books 
 TT 
 194 
 R4 
 1876 
 
 i\'::. 
 
TUB 
 
 CABINET MAKERS, 
 
 AND 
 
 ©MIEIS' (CdDMPMIKDW 
 
 3 
 
 9 
 
 CONTAINING 
 
 l^ulfs an'tj Instructions 
 
 IN THE 
 
 ART OF CARPENTRY, JOINING, CABINET 
 MAKING, AND GILDING; 
 
 VENEERING, INLAYING, VAENISHING AND POLISHING, 
 DYING AND STAINING WOOD, IVORY, &c., 
 
 tHE BEST METUODS OF PREPARING 
 
 AND A VARIETY OF VALUABLE RECEIPTS; 
 
 WITH ILLUSTRATIONS SHOWING THE VARIOUS METHODS 
 
 OF 
 
 DOVE-TAILING, MORTICE AND TENONDING, 
 
 &c. &c. &c. 
 
 BY F. REINNEL. 
 
 AECHITECT AND SUHVEYOR. 
 
 LONDON : 
 Published by Brodie & Middleton, 79, Long Acre, W.C 
 
DOVE-TAILING. 
 
 «H 
 
 MOST ICE AND TEN ON DING. 
 
 THEeSTTYCEMTER 
 
INDEX. 
 
 PART I.— CARPENTRY. 
 
 Pase 
 oieneral Directions for Sea- 
 soning and Preserving 
 
 Timber 9 
 
 'Charring Timber 12 
 
 Another MetLod 13 
 
 A Composition for Weather 
 Boarding, Paling, &c. . . 13 
 
 Another 14 
 
 A superior Composition for 
 the same purpose 14 
 
 Page 
 A Composition for Preserv- 
 ing the Joints of Framing 
 exposed to the action of 
 
 the Weather 14 
 
 Another 14 
 
 To Render Wood Incom. 
 
 bustible .... 14 
 
 To Preserve Iron Work, as 
 Bolts, Straps, &c 15 
 
 PART II.— JOINERT. 
 
 Polish for Wainscot Work 18 
 Oil for Wainscot Work .... 19 
 Another Oil to Heighten 
 
 the Colour 19 
 
 Polishing Oil for Mahogany 20 
 To Clean up Deal Panels,&c 20 
 To makeGlass orSandPaper 20 
 
 Stone Paper 21 
 
 Glue 21 
 
 Glue to hold against Fire or 
 
 Water 23 
 
 To make a very strong Glue 24 
 To Glue Joints 24 
 
 To makeCement forStopping 
 Holes andFlaws inWains- 
 
 cot, &c 25 
 
 Another Cement much bet- 
 ter ...25 
 
 Of the different Methods of 
 
 Joining Timber .. 25 
 
 Dove-tailing 26 
 
 Mortice and Tenonding. ... 29 
 
 Grooving and Lapping 31 
 
 Bending and Glueing up . . 32 
 
 Scribing 33 
 
 Finishing of Joiner's Work 34 
 
 PART III.— CABINET MAKING. 
 
 General Remarks onDcsigns 
 
 for Cabinet Work 37 
 
 ColouredWoods, Metals,&c.39 
 
 Framing 40 
 
 V'enccrliig, Banding, &c. .. 42 
 
 To Raise Old Veneers 43 
 
 Jnlaying, &c. &c 44 
 
 Inlaying with Shaded Wood47 
 To Imitate Inlaying of Silver 
 Sti'inge, &c 48 
 
 A Glue for Inlaying Brass 
 
 or Silver String.?, &c 43 
 
 To Polish Brass Ornaments 
 
 Inlaid in Wood 49 
 
 ToWasli Brass Figures over 
 
 witii Silver 49 
 
 To Gild Metal 49 
 
 Carving, Reeding, &c 49 
 
 Moulding Ornaments, Fi- 
 gures, &.O. in Imitation of 
 Curving 50 
 
iv. 
 
 DYING. 
 
 Fine Black 53 
 
 Another 64 
 
 Fine Blue 54 
 
 Fine Yellow ,...55 
 
 Bright Yellow 55 
 
 Bright Green 55 
 
 Another 55 
 
 Bright Eed 55 
 
 Another 56 
 
 Purple 56 
 
 Orange 56 
 
 Silver Grey 57 
 
 Liquid for Brightening and 
 Setting Colours 57 
 
 STAINING. 
 
 To make Imitation Eose- 
 
 wood 58 
 
 ■ Brown Vein Stain, or Imi- 
 tation of Rosewood .... 58 
 
 Brown Stains to Imitate 
 Mahogany 58 
 
 To Stain Beech a Mahogany 
 Colour 59 
 
 To give any Close-grained 
 Wood the appearance of 
 Mahogany 59 
 
 To take Ink out of Maho- 
 gany 59 
 
 Easy Method of Darkening 
 Mahogany GO 
 
 Imitation of Ebony 60 
 
 Black Stain, or Imitation of 
 Ebony GO 
 
 Black Stain for immediate 
 use GO 
 
 To Imitate King or Botany- 
 bay Wood 61 
 
 Red Stain forBedsteads and 
 Common Chairs 61 
 
 To Improve the Colour of 
 any Stain 61 
 
 To Stain Horn in Imitation 
 of Tortoiseshell 61 
 
 How to Weld Tortoiseshell 62 
 
 To Stain Ivory or Bone Red 0:2 
 Ditto ditto Black 62 
 
 Ditto ditto Green 63 
 
 Ditto ditto Blue 63 
 
 Ditto ditto Yellow 63 
 
 To Soften Ivory 63 
 
 To giveWood a Gold, Silver, 
 or Copper Lustre 6J 
 
 POLISHING. 
 
 The French Method of Po- 
 lishing 64 
 
 Cheap Oil Polish 64 
 
 To Polish Ivory , .,65 
 
 To Polish any work of Pearl 65 
 To Polish Tortoiseshell or 
 
 Horn 65 
 
 French Polishing 65 
 
 The true French Polish . . 66 
 
 French Polish 66 
 
 German Polish 66 
 
 An improved Polish 67 
 
 Watjiproof Polish 67 
 
 Bright Polish 67 
 
 Strong Polish 68 
 
 Directions for Cleaning and 
 
 Polishing Old Furniture 68 
 To take Bruises out of Fur- 
 niture 6& 
 
 To make Furniture Paste.. 6& 
 
 Polishing Paste 60 
 
 Another, for Light Coloured 
 
 Woods 69 
 
 Furniture Oil 70 
 
 Another 70 
 
V. 
 
 VARNISHING. 
 
 Tnq)entiiie 71 
 
 Varuish for Furniture 71 
 
 An excellent Varnish for 
 
 Cabinetwork 71 
 
 To make Gold Varnish 72 
 
 A Yarnish for Wood that 
 
 will resist Boiling Water 72 
 To Varnish a piece of Fur- 
 niture 73 
 
 To Polish Varnish 73 
 
 To keep Brushes in order 74 
 
 PART IV.— GILDI^■G. 
 
 The materials to be pro- 
 vided with 75 
 
 Size for Oil Gilding 75 
 
 A Size for prepariugFrames 76 
 To prepare Frames or Wood- 
 work 76 
 
 Polishing 76 
 
 Gold Size 77 
 
 Another 77 
 
 To Prepare your Frames 
 
 for Gilding 77 
 
 Laying on the Gold 78 
 
 Burnishing 79 
 
 Matting or Dead Gold .. . .79 
 
 Finishing 79 
 
 To make Shell Gold 80. 
 
 An excellent Receipt to 
 Burnish Gold Size .... 80 
 
 To Clean Oil Paintings 80 
 
 Gold Varnish for Leather. . 80 
 
 To Gild Leather for Border- 
 iugDoors,FoldingScreens, 
 &c 81 
 
 To Gild the Borders of Lea- 
 ther Tops of Library 
 Tables, Work Boxes, &c. 81 
 
 To make Paste for Leather 
 work 8J 
 
 To Paint Sail Cloth, &c. ...82 
 
 Oil Gilding 83 
 
 To Gild Oil Painted Woik..84 
 
 To Imitate Mahogany 84 
 
 To Imitate Wainscot 84 
 
 To Imitate Satin Wood ...84 
 To Stain Musical In- 
 struments; — Crimson — 
 Purple — Fine Black — 
 
 Fine Green — Bright 
 
 Yellow 85 
 
 Curious mude of Silvering 
 Ivory 86 
 
 lustruclions for repairing 
 Paintings: — Damaged 
 Surface — Repairing — 
 Lining and Transferring .86 
 
 To Clean Tapestry, &c. ...89 
 
P R EFAC Ee 
 
 In issuinp; another edition of tlie " Carpenters, 
 Joiners', and Cabinet Makers Companion" the author 
 {.vails himself of the present opportunity of thanking hi& 
 numerous subscribers and the trades in general, for the 
 favourable opinions and support bestowed thereon, and 
 trusts that the present and future efforts to render the 
 work of permanent practical utility to those who consult 
 its pages, to meet with a continuance of that support it 
 has '-0 long received. 
 
 ¥, REINNEL. 
 
 WuUhamstoiv. 
 
THE 
 
 CABINET MAKERS, 
 
 PART I.-CARPENTRY. 
 
 The department of the carpenter is distinguished from 
 that of the joiner^ in that it regards the substantial parts 
 of the edifice, such as the framing of roofs and partitions, 
 and, in fact, all that contributes to the solidity and 
 strength of a building ; while that of the joiner is more 
 particularly directed to the convenience and ornamental 
 parts : it is hence evident that the carpenter should be 
 well acquainted with the strength and stress of the mate- 
 rials he uses, which are for the most part in great masses; 
 hence he should be careful not to overload his work with 
 timber of greater magnitude than is absolutely necessary, 
 though at the same time he should study economy in 
 their use ; he should also be able to ascertain the dimen- 
 sions necessary, without weakening the building, and 
 endeavour, by steering a mean course, to produce the 
 maximum of strength, without overloading the several 
 parts of his frames with too much timber; or, by putting 
 too little, endanger the safety of the whole fabric. Thus 
 the art of carpentry depends greatly on these two con- 
 siderations, viz. the strength of the materials, and the 
 
6 
 
 stress or strains they are subject to ; these strains may 
 be thus— Jirst, laterally, as when a tenon breaks off, or a 
 rafter gives way close to the wall ; secondly, the strain 
 may be in its length, when it is drawn down or pushed 
 in its length as a king post, where the strain tends to 
 separate the fibre of the wood by pulling ; hence, knowing 
 the strength of the timber to resist such efforts, we are 
 enabled to calculate the dimension necessary to be given 
 it, to resist the probable stress it may have to overcome ; 
 all tie-beams are subject to this strain : thirdlu, the strain 
 may act by pressure, or the timbers may be compressed 
 in length; this is the case with all pillars, posts, or struts; 
 and in this case, according to the length of the post, &c., 
 it must be of a sufficient diameter to resist the weight 
 which it has to support. Strains are often compound, as 
 a joist or lintel when placed horizontal, or obliquely as in 
 a rafter ; or many of those strains may be combined, as 
 in circular or crooked work. All these things are to be 
 particularly attended to. 
 
 The various kinds of timber used amongst carpenters 
 ive as follow: — Oak, fir, elm, ash, chesnut, and beech. 
 A few observations on each will, perhaps, guide him in 
 his selection to appropriate those to the several parts of a 
 building to which they are best adapted ; and, first, of 
 Oak : — It is not necessary here to describe this timber, 
 as every carpenter must be acquainted with it ; we shall, 
 therefore, only observe, that it is the most ponderous, as 
 well as the hardest grain and firmest texture of any 
 timber used in building ; but from its great weight, and 
 difficulty of working, it is but rarely used, except where 
 very great strength is required. In selecting it, however, 
 we should be careful that it is well-seasoned, as it is very 
 
apt to warp or cast ; and the workinan should be careful 
 not to let any of the sappy parts be used, as they soon 
 decay, and consequently are unfit for the purposes where 
 this timber is required. The next in order is Fir, and this 
 is the most generally useful of any timber for buildings, 
 as we can procure scantlings of much greater dimensions 
 than any other, and it has many advantages, as with a 
 considerable degree of strength it combines a lightness ol 
 texture that is highly advantageous ; and, also, that it ia 
 uot subject to cast so much as most other timbers ; it 
 possesses a considerable degree of elasticity, and will bend 
 a great deal before its strength becomes perceptibly im- 
 paired, consequently very proper for framing of roofs, 
 floorings, &c. and the grain in general runs straight, and 
 where it is sheltered from the vicissitudes of wet and dry, 
 or protected from the weather, it will last a very consi- 
 derable time ; but for those parts of a building that are 
 exposed to the weather, as window frames or cills, door 
 posts, or any other part where the rain has access, oak is 
 hy far the best material, and will endure much longer 
 than any other timber ; and for piles, and such like, that 
 are constantly under water, it in time gets as hard as 
 ebony, and becomes in appearance like ebony itself ; a 
 striking instance of which, we have in those piles called 
 Conway stakes, driven into the bed of the Thames, near 
 Chertsey, in Surrey, supposed in the time of Julius Ctesar, 
 which are of suflFlcient hardness to be used for purposes to 
 ■which ebony and other hard woods are applied, such as 
 the stocks and blades of squares, and the heads of gauges. 
 Elm is a wood but little used in building, being so very 
 liable to twist and warp; it is chiefly used as weatln' 
 
8 
 
 "boarding for barns, &c., and in that situation it is found 
 to resist, (perhaps as well, or better, than any other wood,) 
 the alternate heats of the summer sun, and the rains of a 
 wet winter, particularly when coated with common paint 
 or other composition. 
 
 Ash is a very tough wood, but little used in building, 
 more, perhaps, from the demand among wheelrights 
 and millwrights, than from any inferiority to many other 
 woods, as it is not very subject to warp, and is very 
 elastic and tough, as well as of, in general, a straight and 
 even grain. 
 
 Chesnut is a wood scarcely inferior to oak for many 
 purposes, being extremely durable, and not subject to 
 decay, of generally an even grain and free from knots or 
 curls, very tough, and of dimensions sufficient for most 
 purposes of carpentry. Beams that have been taken 
 from old buildings of more than a century standing, have 
 been found as sound, and perhaps harder than when first 
 placed in their original situation, and some posts that 
 have formed a part of the same building, which have 
 been always exposed to the different degrees of wet and 
 dry, seemed little or nothing the worse, and, to appear- 
 ance, as sound as when first the building was erected. 
 
 Beech is the last wood I shall here notice : it possesses 
 qualities that recommend it for strength, evenness of 
 grain, and toughness ; it is not surpassed by any other 
 English timber ; but if exposed to the action of the at- 
 mosphere, it is not found to stand so well as many other 
 woods ; it is, however, particularly applicable to sweep 
 work, and is on that account much used by millwrights, 
 and might be used to many purposes of building with 
 
considerable advantage ; it is also particularly adapted foi 
 pins in framing and doweling boards together, as it is not 
 brittle or liable to snap, and drives v/ell. 
 
 General Directions for Seasoning and 
 Preserving Tinaber. 
 
 On the care we take in seasoning timber previous to 
 applying it to the purposes of building, depends in a great 
 measure the strength and durability of the structure we 
 erect, for green or unseasoned timber must inevitably not 
 only shrink and warp after your framing is put together, 
 making the several joints loose, and straining the several 
 parts of the framing, but also from due care not being 
 taken in this particular, the dry rot is almost an inevitable 
 consequence, bringing on premature decay in the structure ; 
 I would therefore recommend the following observations 
 to the notice of the builder : first, that the timber should 
 be felled at the proper season ; secondly, that a sufficient 
 time is given it before it is cut into the necessary scant- 
 ling; and thirdly, that when thus cut it should be stacked 
 so as the wind and air should have sufficient power over 
 it, to dry up as far as possible the remaining moisture 
 and sap that it contains; and on the first head, that 
 timber which is felled in autumn is always the best, as 
 at that time the sap is low, and consequently less of the 
 juicy qualities are present, and the timber is consequently 
 of a firmer texture, and not so subject to the dry rot ; 
 and though the objection to this season of the year 
 (particularly with regard to oak) may have some weight, 
 as the bark is not so easily separated, yet with regard to 
 the art of building, though the timber may be somewhat 
 
10 
 
 enhanced in price, still we ought r.ot to let the quality of 
 it be deteriorated from this consideration, which, in my 
 opinion, is but a secondary one, particularly as many 
 suggestions have been brought forward, which, though not 
 generally adopted, would be found not only advantageous 
 to the timber itself, but the bark would be found superior 
 in quality if means were adopted to bark the trees in the 
 spring as they stand, and let them remain till the autumn 
 to be felled ; and I am confident some mechanical contri- 
 vance might be found to perform this operation with as 
 great facility as the present mode in use, after the tree is 
 felled. 
 
 With regard to the second head, the tree should remain 
 at least till the following spring ; but if longer the better, 
 before it is sawn into scantling as timber, as time should 
 be given for the action of the wind and sun to dry any 
 moisture that remains from the sap contained in the pores 
 of the wood. If possible, it should remain on the spot 
 where it is felled ; but, at any rate, no builder should cut 
 his timber immediately it is drawn into his yard, unless 
 previously laid some time in the field. 
 
 Lastly, in the third place, after the timber is cut into 
 such planks and scantlings as it is wanted for, it will be 
 necessary to let it dry further, and for which purpose we 
 should expose it to such action of the air as will completely 
 season it for use : this process should be, at the very 
 xeast, six months ; and as every builder has a different 
 method of stacking, so it is necessary to select that which 
 seems best adapted to the purpose intended. And first, 
 with regard to planks, the general method is, as soon as 
 cut, to nail a piece of wood at each end, to prevent them 
 splitting, and then place them upon each other with a 
 
11 
 
 riece of pantile lath or other similar piece ofwood between 
 each, across the plank ; or else place them side by side at 
 a distance apart, so that the second tier or row, when laid 
 on the first, shall rest only on the edges of the row beneath, 
 and thus piled one above another, so that the air may 
 have a free passage throughout the whole height of the 
 stack, which is, perhaps, the best way, as the planks will 
 not be so liable to warp in their length, though this 
 method certainly takes up more room than the first. 
 Boards are best seasoned by being placed on end resting 
 between racks at the upper ends ; and the same may be 
 said with scantling of different dimensions, as all we have 
 to do is to place them in such a situation that the air 
 shall have free access to theni, to dry up, as far as possible, 
 the remaining sap or moisture they may have contracted; 
 for if timber after being cut is suffered to lay close together, 
 without admitting the free circulation of air, the effect 
 will be, that tlie juices will cause a degree of heat to be 
 evolved, which produces fermentation, and consequently 
 % kind of premature decay, and which among workmen 
 is called doaty timber, and which causes it to lose that 
 firmness of texture which is natural to it, and become 
 short or brittle ; as, also, to be liable to decay much faster 
 than timber properly seasoned. And here I shall take 
 occasion to observe, that from the natural growth of 
 timber, which consists of alternate layers of a spungy 
 matter, and a harder substance which appears as rings 
 arranged round the centre of the tree, that we must, 
 where possible, consult the natural structure of timber to 
 srrange it in the best possible manner to ensure strength 
 and solidity : now these hard layers, or rings, are tech- 
 nically called t/ie beat of the wood, and according as this 
 
12 
 
 is placed in our framing, so much the greater or less 
 
 strengtli is obtained ; a circumstance but little attended 
 
 to, but which is at least worthy of consideration, both from 
 
 mechanical and mathematical principles, as we might 
 
 show, that in a beam where the beat is perpendicular to 
 
 the horizon, the strength would be far greater than in 
 
 one where it was in a parallel direction, or that it would 
 
 be much less liable to bend in the former position than in 
 
 the latter ; for any rafter or beam whose sides are in the 
 
 proportion — for instance, as three to one, will bear a 
 
 greater weight when it is placed with its widest side 
 
 perpendicular to the horizon, than when in a contrary 
 
 position, so, in like manner, if we suppose it to be square, 
 
 and on the supposition that the beat is the firmest part 
 
 of the wood, if the beat is placed perpendicular, the beam 
 
 or rafter will be much stronger than if it is placed parallel 
 
 to the horizon, nearly in the same proportion as the beat 
 
 is to the porous parts of the timber ; the truth of this every 
 
 workman may prove ; by taking a shaving off the end of 
 
 a plank and breaking it, he will find that it separates 
 
 much more easily when bent in the direction of the beat 
 
 than when in a contrary direction ; this circumstance, 
 
 though not generally noticed, is, I think, worthy some 
 
 consideration, foi the business of the carpenter is to 
 
 combine with the least possible quantity of timber the 
 
 greatest strength ; and as a saving of material with 
 
 requisite solidity is of material consequence, I wish to 
 
 impress un the minds of the workman everything thnt 
 
 will tend to improve the practice and application of hia 
 art. 
 
Charring Timber. 
 
 This process is useful for such timbers as are partly 
 placed in the ground, such as posts or timber used in the 
 foundation of buildings, as the carbonic coat or charcoal 
 covering which incrusts it by this process, preserves for 
 many years what otherwise from continual moisture 
 would sooner decay. The method of doing it most gene- 
 rally in use, is to apply actual fire to the part intended 
 to be charred ; by lighting a fire around it and letting the 
 timber burn till its surface is sufficiently charred, and 
 then either pouring water over it, or covering it from the 
 air, it will be found to be burned a small way below the 
 surt'ace. 
 
 ANOTHER METHOD. 
 
 By giving a coat of pitch over the part intended to 
 6e charred, and setting a light to it, let it burn out, 
 keeping it turned so that the fire shall have effect on all 
 sides, and if necessary repeat the process, till it is suffi- 
 ciently burned. 
 
 Note. — A coat of pitch is sometimes substituted in 
 the place of charring, but that is far inferior in its effects : 
 sometimes after the charring a coat of pitch is added, but 
 that, in my opinion, is not necessary when it has been 
 well charred. 
 
 A Composition for Weather Boarding 
 Paling, &>c. 
 
 Take of pitch six pounds, grease one pound, red ochre 
 a sufficient quantity to colour it, and, if you like, a little 
 lamp black, put it on hot, and when the boards are dry, 
 otherwise it will not adhere. 
 
14 
 
 ANOTHEB. 
 
 Take of common tar eight pounds, fine sand two 
 pounds, mix them well together, and colour the mixture 
 by adding some ruddle or red lead and a portion of 
 common soot. 
 
 A SUPERIOR COMPOSITION FOR THE SAME PURPOSE. 
 
 Take of common fish oil one gallon, add of lime a 
 sufficient quantity to make it of a thickish consistence, to 
 which add a sufficient quantity of yellow ochre and lamp 
 black to make it of a greenish colour to your mind ; this 
 may be thinned to a proper consistence with linseed oil, 
 to admit of being laid on with a brush, and will be found 
 a very cheap and durable paint for the purpose of out- 
 door work. 
 
 A Composition for Preserving the Joints 
 of Framing exposed to the Action of 
 the Weather. 
 
 Take of pitch one pound, fat or grease a quarter of a 
 pound, melt them together, and add finely powdered 
 chalk to make it of a pretty stiff consistence ; spread it 
 over your tenons and within the mortices previous to 
 pining your work together ; it will thus prevent the ingress 
 of moisture and preserve your framing for a considerable 
 length of time. 
 
 ANOTHER METHOD. 
 
 Take one pound of white lead and mix with two 
 pounds of glue, let them well boil and then strain ; this 
 is a more simple and much readier process, and for joints 
 of sign boards, shutters, entablatures, and all exterior 
 work, is by far the best. 
 
15 
 
 To Render Wood Incom'busti'ble. 
 
 A very excellent way to render wood incombustible, 
 is to soak it in a strong solution of alum and the sulphate 
 of copper. About one pound of alum and one of the 
 sulphate of copper should be sufficient for 100 gallons of 
 water. These substances are dissolved in a small quantity 
 of hot water, then mixed with the water in the vessel in 
 which the wood is to be steeped. The timber to be ren- 
 dered fire-proof can be kept under the liquor by stones, or 
 any other mode of sinking it. All that is required is a 
 water-tight vessel, of sufficient dimensions to hold enough 
 of liquor to cover the timber, which should be allowed to 
 steep for about four or five days. After this, it is taken 
 out, and suffered to dry thoroughly before being used. 
 
