivory; the foliation-pieces to be of ivory inlaid 
 with ruby-wood or rich padouk; and the centre- 
 studs of ebony. The larger central medallion to 
 have its marginal ring of ebony, having its inner 
 rings of holly and rosewood ; its ground to be 
 choice thuja studded with ivory; and its foliation- 
 pieces of ivory inlaid with green ebony or dark 
 calemberg. The centre-stud to be of ebony, ivory, 
 and rich ruby-wood. A compound medallion of this 
 design admits of an endless variety of combinations. 
 
 Plate XII .—In this plate are given two designs 
 for compound, sexfoil medallions, which are very 
 suitable for particularly rich decoration, and where 
 large medallions are required without the produc¬ 
 tion of an undesirably heavy effect. 
 
 The upper compound medallion can have its 
 six outer medallions with marginal-rings of ebony, 
 having inner rings of boxwood. The grounds, 
 within these rings, to be of rich thuja or padouk, 
 or, if a subdued effect is desired, of amboyna, calem¬ 
 berg, or green ebony. The foliation-pieces to be 
 of ivory or holly, and the central studs of ebony 
 or rosewood. The larger central medallion to have 
 its marginal-ring of ebony ; its adjoining broad ring 
 of satin-wood studded with violet-wood or rosewood ; 
 its inner, narrow ring of ebony ; and its ground of 
 
PROCESS OF GEOMETRICAL INLAYING 95 
 
 ruby-wood, having the sexfoil of ivory or holly, 
 and the centre-stud of ebony or rosewood. 
 
 The lower compound medallion is designed to 
 furnish a favourable field for the display of harmonies 
 of analogy. The six outer medallions to have their 
 marginal-rings of ebony ; and within these the three 
 zones can be inserted in any three woods of analogous 
 colours and graduated tones, such as satin-wood, 
 deep canary-wood, and zebra-wood ; tulip-wood, thuja, 
 and Brazil-wood; or fustic, laburnum, and green 
 ebony or dark calemberg. In all cases the centre- 
 studs to be of ebony. Within the ebony marginal¬ 
 ring of the larger, central medallion, the same analo¬ 
 gous colour-treatment is to obtain ; but the graduated 
 colours in the ground of the medallion should 
 contrast with the graduated colours of the outer 
 medallions ; that is, if the harmonies of red obtain 
 in the outer medallions, the harmonies of green 
 should be adopted for the central ground, and vice 
 versa. The colours in the trefoil, graduated in 
 themselves, should contrast with those of the ground ; 
 its marginal-rings to be of ivory. With a careful 
 selection of woods of equally graduated tones, and 
 with an equally careful selection of contrasting 
 colours for the inner and outer medallions, a very 
 artistic and refined result can be produced. 
 
 Plate XIII .—In the upper compound medallion 
 shown in this plate, a much more favourable field 
 
DECORATIVE TURNING 
 
 96 
 
 for the display of harmonies of analogy is offered to 
 the turner than that furnished by the lower medallion 
 in the preceding plate. In its design, an entirely 
 different treatment obtains in the four outer medallions 
 from that presented by all the medallions previously 
 described : this difference exists in the eccentric dis¬ 
 position of their inlays, producing a shell-like effect. 
 Respecting the selection and graduation of the 
 coloured woods, the suggestions given in the pre¬ 
 ceding description should be observed; but in the 
 present case four gradations are introduced in the 
 outer medallions, which will call for a more careful 
 selection of the coloured woods. It may be re¬ 
 marked that this treatment may be abandoned in 
 favour of contrasting effects, secured by the alternate 
 introduction of contrasting woods in the eccentric 
 inlays: this will be fully realised by the turner 
 who has read our manual up to this point. The 
 central medallion calls for no special comment, its 
 colour-treatment being dictated by that adopted for 
 the outer medallions. 
 