 To Preserve Iron Work, as Bolts, 
 Straps, &c. 
 
 To two quarts of linseed oil add half a pound of litharge, 
 let it simmer over a slow fire for two or three hours; take 
 it oiF and strain it, then add of finely powdered rosin a 
 quarter of a pound, and white lead one pound, keep it in 
 a gentle warmth, stirring it frequently till the rosin is 
 dissolved and the whole well incorporated ; then, if with 
 this mixture you smear the bolt or strap previous to 
 placing it in its place, and put a good coat on after on the 
 parts exposed, your iron work will be effectually pre- 
 served from rusting from the effects of the atmosphere, or 
 any wet that may get to your work. 
 
16 
 
 PART II.-JOINERY. 
 
 The business of the joiner is distinct from that of a 
 carpenter, insomuch as it regards the more ornamental 
 and nicer parts of the art of building; whereas the car- 
 penter is concerned more with the soUdity and stabiUty 
 than the beauty or decoration necessary to a finished 
 piece of building. I shall, therefore, endeavour to be 
 minute in the instructions, and particular in the directions, 
 that accuracy and necessary solidity may be combined, 
 that beauty and truth of workmanship may be attained ; 
 and, as we here mean not to dictate to the experienced 
 workman, but to throw out hints and produce examples 
 to assist those who may not be acquainted with the various 
 methods in use, no apology will, we trust, be necessary 
 for introducing what may be generally known amongst 
 the more initiated, but for the benefit of the less expe- 
 rienced endeavour to compress in a small compass all the 
 material rules and directions that tend to produce a good 
 workman. 
 
 The different kinds of wood mostly in use with the 
 joiner are white and yellow deal, wainscot, or American 
 oak, and mahogany, which, though unnecessary to describe 
 particularly, I will here mention their qualities, and uses 
 to which they are applied ; and first, with respect to deal, 
 which is generally imported into this country in lengths 
 of from six to fourteen feet, though twelve feet is the 
 most general length, and for most purposes cut to the 
 greatest advantage; the thickness is about three inches, 
 and width about nine. In choosing deals, we must select 
 
17 
 
 those free from knots or shakes, and which appear of the 
 straightest grain, reserving the coarser ones for such 
 common purposes that we may have occasion for. The 
 yellow deals are in general the straightest grain and freest 
 from knots, and consequently most proper for styles of 
 doors and framing, as well as for sticking all sorts of 
 mouldings, as it works clean and sharp. The white deal 
 is proper for panels, which should be cut down the middle 
 and joined again ; an edge to a middle and so on, to the 
 width of the panel, and carefully avoid a knot, if possible 
 on the edge of your joint, as it will frequently cause it to 
 fly, however good it may be at first, if the panel should 
 shrink ever so little. The next wood in order is wainscot, 
 which is imported in logs of different dimensions ; such 
 should be selected as appear to be cut from a straight 
 tree, and which should be of a clear grain, and free 
 from streaks of a lighter colour, as then parts are of a 
 softer texture, and are the beginning of decay in the 
 timber, termed among workmen doughty parts of the 
 wood. In cutting a log of wainscot, if we cut it in the 
 same direction as the beat of the wood, the boards will 
 be variegated and have a handsome appearance ; if we 
 cut it contrary to the direction of the beat, it will have 
 an uniform appearance and a clear look ; the first is proper 
 for panels and such like, and the latter for the styles and 
 frames of doors, sashes, &c. as it will mortice better, and 
 be less likely to split or warp. The last wood we shall 
 mention is mahogsny, which is used only in the best kind 
 of work for doors, sash frames, banister rails, &c., and is 
 of several kiuds, known principally by workmen under 
 the general terms Spaiiish and Honduras, The first is 
 considerably harder than the last, and is less frequently 
 
18 
 
 of a variegated grain, though when it is, it is very hand- 
 some. The latter is generally of a spongy texture, and 
 and often very cross grained, which contributes to its 
 mottled or variegated appearance, and is often very diffi- 
 cult to work to bring it to a smooth face, but when good 
 is very proper for panels of doors, &c., though the Spanish 
 is by far the best for framing or for mouldings, as it works 
 clean, and is generally used for the banister rails of stair- 
 cases, as it is less liable to break when cut out on the 
 sweep, as its texture is both strong and its grain even. 
 There is another kind of mahogany, known under the 
 term Ratteen, which is often of great use for panels, as 
 its dimensions are large, therefore there is no occasion for 
 jointing, and as it is of a reasonable price, is often substi- 
 tuted for deal, particularly for sweep work that is to be 
 painted, as the facia of shop fronts, sign boards, &C., that 
 are liable to the changes of wet and dry, or are exposed 
 to the sun and air ; for however good your joints may be, 
 they will, in this case, be liable to fly, however well 
 secured by blocks at the back of the joint, or other means 
 generally used. Having given a short sketch of what 
 regards the woods in general used by the joiner, as well as 
 the uses to which the different sorts are most applicable, 
 we will now proceed to give some useful receipts applicable 
 to this part of the building art. 
 
 Folish for Wainscot Work. 
 
 Take of the best yellow bees-wax, shave it with a plane 
 into thin slices, and put it into a glazed earthen pan, add 
 as much spirits of turpentine as will cover it, and let it 
 dissolve without heat, stirring it occasionally, it will then 
 
19 
 
 oe of the consistence of butter; if too thick, add more 
 spirits, if too thin, more wax ; this mixture must be 
 applied with a linen rag on the places you wish to polish, 
 rubbing it well into the grain ; after which, with clean 
 cloths, either linen or woollen, rub it well till it has 8 
 good gloss and does not feel sticky if the fincrer is applied 
 to it. 
 
 Oil for Wainscot Work. 
 
 Take of the best linseed oil one quart, to which add 
 half a pint of the best spirits of turpentine, and a piece of 
 lime about the size of a cricket-ball, broke in pieces ; let 
 it simmer on a stove or near the fire, covered over for two 
 or three hours, then strain it through a coarse cloth and 
 keep it for use. 
 
 It must be put on with a brush, and when it has lain 
 on the work about twenty-four hours rub it off with a 
 woollen cloth, and some oak saw-dust, and finish with a 
 clean linen rag. 
 
 Another Oil to Heighten the Colour. 
 
 Linseed oil one quart ; litharge half an ounce; let them 
 simmer together for an hour or two ; then strain it off; 
 take now about half-a-pint of spirits of turpentine, and 
 put to it as much as you will of pounded turmeric, till a 
 sufficiency of the colour is extracted : strain it off", and 
 add it to the oil ; it will be found excellent, as it heightens 
 the colour of the wood, and is to be used the same as the 
 foregoing. 
 
 N. B. — The process may be repeated two or three 
 times, letting a day or two intervene ; it will materially 
 add to the beauty of the work. 
 
so 
 
 Polishing Oil for Mahogany; 
 
 Take linseed oil, one quart; alkanet root, one ounce; 
 rose pink, half an ounce; stir them well together, and 
 place them near the fire to simmer gently for an hour or 
 two; then strain off in a clean pan. Apply with a brush 
 and let it remain for about an hour ; then take of the 
 finest red brick-dust sifted through a cloth or sieve, and 
 dust it over your work ; polish it with a piece of woollen 
 cloth by rubbing it well the straight way of the grain : 
 after, finish with saw-dust and a clean cloth. 
 
 N. B. — Some prefer polishing mahogany with bees- wax 
 and turpentine, as directed for wainscot. 
 
 To Clean up Deal Panels, &c. 
 
 After your work is planed as smooth as possible, apply 
 hot size, or very thin glue, and let it dry; then with a 
 piece of hearth-stone rub it well, and you will produce a 
 very smooth face, which will make the painting, after- 
 wards to be applied, appear smooth and even ; this is 
 much better, as well as a more ready way, than that ot* 
 sand or glass paper. 
 
 To make Glass or Sand Paper. 
 
 As the paper for the purpose of cleaning off work, 
 known by this title, is of great use to the joiner, we will 
 here give the process of manufacturing it, as it is seldom 
 to be met with very good. Take any quantity of broken 
 glass, that with a greenish hue is the best, and pound it 
 fine in an iron mortar ; have ready three sieves of different 
 degrees of fineness ; take several sheets of paper, free from 
 knobs, fine cartridge is the best, and brush them evenly 
 over with thinnish glue, then either hold them to the fire 
 
21 
 
 or lay them on a hot piece of wood, and sift the pounded 
 glass freely over them through the finest sieve of pounded 
 glass; let them remain till the glue is set, and shake the 
 superfluous powder off, which will do again, and so you 
 may proceed with the other sieves for different degrees of 
 fineness ; hang them up to dry and harden, and you will 
 have a superior kind of paper to that in general use, as 
 the pounded glass is often mixed with sand, which greatly 
 injures the quality of the paper, and produces scratches 
 when used for cleaning off your work. 
 
 Stone Paper. 
 
 As in cleaning of work made of deal, or soft wood, 
 sometimes one process is found to answer better than 
 another, the following will be found often very useful, as 
 it makes a kind of sand paper, which in some cases will 
 answer very well, as it is very fine, and at the same time 
 produces a good face on the wood to which it is applied. 
 Having prepared your paper as directed in the last receipt 
 with glue, take any quantity of pumice stone, and having 
 pounded it, sift it over the paper, through a sieve of 
 moderate fineness, then let it harden, and repeat the pro- 
 cess till you get a tolerably thick coat on the paper, 
 which when perfectly dry, will be found to be a very 
 superior paper for polishing your work, as it is not liable 
 to leave scratches, but leaves a smooth and even surface. 
 
 Glue. 
 
 The quality of glue being of material consequence to 
 the joiner, it may not be amiss in this place to say some- 
 thing respecting it, and the tests by wliich we may ascer- 
 tain its adhesive properties, as by this means we may he 
 
22 
 
 enabled to select that which is best, as well as to reject 
 that which does not possess the requisite qualities of 
 adhesion and firmness, and first it may be observed that 
 glue is made from either the skins or sinewy parts of 
 animals, and also fi*om the skins and some other parts of 
 fishes, that of the eel and shark; that from animal sub- 
 stances is reckoned better than that from fishes ; though 
 the strongest glue perhaps, we are acquainted with, is 
 isinglass, which is made from the air bladders of a species 
 of large fish found in the Russian seas, but its great price 
 makes it of little use to the joiner when other glue can be 
 substituted; however, from chemical experiments that 
 have been made, that glue which is manufactured from 
 the skins of animals, is superior to that which is made 
 from the other sinewy or horny parts of animals, and 
 which is found by actual observation, in practice to be 
 much superior to the glue m.ade from the skins, &c. of 
 fishes, as it is not so subject to be affected by the moisture 
 of the atmosphere ; therefore the workman will always 
 prefer animal glue to what is generally termed fish glue, 
 but which latter is often sold as glue of the best quality ; 
 and here we shall endeavour, first to lay down some 
 directions to choose this necessary cement for the joiner, 
 and give such directions as shall enable the workman to 
 form some estimate of its adhesive qualities ; all glue in 
 the cake is subject to the effect of the dryness or moisture 
 of the atmosphere, becoming soft in damp weather, and 
 crisp in dry ; but the different kinds are differently 
 affected, therefore it is best to purchase in dry weather, 
 as that which is then soft is not of such good quality as 
 that which is crisp, and if we hold a piece of glue up to 
 the light, that which is the most transparent is in general 
 
28 
 
 ihe best ; and here it would be advisable before making a 
 purchase, to submit to experiment a sample of the article 
 which you wish to purchase : thus, if we take a cake of 
 glue and cover it with water in a pan, and let it remain 
 for two or three days, if it is good, it will not dissolve at 
 all, but will swell by being laid in water ; whereas, that 
 which is of inferior quality, will partly if not wholly 
 dissolve in the water, for that which least dissolves is 
 the best, or possesses superior qualities of adhesion, and 
 will be least affected by damp or moisture ; another test 
 is, that being dissolved by means of heat in water, that 
 glue is the best which seems most cohesive, or which is 
 capable of being drawn out in thin filiaments, and does 
 not drop from the glue brush as water or oil would, but 
 rather extends itself in threads when falling from the 
 brush or stick, which, if the glue possesses the requisite 
 properties, will be found to be always the case ; these 
 few hints, with a little experience, will enable the work- 
 man to judge of the quality, as well as the method of 
 selecting that which is best calculated to ensure success 
 with regard to the firmness and stability of our work. 
 We may here add, that that glue which is made of the 
 skins of old animals, is much stronger than that of young 
 ones. 
 
 Glue to hold against Fire or Water. 
 
 Mix a handful of quick lim.e in four ounces of linseed 
 oil, boil them to a good thickness, then spread it on tin 
 plates in the shade, and it will become exceedingly hard 
 but may be easily dissolved over the fire, as glue. 
 
n 
 
 To xnake a "very strong Glue. 
 
 Take an ounce of the best isinglass, dissolve it by 
 moderate heat in a pint of water, strain it through a piece 
 of cloth, then add of the best glue in cake, which haa 
 been previously soaked for twenty-four hours, and also a 
 gill of the strongest vinegar ; let the whole dissolve by 
 placing it near the fire ; after it is dissolved let it boil 
 once up, and strain off all the impurities ; this will make 
 a glue which may be reserved for that part of your work 
 which requires particular strength, or where the joints- 
 themselves do not contribute to hold the work together^ 
 such as small fillets and mouldings, or carved patterns 
 that are merely held on the surface by the glue. 
 
 To Glue Joints. 
 
 In general nothing more is necessary, after ascertaining, 
 your joint is perfectly straight, and as is technically 
 called, out of winding, than to glue both edges, with the 
 glue quite hot, and rub them lengthways till the glue is 
 nearly set, but not chilled ; however, when your wood is 
 spungy, or sucks up the glue, the following method will 
 be advisable, as it strengthens the joint, and does away 
 with the necessity of using the glue too thick, which should 
 always be avoided, as the less glue there is between the 
 joint, provided they touch one another, the better, and 
 when the glue is thick, it sooner chills, and we cannot 
 well rub it out from between the joints ; the method is 
 to rub with a piece of soft chalk each joint on the edge, 
 and wipe it off again with your finger, so that no lumps 
 remain, and then glue it in the common way ; it will be 
 found to hold much faster, particularly when the wood is 
 porous, than when glued vvithout the chalk. 
 
25 
 
 To make Cement for Stopping Holes 
 and Fla-fvs in Wainscot, &c. 
 
 Take of bees-wax and pounded resin equal parts, dis- 
 solve them in a pipkin, gently letting them incorporate, 
 and stir them with a stick till intimately mixed and 
 dissolved ; then for wainscot add chalk, yellow ochre, and 
 umber in powder, till the colour is to your mind ; for 
 mahogany, add instead of the umber a little red ochre, 
 and not so much chalk, or a little burnt umber will some- 
 times make it nearer the colour you wish. 
 
 Another Cement mucb, betteri 
 
 Take of fine saw-dust of the same wood you desire the 
 cement to imitate, let it macerate or soak in water for 
 two or three days, then pour some of the water off", and 
 place it in a pipkin on the fire covered over, and let it 
 boil till it becomes quite a pulp, strain it through a cloth, 
 and press as much of the water from it as possible, and 
 keep it for use, and when wanted, mix it with hot glue 
 to a proper consistence, and fill the cracks in your work, 
 which if properly applied and left to get quite hard, will 
 scarcely be distinguished from the wood itself. 
 
 Of the different Methods of Joining 
 
 Timter. 
 
 Every workman must be aware of the meaning of the 
 
 terms dove-tail, mortice and tenon, grooving, &c., but the 
 
 best methods of performing these several operations of 
 
 joining their work together, they only get by experience, 
 
 and are not in general aware of the proportions that one 
 
 piece should be which is fitted into another, so as to 
 
 produce the greatest strengtli with the least waste of 
 
26 
 
 material, or so to proportion their joints, that one part 
 shall not be liable to fail or give way before another : we 
 shall here therefore endeavour to lay down some rules, 
 and produce some examples that will be an attempt, at 
 least, to bring into view the principles of the mechanism 
 of joining, the absence of which is often the cause of work 
 not standing well, and cause the parts either to separate 
 with a trifling strain, or from being bound too tight 
 together, to fly and split in all directions, not so much in 
 general from the bad execution of the work themselves, as 
 from want of proportioning the strength to the stress of 
 the joints ; we shall therefore arrange in order the several 
 kinds of joints or methods of framing and joining timber, 
 and under each head give such directions, founded on the 
 principles of mechanics, as will enable the workman to 
 proceed with some degree of certainty, and not, as is too 
 frequently the case with many artizans, observe no rule 
 but that which custom has authorised, or practice made 
 familiar. 
 
 Dove-tailing. 
 
 As Dove-tailing is of great use in the art of joinery, I 
 have represented in Plate I. several sorts ; now as much 
 depends on the proper proportioning the parts which fit 
 into each other, so that the pin or socket (that is, the 
 part represented in fig. 1, called the pin of the dove-tail, 
 and that in fig. 2, called the socket,) shall be as nearly 
 as can be of equal strength. I shall lay down some rules 
 for the guidance of the workman, and shall here refer to 
 the pin only at fig. 1, (for the socket is made to correspond 
 to it) ; let A B C D be a scantling, which is required to 
 be joined to another by means of a single dove-tail ; now 
 
27 
 
 as much depends on the form of the dove-tail, as well as 
 the proportion it bears to the parts cut away, I shall 
 endeavour to lay down the principle on which the greatest 
 strength is maintained ; having squared the end of the 
 scantling, and gauged it to the required thickness A I K 
 L M, divide I M into three equal parts at K L ; let 
 K L be the small end of the dove-tail, and make the 
 angles I K G and M L H equal about 75 or 80 degrees, 
 and make G E and F H parallel to A N and B 0, where 
 enter the saw, and cut away the pieces A I K G E N 
 and B M L H F 0, and having cut fig. 2 to correspond 
 by marking the form of the dove-tail on the top of the 
 piece A B C D, it will fit together as shown in fig. 3. 
 We may here observe, that according to the texture of 
 the wood, we may make the bevil of the dove-tail or 
 angle I K G, fig. 1, either more or less than I have 
 mentioned. Hard close-grained wood, and not apt to 
 rive or split, will admit of a greater bevil than that which 
 is soft or subject to chip; thus the dove-tail in deal must 
 be less beviling than that in hard oak, or mahogany. 
 And it is a great fault in many workmen in making their 
 dove-tails too beviling, which instead of holding the joint 
 firmer together, weakens it ; for provided the bevil is 
 such that will prevent a possibility of pulling the pieces 
 apart, in general we may observe that the less bevil is 
 given the better, and this may be observed if we compare 
 the dove-tailing of the cabinet-maker and the joiner ; the 
 former has very little bevil, while the latter is very much 
 60 ; and also with regard to the appearance of the work 
 itself, the one looks neat (and is at the same time strong,) 
 while the other appears to aim at great strength, though 
 at the same time looks clumsy and is much the weaker. 
 
•28 
 
 Fig. 4 represents the dove-tail in common use for 
 drawer fronts, &c. ; where we wish to hide the appearance 
 of the joint in front, the board A B C D is cut with the 
 pin, and A E F B, with the socket ; the pins in this sort 
 of dove-tail are in general from about three-quarters of 
 an inch to an inch apart, according to the magnitude of 
 the work in hand. Fig. 5 represents the pin part of a 
 lap dove-tail, which when put together shows only a joint 
 as if the pieces were rebated together as shown at fig. 6 ; 
 the part A B C D represents the pin, and the part E F 
 G H the socket dove-tail, and when put together only 
 shows the line H G, as a joint ; and if the corner A B is 
 rounded to the joint G H, it will appear as if only mitred 
 together ; this kind of dove-tail is very useful for many 
 purposes where neatness is required, such as chests, boxes, 
 <fec. Fig. 7 is a still neater dove-tail, and as the edges 
 are mitred together, is termed a mitred dove-tail; it is 
 the same nearly as the last figure, only that instead of the 
 square shoulder or rebait in A B, it is cut into a mitre 
 and the other piece is made to correspond. 
 
 Another very neat, as well as expeditious method of 
 joining pieces, and which is somewhat analogous to dove- 
 tailing, is shown at fig. 8, where the joint is first formed 
 into a simple mitre, and then keyed together, either by 
 making a saw kerf in a slanting direction, as shown at 
 A B, or by cutting out a piece as at C D, in the form of 
 a dove-tail, aod fitting a slip in that, of the required form ; 
 the first method, as A B, is amongst workmen called 
 keying together; the second, as C D, is key dove-tailing. 
 
 The last method I shall describe is shown at fig. 9, 
 and may be termed mitre dove-tail grooving, the part 
 A B being formed with shoulders cut to the required 
 
59 
 
 bevil, and a piece left for the pin dove-tail, which is in- 
 serted into the socket dove-tail made to correspond to it 
 in the piece C D, which has been previously formed into 
 a mitre ; this method, though not much employed may 
 be used with great advantage in many cases, particularly 
 when we wish to join any pieces together the length way 
 of the grain. 
 
 Mortice and Tenondingi 
 
 Under this head I shall endeavour to lay down some 
 rules to be observed with regard to proportioning the 
 parts of the mortice and tenon, so that they shall both be 
 equally strong, or that the tenon shall not be more likely 
 to give way than the cheeks of the mortice, for on this 
 principle depends in a great measure the soundness of the 
 work ; and as what is laid down is formed from actual 
 experience and practice, it will, if not always found 
 quite correct, be in general a safe guide for the workman, 
 and will prevent that frequent error of allowing too little 
 substance for the tenon, for fear of weakening the cheeks 
 of the mortice ; and I may here observe that this subject 
 is well worthy the attention of the ingenious mechanic, as 
 well as the consideration of the mathematician, but as the 
 latter is foreign to the purpose in hand, I shall proceed 
 with the practical part, not without the hope that it will 
 induce the workman to be more particular in general with 
 regard to the proper proportioning the several parts of his 
 work, so as to approach as near as possible to a maximum 
 of strength with a given quantity of material. 
 
 Figs. 1 and 2 represent a simple mortice and tenon; 
 the dotted lines show the parts to be cut away ; now to 
 show the thickness of the tenon and consequently the 
 
so 
 
 width of the mortice, we have here one tenon and two 
 shoulders, which is three parts, one part of which is to be 
 allowed for a tenon and two for the shoulders; and this in 
 general will be found the best proportion, for if the tenon 
 is more than that, it will weaken the shoulders of the 
 mortice, and if less, the tenon itself will be diminished in 
 strength, and will be liable to break off, with a force that 
 would not split or separate the shoulders of the mortice ; 
 now if we have, as is frequently the case, two tenons in 
 one piece, as shown at fig. 3, as there are two tenons and 
 three shoulders, which is five parts, which shows that 
 each tenon must be one-fifth of the thickness of the stuff, 
 and the shoulders are all equal to the tenons, and this 
 rule may be generally observed, unless the tenon is at a 
 considerable distance from the end of the stuff, and then 
 something more may be allowed for the thickness of it, 
 as the mortice in that case is not so liable to split ; but 
 it should in no case, however sound the timber or tough 
 the material, be more than two out of four parts, that is, 
 it would never be safe to make the tenon more than half 
 the thickness of the stuff, and that only under particular 
 circumstances, and when the mortice is near the middle 
 of the scantling, or we should considerably weaken the 
 piece iu which the mortice is cut. 
 
 There is frequently in joiners' work, a shoulder at the 
 bottom of the tenon, which fits into the piece in which the 
 mortice is cut, as shown at fig. 4, and the tenon is divided 
 into two parts as there shown, which, when the stuff is 
 wide is a good method, as it strengthens the piece in which 
 the mortice is cut without weakening, in the same pro 
 portion as the mortice itself; and I would advise in this 
 case, that the piece B C, cut out from between the tenons 
 
31 
 
 A B and B C, to be nearly, if not quite, one-third of the 
 distance A D, as if much less, the piece left between the 
 mortices will add but very little to the strength of the 
 piece in which the mortice is made ; and hence we should 
 have the tenon stronger than necessary, in proportion to 
 the morticed piece ; and here I may observe, that if the 
 width of the tenon is much more than four times its thick- 
 ness, we shall gain additional strength from dividing the 
 tenons into two or more parts, as shown in the figure, 
 particularly if we allow a small piece at the bottom of the 
 tenon as represented in this figure. 
 
 Grooving and Lapping. 
 
 It is scarcely necessary in this work to say much on 
 this part of joining timber or boards, it being analogous to 
 that of morticing and tenonding. I shall therefore under 
 this head, simply state, that when we wish to join two 
 boards together, by means of a tongue and groove, the 
 groove should never exceed one-third of the thickness, 
 and often if the piece which is formed for the tongue is 
 hard wood and not liable to split, one quarter of the 
 thickness will be sufficient : or in the case of a panel let 
 into a groove in the style, we must be often guided by 
 the thickness of the panel itself, which should never be 
 less than one-third the thickness of the style. 
 
 In making a groove across the grain for partitions, <fec^ 
 it will be best in most cases to make the groove about a 
 fifth or sixth of the substance of the stuti"; but if the 
 groove is formed into a dove-tail, one quarter the thickness 
 will be best, and the dove-tail should be made a very 
 small degree tapering, but not too much, and only so as 
 to go almost home without requiring a blow from the 
 
82 
 
 hammer or mallet, to drive it into its place till very 
 nearly so, as alt jomts should only fit so tight^ that before 
 they are glued, they can be easily separated with a gentle 
 blow. With regard also to a lap joint, or lapping two 
 pieces together, supposing them of equal thickness, half 
 tlie substance of each should be cut away ; and if of 
 unequal thickness, we should make the lap in the thinner 
 piece, about two-thirds or three-quarters of its thickness, 
 according to the substance of the thicker piece, thus 
 endeavouring in this as in all other cases, to avoid weak- 
 ening one piece more than another. 
 
 Bending and Glueing up. 
 
 With respect to bending or glueing up stuff for sweep 
 work, much judgment is necessary ; and as the methods 
 are various, I shall mention a few, that the workman 
 may apply them as occasion requires, one method being 
 preferable to another according to the nature of the work 
 in hand. 
 
 The first and most simple method is, that of sawing 
 kerfs or notches on one side of the board, thereby giving 
 it liberty to bend in that direction ; but this method 
 though very ready and useful for many purposes, is still 
 very weak where any strain may be on the piece. Still, 
 in this instance, we may in some measure make a tole- 
 rably strong sweep, if after sawing the kerfs, and being 
 particular to make them regular and even, and sawing 
 them at equal depths, we rub some strong glue into each 
 kerf, then bend it to the required sweep and glue a piece 
 af strong canvas over the kerfs themselves, leaving the 
 glue to harden in the position which we have bent our 
 stuff to. 
 
ss 
 
 The next method is, that of glueing up our stuff in thin 
 thicknesses, in a cawl or mould made with two pieces of 
 thick wood cut into the required sweep ; and this method, 
 if done with care — that is, making the several pieces 
 of equal thickness throughout, and free from knots is 
 perhaps, the best that can be devised for strength and 
 accuracy. It is also a practice sometimes to glue up a 
 sweep in three thicknesses, making the middle piece the 
 contrary way of the grain to the outside and inside pieces, 
 which run lengthways. This method, though frequently 
 used for expedition, is much inferior to the above, as it 
 does not allow the different pieces to shrink together, and 
 consequently the joint between them is apt to give w^ay. 
 Again, in many instances, a solid piece, if not too thick, 
 may be bent into the form required ; if we soak well the 
 outside of the curve with hot water, and hold the inside 
 to the fire, when having formed the curve to your mind, 
 you retain it in that position till cold and dry, it will 
 retain the curvature given to it. 
 
 The last method I shall here mention is, that of forming 
 a curve by means of cutting out solid pieces to the required 
 sweep, and glueing them upon one another till you have 
 attained the thickness required, taking care the joints are 
 alternately in the centre of each piece below it, something 
 m the manner of a course of bricks above each other ; in 
 this case it will be necessary, if the work is not to be 
 painted, to veneer the whole with a thin piece after the 
 first has been thoroughly dry and planed level, and also 
 made somewhat rough with either a rasp or toothing plane 
 
 Scribing. 
 
 By scribing is meant, generally, the method of making 
 
34 
 
 one piece of stuff fit against another when the joint is 
 irregular ; thus the plinth of a room is made to meet or 
 correspond with the unevenness of the floor; in this 
 manner, by opening your compasses to the greatest dis- 
 tance the plinth is from the floor where some parts touch 
 it, and letting one leg run along upon the floor or uneven 
 surface, the other leg will leave a mark on the plinth, 
 which if we cut away the stuff to that mark, it will then 
 make a good joint with the floor ; but the great use of 
 scribing to the joiner is, that of joining moulding of 
 panels or cornices that shall, when placed together, seem 
 a regular mitre joint ; and it has this advantage over 
 the common method of mitreing — that if the stuff should 
 shrink, it will scarcely alter the appearance of it, whilst 
 that of the mitre, under the same circumstances, causes a 
 gap to show itself, and the joint to appear bad. The 
 method is this : to cut one piece of the moulding to the 
 required mitre, and then, instead of cutting the other to 
 correspond to it, cut away the parts of the first piece, till 
 we come to the edge of the moulding, which will then fit 
 as the other moulding, and appear as a regular mitre. 
 
 Finishing of Joiner's Work. 
 
 As much depends on this part of the operation of 
 joining, I shall give some hints to the workman, that for 
 want of paying proper attention to, however well the work 
 may be executed with regard to its strength or the 
 accuracy of the several joints, will appear but slovenly 
 executed, if the finishing is not well attended to, whether 
 it is intended to remain of the natural appearance of the 
 wood, or afterwards subject to the process of painting or 
 varnishing ; and first, with regard to those pieces of wot;k 
 
35 
 
 composed of waiuscot, oak, or mahogany, here our chief 
 aim is to make the surface perfectly smooth and even ; 
 now, in order to avoid a deal of trouble in this part, it 
 will be found necessary, after having glued your framing, 
 &c. together, to let the glue that ooses out and is spilt 
 about, first remain a few minutes to chill, and then you 
 can carefully scrape it off with a chisel; and with a sponge 
 dipped in hot water and squeezed nearly dry, clean out 
 all the quicks and corners that cannot be got at with the 
 chisel ; this will not only save a deal of trouble in the 
 after operations, but will prevent a stain that often is left 
 if the glue is suffered to remain till quite hard ; parti- 
 cularly on wainscot, which will turn black in every joint 
 or place where the glue has been suffered to remain. 
 After this operation, which, though it may appear tedious 
 to some workmen, will be found in the end a saving of 
 time, let your work remain till perfectly dry, having 
 levelled your joints and other parts with a fine smoothing 
 plane, scrape the whole surface with a smooth scraper, 
 and finish with fine glass paper. It will be sometimes 
 necessary, where the grain is particularly cross, as in some 
 mahogany, to damp the whole over with a sponge to raise 
 the grain, and then again apply the glass paper. Your 
 work will now be ready for polishing with wax, oiling, or 
 varnishing, and according to the pains taken in this part, 
 will the work appear. 
 
 Now, with regard to cleaning up deal or fir, the same 
 precautions may be taken with regard to clearing off" the 
 glue, and the other parts may be then smoothed with a 
 piece of glass paper that has been rubbed with a piece of 
 chalk , or some workmen prefer, for many parts, to rub 
 with a piece of hearth-stone ; it will then be ready for 
 
S6 
 
 the painter; but as there are many knots and places 
 where the turpentine would ooze out and spoil the ap- 
 pearance of the paint, those parts are done over with a 
 composition which is called priming; this, though properly 
 the painter's business, is often necessary to be attended 
 to by the joiner. The composition in general use for that 
 purpose is made with red lead, size, and a little turpentine ; 
 to which is sometimes added, and is an improvement, a 
 small quantity of linseed oil ; this prevents the knots 
 showing through the paint. Some workmen omit the oil 
 and turpentine, but that is bad, as the size by itself will 
 be apt to peel off, and not insinuate itself into the parts. 
 
 Another good method of cleaning off deal is, after having 
 made the surface quite smooth with the plane, to rub it 
 with a piece of chalk, and with a fine piece of pumice 
 stone to clean the whole as with glass paper, and if the 
 grain should still appear rough, damp the whole with a 
 sponge, let it dry, and repeat the operation. 
 
 I have been particular in this place to impress on the 
 workmen the necessity of cleaning up their work well, as 
 the present taste for internal decorations is that of imi- 
 tating different fine woods and marble, which will not 
 look well unless particular care is taken in making a good 
 surface for the artist to lay his colours on, as every defect 
 in the gi-ound will show itself through them more than in 
 the common way of using a body in the colour, and giving 
 several coats; but even in that case, the work that is 
 well prepared will not only look better, but the colour 
 will not be so apt to chip and peel off, as when the surface 
 is not properly levelled. 
 
37 
 
 PART III.-CABINET MAKING. 
 
 Much that has been said on Joinery applies also to 
 Cabinet-making as respects mitreing, dove-tailing, &c. &o. 
 The general term Cabinet-making is the art of making 
 all such parts of the furniture of a dwelling-house as are 
 made of wood, together with the art of Chair-making, &c.,. 
 and in order to arrive at any degree of perfection, the 
 knowledge of designing, — carving, — modelling, &c., is 
 requisite. 
 
 It has also been supposed that a knowledge of geometry, 
 and particularly of that portion of it which treats of the 
 description of curved lines, is of great use to the cabinet- 
 maker; but, with the exception of a knowledge of per- 
 spective, and of a few simple methods of drawing common 
 curves, geometry is of little use to him ; and, when it is 
 studied too closely, it leads to a harsh and mechanical 
 mode of designing. 
 
 The best advice we can give the cabinet-maker, in 
 acquiring a graceful, easy, and free method of drawing, is, 
 to draw as much from nature, or from good casts, as 
 possible. It is not of material consequence whether 
 vegetable or animal forms be drawn, but a mixture of 
 both is desirable, as they have very distinct characters, 
 which will be easily traced in attempting to delineate 
 them 
 
 General Remarks on Designs for 
 Cabinet Work. 
 
 In Design, the central or principal part of the object 
 
 requires most notice. The other parts should be so fai 
 
88 
 
 Bubordinate to it as not to distract the attention from the 
 centre ; and, yet they should be so united in harmony 
 with it, as to be obviously essential to complete the 
 design. 
 
 The connection between the principal and the inferior 
 portions of the design should be preserved by the conti- 
 nuance of some of the leading lines of the principal part 
 to the inferior ones ; and, whether these lines be straight 
 or curved, they should never be so far interrupted by 
 ornament as to render it doubtful whether or not they are 
 continued ; and, as the idea of firmness or stability is a 
 necessary accompaniment of good taste in the design of 
 furniture, the leading lines of the principal part of the 
 design should descend in such a manner to the base as 
 to give an idea of firmness, as far as the nature of the 
 thing requires it. 
 
 Proportion, as it depends on the relative magnitude of 
 parts, is, sometimes, wholly left to the good taste of the 
 designer ; and, when cases occur where it is within his 
 power, one part in a design must form the principal object, 
 and ought not to have a rival in magnitude ; also, when 
 the piece of furniture is seen in its best position, this 
 principal part should be as near the centre of the whole 
 as possible. 
 
 The principal part of a design should be sufficiently 
 prominent for the eye to pass from it to the whole, or the 
 reverse, without perceiving the change of magnitude to be 
 abrupt ; and the same remark applies to the relation of 
 the subordinate parts of the design to the principal one. 
 
 If this attention be given to the proportion of the parts 
 60 that the eye may pass from the consideration of one to 
 another, and not feel the change abrupt, the design will 
 be pleasing. 
 
39 
 
 If too small a proportion be assigned to the principal 
 part, the design will be flat and unmeaning. If the pro- 
 portion be too large, the whole will be absorbed in the 
 part, as a modern mansion is not unfrequently all portico, 
 A due proportion of the principal part to the whole given 
 boldness and propriety. 
 
 Richness is produced by introducing as much ornament 
 as the object will bear, without destroying the relation 
 between the plain and ornamental parts; a design, over- 
 charged with ornament, becomes frittered, and wants both 
 variety and repose. 
 
 The opposite quality to richness is meagreness, or a 
 deficiency of ornament; and want of attention to its 
 proportions. Between the extremes of overcharging and 
 meagreness, an immense variety of degrees of combination 
 of ornamented with plain surfaces may be selected. 
 
 When the ornament consists of moulded work only 
 the piece of furniture is termed plain ; but, in rich fur- 
 niture, the combined effect of moulded and carved work 
 is necessary. In either species, the proportions of the 
 ornamental and plain parts to each other should be regu- 
 lated by like principles as the magnitude of the parts. 
 
 Coloured Woods, Metals, &c. 
 
 Sometimes richness of effect is no further attempted 
 than is obtained by the natural beauty of the wood which 
 is employed; and when this natural beauty is considerable, 
 this simple kind of furniture is most highly valued. 
 
 But wood, so fine in colour and figure, as alone to give 
 richness of effect to furniture, is very rare, and still more 
 frequently defective; hence, the more usual mode of 
 combining different coloured woods, or of metals and shells 
 
40 
 
 \nth woods, require some degree of attention. The pre • 
 vailing combinations are formed by coloured bands, lines, 
 and ornaments of wood, or by lines, beads, or ornaments 
 of brass; the brass being in many instances cut into 
 beautiful forms and further embellished by engraved lines 
 on its surface. 
 
 The circumstances to be attended to in forming these 
 combinations, are, harmony of colour, due proportion of 
 the coloured parts to one another, and relief by contrast. 
 
 Much depends on the colour of the principal mass of 
 the piece of work, which we call the predominating colour. 
 If this colour be rich, very little variety of other colours 
 should be added. On the contrary, if the predominating 
 colour be light and delicate, it will bear to be enlivened 
 and supported by contrast with fine lines or borders of an 
 opposing colour ; taking care that the mass of opposing 
 colours be so small as not to produce opposition instead or 
 contrast ; for contrast, skilfully managed, gives force and 
 lustre to the ground, while opposition destroys even its 
 natural beauty 
 
 Framing. 
 
 Framing, in cabinet-making, requires the same pre- 
 cautions as in Joinery, when it is required to form large 
 surfaces, for, owing to shrinkage, and warping of wood, 
 large even surfaces can be formed only by means of 
 pannelling. 
 
 The width of the style of a frame should be one-sixth 
 of the whole width of a compartment of the frame ; the 
 tenons should be one-fourth of the thickness of the framing, 
 and the width of a tenon not more than five times its 
 thickness. 
 
41 
 
 But, where surfaces of considerable width are to be 
 formed without an appearance of framing, whether those 
 surfaces are to be veneered or not, we should avoid 
 framing them with other pieces where the grain of the 
 wood is in the contrary direction, for the difference of the 
 shrinkage of the two ways of the wood is so considerable, 
 that it can scarcely be expected to stand without either 
 warping or splitting when confined. Where warping is 
 to be prevented, we strongly recommend that holes should 
 be bored through, and strong iron wires inserted, at short 
 distances apart, across the piece. These would act as 
 clamps in preventing warping, and, at the same time, 
 would not be affected by the shrinkage in width. 
 
 Angles are formed in various ways, depending chiefly 
 on the object of the work. External angles of mouldings 
 are either simply mitred, or rebated, or both rebated and 
 mitred together. Internal angles are generally grooved 
 together, with the outer edges mitred. Where the front 
 edge only is to be mitred, a dovetail groove is made, and 
 rather narrower at the back than at the front, so that the 
 tongue tightens as it is driven in. 
 
 When a strong firm connection is wanted, and the wood 
 is to be joined end to end, dovetailing is to be preferred. 
 When the dovetails are not to appear, they may be 
 formed by the method called lap-dovetailing ; and, when 
 the dovetails are cut through, it becomes the kind used 
 to join the angle between the front and end of a drawer. 
 When a joint is to appear as if it were mitred, the method 
 of dovetailing employed is called mitre-dovetailing. The 
 apparent edges are in this case always mitred to a depth 
 of about an eighth of an inch. There is also the method 
 of joining by keys ; the parts being neatly mitred, then 
 
42 
 
 saw-lcerfs are to be made for the slips of wood called keys, 
 which are to be inserted with glue when the joint is put 
 together. 
 
 Drawers are mostly dove-tailed together, but variously 
 made in other respects. Well-seasoned wood should always 
 he used, as otherwise the drawers are liable to break at 
 the joints ; the tenons should always be in the direction 
 of the grain of the wood. In morticing, care must be 
 taken that the mortice and tenon are neatly fitted, neither 
 too loose or too tight, and the parts well glued when put 
 together. 
 
 Veneering, Banding, &c. 
 
 Veneering is the method of covering an inferior wood 
 with a surface of a very superior kind, so that the parts 
 of the article of furniture thus manufactured which meet 
 the eye, appear to the same advantage as if the whole 
 work were of the best description. If this be well per- 
 formed, it is very durable, looks well to the last, and is 
 attainable at an expense considerably less than a similar 
 article would cost if manufactured of the same wood 
 throughout, but of an inferior quality. 
 
 The principal requisite to ensure success in veneering, 
 is to select well-seasoned wood for the ground, and to use 
 the best and strongest glue. 
 
 Veneers are worked either by a veneering hammer or 
 by cauls. In veneering by the hammer, the ground should 
 be warmed by the fire, and the outside of the veneer 
 wetted with warm water or thin glue, with a sponge, 
 and the side to be laid covered with a coat of thin glue 
 and warmed at the fire, the veneer should be quickly laid 
 on the ground and worked with the hammer, backwards 
 
43 
 
 and forwards, till neither air or glue will come out 
 Veneering with the hammer is preferable when the 
 veneers are straight and even, but as that is seldom the 
 case, work is generally done with a caul. 
 
 A caul is made of solid wood, shaped to the surface to 
 be veneered ; it should be well heated, then oiled and 
 greased, it is screwed down upon the veneer, and the heat 
 and pressure sends out the glue, causing the veneer to bed 
 close to the ground. The veneers should be of an even 
 thickness when worked by a caul, otherwise the glue will 
 collect, and the work is liable to blister, it should not dry 
 too quickly. 
 
 To Raise Old Veneers. 
 
 In repairing old cabinets, and other furniture, workmen 
 are sometimes at a loss to know how to get rid of those 
 blisters which appear on the surface, in consequence of 
 the glue under the veneer failing or causing the veneer to 
 separate from the ground in patches ; and these blisters 
 are frequently so situated, that, without separating the 
 whole veneer from the ground, it is impossible to introduce 
 any glue between them to relay it; the great difficulty in 
 this case is to separate the veneer from the ground without 
 injuring it, as it adheres in many places too fast to 
 separate without breaking it. We will here, therefore, 
 show how this operation may be performed without 
 difficulty, and the veneer preserved perfectly whole and 
 uninjured, ready for relaying as a new piece. First wash 
 the surface with boiling water, and with a coarse cloth 
 remove dirt or grease ; then place it before the fire, or heat 
 it with a caul ; oil its surface with common linseed oil, 
 place it again to the fire, and the heat will make the oil 
 
44 
 
 penetrate quite through the veneer and soften the gUie 
 underneath ; then whilst hot raise the edge gently with a 
 chisel, and it will separate completely from the ground : 
 be careful not to use too great force, or you will spoil your 
 work ; again, if it should get cold during the operation, 
 apply more oil, and heat it again : repeat this process till 
 you have entirely separated the veneer ; then wash off the 
 old glue, and proceed to lay it again as a new veneer. 
 
 Banding is a term applied to a narrow strip of veneer 
 used as a border, or part of a border, either to a large 
 veneer, or to solid wood ; in the latter case, a rebate is 
 sunk for the banding. Banding is of three kinds : it is 
 called straight-banding when the wood is cut lengthwise 
 of the grain ; cross-banding when the wood is cut across 
 the grain ; and feather-banding when cut at an angle 
 between the two. 
 
 Between the banding and the central part, one or more 
 lines are generally inserted, and sometimes a narrower 
 band. 
 
 The joints of banding should be as well matched as 
 possible, both in respect to colour and grain ; and, ex- 
 cepting the mitre-joints, it is an advantage to make the 
 joints at the veins of the wood. 
 
 Inlaying, &.C' &c. 
 
 Inlaying is an expensive method of ornamenting fur- 
 niture with fancy woods, metals, shells, &c., and if not 
 well executed is unsightly and liable to frequent breakage. 
 It is of great antiquity, and was brought to great per- 
 fection about the 16th century ; it was revived about the 
 end of the 1 7th century, in France, but met with little 
 encouragement, though practised by some eminent artists 
 
—amongst the most famous for the excellence and extent 
 of his works was one Boalle, or Buhl, from whence we 
 take the name of Buhl-work. It has been much in use 
 in England during the last twenty years, to form orna- 
 mental borders, chess tables, &c. 
 
 In this art the part for the ornament, and that for the 
 ground, are glued together, and the design being drawn 
 upon one, both are at once cut through by a very fine 
 species of bow-saw. Thus, there are four parts obtained, 
 which, being put together in two, the one is the ornament 
 designed in its proper ground ; and the remainder of the 
 ground, combined with the remainder of the ornament, 
 gives another pattern called the reverse. 
 
 The plates of brass or other metal should be of the 
 usual thickness of a veneer, or as thin as can be conve- 
 niently worked, and made rough on both sides with a 
 coarse file, or toothing plane. The veneers of wood or 
 other matter to be combined with them should also be 
 toothed ; and, both the plates and veneers being warmed, 
 first pass a coat of glue over one of the metal plates and 
 cover it with a thin sheet of paper, then coat the paper 
 with glue, and cover it with the veneer. Place them 
 between two smooth and even boards, and let them be 
 kept together either by a screw-press, or by hand-screws, 
 and remain till dry ; they will then be found to adhere 
 together with sufficient firmness for cutting to the pattern. 
 
 The pattern should be drawn on the veneer, or if, from 
 the colour, it should not be sufficiently distinct, a piece cf 
 paper may be pasted on the veneer, and after it is dry 
 the design may be drawn upon it. The lines of the pat- 
 tern should be cut with a bow-saw, having a very thin 
 and narrow blade ; such a saw may be made of part of a 
 
46 
 
 watch-spring, and the bow, or the stretcheTj of the saw. 
 Is required to be at such a distance from the blade as will 
 admit the latter to turn and follow the lines of the pattern 
 in any direction. The frame of the saw should be as 
 light as possible. Where the pattern does not in any 
 place approach the edge, a small hole must be made for 
 inserting the saw ; and it is usual to saw upwards, that 
 mode of sawing rendering it more easy to follow the lines 
 correctly. When the whole of the pattern is cut out, the 
 veneer or shell may he separated from the metal by 
 exposing them to steam, or to warm water. 
 
 The next object is to join the parts so as to produce 
 two complete ornaments; the one composed of veneer 
 inlaid with metal, the other of metal inlaid with veneer. 
 For this purpose, on a plain surface, place a piece of paper 
 of sufficient size, and the veneer upon it, then with strong 
 glue insert the metal-part in the veneer, and rub it well 
 down with the veneering-hammer and glue ; next, cover 
 the whole with another piece of paperj and place it between 
 two plain boards, which had been previously well warmed 
 and rubbed with tallow, and screw or press them together. 
 If this be properly done, the work will separate from the 
 boards when dry ; and, the paper being removed, it may 
 be laid in its place as a veneer ; but a caul is usually 
 enrcloved in preference to the hammer. The reverse 
 pattern, it is obvious, should be prepared for laying in the 
 same manner. 
 