 The lower compound medallion introduces another 
 departure in decorative treatment; namely, the in¬ 
 troduction of lamination in the grounds of the four 
 outer medallions. The mode in which these laminated 
 inlays are produced will be understood on referring 
 to the description of longitudinal lamination and its 
 attendant illustration, Fig. 3, given in Chapter IV. 
 
PROCESS OF GEOMETRICAL INLAYING 97 
 
 The marginal-rings of the four outer medallions to 
 be of ebony, and the inner rings of satin-wood 
 and ebony; their grounds to be of laburnum or 
 calemberg; and their laminated bars of rosewood, 
 ivory, and ruby-wood or the richest padouk. The 
 central medallion to have its marginal-ring of ebony ; 
 its ground of thuja, studded with ivory; its foliation- 
 pieces of ivory and green ebony ; and its central disc 
 of ebony, ivory, and ruby-wood, as indicated. 
 
 Plate XIV .—This plate illustrates the colour- 
 treatment of medallions which have to be inserted 
 in a dark wood, such as walnut or mahogany. For 
 such a purpose the marginal-rings should in all 
 cases be lighter than the wood in which they are 
 inserted, if richness of effect is desired ; but when 
 a subdued effect is aimed at, and the wood is not 
 very dark, the marginal-rings may be of ebony. 
 The medallion illustrated as inserted in walnut 
 may have its marginal-ring of boxwood or satin- 
 wood ; its broad black ring of ebony, studded with 
 ivory or holly; its third ring of boxwood ; and its 
 ground of selected purple-wood. The foliation- 
 pieces and their connecting-ring to be of satin-wood. 
 The inner disc to be of ebony, laburnum, and ruby- 
 wood or rich padouk. 
 
 Plate XV .—-The compound medallion in this 
 plate is another illustration of insertion in a dark 
 wood ground. The marginal-rings of the outer 
 
 G 
 
9 8 
 
 DECORATIVE TURNING 
 
 medallions to be of boxwood; the second rings 
 of ruby-wood; the third, narrow black rings of 
 ebony, and the grounds of tulip-wood. The 
 foliation-pieces to be of ivory or holly and the 
 centre-studs of green ebony. The central medallion 
 to have its marginal-ring of ebony; its adjoining 
 ring of boxwood ; and its ground of rich thuja, or, 
 if a more decided contrast is desired, of choice 
 laburnum or light calemberg. The centre-stud to 
 be of ebony, and either ruby-wood or calemberg to 
 contrast with the wood selected for the ground. 
 
 Plate XXI .—-This plate presents two medallions, 
 photo-engraved, and printed by the “ three-colour 
 process,” from actual examples of geometrical in¬ 
 laying, executed in the lathe by Mr. George C. 
 Audsley, of Taplow, Bucks, an expert amateur 
 turner. The medallions are formed of ebony, box¬ 
 wood, laburnum, holly, padouk, tulip-wood, and 
 king-wood—all of which can be readily distinguished 
 in the plate—and are inserted in a piece of quartered 
 oak. In accuracy and beauty of execution they 
 leave nothing to be desired and they clearly show 
 to what perfection an amateur turner can carry this 
 fascinating branch of artistic and decorative turning. 
 
CHAPTER VI 
 
 THE PRACTICAL APPLICATION OF 
 POLYCHROMATIC AND DECORA¬ 
 TIVE TURNING 
 
CHAPTER VI 
 
 THE PRACTICAL APPLICATION OF POLYCHRO¬ 
 MATIC AND DECORATIVE TURNING 
 
 I N this chapter the turner will find a few remarks 
 on the practical application of works of artistic 
 and decorative turning, chiefly with respect to their 
 employment in the decoration and ornamentation of 
 useful objects and articles of household furniture, 
 such as are represented in the plates which illustrate 
 the subject. Were the works produced by the pro¬ 
 cesses and means described, and also fully illustrated 
 in the preceding chapters, confined to the practically 
 useless, and rarely beautiful, class of objects uni¬ 
 versally produced by the purely mechanical and com¬ 
 plicated operations of the high-class lathe, with 
 its equally complicated automatic appliances, there 
 would, we venture to say, be little to induce the turner 
 to devote his time and skill, not to mention the 
 exercise of his artistic sense and taste, in their fabri¬ 
 cation. 
 