 The process is the same whether metal and wood, or 
 metal and tortoiseshell, or two woods of different colours 
 be used. 
 
47 
 
 Inlaying with. Shaded Wood, 
 
 Having shown the methods of cutting out and veneering, 
 we need now only show the method used to produce that 
 shady brown edge, on works inlaid with white holly, and 
 which, when well executed, has a very pleasing and orna- 
 mental effect; the method is as follows: — 
 
 Into a shallow iron or tin pot, put a sufficient quantity 
 of fine dry sand, to be level with the top edge of it ; place 
 it on the fire till it is quite hot, then having your veneer 
 cut out to the required pattern, dip the edges into the hot 
 sand, and let them remain till the heat has made them 
 quite brown ; but be careful not to burn them ; it is best 
 to bring them to a proper colour, by repeatedly renewing 
 the operation, than all at once, as you then do not injure 
 the texture of the wood, and by immersing more or less 
 of the edge, you produce a shaded appearance to your 
 satisfactioux I would here recommend the workman, 
 previous to beginning the operation, to have his pattern 
 before him, shaded with umber, or any brown colour, in 
 those parts that the wood is to be stained, as he then will 
 be enabled, as he proceeds, to copy the various shades of 
 the pattern, for the wood when once shaded cannot be 
 altered ; and as much of the beauty of this work depends 
 on a proper judgment in placing your shadows, it is best 
 always to have a guide to go by, that we may produce 
 the best possible effect. Sometimes it is requisite to give 
 a shadow in the centre, and not on the edge of your wood; 
 and as this cannot be done by dipping it in the sand, you 
 must do it by taking up a little of the hot sand, and 
 eprinkling it, or heaping it up on those parts required to 
 be darkened, letting it remain a short time, then shaking 
 it off, and, if necessary, apply more where the colour ia 
 not deep enongh. 
 
48 
 
 To Imitate Inlaying of Silver Strings, 
 
 &,c. 
 
 This process is sometimes employed in the stocks, &c. 
 of pistols, and if well executed has a very good effect ; care- 
 fully draw your pattern upon the work, and then engrave, 
 or cut away the different lines with sharp gouges, chisels, 
 &c. so as to appear clean and even, taking care to cut 
 them deep enough, and rather under, like a dovetail, to 
 secure the composition afterwards to be put in the channels. 
 The composition to resemble silver, may be made as 
 follows : take any quantity of the purest and best grain 
 tin, melt it in a ladle or other convenient receptacle : add 
 to it, while in fusion, the purest quicksilver, stirring it to 
 make it incorporate ; when you have added enough, it 
 will remain in a stiff paste ; if too soft, add more tin, and 
 if not sufficiently fluid, add quicksilver ; grind this com- 
 position on a marble slab, or in a mortar, with a littlt, 
 size, and fill up the cuttings or grooves in your work, aa 
 you would with a piece of putty ; let it remain some hours 
 to dry, when you may polish it off with the palm of your 
 hand, and it will appear as if your work was inlaid with 
 silver. Instead of tin, you may make a paste of silver 
 leaf and quicksilver, and proceed as above directed ; you 
 may also for the sake of variety in your work, rub in wax 
 of different colours, and having levelled the surface and 
 cleaned off your work, hold it at a moderate distance 
 from the fire, which will give your strings a good gloss. 
 
 A superior Glue for the above* 
 
 Melt your glue as usual, and to every pint add of 
 finely- powdered rosin and finely-powdered brick-dust two 
 spoonful each ; incorporate the whole well together, and it 
 will hold the metal much faster than plain glue. 
 
49 
 
 To Polish Brass Ornaments Inlaid in 
 
 Wood. 
 
 If your brass work be very dull, file it with a small 
 
 smooth file ; then polish it with a rubber of hat dipped in 
 Tripoli powder mixed with linseed oil, in the same manner 
 as you would polish varnish, until it has the desired effect. 
 
 To Wash Brass Figures over virith Silver. 
 
 Take one ounce of aqua-fortis, and dissolve in it over 
 a moderate fire one drachm of good silver cut small, or 
 granulated ; this silver being wholly dissolved, take the 
 vessel off the fire, and throw into it as much white tartar 
 as is required to absorb" all the liquor. The residue is a 
 paste, with which you may rub over any work made of 
 copper, and which will give it the colour of silver. 
 
 To Gild lYEetal by dissolving Gold. 
 
 Dissolve gold in aqua regia, and into the solution dip 
 linen rags ; take them out and dry them gently; then burn 
 them to tinder; after you have well polished your work 
 with this, take a cork, and dipping it into common salt 
 and water, and afterwards into the tinder, rub your work 
 well, and its surface will be gilt. 
 
 Carving, Reeding, &c. 
 
 In carving, the quality of the wood is of the utmost 
 importance. It should be free from cracks, knots, &c., 
 and as even in its texture as possible, and, above all, well 
 seasoned. 
 
 The first thing to be done is to draw your pattern on 
 the wood in its proper proportions ; this is called boasting, 
 and in it consists the chief art of carving, as he who is the 
 best skilled in drawing, has the best idea of the quantity 
 of projection that should be given to the respective parts, 
 
50 
 
 to accord with the given design. After making out the 
 sketch, the carver has to shape the outhne with saws or 
 gouges, and then make out the prominences of each part 
 when necessary or proper, by glueing on pieces of wcod 
 for that purpose. The roughly- formed pieces are fixed for 
 carving, and, in some cases, this is done by glueing them 
 to a board, with paper inserted between, to enable the 
 carver to take the carving off with more ease when it is 
 finished. When the work is properly fixed, the carver 
 proceeds to place his gouges ; and, by a judicious choice of 
 such kinds only as will suit the turn of the parts in 
 boasting, endeavours not to have more than he can use 
 without confusion. 
 
 The principal lines of the whole are then formed, so as 
 to be a sufficient guide to finishing, when it is completed 
 with gouges and cutting tools of various kinds. 
 
 The union of carved and turned work has almost always 
 a beautiful effect ; but, in producing richness with the 
 smallest degree of labour, the combination may be carried 
 to a great extent. 
 
 Reeding is a kind of ornament much in use in all 
 parts of turned work. It is far better than fluting or 
 cabling, for it has a bolder effect in small work than 
 in fluting. When reeding is introduced on flat surfaces, 
 there should always be an odd number, as 3, 5, 7, &c., 
 the centre one being a trifle bolder in table legs, bed 
 pillars, &c. 
 
 ]M[ouldin§; Ornaments, Figures, &,c. in 
 Imitation of Carvingi 
 
 To avoid the expense of carving in wood, several 
 attempts have been made to cast figures and ornaments 
 to resemble wood. The most approved process we here 
 
51 
 
 present our readers. It was invented by M. Lenormand, 
 and rewarded at the Exposition of French products, in 
 1823. 
 
 Make a very clear glue with parts of Flanders glue, 
 and one part of isinglass, by dissolving the two kinds 
 separately in a large quantity of water, and mix them 
 together after they have been strained through a piece of 
 fine linen, to separate the filth and heterogeneous parts 
 which could not be dissolved. The quantity of water 
 cannot be fixed, because all kinds of glue are not homo 
 geneous, so that some require more and some less ; but 
 the proper degree of liquidity may be known by suffering 
 the mixed glue to become perfectly cold, it must then 
 barely form a jelly. If it happens that it is still liquid 
 when cold, a little of the water must be evaporated by 
 exposing the vessel in which it is contained to heat. On 
 the other hand, if it has too much consistence, a little 
 warm water must be added. The glue, thus prepared, is 
 to be heated till you can scarcely endure your finger in 
 it j by this operation a little water is evaporated, and the 
 glue acquires more consistence. Then take raspings of 
 wood, or saw-dust, sifted through a fine hair-sieve, and 
 with the glue form it into a paste, which must be put into 
 plaster or sulphur moulds, after they have been well 
 rubbed over with linseed or nut-oil, in the same manner 
 as when plaster is to be moulded. Care must be taken 
 to press the parts into the mould with the hand, in order 
 that the whole may acquire the perfect form : then cover 
 it with an oiled board, place over it a weight, and suffer 
 it in that manner to dry. The drying may be hastened 
 a little, and rendered more complete, by a stove. When 
 the casting is dry remove the rough parts, and if any 
 
B2 
 
 ir.rqualities remain behind they must be smoothed, and 
 then the ornament may be affixed witL glae to the article 
 for which it is intended. 
 
 It may be varnished or polished in the usual manner 
 This operation is exceedingly easy ; nothing is necessary 
 but moulds, and, with a little art, the omament may be 
 infinitely varied. 
 
 The species of ornament called Composition Ornament, 
 Is used where the mass is not great, and the surface can 
 be covered with gilding or paint, and is not exposed to 
 wear. Sunk roses, and other ornaments, which are 
 protected by projections or mouldings, may be done in this 
 manner, and it may be successfully applied to all objects 
 beyond the reach of accident. 
 
 The composition is made as follows : — Mix 14 pounds 
 of glue, 7 pounds of rosin, ^ pound of pitch, 2^ pints of 
 linseed oil, and 5 pints of water, (more or less according 
 to the quantity required.) Boil the whole together, well 
 stirring till dissolved ; adding as much whiting as will 
 render it of a hard consistency ; then press it into your 
 mould which has been previously oiled with sweet oiU 
 
 No more should be mixed than can be used before it 
 becomes sensibly hard, as it will require steaming before 
 it can be again used. 
 
 Composition ornaments should be well glued on, and, 
 in some cases, they will require to be further secured by 
 needle-points or brads. 
 
 Composition ornaments are chiefly used for picture and 
 glass frames ; we have also seen them employed for orna- 
 ments on the top of oak book-cases, and, when grained by 
 a good painter, they answer as well as when carved iu 
 wood. 
 
53 
 
 DYING, STAINING, POLISHING, VARNISHING, 
 
 &c. 
 
 Dying wood is mostly applied for the purpose of veneers, 
 while staining is more generally had recourse to, to give 
 the desired colour to the article after it has been manu- 
 factured. — In the one case, the colour should penetrate 
 throughout ; while in the latter, the surface is all that is 
 essential. 
 
 In dying pear-tree, holly, and beech, take the best 
 black ; but for most colours holly is preferable. — It is also 
 best to have your wood as young and as newly cut as 
 possible. After your veneers are cut, the}' should be 
 allowed to lie in a trough of water for four or five days 
 before you put them into the copper ; as the water, actinc* 
 as a purgative to the wood, brings out abundance of slimy 
 matter ; which, if not thus removed, the wood will nevei 
 be of a good colour ; after this purifactory process, they 
 should be dried in the open air for at least twelve hours : 
 th^y are then ready for the copper. By these simple 
 means, the colour will strike much quicker, and be of a 
 brighter hue. It would also add to the improvement of 
 the colours, if, after your veneers have boiled a few hours, 
 they are taken out, dried in the air, and again immersed 
 in the colouring copper. Always dry veneers in the open 
 air; for fire invariably injures the colours. 
 
 Fine Black. 
 
 Put six pounds of chip logwood into your copper, with 
 as many veneers as it will conveniently hold, without 
 pressing too tight ; fill it with water, and let it boil slowly 
 
54 
 
 for about three hours ; then add half a pound of powdered 
 verdigris, half a pound of copperas, and four ounces of 
 bruised nut-galls ; fill the copper up with vinegar as the 
 water evaporates ; let it boil gently two hours each day, 
 till the wood is dyed through. 
 
 ANOTHER. 
 
 Procure some liquor from a tanner's pit^ or make a 
 strong decoction of oak -bark, and to every gallon of the 
 liquor add a quarter of a pound of green copperas, and 
 mix them well together : put the liquor into the copper, 
 and make it quite hot, but not to boil; immerse the 
 veneers in it, and let them remain for an hour ; take 
 them out, and expose them to the air till it has pene- 
 trated its substance ; then add some logwood to the 
 solution, place your veneers again in it, and let it simmer 
 for two or three hours ; let the whole cool gradually, dry 
 your veneers in the shade, and they will have acquired a 
 very fine black. 
 
 Fine Blue. 
 
 Into a clean glass bottle, put one pound of oil of vitriol, 
 and four ounces of the best indigo pounded in a mortar ; 
 (take care to set the bottle in a basin or earthen glazed 
 pan, as it will ferment ; now put your veneers into a 
 copper, or stone trough; fill it rather more than one-third 
 with water, and add as much of the vitriol and indigo 
 (stirring it about) as will make a fine blue, which yoa. 
 may know by trying it with a piece of white paper or 
 wood; let the veneers remain till the dye has struck 
 through. 
 
55 
 
 Fine Yello^^r. 
 
 Reduce four pounds of the root of barberry, by sawing 
 to dust, which put in a copper or brass trough ; add four 
 ounces of turmeric, and four gallons of water, then put in 
 as many white holly veneers as the liquor will cover ; 
 boil them together for three hours, often turning them; 
 when cool, add two ounces of aqua-fortis, and the dye 
 will strike through much sooner. 
 
 Bright Yello^v. 
 
 To every gallon of water, necessary to cover your 
 veneers, add one pound of French berries ; boil the veneers 
 till the colour has penetrated through ; add the following 
 liquid to the infusion of the French berries, and let your 
 veneers remain for two or three hours, and the colour 
 will be very briglit. 
 
 Bright Green. 
 
 Proceed as in either of the above receipts to produce a 
 yellow; but instead of adding aqua-fortis or the brightening 
 liquid, add as much vitriolated indigo as will produce the 
 desired colour. 
 
 ANOTHER. 
 
 Dissolve four ounces of the best verdigris, and half an 
 ounce of indigo, in three pints of the best vinegar ; put 
 in your veneers, and gently boil till the colour has pene- 
 trated sufficiently. 
 
 The hue of the green may be varied by altering the 
 proportion of the ingredients. 
 
 Bright Red. 
 
 To two pounds of genuine Brazil dust, add four gallons 
 
56 
 
 of water; put in as many veneers as the liquor will cover, 
 boil them for three hours ; then add two ounces of alura, 
 and two ounces of aqua-fortis, and keep it lukewarm until 
 it has struck through. 
 
 ANOTHER. 
 
 To every pound of logwood chips, (well picked from 
 dirt, &c.,) add two gallons of water ; put in your veneers, 
 and boil as in the last ; then add a sufficient quantity of 
 the brightening liquid (page 55) till you see the colour to 
 your mind ; keep the whole as warm as you can bear 
 your finger in it, till the colour has sufficiently penetrated. 
 
 The logwood chips is always best when fresh cut, 
 which may be known by its appearing of a bright red 
 colour ; for if stale it will look brown, and not yield so 
 much colouring matter. 
 
 Purple. 
 
 To two pounds of chip logwood and half a pound of 
 Brazil dust, add four gallons of water, and after putting 
 in your veneers, boil them for at least three hours ; then 
 add six ounces of pearlash and two ounces of alum ; let 
 them boil for two o- ♦hree hours every day, till the colour 
 has struck through. 
 
 The Brazil dust only contributes to make the purple of 
 a more red cast ; you may therefore omit it, if you require 
 a deep blush purple. 
 
 Orange. 
 
 Let the veneers be dyed, by either of the methodg 
 given in page 54, of a fine deep yellow, and while they 
 are still wet and saturated with the dye, transfer them to 
 
57 
 
 the bright red dye as in page 55, till the colour penetrates 
 equally throughout. 
 
 Silver Grey. 
 
 Expose to the weather in a cast-iron pot of six or eight 
 gallons, old iron nails, hoops, &c. till covered with rust ; 
 add one gallon of vinegar, and two of water, boil all well 
 for an hour ; have your veneers ready, which must be air- 
 wood (not too dry,) put them in the copper you use to 
 dye black, and pour the iron liquor over them ; add one 
 pound of chip logwood, and two ounces of bruised nut- 
 galls ; then boil up another pot of the iron liquor to supply 
 the copper with, keeping the veneers covered, and boiling 
 two hours a day^ till of the required colour. 
 
 Iiiquid for Brightening and Setting 
 Colours. 
 
 To every pint of strong aqua-fortis, add one ounce of 
 gi'ain tin, and a piece of sal-ammoniac of the size of a 
 walnut ; set it by to dissolve, shake the bottle round with 
 the cork out, from time to time ; in the course of two or 
 three days it will be fit for use. This will be found an 
 admirable liquid to add to any colour, as it not only 
 brightens it, but renders it less likely to fade from expo- 
 sure to the air. 
 
 STAINING. 
 
 •Staining wood is altogether a different process from dying 
 it, and requires no preparation before the stain be applied: 
 it is peculiarly useful to bedstead and chair makers. In 
 preparing the stain, but little trouble is required ; and. 
 
58 
 
 generally speaking, its application differs very little from 
 that of painting. When carefully done, and properly 
 varnished, staining has a very beautiful appearance, and 
 is much less likely to meet with injury than japanning. 
 
 To make Imitation Bosewood. 
 
 Brush the wood over with a strong decoction of logwood, 
 while hot ; repeat this process three or four times ; put a 
 quantity of iron-filings amongst vinegar ; then, with a 
 flat, open brush, made with a piece of cane, bruised at 
 the end, or split with a knife, apply the solution of iron- 
 filings and vinegar to the wood in such a manner as to 
 produce the fibres of the wood required. After it is dry, 
 the wood must be polished with turpentine and bees'- wax. 
 
 Brovi^n Veined Stain, or Imitation of 
 Rosewood. 
 
 For the ground, make a stain by boiling 16 parts of 
 logwood in 64 parts of water, till the liquor acquires a 
 deep red colour. Then add one part of carbonate of 
 potash, and apply the stain hot, letting the work become 
 nearly dry between each coat, till a good rosewood ground 
 be formed ; after which let it become quite dry. 
 
 To form the veins, heat the black stain above described, 
 as used for the last coat, and with a graining brush, such 
 as is used by painters, make the dark veins on the work. 
 The veins should be disposed to represent the dark parts 
 of the natural wood with as much taste and skill as 
 possible. 
 
 Bro-^vu Stains to Imitate ISahogan^. 
 
 The surface may first be rubbed with a diluted solution 
 
59 
 
 of aqua-fortis; then one ounce of dragon's blood being 
 dissolved in a pint of spirit of wine by heat, and one- 
 third of an ounce of carbonate of soda being added, the 
 mixture is filtered, and afterwards laid on with a soft 
 brush. On being done over a second time, the wood 
 acquires the external appearance of mahogany. 
 
 To Stain Beech, a Mahogany Colour. 
 
 Put two ounces of dragon's blood, broken in pieces, 
 into a quart of rectified spirits of wine ; let the bottle stand 
 in a warm place, shake it frequently, when dissolved, it is 
 fit for use. 
 
 To give any Close-grained Wood the 
 appearance of Mahogany. 
 
 The surface of the wood must first be planed smooth, 
 and then rubbed with weak aquafortis ; after which it is 
 to be finished with the following varnish : — To three pints 
 of spirits of wine is to be added four ounces and a half of 
 dragon's blood, and an ounce of soda, which have been 
 previously ground together; after standing some time, 
 that the dragon's blood may be dissolved, the varnish is 
 to be strained, and laid on the wood with a soft brush. 
 This process is to be repeated, and then the wood pos- 
 sesses the perfect appearance of mahogany. When the 
 polish diminishes in brilliancy, it may be speedily restored 
 by rubbing the article with a little linseed oil. 
 
 To Take Ink out of Mahogany. 
 
 Mix in a tea-spoonful of cold water a few drops of oil 
 of vitriol, and touch the spot with a feather dipped in the 
 liquid, taking care neither to exceed nor to come shoit of 
 
60 
 
 the due quantity of acid : too little doing no good, and too 
 much only substituting one stain for another. In the 
 latter case, or where the colour is made lighter than the 
 rest of the wood, perhaps a little linseed oil would be the 
 readiest and best restorative. 
 
 Easy IVIethod of Darkening IXCahogany. 
 
 Nothing more is necessary than to wash the mahogany 
 with lime water, which may readily be made by dropping 
 a nodule of lime into a basin of water. 
 
 Imitation of Elony. 
 
 Pale-coloured woods are stained in imitation of ebony 
 by washing them with, or steeping them in, a strong 
 decoction of logwood or galls, allowing them to dry, and 
 then washing them over with a solution of the sulphate 
 or acetate of iron. When dry, they are washed with 
 clean water, and the process repeated, if required. They 
 are, lastly, polished or varnished. 
 
 Blask Stain, or Imitation of Ebony. 
 
 First, form a stain of galls and logwood, in the pro- 
 portion, by weight, of 12 parts of logwood to 2 parts of 
 galls, and give the work one coat with this stain. Add 
 one part of verdigris to the stain, and give the work 
 another coat. Then add one part of sulphate of iron ; 
 and apply one or more coats as may be deemed necessary 
 
 Black Stain for immediate use. 
 
 Boil half a pound of chip logwood, in two quarts of 
 water, add one ounce of pearl-ash, and apply it hot to 
 the work with a brush. Then take half a pound of log- 
 
61 
 
 wood, boil it as before in two quarts of water, and add 
 half an ounce of verdigris, and half an ounce of copperas 
 strain it off, put in half a pound of rusty steel filings, with 
 this go over your work a second time. 
 
 To Imitate King or Botany -bay Wood. 
 
 Boil half a pound of French berries, in two quarts of 
 water, till of a deep yellow, and, while boiling hot, give 
 two or three coats to your work ; when nearly dry, form 
 the grain with the black stain, which must also be used 
 not. 
 
 You may, for variety, to heighten the colour, after 
 giving it two or three coats of yellow, give one of strong 
 logwood liquor, and then use the black stain as directed. 
 
 Red Stain for Bedsteads and Common 
 
 Chairs. 
 
 Archil, as sold at the shops, will produce a very good 
 stain of itself, when used cold ; but if, after one or two 
 coats, being applied and suffered to get almost dry, it is 
 brushed over w^ith a hot solution of pearlash in water, it 
 will improve the colour. 
 
 To Improve the Colour of any Stain, 
 
 Mix in a bottle one ounce of nitric acid, half a tea- 
 spoonful of muriatic acid, a quarter of an ounce of grain 
 tin, and two ounces of rain water. Mix it at least two 
 days before using, and keep your bottle well corked. 
 
 To Stain Horn in Imitation of 
 Tortoiseshell. 
 
 Mix an equal quantity of quick-lime and red-lead with 
 
 strong soap lees, lay it on the horn with a small brusli, 
 
62 
 
 in imitation of the mottle of tortoiseshell ; when dry, 
 repeat it two or three times. 
 
 Hovir to Weld Tortoiseshell. 
 
 Provide yourself with a pair of pincers or tongs, so 
 constructed that you can reach four inches beyond the 
 rivet ; then have your tortoiseshell filed clean to a lap- 
 joint, carefully observing that there is no grease about it ; 
 wet the joint with water, apply the pincers hot, following 
 them with water, and you will find the shell to be joined 
 as if it were one piece. 
 
 To Stain Ivory or Bone Red. 
 
 Boil cuttings of scarlet cloth in water, and add by 
 degrees pearlash till the colour is extracted ; a little roach 
 alum, now added, will clear the colour ; then strain it 
 through a linen cloth. Steep your ivory or bone in aqua- 
 fortis (nitrous acid) diluted with twice its quantity of 
 water ; then take it out, and put it into your scarlet dye 
 till the colour is to your mind ; be careful not to let your 
 aqua-fortis be too strong, neither let your ivory remain too 
 long in it ; try it first with a slip of ivory, and if you 
 observe the acid has just caused a trifling roughness on 
 its surface, take it out immediately, and put it into the 
 red liquid, which must be warm, but not too hot ; a little 
 practice, with these cautions, will enable you to succeed 
 according to your wishes ; cover the places you wish to 
 remain unstained with white wax, and the stain will not 
 penetrate in those places, but leave the ivory of its natural 
 colour. 
 
 To Stain Ivory or Bone Black. 
 
 4dd to any quantity of nitrate of silver (lunar caustic,) 
 
63 
 
 three times its bulk of water, and steep your ivory or 
 bone in it ; take it out again in about an hour, and expose 
 it to the sunshine to dry, and it will be a perfect black. 
 
 To Stain Ivory or Bone Green. 
 
 Steep your work in a solution of verdigris and sal- 
 ammoniac in weak aquafortis, in the proportion of two 
 parts of the former to one of the latter, being careful to 
 use the precautions mentioned for staining red. 
 
 To Stain Ivory, &,c. Blue. 
 
 Stain your materials green according to the previous 
 process, and then dip them in a strong solution of pearl- 
 ash and water. 
 
 To Stain Ivory, &c. Yellow. 
 
 Put your ivory in a strong solution of alum water, 
 and keep the whole some time nearly boiling ; then take 
 them out and immerse them in a hot mixture of turmeric 
 and water, either with or without the addition of French 
 berries ; let them simmer for about half an hour, and your 
 ivory will be of a beautiful yellow. Ivory or bone should 
 dry very gradually, or it will split or crack. 
 
 To Soften Ivory. 
 
 Slice a quarter of a pound of mandrake, and put in half 
 a pint of the best vinegar, into which put your ivory ; let 
 it stand in a warm place for forty-eight hours, you will 
 then be able to bend the ivory to your mind. 
 
 To give Wood a Gold, Silver, or Copper 
 
 Lustre. 
 
 Grind about two ounces of white beech sand in a gill 
 
 of water, in which half an ounce of gum arable has been 
 
64 
 
 dissolved, and brush over the work with it. When this 
 is dry, the work may be rubhed over with a piece of gold, 
 silver, or copper, and it will in a measure assume their 
 respective colours and brilliancy. The work may be 
 polished by a flint burnisher, but should not be varnished. 
 
 POLISHING. 
 
 The beauty of Cabinet-work depends upon the care with 
 which it is finished ; some clean off with scraping and 
 rubbing with glass paper : this should be done in all cases, 
 but it is not enough, particularly where the grain is any- 
 ways soft ; a good glass paper is also essential ; (directions 
 for making which will be found in page 20,) a polish 
 should then be added. But unless the varnish for cabinet- 
 work be very clear and bright, it will give a dingy shade 
 to all light-coloured woods ; this should therefore be a 
 previous care. 
 
 The French Method of Polishing. 
 
 With a piece of fine pumice-stone and water, pass 
 regularly over the work with the grain, until the rising 
 of the grain is down ; then with powdered Tripoli and 
 boiled linseed oil polish the work to a bright face ; this 
 will be a very superior polish, but it requires considerable 
 time. 
 
 Cheap Oil Polish. 
 
 The cheapest and most simple polish is, first, having 
 well cleared the work, to oil the article with linseed oil, 
 when by oiling and rubbing for a short time a bright gloss 
 
65 
 
 will be produced, and the natural colour of the wood will 
 show to much advantage. When it is required to darken 
 the colour, alkanet root, dragon's blood, or other colouring 
 matters which dissolve in oil, slightly heated, are mixed 
 with the above. 
 
 To Polish Ivory. 
 
 If ivory be polished with putty and water, by means 
 of a mbber made of hat, it will in a short time produce a 
 fine gloss. 
 
 To Polish any virork of Pearl. 
 
 Go over it with pumice stone, finely powdered, (first 
 washed to separate the impurities and dirt,) with which 
 you may polish it very smooth ; then apply putty-powder 
 as directed for ivory, and it will produce a fine gloss and 
 a good colour. 
 
 To Polish Tortoiseshell or Horn. 
 
 Having scraped youi work perfectly smooth and level, 
 rub it with very fine sand-paper or Dutch rushes ; repeat 
 the rubbing with a bit of felt dipped in very finely 
 powdered charcoal with water, and lastly with rotten- 
 stone or putty powder; and finish with a piece of soft 
 wash leather, damped with a little sweet oil. 
 
 French Polishing. 
 
 All polishes are used much in the same way. If your 
 work be porous, or the grain coarse, it will be necessary, 
 previous to polishing, to give it a coat of clear size pre- 
 vious to your commencing with the polish ; and when 
 dry, gently go over it with very fine glass paper ; the size 
 will fill up the pores and prevent the waste of the polish. 
 
66 
 
 by being absorbed into the wood , and be also a saving of 
 considerable time in the operation. 
 
 The true French Polish. 
 
 To one pint of spirits of wine, add a quarter of an 
 ounce of gum copal, a quarter of an ounce of gum arable, 
 and one ounce of shellac. 
 
 Let your gums be well bruised, and sifted through a 
 piece of muslin. Put the spirits and the gums together 
 in a vessel that can be closely corked ; place them near a 
 warm stove, and frequently shake them ; in two or three 
 days they will be dissolved : strain it through a piece of 
 muslin, and keep it tight corked for use. 
 
 French Polish, 
 
 To one pint of spirits of wine add half an ounce of gum- 
 Bhellac, half an ounce of gum-lac, a quarter of an ounce 
 of gum sandarac ; place the whole in a gentle heat, 
 frequently shaking it, till the gums are dissolved, when it 
 is fit for use. 
 
 German Polish. 
 
 The wood is prepared with pumice-stone rubbea flat, 
 oiled, and then rubbed together till smooth. The only 
 varnish then used is a solution of shel-lac in spirits of 
 wine, the clearest grains of lac being for the lightest 
 varnish. Colour red with Brazil wood, and yellow by 
 turmeric root. It is applied with a rubber of five pieces 
 of linen; the varnish is then put on with sponge, and, 
 having soaked through the linen layers, a little linseed 
 oil is added in the midst of the varnish, and the whole 
 extent of the surface of the article to be polished, must be 
 gone over at once with this rubber. 
 
67 
 
 Before the preceding composition is applied, the furni- 
 ture should be cleaned with hot beer, and all ink or 
 other stains removed. 
 
 An improved Polish. 
 
 To a pint of spirits of wine, add, in fine powder, one 
 ounce of seed-lac, two drachms of gum guiacum, two 
 drachms of dragon's blood, and two drachms of gum 
 mastic ; expose them in a vessel stopped close, to a mode- 
 rate heat for three hours, until you find the gums dissolved; 
 strain it into a bottle for use, with a quarter of a gill of 
 the best linseed oil, to be shaken up well with it. 
 
 This polish is more particularly intended for dark- 
 coloured woods, for it is apt to give a tinge to light ones, 
 as satin-wood, or air-wood, &c., owing to the admixture of 
 the dragon's blood, which gives it a red appearance. 
 
 Waterproof Polish. 
 
 Take a pint of spirits of wine, two ounces of gum 
 benzoin, a quarter of an ounce of gum sandarac, and a 
 quarter of an ounce of gum anime ; these must be put into 
 a stopped bottle, and placed either in a sand-bath or in 
 hot water till dissolved ; then strain it ; and after adding 
 about a quarter of a gill of the best clear poppy oil, well 
 shake it up, and put it by for use. 
 
 Bright Polish. 
 
 A pint of spirits of wine, to two ounces of gum benzoin, 
 and half an ounce of gum sandarac, put in a glass bottle 
 corked, and placed in a sand-bath, or hot water, until you 
 find all the gum dissolved, will make a beautiful clear 
 polish for Tunbridge-ware goods, tea-caddies, &c. : it must 
 
68 
 
 be shaken from time to time, and when all dissolved, 
 strained through a fine muslin sieve and bottled for use. 
 
 Strong Polish. 
 
 To be used In the carved parts of cabinet work with a 
 brush, as in standards, pillars, claws, &c. 
 
 Dissolve two ounces of seed-lac and two ounces of white 
 rosin in one pint of spirits of wine. 
 
 This varnish or polish must be laid on warm, and if 
 the work can be warmed also, it will be so much the 
 oetter; at any rate moisture and dampness must be 
 avoided. 
 
 Directions for Cleaning and Polishing 
 Old Furniture. 
 
 Take a quart of stale beer or vinegar, put a handful of 
 comm.on salt, and a table spoonful of spirits of salt into it, 
 and boil it for a quarter of an hour ; you may keep it in 
 a bottle, and warm it when wanted for use ; having 
 previously washed your furniture with soft hot water to 
 get the dirt off, wash it carefully with the above mixture ; 
 then polish, according to the directions, with any of the 
 foregoing polishes. 
 
 Mahogany furniture may be cleaned and improved, by 
 taking three-pennyworth of alkanet root, one pint of cold- 
 drawn linseed oil, and two-pennyworth of rose pink ; or 
 a part only of the alkanet and rose pink may be added, if 
 the pinky shade occasioned by them should be disagreeable. 
 These ingredients are put together into a pan, to stand 
 all night : the mixture is then rubbed on tables and chairs, 
 and suffered to remain one hour. After this, it is to be 
 rubbed off with a linen cloth, and it will leave a beautiful 
 gloss on the furniture. 
 
69 
 
 To take Bruises out of Furniture. 
 
 Wet the part with warm water ; double a piece of 
 brown paper five or six times, soak it, and lay it on the 
 place ; apply on that a hot flat-iron till the moisture is 
 evaporated ; if the bruise be not gone, repeat the process. 
 After two or three applications, the dent or bruise will be 
 raised level with the surface. If the bruise be small, 
 merely soak it with warm water, and apply a red-hot 
 poker very near the surface ; keep it continually wet, and 
 in a few minutes the bruise will disappear. 
 
 To make Furniture Paste. 
 
 Scrape two ounces of bees' wax into a pot or basin ; 
 
 then add as much spirits of tm-pentine as will moisten it 
 through ; at the same time powder an eighth part of an 
 ounce of rosin, and add to it, when dissolved to the con- 
 sistence of paste, as much Indian red as will bring it to 
 a deep mahogany colour : stir it up, and it will be fit 
 for use. 
 
 Polishing Paste. 
 
 Half a pound of mottled soap cut into pieces, mixed 
 with half a pound of rotten-stone in powder ; put them 
 into a saucepan, with enough of cold water to cover the 
 mixture (about three pints) ; boil slowly till dissolved to 
 a paste. 
 
 ANOTHER, FOR LIGHT COLOURED WOODS. 
 
 Scrape a quarter of a pound of bees' wax into halt a 
 pint of turpentine, and mixing with the same about a 
 quarter of a pint of linseed oil. Bees' wax scraped, ana 
 Bet in a warm place, with turpentine enough to make it 
 into a paste, will keep the wood still lighter. 
 
70 
 
 Furniture Oil. 
 
 Put linseed oil in a glazed pipkin, with as niuoh alkanet 
 root as it will cover ; let it boil gently till it becomes ot a 
 strong red colour ; let it cool, and it will be fit for use. 
 
 ANOTHER. 
 
 Take of cold-drawn linseed oil, one pint, into which 
 put one ounce of powdered rose-pink ; stir it well together, 
 and add one ounce of alkanet root, beat in a mortar. Let 
 the whole stand in a warm place for a few days, when 
 the oil will be deeply coloured, and, the substances having 
 settled, the oil may be poured off for use. 
 
 This is an excellent method of darkening new mahogany. 
 
 VARNISHING. 
 
 In London it is hardly worth while to make varnish, 
 unless required in large quantities, as there are several 
 shops where it may be had very good, and at a fair price ; 
 but in the country, where the carriage is an object, and 
 you cannot depend upon the genuineness of the article, it 
 is necessary to be known by the practical mechanic ;* yet 
 where it can be purchased, we should recommend it to be 
 had. 
 
 When wood, or other porous material, is to be varnished, 
 it ought to be coated with some substance which will 
 
 • There being so many kinds of varnishes, and so variously 
 prepared according to the nature of the work for which it ia 
 required, that only those essential to the Cabinet-maker are 
 here given, but we would recommend those desirous of making 
 their own varnishes, to obtain " The Painters, Grainers, and 
 Writers' Assistant," which treats fully on the subject. 
 
71 
 
 glare of eggs, gum- water, or gum tragacanth, are occa- 
 sionally emploj'ed, the object in view being to prevent the 
 absorption of the varnish by a coating of some substance 
 not soluble in spirit. When linseed oil is used, it ought 
 to be rubbed on sparingly, then wiped carefully off, and a 
 day or two should be allowed for it to harden, before the 
 varnish is put on. 
 
 Turpentine Varnish. 
 
 Take of black resin one pound and a half, oil of turpen- 
 tine two pints. Melt the resin, and after having removed 
 it from the fire, mix in, gradually, the turpentine. Straiii 
 if necessary. 
 
 Varnish for Furniture. 
 
 Melt one part of virgin's white wax, with eight parts 
 of petroleum ; by a slight coat of this mixture on the 
 wood with a fine brush while warm, the oil will then 
 evaporate, and leave a thin coat of wax, which should 
 afterwards be polished with a coarse woollen cloth. 
 
 An excellent Varnish for Cabinetwork. 
 
 Take shell-lac one ounce and a half, gum mastic and 
 gum sandarac of each half an ounce, spirits of wine twenty 
 ounces. The gums to be first dissolved in the spirit, and 
 lastly the shell-kc; this may be performed by putting the 
 mixture into H bottle loosely corked, and placing it in a 
 vessel of warm water, which must not boil, keeping 
 the bottle in the warm water until the gums are dissolved. 
 Should evaporation take place, an equal quantity of spirits 
 of wine so lost, must be replaced in the bottle; let the 
 whole settle, and pour off the clear liquid for use, leaving 
 the sediment behind, but do not filter it. 
 
72 
 
 To make Gold Varnish. 
 
 Take gum-lac, well picked, put it into a small linen 
 bag, and wash it in pure water, till the water becomes no 
 longer red, then take it from the bag and suffer it to dry. 
 When it is perfectly dry, reduce it to a fine powder 
 Then take four parts of spirits of wine, and one of gum, 
 reduced, as before directed, to an impalpable powder, so 
 that for every four pounds of spirits you may have one ot 
 gum ; mix these together, and having put them into an 
 alembic, graduate the fire so that the gum may dissolve 
 in the spirits. When dissolved, strain the whole through 
 a strong piece of linen cloth ; throw away what remains 
 as of no use, and preserve the liquor in a glass bottle, 
 closely corked. This varnish may be employed for gilding 
 any kind of wood. 
 
 When you wish to use it, you must, in order that the 
 work may be done with more smoothness, employ a brush 
 made of the tail of a Vari, (to be obtained at all artists' 
 tolour shops,) and with this instrument dipped in the 
 liquor, wash over gently, three times, the wood which 
 has been silvered ; let each coat dry before the next is 
 applied, and your work will resemble the finest gold. 
 
 A Varnish for Wood that -will resist 
 Boiling Water. 
 
 Take a pint and a half of linseed oil, and boil it in a 
 copper vessel, not tinned, suspending in the oil a small 
 linen bag, (which must not touch the bottom of the vessel) 
 containing five ounces of litharge, and three ounces of 
 minium well powdered, till the oil acquires a deep brown 
 colour; then take out the bag and substitute another 
 containing six cloves of garlic, then throw into the liquid 
 one pound of yellow amber, after being melted in the 
 
73 
 
 following manner: — To one pound of well- powdered 
 amber, add two ounces of linseed oil, and place them on 
 a strong fire. When the fusion is complete, pour it 
 boiling hot into the prepared linseed oil, and let it con- 
 tinue to boil for five minutes, stirring it well ; let it stand 
 a short time, then pour off the composition and preserve 
 it, when cold, in stoppered bottles ; after having polished 
 your wood and given it the required colour ; when per- 
 fectly dry lay on the varnish with a fine sponge, give 
 your work three or four coats, letting each coat dry 
 before another is applied. 
 
 To Varnish a piece of Furniture. 
 
 First make the work quite clean ; then fill up all knots 
 or blemishes with cement of the same colour ; see that 
 your brush is clean, and free from loose hairs ; then dip 
 your brush in the varnish, stroke it along the wire raised 
 across the top of your varnish pot, and give the work a 
 thin and regular coat; soon after that another, and another, 
 always taking care not to pass the brush twice in the same 
 place ; let it stand to dry in a moderately warm place, 
 that the varnish may not chill. 
 
 When you have given your work about six or seven 
 coats, let it get quite hard (which you will prove by 
 pressing your knuckles on it ; if it leave a mark, it is not 
 hard enough) ; then with the three first fingers of your 
 hand rub the varnish till it chafes, and proceed over that 
 part of the work you mean to polish, in order to take out 
 all the streaks, or partial lumps made by the brush ; then 
 give it another coat, and let it stand a day or two to harden. 
 
 To Polish Varnish. 
 
 Put two ounces of powdered Tripoli into an earthen 
 
74 
 
 pot or basin, with water sufficient to cover it ; then with 
 a piece of fine flannel four times doubled, laid over a piece 
 of cork rubber, proceed to polish your varnish, always 
 wetting it well with the Tripoli and water ; you will 
 know when the process is complete, by wiping a part of 
 the work with a sponge, and observing whether there is a 
 fair and even gloss ; clean off with a bit of mutton suet 
 and fine flour. 
 
 To keep Brushes in order. 
 
 It is necessary to be very careful in cleaning them after 
 being used, for if laid by with the varnish in them, they 
 are soon spoiled ; therefore, after using, wash them well in 
 spirits of wine or turpentine, according to the nature of 
 your varnish ; after which you may wash them out with 
 hot water and soap, and they will be as good as new, 
 and the spirits that are used for cleaning, may be used to 
 mix with varnish for the more common purposes, or the 
 brushes may be cleaned, merely with boiling water and 
 strong yellow soap. 
 
 PART IV.-GILDING. 
 
 The art of silvering, as applied to cabinet work, is 
 precisely similar to that of gilding ; the directions for the 
 one will therefore be the instructions for the other, with 
 little other variation than using silver leaf instead of gold 
 
 leaf. 
 
 There are two methods of gilding : — that for out-door 
 work, to stand the weather, or to wash, is called oil 
 gilding ; this is performed by means of oil or varnish. 
 
75 
 
 The other, called burnish-gilding, is the most beautiful, 
 and best adapted for fine work, as frames, articles of 
 furniture, &c. or as applied by the cabinet-maker, in the 
 internal decoration of rooms, or the carved work of its 
 furniture. 
 
 The materials to be provided viritli. 
 
 First, a sufficient quantity of leaf gold, which is of two 
 sorts, the deep gold, as it is called, and the pale gold ; 
 the former is the best ; the latter very useful, and may 
 occasionally be introduced for variety or effect. 
 
 Second, a gilder's cushion ; an oblong piece of wood, 
 covered with rough calf-skin, stufFed with flannel several 
 times doubled, with a border of parchment, about four 
 inches deep at one end, to prevent the air blowmg the 
 leaves about when placed on the cushion. 
 
 Thirdly, a gilding knife, with a straight and very 
 smooth edge, to cut the gold. 
 
 Fourthly, several camel-hair pencils in sizes, and tips, 
 made of a few long camel's hairs put between two cards, 
 in the same manner as hairs are put into tin cases for 
 brushes, thus making a flat brush with a very few hairs. 
 Lastly, a burnisher, which is a crooked piece of agate set 
 in a long wooden handle. 
 
 Size for Oil Gilding. 
 
 Grind calcined red ochre with the best and oldest drying 
 oil, and mix with it a little oil of turpentine when used. 
 
 When you intend to gild your work, first give it a coat 
 of parchment size ; then apply the above size where 
 requisite, either in patterns or letters, and let it remain 
 till by touching it with your fingers it feels just sticky; 
 
76 
 
 then apply your gold leaf, and dab it on with a piece or 
 cotton ; in about an hour wash off the superfluous gold 
 with sponge and water ; and, when dry, varnish it with 
 copal varnish. 
 
 A Size for preparing Frames. 
 
 To half a pound of parchment shavings, or cuttings of 
 white leather, add three quarts of water, and boil it in a 
 proper vessel till reduced to nearly half the quantity ; 
 then take it off the fire, and strain it through a sieve : be 
 careful in the boiling to keep it well stirred, and do not 
 let it burn. 
 
 To prepare Frames or Wood-work. 
 
 First, with the above alone, and boiling-hot, go over 
 your frames in every part ; then mix a sufficient quantity 
 of whiting with size, to the consistency of thick cream, 
 with which go over every part of your frame six or seven 
 times, carefully letting each coat dry before you proceed 
 with the next, and you will have a white ground fit for 
 gilding on, nearly or quite the sixteenth of an inch in 
 thickness. 
 
 Your size must not be too thick, and when mixed with 
 the whiting should not be put on so hot as the first coat 
 is by tself : it will be better to separate the dirty or 
 coarse parts of the whiting, by straining it through a sieve. 
 
 Folishinga 
 
 When the prepared frames are quite dry, clean and 
 polish them ; to do this, wet a small piece at a time, and 
 with a smooth fine piece of cloth dipped in water, rub the 
 part till all the bumps and inequalities are removed, and 
 for those parts where the fingers will not enter, as the 
 
77 
 
 mouldings, &c. wind the wet cloth round a piece of wood, 
 and by this means make the surface all smooth and even 
 alike. 
 
 Where there is carved work, &c. it will sometimes be 
 necessary to bring the mouldings to their original sharpnesS; 
 by means of chisels, gouges, &c. as the preparation will 
 be apt to fill up all the finer parts of the work, which 
 must be thus restored ; it is sometimes the practice, after 
 polishing, to go over the work, once, with fine yellow or 
 Roman ochre, but this is rarely necessary. 
 
 Gold Size. 
 
 Grind fine bol-ammoniac well with a muller and stone: 
 scrape into it a little beef suet, and grind all well together; 
 after which, mix in with a pallet knife a small proportion 
 of parchment size with a double proportion of water. 
 
 ANOTHER. 
 
 Grind a lump of tobacco-pipe clay into a very stiff 
 paste with thin size ; add a small quantity of ruddle, and 
 fine black lead ground very fine, and temper the whole 
 with a small piece of tallow. 
 
 To Prepare your Frames for Gilding- 
 Take a small cup, or pipkin, into which put as much 
 gold size as you judge sufficient for the work in hand, add 
 parchment size, till it will just flow from the brush ; when 
 quite hot, pass over your work with a very soft brush, 
 taking care not to put the first coat too thick ; let it dry, 
 and repeat it twice or three times more, and when quite 
 dry, brush the whole with a stiff brush, to remove any 
 remtuning nobs. Your work is now ready for applying 
 the gold. 
 
78 
 
 Your parchment size should be of such a consistence, 
 when cold, as the common jelly sold in the shops ; for if 
 too thick it will be apt to chip, and if too thin it will not 
 have sufficient body. 
 
 Laying on the Gold. 
 
 This is the most difficult part of the operation, and 
 requires some practice; but with a little caution and 
 attention, it may be easily performed. 
 
 Turn your gold out of the book on your cushion a leaf 
 at a time ; then passing your gilding knife under it, bring 
 it into a convenient part of your cushion for cutting it 
 into the size of the pieces required ; breathe gently on the 
 centre of the leaf, and it will lay flat on your cushion , 
 then cut it to your mind by bringing the knife perpen- 
 dicularly over it, and sawing it gently till divided. 
 
 Place your work before you in a position nearly hori* 
 zontal, and with a long-haired camel-hair pencil, dipped 
 in water (or with a small quantity of brandy in the water,) 
 go over as much of your work as you intend the piece of 
 gold to cover ; then take up your gold from your cushion 
 with your tip ; by drawing it over your forehead, or cheek, 
 it will damp it sufficiently to adhere to the gold, which 
 must then be carefully transferred to your work, and 
 gently breathing on it, it will adhere ; but take care that 
 the part you apply it to is sufficiently wet ; indeed, it 
 must be floating, or you will find the gold apt to crack; 
 proceed in this manner by a little at a time, and do not 
 attempt to cover too much at once, till by experience you 
 are able to handle the gold with freedom. Be careful, in 
 proceeding with your work, if you find any flaws, or cracks 
 appear, to take a corresponding piece of gold, and apply it 
 immediately. 
 
79 
 
 Burnishing 
 
 When your work is covered with gold, set it by to dry, 
 it will be ready to burnish in about eight or ten hours ; 
 but it will depend on the warmth of the room or state of 
 the air, and practice will enable you to judge of the proper 
 time. 
 