 The class of turnery treated of in the present 
 manual does not encourage the production of taste¬ 
 less and useless objects requiring to be protected by 
 
 101 
 
102 
 
 DECORATIVE TURNING 
 
 “glass-shades”; but, in an entirely contrary direction, it 
 opens up a wide field for the exercise of ingenuity 
 and handicraftsmanship in the adornment of articles 
 of everyday use. Furniture of the plainest and most 
 severe character, and even of the least expensive woods, 
 can be gemmed , so to speak, by products of the lathe. 
 A glance at the five plates which accompany the 
 present chapter will be sufficient to indicate to the 
 reader the direction in which this gemming or adorn¬ 
 ment can be applied, but no illustrations could convey 
 any adequate idea of the richness and beauty of the 
 effect it produces in actual work ; provided, of course, 
 that the lathe-work is itself rich and effective in colour. 
 
 We may, in the first place, say a few words 
 respecting the production of independent articles of 
 utility. An example of the class of articles alluded to is 
 furnished by the candlestick represented in Plate V., 
 and it will be quite obvious to the turner that a 
 great variety of beautiful candlesticks for the adorn¬ 
 ment of the sideboard, mantelpiece, and dining-table, 
 could be made by the use of lamination and studding, 
 after the manner there illustrated. As all the processes 
 of decorative turning call for favourable fields for 
 the display of their special and unique colour-effects, 
 uniform and flat surfaces are always to be preferred to 
 those which assume more or less complex forms. 
 Mouldings, which become highly effective under the 
 process of lamination, as already shown, are the only 
 
PRACTICAL APPLICATION 
 
 103 
 
 exception to the rule just advanced. It must be quite 
 evident to any one versed in the principles of decorative 
 art, that no elaboration of form, in any single wood, 
 could produce the rich effect of the lamination indicated 
 on the shaft of the candlestick or on the cylinders 
 represented in Plate IV. A candlestick, which can 
 be made in many different forms, is only one of the 
 numerous useful and ornamental articles that can be 
 produced by the ingenious turner, under the decorative 
 methods described in the present treatise. Beautiful 
 stands for valuable works of art, and for flower-holders 
 and electric lamps for table-decoration; circular boxes 
 for holding jewellery, and for the toilet-table and 
 many other uses ; watch-stands, ring-stands, card-trays, 
 medallion and photograph-frames, and numerous other 
 articles, can be produced in many varied forms, taste¬ 
 fully coloured, and more or less richly decorated with 
 studding and geometrical inlaying. Lamination, of 
 course, appearing in the formation of the mouldings, 
 and in such places as lend themselves to its legitimate 
 introduction. 
 
 But by far the most dignified role that can be 
 played by the decorative turner’s art is that which 
 is performed in beautifying and adding interest to 
 household furniture. In this direction the amateur 
 can spread himself, and proudly and permanently 
 display his taste and handicraft. The amateur, and, 
 indeed, the professional turner, may not be able to 
 