 When it is ready, those parts which you intend to 
 burnish must be dusted with a soft brush, and wiping 
 your burnisher with a piece of soft wash-leather (quite 
 dry), begin to burnish about an inch or two in length at 
 a time, taking care not to lean too hard, but with a gentle 
 and quick motion apply the tool till you find it equally 
 bright all over. 
 
 Matting or Dead Gold 
 
 Those parts of your work which look dull from not 
 being burnished, are now to be matted, that is, are to be 
 made to look like dead gold ; for if left in its natural state 
 it will have a shining appearance, which must be thus 
 rectified : — 
 
 Grind some vermilllon, or yellow ochre, very fine, and 
 mix a very small portion either with the parchment-size 
 or with the white of an egg, and with a very soft brush 
 lay it even and smooth on the parts intended to look dull^ 
 if well done, it will add greatly to the beauty of the worL 
 
 Finishing. 
 
 It is now only necessary to touch the parts in the 
 hollows with a composition made by grinding vermillion, 
 gamboge, and red lead, very fine, with oil of turpentine, 
 and applying it carefully with a small brush in the parte 
 required, and your work is comrleted. 
 
80 
 
 Sometimes the finishing is done by means of shell gold, 
 which is the best method ; it should be diluted with gum 
 arable, and applied with a small brush. 
 
 To make Shell Gold. 
 
 Take any quantity of leaf gold, and grind it, with a 
 small portion of honey, to a fine powder; add a little gum 
 arable and sugar-eandy, with a little water, and mix it 
 well together; put it in a shell to dry against you want it. 
 
 An excellent Receipt to Burnish Gold 
 
 Size. 
 
 One ounce of blacklead, ground very fine, one ounce 
 of deer suet, one ounce of red chalk, and one pound of 
 pipe-clay, ground with weak parchment-size to a stiff 
 consistency, to be used as directed in the article ' Size for 
 oil gilding.' 
 
 To Clean Oil Paintings. 
 
 Clean the picture well with a sponge, dipped in warm 
 beer ; after it has become perfectly dry, wash it with a 
 solution of the finest gum-dragon, dissolved in pure water. 
 Never use blue starch, which tarnishes and eats out the 
 colouring ; nor white of eggs, which casts a thick varnish 
 over pictures, and only mends bad ones by concealing the 
 faults of the colouring. 
 
 Gold Varnish for Leather. 
 
 Take of turmeric root and gamboge, of each one scruple 
 and a half; of oil of turpentine, two pints ; seed-lac and 
 gum juniper, four ounces of each ; dragon's blood, half an 
 ounce ; Venice turpentine, two ounces ; and clean sand, 
 four ounces. Well mix and pour off the clear solution. 
 
8i 
 
 To Gild Leather for Bordering Doors, 
 Folding Screens, Sec, 
 
 Damp a clear brown sheep-skin with a sponge and 
 water, and strain it tight, with tacks, on a board 
 sufficiently large ; when dry^ size it with clear double- 
 size ; then beat the whites of eggs, with a whisk, to a 
 foam, and let them stand to settle ; then take books of 
 leaf silver, a sufficient quantity, and blow out the leaves 
 of silver on a gilder's cushion; pass over the leather 
 carefully with the egg size, and with a tip brush lay on 
 the silver, closing any blister with a bit of wool ; when 
 dry, varnish them over with yellow lacker till they are 
 of a fine gold colour. Your skin being thus gilt, you may 
 then cut it into strips as you please, and join with paste 
 to any length. 
 
 To Gild the Borders of Leather Tops of 
 Library Tables, Work Boxes, &.c. 
 
 The tops of library tables, (kc. are usually covered with 
 Morocco leather, and ornamented with a gilt border, and 
 are usually sent to the bookbinder for that purpose. The 
 method by which they perform it is as follows: — They 
 first go over that part intended to be gilt with a sponge 
 dipped in the glare of eggs, which is the whites beaten 
 up to a froth, and left to settle ; and the longer made or 
 older it is, so much the better; then being provided with 
 a brass roller, on the edge of which the pattern is engraved 
 and fixed as a wheel in a handle, they place it before the 
 fire till heated, so that, by applying a wetted finger, it 
 will iust hiss ; while it is heating, rub the part witli an 
 oiled rag, or clean tallow, where the pattern is intended 
 to be, and lay strips of gold on it, pressing it down with 
 
82 
 
 cotton : then with a steady hand run the roller along 
 the edge of the leather, and wipe the superfluous gold off 
 with an oiled rag,, and the gold will adhere in those parts 
 v.here the impression of the roller has been, and the rest 
 will rub off with the oiled rag. 
 
 To make Paste for laying the Cloth or 
 Leather on Table-tops, Desks, &c. 
 
 Take one pound of the best wheaten flour, one largs 
 spoonful of powdered alum, and two spoo:.fuls of finely- 
 powdered rosin, well mix them in a pan, then add coJd 
 water by degrees, carefully stirring it till \l is of the con- 
 sistence of thin cream, put it into a saucepan over a clear 
 fire, keeping it constantly stirred from the bottom that it 
 may not burn or get lumpy ; as soon as it simmers it is 
 done enough ; empty it out into a pan, and cover it over 
 till cold to prevent a skin forming at the top, which will 
 make it lumpy. 
 
 To Paint Sail Cloth, 
 
 So as to render it Pliant, Durable, and Waterproof. 
 Grind ninety-six pounds of English ochre with boiled 
 oil, and add to it sixteen pounds of black paint. Dis- 
 solve one pound of yellow soap in one pail of water on 
 the fire, and mix it, while hot, with the paint. Lay 
 this composition, without wetting it, upon the canvas, as 
 stiff" as can conveniently be done with the brush, so as to 
 form a smooth surface ; the next day, or the day after, 
 lay on a second coat of ochre and black, with a very 
 little, if any, soap ; allow this coat a day to dry, and 
 then finish the canvas with black paint. 
 
83 
 
 Oil Gliding;, 
 
 Where the object is to give a high finish. 
 Paint the work with a color composed of the finest 
 white lead and yellow ochre, in such proportions that 
 the color shall be as near as possible to the color of the 
 gold to be employed, mixed with oil (not boiled,) nnd 
 turpentine, till of the consistence of thin paint ; this 
 should be laid on evenly, and allowed to dry thoroughly, 
 then repeat it till it is perceived that the gi-ain or rougli- 
 ness of the object to be gilt is entirely hidden. Wlien 
 the last coat is dry it must be rubbed perfectly smooth, 
 first with a piece of pumice stone, and finished with a 
 piece of woollen cloth and finely pounded pumice ; and 
 lastly, with putty powder, till it is smooth as glass. It 
 must then be varnished over with fine lac varnish several 
 times, applying a slight degree of heat after each coat 
 to make the varnish flow smoothly over the surface. 
 When the last coat of varnish is quite hard it must ba 
 polished ; this is done by putting on a horse-hair glove, 
 and rubbing the surface with thi« first, then with tripoli, 
 applied with a piece of wet woollen cloth ; and lastly, 
 by wet putty powder, first applied with woollen cloth, 
 then with the bare hand, till it is as bright as glass. It 
 must then be varnished over with a thin coat (the 
 thinner the better) of gold size and when sufficiently dry 
 the gold is to be applied, beginning at the part that is 
 dryest. When gilt, it is to be allowed to remain for 
 two or three days, and then brushed over lightly with a 
 camel's hair brush to remove superfluous gold. It is next 
 to be varnished with hpirit varnish, applying heat as 
 before, then varnished with copal varnish two or three 
 
84 
 
 times, allowing it to become perfectly hard between each 
 coat ; after the last coat of varnish it is finished by 
 polishing, first with tripoli, applied with a soft cloth and 
 water, and then with the bare hand and a little oil, and 
 
 wiped dryx 
 
 To Gild Oil Fainted Work. 
 If :he paint is quite dry and hard, merely paint on 
 the design in gold size, and then apply the gold leaf, 
 which must be done carefully. If the paint is not dry 
 around the part to be gilt, it must be dusted over with 
 whitening, and rubbed over with a cloth or brush till the 
 finger will not adhere, before the gold size is applied, and 
 then proceed as above. If the gilding is for out-door 
 work, it must not be varnished, as the sun acting on the 
 varnish gives it a jagged appearance ; but if for inside 
 work, it may be varnished over with spirit varnish, and 
 heated slightly by holding a hot iron near it till the varnish 
 has flowed smooth and even over the surface. 
 
 To Imitate Mahogany, 
 
 Let the first coat of painting be white lead, the second 
 orange, and the last burnt umber or sienna ; imitating 
 the veins according to your taste and practice. 
 
 To Imitate Wainscoti 
 
 Let the first coat be white, the second half white and 
 half yellow ochre, and the third yellow ochre only. 
 Shadow with umber or sienna. 
 
 To Imitate Satin-Wood. 
 
 Take white for your first coating, light blue for the 
 second, and dark blue or dark green for the third. 
 
85 
 To Stain Musical Instruments, &0« 
 
 A FINE CRIMSON STAIN. 
 
 Boil Dne pound of ground Brazil, in three quarts of 
 water for an hour ; strain it, and add half an ounce of 
 cochineal j boil it again gently for half an hour, and i*. 
 will be fit for use. If you would have it more of the 
 scarlet tint, boil half an ounce of saffron, in one quart of 
 water, and pass over the work previous to the red stain. 
 Observe, the work must be very clean, and of air- wood, 
 or good sycamore without blemish ; when varnished it 
 will look very rich. 
 
 FOR A PURPLE STAIN. 
 
 One pound of chip logwood, boiled in three quarts of 
 water, for an hour ; then add four ounces of pearl-ash, 
 and two ounces of indigo (pounded), and you will have 
 a good purple. 
 
 FOR A FINE BLACK. 
 
 In general, when black is required in musical in- 
 struments, it is produced by japanning, the work being 
 well prepared with size and lampblack ; take some black 
 japan and give it two coats, after which varnish and 
 polish II, 
 
 A FINE BLUE STAIN. 
 
 Put one pound of oil of vitriol in a clean glass bottle, 
 into which put four ounces of pounded indigo, (take care 
 to set the bottle in a basin or glazed earthen pan, as it 
 will ferment) ; after it is quite dissolved, provide an 
 earthen or wooden vessel, so constructed that it will 
 conveniently hold the article you wish to dye ; fill it 
 rather more than one-third with water, into which pour 
 as much of the vitriol and indigo till you find the whole 
 
86 
 
 to be a fine blue dye ; put in the article and let it remain 
 till the dye has struck through. 
 
 A FINE GREEN STAIN. 
 
 Take three pints of the strongest vinegar, to which 
 put four ounces of the best verdigris, ground fine ; half an 
 ounce of sap-green ; and half an ounce of indigo. 
 
 FOR A BRIGHT YELLOW. 
 
 There is no need to stain the wood, as a very small 
 pipce of aloes put in the varnish will make it a good 
 color, and have the desired effect. 
 
 Curious mode of Silvering Ivory. 
 
 Immerse a small slip of ivory in a weak solution of 
 nitrate of silver, and let it remain till the solution has 
 given it a deep yellow color ; then take it out and 
 immerse it in a tumbler of clear water, and expose it in 
 the water to the rays of the sun. In about three hours 
 the ivory acquires a black color ; but the black surface, 
 on being rubbed, soon becomes changed to a brilliant 
 silver. 
 
 Instructions for Repairing Paintings. 
 
 DAMAGED SURFACE. 
 
 When by the continued pressure of some hard body, 
 the canvas presents either a concavity or convexity in a 
 portion of its surface, it must be well wet in that part, 
 and left gradually to dry in some cool place, keeping it 
 constantly under pressure. 
 
 TO MAKK THE COLORS ADHERE WHEN BLISTERED, &C. 
 
 When the color has separated from the priming, whilst 
 the priming still remains firm, the swollen and detached 
 
87 
 
 part is first rubbed over with the same paste which will 
 be presently mentioned as used for lining. Then, with a 
 pin or needle, little holes are punctured in the part, and 
 more paste rubbed over these holes with a pencil, and 
 worked about so that it shall pass through them. The 
 surface is then wiped clean, and over the spot a pencil 
 is passed that has been dipped into linseed-oil : this serves 
 to soften it. A warm iron is then passed rapidly over 
 the raised surface, which attaches itself to the priming 
 as before. Should it be necessary to line the canvas 
 with a new one, it should be done previously. 
 
 REPAIRING OIL PICTURES. 
 
 When a canvas is broken, rent, or perforated in any 
 part, the piece of canvas that is used to repair the 
 damage is dipped into melted wax, and applied the 
 moment it is taken out, warm as it is, to the part, which 
 has been previously brought together as well as possible, 
 and also saturated with the wax. With great care you 
 flatten down the piece ; so that as the wax chills and 
 concretes, the parts adhere and are kept smooth. The 
 whole being made perfectly level, and the excess of the 
 wax removed, a mastic made of white lead mixed with 
 starch is applied ; for oil-color does not adhere well to 
 wax. The white is afterwards colored thin, or by washes, 
 according to tlie tone of the surrounding parts, and re- 
 painted. 
 
 LINING AND TRANSFERING. 
 
 When the priming of a canvas has become detached, 
 or the cloth is so old as to need sustaining, it is cus- 
 tomary to line the picture. — But if the canvas is greatly 
 injured, the painting itself is transferred to a new sub- 
 
8» 
 
 jectile. In order to render the old canvas and the coloi 
 softer and more manageable, expose the picture ior 
 several days to damp. When all is ready, the first step 
 is to fasten, by a thin flour-paste, white paper over the 
 whole painted side of the picture, to prevent the colors 
 scaling off. Ha\'ing a new canvas duly stretched on a 
 strong frame ; a uniform coat of well-boiled paste, 
 made of rye-flour with a clove of garlic, is spread nicely 
 over it by means of a large brush. With despatch, 
 yet care, a coat of the same paste is spread likewise on 
 the back of the picture. — The latter is then laid upon the 
 new cloth, the two pasted sides, of course, together. 
 With a ball of linen the usual rubbing is given with a 
 strong hand, begining at the centre, and passing to the 
 edges, which must be carefully kept in place the while. 
 In this way, the air is expelled, which remaining would 
 cause blisters. 
 
 The picture thus lined is then placed upon a smooth 
 table, the painted side down, and the back of the new 
 canvas is rubbed over boldly with any suitable smooth- 
 ing-instrument, such as is used for linen, paper, or the 
 like ; and a warm iron is then passed over the picture, 
 having on the other side a board to resist the pressure. The 
 paste being heated by this iron, penetrates on the side of 
 the picture, and fixes still more firmly the painting, 
 while on the other side the redundant part of the paste 
 escapes through the tissue of the new cloth, so that there 
 remains everywhere an equal thickness. The iron must 
 not be too hot, and before applying it, several 
 slieets of paper shoud be interposed between it and the 
 paper that was at first pasted on the painting, and which 
 would not be sufficient. 
 
«9 
 
 When the nned picture is sufficiently dry, the paper 
 last mentioned is damped, by passing over it a snonge 
 moistened with tepid water. It soon detaches, and with 
 it is removed the paste that secured it to the picture. 
 All that remains is to clean the painting, and where 
 needed to restore it. 
 
 The above operation will not, of course, be attempted 
 by the amateur, except for experiment upon some 
 picture of little worth ; for even practised hands fre- 
 quently injure what they were employed to preserve. 
 
 To Clean Tapestry, &,c. 
 
 Let the article be well beat, and freed from dust ; 
 fasten it down to a smooth board ; mix half a pint of 
 bullock's gall with two gallons of soft water, scrub ic 
 well with soap and the gall mixture ; let it remain till 
 dry, and it will be perfectly cleansed, and the colors- 
 restored to their original brightness ; the brush you 
 us^ should not be hard, and of rather long haii^, or you 
 will damage your work. 
 
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 MIIHATURS PAIHTH36 
 
 In Oil and Water, 
 
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 INSTRUCTI0K3 FOE 
 
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 BEFORE BEGINNIXG A PICTUKE. 
 
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 WITH HINTS ON THE TINTING OF PHOTOGRAPHS, 
 CKOMOTROPE PAINTINGS, &c., &c. 
 
 By CHARLES MIDDLETON. 
 
 
 
 
 WITH 
 
 COLOURED ILLUSTRATIONS 
 
 AND OUTLINE SUBJECT BY THE AUTHOR. 
 
 -I 
 
 <v 
 
 EonHcn : 
 BRODIE & MIDDLETON, 
 
 79, LONG ACRE ; 
 SIMPKLN & MARSHALL, PATERNOSTER R0V7. 
 
 1876. 
 PRICE TWO SHILLINGS oe POST FREE 26 STAMPS. 
 
 jiS;(^ j'Sy^ j(S)C!>^ y? /TK. jG)(tK^ jsy^ j(S)(tK, jS)<p^ 
 
NO MORE RUST!! NO MORE TARNISHIll 
 
 TRANSPARENT 
 
 FOK^ STEEL t^JVO OTHEIi 3JETALS, 
 
 This truly excellent Lacquer is admirably adapted for preserving Steel and other 
 Metal Goods from Rust, such as Surgical Instruments, Bits, Stirrups, Fenders, Fira 
 Irons, Bright Stoves. Arms. Accoutrements, and many other Hardware Articles, and is a 
 certain remedy for tko prevention of Copper, Brass, Bronze, Gold and Silver Lace, &c., 
 from tarnishing. 
 
 Gold Frames done over with this Lacquer can bo washed when dirty, without the least 
 danger of removing or in any way injuring the Gold. 
 
 The Lacquer being exceedingly limpid and free from color, does not alter the original 
 appearance of the article done over with it, and its presence (except by much handling) 
 could not be discovered. 
 
 The Lacquer can bo easily removed with Turpentine. 
 
 Price Is. and 2g. per Bottle. 
 
 Sample Bottles packed in Boxes for Hail, for 14 or 2G Stamps. 
 
 rREPARED ONLY ny 
 
 Artists* Balormxsn, 
 
 MANUFACTURERS AND IMPORTERS, 
 
 A.I80 niauufacturers of Artiste**, Groincrs', Writers', Paiuterti', and 
 
 OiltlerN* Itriislics, PencilH, and TooIn. 
 
 WHOLESALE & RETAIL. 
 
 yo, Tu O IS G A.CPtE, LOINOOIV. 
 
 The Colorless Lacquer can bo had in largo quantities, for the oonvenience of 
 Merchants, Shippers, Manufacturers, &o. 
 
 N.B.—Direelionsfor Use are simply to apply the Lacquer thinly with a Camel-Hair Bru^k. 
 CAN BE HAD THROUGH ANY BOOKSELLER, STATIONER. ARTISTS' COLORMAN, ic. 
 
 extracts: 
 
 »' Builder."— Transparent Coi.ohlkss Lacquer.—" Under this name, says Scientlfit 
 Opinion, Messrs. Brodik & Middleton, of Lnn,? Acre, oiYer for salo a iiropuniUon which 
 promises to find its way virygiineruUy into doiMPBtic use. Kveryouo knows that the lUKtre 
 
 It can ho laid 
 
 njLu.ooo --J "i^" .-^ --J •- - . o ally inio aoiiipsiicuso. Kveryouo knows that the luKtre 
 
 and'"p'ou'sh"of"or*dTnaiy braiiswork are duo to the thin coating of ordinary lacquer \yith 
 which it is covered, and which, by excluding the air. prevents tho process of oxidation. 
 But frequent cleansing removes this lacquer from MicrosropcB, Door Ilatos, Me.liieval 
 Chandeliers, and so forth; and the re-coating witli tho lac.iiior is both a troublesome 
 and expensive process. Tlio nc^w ]irepiiration obviiitas these ailUcuIties. 
 on by any one with a camel-hair bri: ' "■ -»■'-"' ' 
 the air is efToctuiiUy prevented. 'I 
 
 rapidity, and is readily removed by turpe 
 
 wjPnmilv ■lernld."— "A valuable transparent lacquer has been invented by 
 Mr Brodie, of 79. Long Acre. This Lacquer being brnshed over any Ui.id of metal goods 
 pre'vents their becoming tarnished or rusty, and being froo from color does not alter lue 
 or;g:;iJil appearance of articles done over with it." 
 
 "Electricinii."-"lt is a perfectly transparent and clear liquid, and Is intended 
 to be applied with a light biU'^h to luiy l.nrnished articles, which, if exposed ev.'ii to tDO 
 rain will not become rusty or tnruislwd. fur the space of more tliaa throe months. 
 Other Extracts from I'ltblic Opinion, Scientific Oninion.cCc., omitted for want of space, 
 
 exnensive process. Tlio new preparation obviates luese aiiiieumes. -"•/"" •i'""«« 
 V any one with a camel-hair brush, the object need not be heated, and the iiclion of 
 air is efToctuiiUy prevented. This now Bubatauco is quite liquid, dries with somo 
 dity, and is readily removed by turpentine." 
 
Catalogue for Department No. I. 
 
 ^1S>si' 
 
 ILLUSTRATED LIST 
 
 OP 
 
 covo^'ir'^^^^is 
 
 1 RADB 
 
 MARK 
 
 FOR 
 
 (Bxl mxtr Wiuttx €aht paintings, dr„ 
 
 PREPARED BY 
 
 BRODIE & MIDDLETON, 
 
 
 sLji^iiMMjlMM'M 
 
 Ya& '3y<t 3(i»\& 1 
 
 Manufacturers of Ariists\ 
 
 Grainers\ Writers', Painters\ Gilders', Decoratori^ 
 
 and Scene Painter^ 
 
 BRUSHES, PENCILS, AND TOOLS, 
 
 AND OF 
 
 Ca/7Kas^ ?3Lneh, Mill Boards, 
 
 ALSO 
 
 SUPERFINE OIL AND WATER COLORS. 
 
 WHOLESALE AND RETAIL. 
 
 79, Long Acre, London. 
 
 Two Doors from Drury Lane, 
 
 fe::3 
 
 DEJSTJLBXjZSHEXD 1840. 
 
 M 
 
 _C^.?i(fJ. 
 
 I ENAMhlL COLORS, for Painting on China, Tiles, Glass, etc. 
 
BRODIE & MIDDLETON'S 
 
 For Household Decoration, and for Painting all kinds 
 of Wicker and Basket Work, Wooden Chairs, Tables, 
 
 Stools, &c., &c. 
 
 BUHFACE 
 
 LIKE PORCELAIN. 
 EXQUISITE. 
 
 This Enamel dries quickly, stands hard usage and washing, 
 and is more permanent and durable than any other paint. Being 
 in Tins, mixed ready for use, a child can apply it. 
 
 
 COLOURS. 
 
 
 Vermilion 
 
 Royal Green 
 
 Flamingo Red 
 
 Peacock Blue 
 
 Azure Blue 
 
 Sea Green 
 
 Oxford ,, 
 
 Salmon Color 
 
 French Grey 
 
 Black 
 
 Light Stone 
 
 Nut Brown 
 
 White 
 
 Dark Stone 
 
 Chocolate 
 
 Sage Green 
 
 Primrose Yellow 
 
 Persian Red 
 
 Duck Egg Green 
 
 Buttercup ,, 
 
 Cream Yellow 
 
 Blue Green 
 
 Vandyke Brown 
 Coral Pink 
 
 Indian Red 
 
 These Enamel Colours have a very characteristic and beau- 
 tiful appearance resembling Porcelain, and may be used as a last 
 or finishing coat over a smooth surface in the place of Varnish. 
 
 Price Is. 3d. per Tin. 
 
 A NON-POISONOUS OXIDISED ENAMEL, prepared 
 secially for Baths and Bath Ware to resist Hot Water, in Y^-pin 
 Tins, 2s. 6d. eac]i. 
 
BRODIE & MIDDLETON, 79, LONG ACRE, LONDON. 
 
 .^^W^^'lll^liiai 
 
 , .PERMANENT ,« 
 
 IlisEWii 
 
 I wm ii i 
 
 s^xKa HMsi ii' iiii'i'i "' r' 
 
 PERMANENT 
 CHINESE WHITE. 
 