io 4 DECORATIVE TURNING 
 
 construct the articles of furniture he proposes to de¬ 
 corate, but he can either select suitable pieces already 
 made, or design and have such pieces specially made 
 of some comparatively inexpensive, solid wood, such 
 as oak, elm, or walnut. We may remark that a fine 
 quality of oak is in all respects an eminently satis¬ 
 factory wood for general adoption. When oak of 
 a light or medium tint is used, the decorative studding 
 will have to be dark, and the inlaid medallions must 
 have their marginal-rings of ebony or rosewood, so as 
 to be clearly defined against the oak ground. But, 
 on the other hand, when dark walnut is used for the 
 furniture, the studding must be sufficiently light in 
 colour to be effective, and the inlaid medallions should 
 have their marginal-rings of some light wood, such as 
 boxwood or satin-wood, just as are represented in the 
 medallions illustrated in Plates XIV. and XV. (repro¬ 
 duced from drawings on actual walnut panels). It 
 here may be remarked, that in the event of any of the 
 medallions represented with black marginal-rings in 
 the foregoing plates being selected, on account of 
 their designs, for insertion in walnut or any other 
 dark-coloured wood, it would be necessary to change 
 their marginal-rings to some light-coloured wood, 
 and that would call for a complete re-arrangement of 
 the woods required to develop their designs in effective 
 colouring. Such a course would, however, not be a 
 difficult matter to any one who has studied the system 
 
PRACTICAL APPLICATION 
 
 J °5 
 
 of colouring set forth in all our remarks and descriptions 
 throughout the preceding chapters. 
 
 We may conclude with a few remarks on the 
 systems of decoration presented by the suggestive 
 designs given in the five attendant plates. 
 
 Plate XVI .—'The design given in this plate is 
 for an occasional-table, the top of which is hexagonal, 
 and decorated with six medallions, properly of different 
 designs, although three designs, arranged alternately, 
 would look well. The medallions must be inlaid 
 perfectly flush with the surface of the top. The 
 six, shaped supports have, in addition to the circular 
 medallions, decorations of close and open pattern- 
 studding, which add very much to the general effect. 
 All medallions should be polished. 
 
 Plate XVII .—The design given in this plate is 
 for another occasional-table of a different form to 
 that above described. The top is circular, with the 
 addition of four semicircular projections for the 
 reception of the outer, circular medallions, in the 
 manner shown. In the centre of the top is a rich, 
 circular medallion, surrounded with plain ebony or 
 rosewood studs. In finishing the surface, the studs 
 have to be inserted and carefully dressed flush before 
 the medallions are inserted. The studs will accord 
 with the finished surface of the top, but the medal¬ 
 lions should be polished to appear as gem-like as 
 possible. The four, shaped supports are decorated 
 
106 DECORATIVE TURNING 
 
 with single circular medallions and two straight rows 
 of plain ebony or rosewood studding: the latter must 
 be treated in the manner directed for the studding of 
 the top. 
 
 Plate XVIII .—The design in the present plate 
 is for a hall chair, preferably constructed of oak. 
 In addition to the decorative turning, it presents 
 ordinary plain turning enriched with plain studding 
 of ebony or rosewood, which lifts it somewhat out 
 of the commonplace, everyday class of turnery. The 
 faces of the square portions of the front legs are 
 decorated with small compound medallions and de¬ 
 tached studs: these, however, are not of great im¬ 
 portance in the design, and may be omitted. The 
 back of the chair is formed specially for the effective 
 display of decorative turning. The centre of the 
 cross is occupied by a richly-ornamented medallion, 
 about 4 inches in diameter, while four medallions, 
 about 21 inches in diameter, decorate the shaped 
 arms. The top-rail is decorated with three medal¬ 
 lions, the central one being about 2§ inches, and the 
 side ones about 2 \ inches in diameter. While the 
 oak-work will be left in its natural state, or lightly 
 stained and either oiled or waxed, all the medallions 
 should be brilliantly French-polished to produce the 
 required effect. 
 
 Plate XIX .—The design given in this plate is for 
 a hall arm-chair, preferably constructed of oak. The 
 
PRACTICAL APPLICATION 107 
 
 front legs are turned, studded, and inlaid with circular 
 medallions of a simple treatment. If desired, the 
 turned arm-pieces may be made separate from the 
 legs, and laminated with thin plates of ebony and 
 bands of some warm-coloured wood, studded, as 
 indicated. The upper surface of the arms may be 
 decorated with medallions placed directly over the 
 arm-pieces or supports. The seat-rails to be pattern- 
 studded with rosewood and light boxwood, in the 
 manner shown. The upper portions of the back legs 
 to be plain-studded on their fronts only. The knobs 
 to be turned separately, and laminated if considered 
 desirable. The back is purposely designed, in its 
 quaint treatment, to effectively display five medallions : 
 these are shown about 3! inches in diameter—a very 
 satisfactory size—-but can be made longer if desired, 
 when it will only be necessary to increase the height 
 of the back as required. The top-rail is enriched 
 with a single medallion, of about 4! inches in 
 diameter, which forms a crowning feature to the 
 system of decoration. As in the case of the chair 
 previously described, the oak-work will, perhaps, be 
 left in its natural colour, or lightly stained and oiled 
 or waxed: but if brilliancy of effect in the decoration 
 is desired, the inlaid medallions must be highly 
 polished. 
 
 Plate XX .—The design in the present plate is 
 for a hall or billiard-room settee in oak. The front 
 
108 DECORATIVE TURNING 
 
 legs are partly turned, and studded and inlaid with 
 medallions, in the manner indicated. The seat-rails 
 are ornamented with open pattern-studding of ebony 
 or some dark wood, such as padouk, bar-wood, ruby- 
 wood, or green-ebony. The seven upright pieces of 
 the back are shaped to receive their circular medal¬ 
 lions in an artistic manner, but any other shape 
 can be adopted, according to taste, so long as it 
 favours the system of decoration. Two patterns only 
 are shown in the design ; but all the seven medallions 
 may, with advantage, be of different patterns; this, 
 however, is purely a matter of taste. The slight in¬ 
 troduction of plain-studding in the lower portion of 
 each upright is, perhaps, sufficient, but additional rows 
 can be inserted if a greater richness is desired- The 
 top-rail is boldly decorated with seven compound 
 medallions: these may be of simple concentric 
 patterns, as merely indicated, or of any degree of 
 elaboration the turner may prefer : the pattern shown 
 in the upper medallion in Plate XI. would be 
 highly suitable and quite effective. The decoration 
 is completed by the medallions inserted in the heads 
 of the back legs. The mode of treating the oak- 
 work and the medallions should, in the present case, 
 be similar to that recommended for the finishing of 
 the chairs described above. 
 
 While the designs given in the five plates, above 
 commented on, show what may be considered the 
 
PRACTICAL APPLICATION 109 
 
 extreme use of decorative turning (excluding the process 
 of lamination) in the adornment of such pieces of 
 furniture as are specially prepared for its more or less 
 lavish display, it is right for us to point out the fact 
 that there is no necessity for anything approaching so 
 elaborate a disposition; even one good medallio^ 
 associated with some plain- or pattern-studding, will 
 frequently be found to effectively and artistically 
 decorate a suitable piece of furniture. 
 
 THE END 
 
 Printed by Ballantyne, Hanson & Co. 
 Edinburgh &= London 
 
Plate I 
 
✓ 
 
 
Plate II 
 
Plate III 
 

 
Plate !V 
 
Plate V 
 

 
 
Plate Vi 
 

 
 ✓ 
 
 
 
 
 
 
Plate VII 
 

 
 
 
 
Plate VIII 
 

Plate IX 
 
Plate X 
 
Plate Xi 
 

 
 
 
 
 
 
Plate XII 
 

 
 
 
 / 
 
 
 
 
 
 
 
 
 
 
 
 
Plate XIII 
 
Plate XIV 
 
Plate XV 
 
Plate XVI 
 
 1 I I I I I I I I I L 
 
✓ 
 
Plate XVII 
 
 J i i 1 i 'I 
 
Plate XVIII 
 
 I_i_l_i_i_i_I_i—i—I—i—i—I 
 
Plate XIX 
 
Plate XX