 A PREPARATION OF WHITE OXIDE 
 OF ZINC. 
 
 JVAen dry on the Paper retains the same color 
 as when wet, a property not possessed by any other 
 Permanent White. 
 
 BOTTLES 8d, EACH. 
 
 ^ DOUBLE SIZE TUBES 6cl. EACH. 
 
 GLUES AND GUMS. 
 
 Liquid Glue 
 Liquid India-Rubber 
 Hollis 's Mucilage 
 Prepared Gum Water 
 Mouth or Lip Glue 
 
 , 6d. and 
 
 in Tins 
 
 per bottle 
 
 4d., 6d., and 
 
 per stick, id. and 
 
 d. 
 o 
 6 
 
 CEMENTS. 
 
 For Mending China, Glass, <&*<■,, 5yc, 
 
 Marshall's Cement 
 Steadman's Crystal Cement 
 Davy's Cement . 
 Finley's Arabian Cement 
 
 6d. and 
 
 . 6d. per bottle and 
 
 • >» 
 
 . per pot 
 
 s. d. 
 
 I o 
 
 I o 
 
 I o 
 
 1 o 
 
 PARLOUR PASTE, 
 
 (registered,) 
 A Mounting Cement for Photographs, Prints, Drawings, qt=c. 
 
 An efficient and Economical Medium wherever Paper has to be un-ited, 
 useful alike in the Drawing Room, Library, Studio, or Office, and superseding 
 by its Readiness and Cleanliness the Gum, Starch, Glue, or Coirmon Paste 
 u.sually employed. 
 
 ITS PROPERTIES ARE- 
 
 I. — Mounts smoothly, without folds or ridges. 
 
 II. — Does not warp or buckle the thinnest Mounts. 
 III. — Is not injurious to the most delicate Photographs. 
 IV. — Always ready for use, and is easily applied. 
 
 Price One Shilling per Bottle. 
 
BRODIE & MIDDLETON, 79, LONG ACRE, LONDON. 
 
 Size 
 . . ir inch by 8 
 15 „ II 
 19 „ 12 
 
 Architects' 
 
 and 
 
 Enciiiecrs' 
 
 Brass Slots, 
 
 Ebony End. 
 
 B d 
 
 Plain 
 s. d. 
 I 
 
 I 4 
 I 10 
 
 Fixed 
 FiiDel 
 ». d. 
 
 1 6 
 
 2 
 2 6 
 
 20 „ 15 
 
 
 2 6 
 
 3 6 
 
 224- „ 15 
 
 22i „ I7J 
 
 
 2 9 
 
 3 
 
 4 
 4 6 
 
 24 „ 19 
 
 
 3 6 
 
 S 
 
 29 „ 21 
 
 8 
 
 4 6 
 
 7 
 
 31 „ 23 
 
 36 „ 28 
 
 9 
 
 5 
 7 6 
 
 8 
 10 6 
 
 41 „ 28 
 
 14 
 
 9 
 
 12 6 
 
 DRAWING BOARDS, (DEAL.) 
 
 PLAIN CLAMPED, AND FIXED PANEL. 
 
 Quarto Royal 
 
 Quarto Imperial . , 
 
 Half Royal , 
 
 Demy 
 
 Half Imperial . 
 
 Medium . , 
 
 Royal . 
 
 Imperial 
 
 Large Imperial 
 
 Atlas 
 
 Double Elephant 
 
 Dr > uiing Boards matU to order. Grooncd Drawing Boards /'or Architects and Stt 
 
 DRAWING BOARDS (Deal) DESK SHAPE, 
 
 15 X II, i/o each. 
 
 B. & M.'s Drawing Board, T Square, and 2 Set SquarcF, complete 1/ 
 
 CHALKS, &G. 
 
 Black Italian Chalk 
 
 White „ .... 
 
 Ked „ 
 
 Square Black Conte Crayons, 3 degrees, Nos. i, 2, and 3, per 
 Round ditto, 2 degrees, Nos. i and 2 . . . 
 
 Square Red . , . . . ' . ' ' 
 
 Round Red . . . . . ' , * ' 
 
 Square Bistre .... * ' 
 
 Round Black, Glazed . .'.'.*.' 
 
 Prepared Charcoal . . , , ' * 
 
 Venetian Charcoal . . . . ^ * ' 
 
 Charcoal, in Reeds . . , , ' ^ ' 'ggj,jj 
 
 Lithographic Chalks (Lamcrcier's) Nos. i, 2, 3 . ' per doz 
 Lithographic Inks . . . per Stick, 4d., 6(1., and 
 
 Square School Chalks . . per Gross, is. 6d. and 
 
 Round ........ 
 
 'oeyors 
 
 per oz. 
 
 doz. 
 
 s. d. 
 
 o 9 
 
 o 4 
 
 o 4 
 
 o 5 
 
 O 10 
 
 o 6 
 
 o 10 
 
 o 10 
 
 I 
 
 o 
 
 o 
 
 o 
 
 o 
 
 I 
 
 3 
 
 3 
 
 DEMONSTRATION CHALK. 
 
 White, in boxes, containing 12 . . , 
 
 Colored (various liiit^) 
 
 . • • • 
 
 ,, m boxes of 12 {assorted colors) 
 
 „ very large. White, Red, Blue, and Yellow. 
 
 .» )> assorted 3 colors, 6 in box 
 
 A cheaper description of White Chalks, in gross boxe^ sm ill 
 >• <« .1 1mi 
 
 
 «. 
 
 d. 
 
 each 
 
 
 
 4 
 
 f ) 
 
 
 
 I 
 
 6d. and 
 
 I 
 
 
 
 each 
 
 
 
 2 
 
 1 . 
 
 I 
 
 
 
 1 M 
 
 I 
 
 
 
 » 
 
 j 
 
 
 
 3 
 3 
 4 
 I 
 
 9 
 3 
 6 
 
 c 
 
BRODIE & MIDDLETON, 79, LONG ACRE, LONDON. 
 
 BRODIE & MIDDLETON'S 
 
 iS f 4Ilf lis W4f 11 G 
 
 IN PANS AND TUBES. 
 
 For Painting Magic Latitern Slides, &c. 
 GLASS PAINTING WATER COLORS (IN BOXESJ 
 
 No. I 
 
 2. 
 
 3 
 4 
 , 5 
 6 
 
 .—Slide Lid, containing 6 Colors in Pans, Brushes, and 
 
 Fixing Varnish ...... 
 
 .—Slide I,id, containing 12 Colors in Pans, ipixing Varnish', 
 
 and Brushes ...... 
 
 .—Lock Box, containing 12 Colors in Pans, Slab, Fixing 
 
 Varnish, Brushes, &c. ..... 
 
 .—Lock Box, containing 9 Colors in Tubes, Slab, Fixing 
 
 Varnish, Brushes, &c. . 
 •—Lock Box, containing 12 Colors in Tubes, Slab, Fixing 
 
 Varnish, Brushes, Etching Needle, &c, . 
 .—Caddy Lid Box, with drawer and extra fittings 
 
 Etching Nei'dles, <jd. each. Outlining Pencils, 2d. each. 
 
 £. 
 
 d. 
 
 2 
 
 
 
 5 
 
 
 
 7 
 
 6 
 
 14 
 
 
 
 20 
 
 
 
 31 
 
 6 
 
 TRANSPARENT MOIST WA.TER COLORS. 
 
 GLASS 
 
 PAINTING 
 
 COLOR. 
 
 Blue, No. I . 
 
 ,, No. 2 
 Crimson 
 Amber . 
 Brown . 
 Flesh, No. I 
 No. 2 
 
 Pans, 
 s. d. 
 
 6 
 
 Tubes, 
 s. d. 
 I 6 
 
 3i 
 6 
 
 9 
 
 1 6 
 
 3i 
 
 9 
 
 Zh 
 6 
 
 9 
 
 1 
 
 6 
 
 I 
 
 Black 
 
 Light Green 
 Dark „ . 
 Orange . 
 Purple , 
 
 Scarlet . 
 Mqnve 
 
BRODIE & MIDDLETON, 79, LONG ACRE, cONDON 
 
 BOXES OF COLORS (varnish.) 
 
 MAHOGANY (LOCK). 
 
 No. I.— Contains 6 Colors, Slant Tile, Spirit, and Brushes . 
 ,, 2.— Contains 9 Colors, Medium, Palette, Spirit, Brushes, 
 
 Palette Knife •••... 
 „ 3.— Contains 12 Colors, Medium, Spirit, Varnish, Palette* 
 
 Eraser, Brushes, Palette Knife, Outlining Pen . 
 ,, 4.— Caddy Lid, with drawer and extra fittings . . , 
 
 BRODIE & MIDDLETON'S 
 
 VARNISH COLORS AND MEDIUMS, 
 
 Fcr Painting Magic Lantern Slides, &c. 
 
 7 
 
 20 
 31 
 
 
 VARNISH 
 
 COLORS, IN TUIJFS 
 
 
 
 
 s. 
 
 d. 
 
 
 s. d. 
 
 Knw Sienna. 
 
 
 
 
 9 
 
 Light Blue . 
 
 I 
 
 Burnt ., 
 
 . 
 
 
 
 9 
 
 Orange . 
 
 I 6 
 
 Green Nos. I and 2 
 
 
 
 
 9 
 
 Crimson 
 
 I 6 
 
 Black . 
 
 . 
 
 
 
 9 
 
 Purple . 
 
 I 6 
 
 Yellow, No. I 
 
 
 
 
 9 
 
 Rose 
 
 1 
 
 „ No. 2 . 
 
 . 
 
 
 
 9 
 
 Medium 
 
 9 
 
 Blue 
 
 
 
 
 9 
 
 Spirit, per Pottle 
 
 4. 
 
 Flesh, No. I . 
 
 , 
 
 I 
 
 6 
 
 Varnish ,, 
 
 J 
 
 „ No. 2 
 
 
 I 
 
 6 
 
 Brown 
 
 9 
 
BRODIE Sc MIDDLETON, 79, LONG ACRE, LONDON. 
 
 Paint your own MAGIO LANTERN SLIDES. 
 
 OUTLINES ON GLASS FOR THE MAGIC LANTERN, 
 
 On a NcKj and Improved Principle. Price Cd. each, 4s. Cd. per di>ien. 
 
 These Outlines areprepared ready for Coloring, by means of winch young people may paint their 
 
 own Slides. 
 
 SPECIMEN OF THE OUTLINE ON GLASS. 
 
 SUBJECTS NOW READY. 
 
 Size of 
 Slides. Picture. 
 Inch. 
 
 No- 
 
 1 Natural History (Animals) la ... 3 
 
 2 Phenomena of Nature iZ ... 2| 
 
 3 Natural History (Birds) la ... 3 
 
 4 Robinson Crusoe 15 ... z} 
 
 5 Tale of a Tub 7 ... zj 
 
 6 Pilgrim's Progress, in 2 parts, 12 
 
 in each 24 ... 3 
 
 7 Cinderella 12 ... 2J 
 
 8 Welcome and Good Night 2 ... 3 
 
 9 Summer and Winter 2 ... 3 
 
 10 John Gilpin 12 ... 2j 
 
 11 SindbaJ the Sailor 12 ... zj 
 
 .12 Hop-o'-my Thumb I£ ... 23 
 
 13 Bible History 12 ... 3 
 
 14 Little Red Riding Hood 12 ... 2J 
 
 15 Jack and the Bean Stalk 12 ... 3 
 
 16 The Sleeping Beauty 12 ... 3 
 
 17 Puss in Boots 11 ... 3 
 
 No. 
 
 18 Tom, Tom, the Piper's Son 12 
 
 19 Children in the Wood 12 
 
 20 Whittington and his Cat 12 
 
 21 Lord Bateman 12 
 
 22 Jack the Giant Killer 12 
 
 23 St. Dunstan, from Ingoldsby 12 
 
 24 Blue Beard 12 
 
 25 Overland Route to India 15 
 
 26 Witches' Frolic, from Ingoldsby 12 
 
 27 Nine Lives of a Cat 15 
 
 28 Jackdaw of Rhcims, from In- 
 
 goldsby 6 
 
 29 Views in Abyssini.i 15 
 
 30 Grimbcard, the Wolf 9 
 
 31 Mr. Phubbs .„ 12 
 
 32 Arctic Regions 12 
 
 33 Holy Land ,..,. 12 
 
 34 The Bottle tj 
 
 Size of 
 Slides. Picture. 
 Inch. 
 
 J 
 3 
 
 i 
 
 2 
 
 ? 
 ? 
 J 
 ? 
 3 
 3 
 
 3i 
 
 3 
 
 »f 
 
 ] 
 
 3 
 I 
 
 COLORS, in Bojics, for Painting the Outlines.— 2.'i. 6d., $&., ys. 6d., los. Cd., IJ»., & 2l«. each. 
 LECTURES to accompany the Slides 6(/. tach. 
 
 Tlie ab'-.ve and other subjects in slips, size of circles, i inch, i/- ; i J incli, 1/6 ; and 2 inch, 
 l/- per set. 
 " Magic I-.anterii Dissolving View Paintins," by. C Middleton. Price 2s. ; by Dost, 2S. 2d. 
 
Catalogue for Department No. 2. 
 
 I ILLUSTRATED PRICE LIST i| 
 
 OF 
 
 (TRADE j^^Q3>4^i^TO^^^ MARK.] 
 AND 
 
 ^ O O L S, 
 
 GRAINERS, PAINTERS, WRITERS, SCENE PAINTERS, 
 DECORATORS, GILDERS, ETC., ETC. 
 
 WITH PRICES OF ALL REQUISITES USED IN 
 THE ABOVE TRADES. 
 
 BRODIE & MIDDLETON, 
 
 Manufacturers and Importers, 
 79, LONG ACRE, LONDON. 
 
 SEPARATE CATALOGUES CAN BE HAD FOR DEPARTMENTS 
 
 No. h — Artists' Materials, dc. 
 
INDEX. 
 
 Badger Softeners 
 
 „ Poonah 
 Bears' Hair Varnish Brushes 
 Blenders' Sable 
 Blowing Apparatus 
 Bordering Brushes 
 Burnishers 
 Camel-hair Pencils . . 27 
 
 Candlestick 
 Caning Tubes 
 Colors, Oil 
 Color ISIills . 
 Combs — Steel, Leather, &c 
 
 ,, for dividing Over-graincrs 
 Copper-bound Ground Brushes 
 
 ,, Ground Distemper 
 
 Cotton Wool 
 Dabbers . 
 Dippers 
 
 Dotters — Maple, Camel-hair 
 Dusters 
 Flat French Tools 
 
 Flat and Round Sables 
 Floggers . 
 Gilders' Tips 
 
 „ Cushions 
 
 ,, Knives 
 Gold Size 
 
 „ Leaf . • 
 
 Graining Rollers 
 Ground Brushes 
 Hog-hair Softeners 
 Horn Combs 
 India Rubber Combs 
 Japanners' Pencils . 
 Knives, Palette . 
 
 Stopping . 
 
 ,, Trowel 
 
 ,, Chisel 
 Putty . 
 
 ,, Hacking . 
 Leather Combs . 
 Lining Tools . 
 Maple Eye Shaders 
 Mahl Sticks . 
 Marking Brushes 
 Mops, in Quill 
 
 in T 
 
 PAGE. 
 
 39' 40 
 40 
 
 . 36 
 23 
 
 . 21 
 40 
 
 ■ 32 
 
 28, 29 
 
 • 24 
 33 
 
 • 30 
 22 
 
 II, 12 
 
 • 13 
 16 
 
 • 17 
 27 
 
 • 3' 
 25 
 
 . II 
 
 16 
 
 19. 37 
 
 38 
 
 • 13 
 31 
 
 • 32 
 32 
 
 . 26 
 
 27 
 
 • IS 
 16 
 
 . II 
 II 
 
 • 19 
 19 
 
 . 20 
 20 
 
 . 20 
 20 
 
 . 12 
 
 14, 19 
 
 II 
 
 25 
 . 40 
 
 31 
 
 PACB 
 
 Mottlers,Hog-hair,Extra Double Thick 3 
 
 „ „ Double Thick . 4 
 
 „ „ Single Thick 4 
 
 „ „ Chisel Edge . 4 
 
 ,, Camel-hair . . .5 
 
 „ „ Burnt Edges . 5 
 
 „ „ Feather „ . 5 
 
 " Hog-hair Wave . . 5 
 
 „ „ 'Navy . . 6 
 
 Oak Over-combing Tools . . 14 
 
 Over-grainers, Hocj-hair, Thin . 6 
 
 11 n Thick . 7 
 
 „ „ in Wood . 7 
 
 „ „ in Knots 8 
 
 „ „ in Tubes 
 
 „ Vable, in Tubes . 
 
 „ „ Solid 
 
 „ Camel-hair, in Tubes 
 
 Fitch . 
 
 Palettes .... 
 
 Paper Hangers' Rollers . 
 
 ,, Scissors . 
 
 Parchment Cuttings 
 Pencil Cases, Round and Oval . 
 Pipe Clay 
 
 Poonah Brushes . . 
 
 Quilled Tools 
 
 Round Badger Softeners . 
 Round and Flat Hog-hair Tools 
 Sable Writers and Liners 
 Sables, in Tin 
 
 Sash Tools . . . 
 
 Scene Painters' Tools 
 
 ,, Colors. 
 
 Steel Comb<; .... 
 Stenciling Brushes 
 Stippling „ . . . 
 
 Tar Brushes . . 
 
 Thumb Pieces . . 
 
 Tissue Paper .... 
 Varnish Brushes . . .35 
 
 ,, ,, Flat Camel-hail 
 
 ,, ,, Round 
 
 Veining Horns .... 
 
 „ Fitches . . . 
 
 Wall Liners, Hsg-hair . . 
 
 Writers' Boxes 
 
 23, 
 
 34i 
 
 9 
 
 9 
 
 10 
 
 9 
 X? 
 
 25 
 21 
 20 
 
 27 
 26 
 
 27 
 
 40 
 
 34 
 
 40 
 37 
 
 38 
 17 
 35 
 35 
 II 
 
 17 
 iS 
 
 17 
 ij 
 
 27 
 
 , 36 
 
 39 
 
 39 
 
 IX 
 
 14 
 
 13 
 29 
 
BRODIE & MIDDLETON, 79, LONG ACRE, LONDON. 
 
 GEAINERS' BEUSHES, &c. 
 
 No. I.— EXTRA DOUBLE THICK HOG-HAIR MOTTLERS. 
 
 The Extra Thick, Double Thick, and Single Thick Mottles, are all used for lilaple. 
 
 The best method to preserve these Tools is to wash them in clean water, 
 after working, and let them dry thoroughly, as the hairs have a tendency to 
 decay, and, as when used, the hairs are found to break off and spoil the work» 
 
 View, shewing Thicknkss. 
 
 7/- 10/6 14/. 176 21/- 
 I 14 2 2i 3 
 
 24/6 2S/- 35/- 42/- doreo. 
 3i 4 5 <^ i'lch. 
 
BRODIE & MIDDLETON, 79, LONG ACRE, LONDON. 
 
 No. 2.— DOUBLE THICK HOG-HAIR MOTTLERS. 
 
 i:.,\u View, shewing Thickness. 
 
 6/- 9/-" 12/- 15/- 18/- 21/- 24/- 27/- 
 J i^ 2 24 3 34 4 4a 
 
 30/- 36/- dozen. 
 5 6 inch. 
 
 No. 3.— SINGLE THICK HOG-HAIR MOTTLERS. 
 
 Si- 7/6 10/- 
 I li 2 
 
 End View, shewing Thickness. 
 
 12/6 IS/- 17/6 20/- 22/6 25/- 
 2h 3 34 4 4i 5 
 
 30/- dozen. 
 6 inch. 
 
 No. 4.— CHISEL EDGE HOG-HAIR MOTTLERS, 
 Oh' CUTTERS. 
 
 iii:^;;'h'-:':i'i 
 
 ly.i ,,, 
 
 | |y^iliijijftii;;;il liiitjiiiiii||iillli 
 
 r!i|l||i:|;?!:!i|ift';| 
 
 •Ipjl 
 
 Chiefly used for Satinwood and Mahogany — the smaller sizes as eye tools. 
 
 3/- 4/6 5/- 7/6 10/- 12/6 15/- 17/6 20/- ioziw. 
 i 3 I 14 2 24 3 34 4 incn. 
 
BRODIE & MIDDLETON, 79, LONG ACRE, LONDON. 
 
 No. 5.— CAMEL-HAIR MOTTLERS. 
 
 
 ^^^m^M 
 
 
 ■1 
 
 
 ^^^^ HEADINCTOM. 
 
 
 
 
 
 
 6/. 
 
 9/- 12/- 15/- 
 
 18/. 21/. 
 
 24/- dozen 
 
 I 
 
 li 2 24 
 
 3 3i 
 
 4 inch. 
 
 
 Used chiefly for soft woods. 
 
 
 No. 6.— CAMEL-HAIR MOTTLERS, 
 
 }!URXT EDGES. 
 
 •uoiacioiL 
 
 
 
 
 6/- 9;. 
 
 12/- 
 
 15/- 
 
 18/ 
 
 I li 
 
 2 
 
 2i 
 
 3 
 
 21/- 
 
 3i 
 
 24/- dozen. 
 4 inch. 
 
 No. 7.— CAMEL-HAIR MOTTLERS, 
 
 FEATHER EHGE. 
 
 6/- q/- 12/- 15/- iS/- 21/- 24/- dozen. 
 » li 2 2.^ 3 3J 4 inch. 
 
 No. 8.— WAVE MOTTLERS (HOG-IIAIR). 
 
 ro/6 14/- 17/6 2r/- 24/6 28/- dozen, 
 1^ 2 2.i 3 3i 4 inch. 
 
O BRODIE & MIDDLETON, 79, LONG ACRE, LONDON. 
 
 No. 9.— WAVY GRAINERS (HOG-HAIR). 
 
 10/6 14/- 17/6 21/- 24/6 28/- dozen, 
 li 2 2i 3 3^ 4 inch. 
 
 No. lo.-THIN HOG-HAIR OVER-GRAINERS, 
 
 IN TIN. 
 
 M 
 z 
 
 o 
 
 R 
 
 4/- 
 I 
 
 6/- 8/- 10/- 12/- 14/- 16/- dozen. 
 li 2 2i 3 34 4 inch. 
 
 These Overgiainers are much used for Maple, and can also be used for over- 
 gr.iining any wood where fine lines are required. With a comb, the hair may 
 be divided into very fine pencil points. To preserve, see Fig I. 
 
BRODIE & MIDDLETOxNT, 79, LONG ACRE, LONDON. 
 No. II.— THICK HOG-HAIR, OR OAK, OVER-GRAINERS. 
 
 IN TIN. 
 
 7/6 
 
 lol- 12/6 15/- 17/6 20/- 25/- 30/- dozen. 
 2 2i 3 34 4 5 6 inch. 
 
 To preserve the Over-grainers — see nate under fig i. 
 
 No. 12.— OAK OVER-GRAINERS, 
 
 IN WOOD. 
 
 20/- 24/- 28/- 32/- 40/- 4S/- dozen. 
 2i 3 34 4 5 6 inch. 
 
 To preserve, see note under fig 1, at the same time preventing the handk 
 
 getting too wet. 
 
BRODIE & MIDDLETON, 79, LONG ACRE, LONDON. 
 
 No. 13.— OAK OVER-GRAINERS, 
 IN KNOTS. 
 
 7/ 9/ 1 1/6 13/6 16/ 18/ dozen. 
 
 ^2 2 2^ 3 3^ 4 inch. 
 
 No. 1+.— CASTELLATED OAK STRIPERS (HOG-HAIR.) 
 
 10/ 12/6 15/ 17/6 20/ dozen. 
 
 2 2i 3 3| 4 inch. 
 
 To preserve, see note under fig. i. 
 
BRODIE S: MIDDLETON, 79, LONG ACRE. LONDON. 
 
 No. 15. -HOG-HAIR OVER-GRAINERS, 
 
 IN TUBES. 
 
 8/- 12/- 16/- 20/- 24/- 30/- 36/- dozen, 
 I 14 2 2i 3 3^ 4 inch. 
 
 No. 16. — SABLE OVER-GRAINERS, 
 
 IN TUBES. 
 Uied generally for Maple. 
 
 Four Tubes to the inch — 18/- 
 Five „ „ —21/- 
 
 Six ,, „ —24/- 
 
 14 2 2i 3 
 
 27/- 36/- 45/- 54/- 
 
 31/6 42/- 52/6 63/- 
 
 36/- 48/- 60/- 72/. 
 
 3l 4 inch 
 
 63/- 72/- doz. 
 
 73/6 84/- „ 
 
 84/- 96/- „ 
 
 To keep them in working order, they should be washed and then wiped on a 
 nearly dry sponge, and kept dry with the pencils pointed. 
 
 No. 17.— CAMEL-HAIR OVER-GRAINERS, 
 In Tubes — as Fig 16. 
 
 I li 2 2i 3 3i 4 inch 
 
 Five Tubes to the inch— 12/- 18/- 24/- 30/- 36/- 42/- ^.8/- doz. 
 Four „ „ —9/- 13/6 iS/- 22/6 27/- 31/6 36/- „ 
 
BRODIE & MIDDLETON, 79, LONG ACRE, LONDON. 
 
 No. 18.— SABLE OVER-GRAINERS, 
 
 THICK OR SOLID. 
 Used generally for Maple. 
 
 18/- 
 I 
 
 With a comb, the hair may be divided into very fine pencil points. 
 
 27/- 36/- 45/- 54/- 63/- 72/- dozen. 
 1 2 2 2\ 3 3^ 4 inch. 
 
 Note. — These Brushes should be washed in clean water — then combed, 
 and laid on a flat surface, smoothing the hair with back of the comb ; then lift 
 the brush with a sliding motion in the direction of the hair, in order to keep 
 its shape and let it dry. 
 
 No. 19.— ROSEWOOD FITCH HAIR OVER-GRAINERS, 
 
 Or Chair Grainers — As Fig 18. 
 
 8/- 12/- 16/- 20/- 24/- 30/- 36/- dozen. 
 I i^ 2 24 3 34 4 inch. 
 
 No. 20. -BADGER-HAIR SOFTENERS, OR BLENDERS. 
 
 BEST QUALITY. 
 
 3^/- 
 
 48/- 
 
 66/- 
 
 90/- 
 
 114/- 
 
 •32/- 
 
 I56/- dozen 
 
 
 
 I 
 
 2 
 
 -1 
 
 4 
 
 5 
 
 6 Nos. 
 
 I 
 
 2i 
 
 3 
 
 3i 
 
 4 
 
 4i 
 
 5 inch. 
 
BRODIE & MIDDLETON, 79, LONG ACRE, LONDON. 
 
 No. 21.— HOG-HAIR SOFTENERS, OR BLENDERS, 
 
 FOR MARBLE. 
 
 24/- 3°/- 36/- 42/- 48/- 54/- dozen. 
 123456 incL 
 
 No. 22.— ISIAPLE EYE DOTTERS. 
 
 Small, 3/- doz. : Middle, 3/6 doz. ; Large, 4/- doz. 
 
 No. 23.— MAPLE EYE SHADERS (HOG-HAIR^ 
 
 3/- doz., either Small, Middle, or Large. 
 
 No. 24.— STEEL GRAINING COMBS. 
 
 I, 14, 2, 24, 3, 2h 4. 42. 5. and 6 inch. i^d. per inch. 
 
 Per Set of 3 each i, 2, 3, 4. inch, in Case, 3/6. 
 
 The above Combs are cut 6, 9, 12, and 15 Teeth to the inch. 
 
 No. 25.— HORN COMBS. 
 
 1/6 2/6 3/- 4/- 4/6 5/6 6/. 7/6 9/- dozen. 
 
 «i 
 
 2i 
 
 35 4 5 6 inch. 
 
BRQDIE & MIDDLETON, 79, LONG ACRE, LONDON. 
 
 No. 26.— LEATHER COMBS. 
 
 ■Graduated ... 4/6 5/- 6/- dozen. 
 
 Coarse, Middle, or Fine, 2/6 3/- 3/6 4/- 4/6 ,, 
 
 2 24 3 3^ 4 inch. 
 
 These are made 0/ stout Leather, cut by Machinery. 
 
 No. 27.— INDIA RUBBER GRAINING COMB, 
 
 IN TIN SOCKETS, 
 
 'Is the only Comb that will Comb Oak in Water Color, and is most useful in 
 connection with the Patent Graining Rollers. 
 
 By this Comb a much more natural and correct imitation is produced than 
 anything hitherto attained, being superior to ordinary Oil Combing, 
 
 They are made in sizes 2, 3, 4, 5, and 6 inches. The teeth cut as follows :— 
 
 No. I fine, about 12 to the inch. 
 ,, 2 medium ,, 9 ,, ,, 
 
 ,, 3 coarse 5 
 
 ,, 4 graduated . 
 ,, 5 Irregular 
 
 4d. per inch. 
 
 No. 28.— THUMB PIECES, OR VEINING HORNS. 
 
 Small, 1/6 doz.; Middle, 4-inch, 2/- doz.; Large, 2/6 doz. 
 
BRODIE & MIDDLETON, 79, LONG ACRE, LONDON. 
 
 No. 29.— WALL LINERS (HOG-HAIR). 
 
 5/- 7/6 10/- 
 I 14 2 
 
 12/6 15/- 17/6 20/- dozen. 
 2i 3 3-2 4 inch. 
 
 GRAINERS' COLORS, prepared ready for use, 2/6 lb. 
 
 No. 30. -FLOGGING, OR, OAK MATTING TOOLS. 
 
 40/- 45/- 50/- 60/- dozen. 
 4 42 5 6 inch. 
 
 Used diicjly by yapanners for Oak 
 
 No. ii.— COMBS FOR DIVIDING OVER-GRAINERS. 
 
 Single, 5/- doz. Doul)]c, 6/- doz. 
 
 The singl-e comlas are 6 inches long, and have the same teeth lliroughont as 
 in the engraving. The double are 7 inches long, one-half being fuie and the 
 other coarse, like a dressing comb, but the teeth are cut in such a manner as to 
 cause the hair to divide with a sharp edge at the points. 
 
14 ERODIE & MIDDLETON, ^g, LONG ACRE, LONDON. 
 
 No. 32.— LINING OR VEINING FITCHES. 
 
 The above three cuts represent No. 3, 6, 9. 
 
 2/6 2/6 3/- 3/- 3/6 4/- 4/6 5/- 6/- 7/. 8/- doz. 
 No. I 2 3456 789 10 12 
 
 No. 33.— PATENT OAK OVER-COMBING TOOLS. 
 
 FOR PUTTING IN THE BATES OR PORES OF THE WOOD. 
 
 Sep.'VRATE Rollers . . J-in., 1/9; 2-in., 3/3 ; 3j-in., 4/- each. 
 Witli a 3-in. Feeding Brush fitted into a box. Price 20/- the set of six pieces. 
 
 INSTRUCTIONS. — The graining is mixed thinner than for the combing process. Make 
 it so as to flow easily over the work. When the work is rubbed in even, soft, and clean, take a 
 r.ig and wipe off across the joints of the styles sharply, — to show such an amount of contrast 
 as is seen in the joints of real oak doors. When this is done, proceed to light or figure the 
 door as if it had been combed in the old way, taking care to keep the edges soft by brushing 
 gently either across or along them. The next day, or when the door is dry, it is ready to 
 roll Mix the colour for rolling thicker than that for graining, using your own judgment as 
 to depth of colour. When this is done, dip your flat brush or feeder into the rolling colour, 
 liolding the roller in one hand and the feeder in the other. The feeder is then placed firmly 
 over — and a little behind — the roller, which being set in motion feeds itself. The roller is to 
 <>e run lightly over the work, but the brush to be kept moderately firm on the roller, resting 
 the hand with the feeder on the other to keep them steady, always commencing at the bottom 
 of the article to be rolled. When the rollers are not in use, keep them either in oil or 
 graining colour. 
 
BRODIE & MIDDLETON, 79, LONG ACRE, LONDON". 
 
 ^5 
 
 No. 34.— PATENT GRAINING ROLLERS. 
 
 The apparatus consists of a Frame and Revolving Cylinder, the figure of the wood to be 
 represented being cut on the surface of the Cyhnder. The designs are of the choicest des- 
 cription. The Apparatus is very durable and expeditious, and has been found to give universal 
 satisfaction. The construction of the Tools are made so as to Grain work of any length or 
 width. Full printed particulars and directions for use will be sent with the Tools. 
 
 A descripiion 0/ the WOODS and MARBLES for which the PATENT 
 
 GRAINING TOOLS are a/>/>ticabU :— 
 
 SPANISH MAHOGANY and Satin- BIRCH Mottles 
 
 wood Mottles BIRCH Heart Over-grain 
 
 Ditto Heart over-grain TULIP 
 
 Ditto Feathers HUNGARIAN ASH 
 
 MAPLE Mottles HAIR WOOD 
 
 OAK Light Veins JASPER MARBLE 
 
 Ditto Dark Veins ROUGE ROYAL MARBLE 
 
 Ditto Hearts VEIN MARBLE, for White, Dove, 
 
 Ditto Knotted and Pollard Sienna, Black and Gold, and Italian 
 
 WALNUT _ Pink 
 
 For further particulars see the Painters' and Grainers'' Hand Book, 2s. 
 
 Price, 3-in., 16/- j 4-in., 18/-; 5-in., 22/-; 6-in., 26/- each. Mahogany 
 
 Feathers, 26/-, 30/-, and 37/- each. 
 
 LARGER SIZES MADE TO ORDER. 
 
 Any of the above Tools will answer for Panels and Style Work generally ; 
 
 smaller sizes are also kept in Stock for Styles, Margins, Frames, Small Panels, 
 
 Furniture, and all small portions of Woodioork generally. 
 
 Price ro/- and 12/- each. 
 
 INSTRUCTIONS FOR USING THE PATENT GRAINING TOOLS, 
 
 IN WATER COLOR ONLY. 
 
 The principal thing to be observed is Cleanliness. Wet them well with sponge and water; 
 have a wash leather wetted, and wring it nearly dry, then spread it on any flat surface re:idy 
 to run the tool over, to clean it, as it gets charged with colour in using ; then lay on your color 
 mixed in beer in the usual way, on the painted wood work, and pass ov»:r it with the tool 
 which produces the figure of the wood it is to represent ; then soften it with a Badger-hair 
 Brush. ' This being done, the work is ready for Over-graining. 
 
 THE FOLLOWING WILL BE FOUND A READY AND CLEAN SYSTEM 
 OF GRAINING WORK GENERALLY. 
 
 First Grain all your Panels, Styles. Frames, &C. , leaving all Mouldings, Edges, &c. to be 
 done last, using for that purpose a small thin one inch and a half Hog-hair Motilcr. 
 
 Be careful to clean the tools, and not allow them to remain packed inside each other while 
 wet, as they will last much longer if kept dry when not in use. 
 
t6 
 
 BRODIE & MIDDLETON, 79, LONG ACRE, LONDON. 
 
 PAINTERS' BRUSHES, &o. 
 
 No. 35.— GROUND BRUSHES. 
 
 8-0 
 
 Lily Hair— 54/- 
 
 Grey Middles— 48/- 
 
 6-0 4-0 3-0 
 
 48/. 42/- 39/- 
 
 42/- 36/- 34/- 
 
 Copper 3/- extra. 
 
 2-0 
 
 I-O 
 
 34/- 
 
 32/- dozen. 
 
 30/- 
 
 28/- „ 
 
 No. 36.— OVAL GROUND BRUSHES. 
 
 STRING BOUND. 
 
 4-0 
 
 44/- 
 
 8-0 6-0 
 
 Lily Hair— 59/- 52/- 
 Grey Middles— 51/- 45/- 39/- 
 Copper 3/- extra. 
 
 3-0 
 
 42/- dozen. 
 
 37/- :. 
 
 No. 37.— COPPER-BOUND OVAL GROUND BRUSHES. 
 
 8-0 
 
 Lily Hair— 60/- 
 Grcy Middles— 54/- 
 
 6-0 
 
 55/- 
 4S/- 
 
 4-0 
 
 47/- 
 42/- 
 
 3-0 
 
 45/- dozen. 
 
 40/- ., 
 
 No. 3S.-DUSTERS. 
 
 6 and 6i-inch Hair— 52/- 
 7-inch ,, 54/- 
 
 6-0 
 
 45/- 
 48/- 
 
 4-0 3-0 
 
 34/- 32/- 
 36/- 
 
 2-0 
 
 28/- dozea. 
 
BRODIE & MIDDLETON, 79, LONG ACRE, LONDON. 
 
 1? 
 
 No. 39.— COPPER-BOUND GROUND DISTEMPER BRUSHES. 
 
 8-oz 
 6-inch Hair — 60/ 
 
 9-0Z. lO-OZ. 
 66/- 72/- dozen. 
 6i „ 63/- 69/- 75/- M 
 
 Unground, 3/- per dozen less. 
 
 No, 40.— SASH TOOLS. 
 
 STRING BOUND. 
 
 2/. 2/6 3/- 4/- 5/- 6/- 8/- 10/6 13/- 16/- 20/- 24/- doz. 
 No. o I 2 3 4 5 6 7 8 9 10 12 
 
 No. 41.— TAR BRUSHES. 
 
 Short Handle.— Z]. 
 No. I 
 
 14/- dozen. 
 2 
 
 Z^«^ Handle. — 12/- 16/- dozen. 
 No. I 2 
 
 No. 42.— BEST STENCILLING BRUSHES, 
 FOR DECORATORS. 
 
 No. 4 6 S 10 12 14 16 18 20 22 24 26 
 
 2/- 3/- 4/- 5/- 6/- 7/- 8/- 10/- 12/- 15/- iS/. 21/- doz. 
 No. 43.— ROUND STENCILLING BRUSHES 
 
 SET IN KNOTS. 
 POR DECORATORS. 
 
 2/- 3 '6 5/- 7/- 9/- each. 
 2 2i 3 3i 4 inch. 
 
j8 BRODIE & MIDDLETON, 79, LONG ACRE, LONDON. 
 
 No. 44.— STIPPLING BRUSHES, 
 
 REVERSIBLE HANDLE, 
 
 The above cut represents a Stippler, the plan of which, when once known, 
 will recommend itself to every painter. 
 
 Reversible Stipplers, on this principle, have now been in use for some years 
 past by a celebrated Decorator, who claims to be the originator of the design. 
 
 The above handle will be found superior to all others, it being firmer than 
 •?.ny of the Reversible Stippler Handles now being used. 
 
 The advantages are : — 
 
 1. — By loosening the thumb screw, the handle can be turned in any 
 position, and by so doing, the Brush can be evenly worn over 
 its whole surface. 
 
 2. — The Reversible Stippler will last much longer than those with 
 the fixed handle. 
 
 10/6 13/- 18/- each. 
 
 5x5 6x6 7x7 inches. 
 
 With Plain Screw, i/- each less. 
 
 5/- 
 
 S + 3 
 
 7/6 
 6x4 
 
 10/- 
 7 X 5 
 
 13/- 
 8x6 
 
 16/6 
 9x7 
 
 each. 
 
 inchei 
 
BRODIE & MIDDLETON, 79, LONG ACRE, LONDON. 
 
 19 
 
 No. 45.— LONG-HAIRED FLAT FRENCH TOOLS. 
 
 Same sizes as Fig:. 1. 
 
 3/- 3/- 4/- 4/- 4/6 5/- 6/. 7/. 8/- 
 No. 123456789 
 
 9/- 10/- QOZ. 
 
 10 12 
 
 No. 46.— PIOG-HAIR LINING TOOLS, 
 
 FOR DECORATORS. 
 
 Same sizes as Fig i. 
 
 3/- 3/- 4/- 4/- 4/6 5/- 6/- 7/- 8/- 
 Ko. 123456789 
 
 9/- 
 10 
 
 10/- doz. 
 12. 
 
 No. 47.— STONE KNIVES. 
 
 
 4 5 6 7 8 9 10 II 12 13 14 15 16 inch. 
 
 6d. 7d. 8d. iid. 1/2 1/6 2/- 2/6 3/- 3/6 4/- 4/9 3/3 each. 
 
 No. 48.— PAINTERS' PUTTY OR STOPPING KNIVES, 
 
 EBONY HANDLE. 
 
 9/- 
 4 
 
 10/- 
 44 
 
 12/. 
 5 
 
 14/- 
 5^ 
 
 16- doz. 
 6 inch. 
 
 No. 48a. — PLAIN COCOA HANDLE. 
 
 8/- 9/- lo/- 12/- 14/- dozen. 
 4 4i 5 54 6 inch. 
 
20 RRODIE & MIDDLETON, 79, LONG ACRE, LONDON. 
 
 No. 49.— TROWEL STOPPING KNIVES. 
 
 12/- 
 4i 
 
 14/- 
 5 
 
 16/- 18/- dozen. 
 5^ 6 inch. 
 
 No. 50.— CHISEL KNIVES. 
 
 10/- 12/- 14/- 16/- dozen. 
 4 5 54 6 inch. 
 
 No. 51.— GLAZIERS' PUTTY KNIVES. 
 
 Best Plain, 9/- dozen. 
 
 Notched, 10/6 dozen. 
 
 No. 52.— GLAZIERS' HACKING KNIVES. 
 
 ill 
 
 mi 
 
 Small, 7/- dozen ; Large, 10/- dozen. 
 
 No_ 53._PAPER HANGERS' SCISSORS. 
 
 42/- 52/- 60/- dozen. 
 
 10 II 12 inch. 
 
BRODIE & MIDDLETON, 79, LONG ACRE, LONDON. 
 
 No. 54.— PAPER HANGERS' ROLLER. 
 
 UNCOVERED. . 
 
 7-in 
 
 3i-in 
 
 ij-in. Boxwood Seam Rollers 
 
 COVERED in Leather over 
 Thick Flannel. 
 
 3/- 
 
 1/5 
 
 i/- 
 
 No. 55.— PATENT SELF-ACTING BLOWING APPARATUS, 
 
 For Gas Fitters, Plumbers, Braziers, Painters, &=€. 
 
 A Safety Valve is adapted to each Apparatus 
 
 DIRECTIONS FOR THE MANAGEMENT OF THE SELF-ACTING BLOWING 
 
 APPARATUS. 
 
 Half fill the Boiler with Methylated Spirit, and fill the Lamp 
 with the s.nme, using a piece of common lamp cotton for the Wick, 
 in about half a minute or a minute from the time of lighting the 
 blast will be emitted, and may be directed to any required point. 
 Keep the Wick well in front of the jet to prevent the blast from 
 jumping. By pulling up the Wick a stronger blast may be obtained. 
 
 To extinguish it, blow gently on the Jlame 0/ the lamp fr<'in 
 beneath. 
 
 No. 
 
 1. 
 
 53. 6d. 
 
 11 
 
 2. 
 
 63. 6d. 
 
 
 3. 
 
 7s. 6d. 
 
 fi 
 
 4. 
 
 IO3. 
 
 •« 
 
 5. 
 
 15s. 
 
 each, ■will bum three-quarters of an hour, 
 ,, ,, one hour. 
 
 ,, ,, one hour and a quarter. 
 
 „ ,, one hour and a half. 
 
 ,, ,, one hour and three-quarters. 
 
 Extra Boilers for Burning off Paint, 3J. to js. 6d. eaeh, extra. 
 
BRODIE Si MIDDLETON, 79, LONG ACRE, LONDON. 
 
 GRAINERS', PAINTERS', AND DECORATORS' 
 
 COLOR MILLS, 
 
 These Mills are used by Painters, Coach Builders, Paper Stainers, Ink 
 Makers, Japanners, Machine Makers, Wheelwrights, &c. In these Mills you 
 can grind large or small quantities to any degree of fineness — they save a great 
 deal of nme and labour, and make the Paint go further and look much better. 
 
 No. 56.— PAINT OR COLOR MILL. 
 
 yM 
 
 Improved Paint Grinding Hopper to 
 
 Mill. surface. hold. 
 
 No. I ^.... 7-in. diameter i Gallon. 
 
 „ 2 10 „ 3 .. 
 
 ,, 3,fo\ Power 18 „ 10 „ 
 
 No. 57.— AMERICAN PAINT OR COLOR 
 
 MILL. 
 
 American Paint Grinding Hopper to 
 
 Mill, surface. hold. 
 
 No. la 5-in. diameter I Quart. 
 
 ,, 2 7 „ 4 ,, 
 
 ,, 3 10 .. 3 Gallons 
 
 No. irt,^4. No. 2,^5 los. No. 3, ^9 iQs. 
 
 o 
 
 
 o 
 
 
 p 
 
BRODIE & MIDDLETON, 79, LONG ACRE. LONDON. 
 
 25 
 
 WRITERS AND COACH PAINTERS' BRUSHES, &a 
 
 No. 58.— SABLE-HAIR WRITING PENCILS. 
 
 LARK. 
 
 CROW MUILL. 
 
 DUCK QUILL. 
 
 GOOSE QUILL. 
 
 Lark, 3/- ; Crow, 4/- ; Duck, 6/- ; Goose, 9/-; Extra Goose, 15/- ; Small Swan 
 Quill, 27/- ; Middle Swan Quill, 36/- ; Large Swan Quill, 48'- Der doz. 
 
 No. 59.— WRITERS' BLENDERS (SABLE). 
 
 i/-, 1/4, 1/8, 2/6, 3/-, 3/6, aad 4/- each. 
 Nos. I. 2. 3. 4. 5. 0. 7. 
 
34 
 
 BRODIE & MIDDLETON, 79, LONG ACRE, LONDON. 
 
 No. 60.— SABLE LINERS, OR TRACING PENCILS. 
 
 FINE. 
 
 CROW QUILi-. 
 
 DUCK QUILL. 
 
 GOOSE QUILL. 
 
 SWAN QUILL. 
 
 MIDDLE SWAN QUILL. 
 
 EXTRA LARGE SWAN QUILL. 
 
 Fine 3/- ; Crow, 4/- : Duck, 6/- ; Goose. 9/- : S^^•an, 27/- ; Middle Swan, 36/- ; 
 
 Extra Large Swan, 60/- per doz. 
 
 Intermediate sizes can be had at 12/-, 15/-, iS/-, 24/-, 30/- per aoz. 
 
 No. 61— CANDLESTICK. 
 
 n 
 
 a" 
 
 
 
 
 -a 
 
 
 •0 
 
 
 
 a 
 
 
 XI 
 
 a 
 
 
 
 hr 
 
 U5 
 
 
 a 
 
 
 
 
 
 •4-t 
 
 0) 
 
 
 
 
 
 
 
 
 
 03 
 
 C 
 
 rt 
 
 W 
 
 .:<! 
 
 a. 
 
 .d 
 
 n 
 
 a 
 
 
 ^ 
 
 
 
 :s 
 
 U3 
 
 aJ 
 
 
 n 
 
 .Q 
 
 
 H 
 
 
 
 
 
 t1 
 
 
 
 
 
 
 
 >3 
 
 
 
 
 •^-4 
 
 C; 
 
 
 ■^ 
 
 c 
 
 H 
 
 ^ 
 
 C/J 
 
 
 
 •H 
 
 tr 
 
 >3 
 
 S 
 
 t^ 
 
 Co 
 
 tg 
 
 3 
 
 
 01 
 
 OQ 
 
 C^ 
 
 
 Ol 
 
 c> 
 
 b 
 
 P 
 
 
 m 
 
 
 
 
 
 ■ 
 
 
 S3 
 
BRODIE & MIDDLETON, 79, LONG ACRE, LONDON. 
 
 25 
 
 No. 62.— MAHL, OR REST STICK, 
 From 6d. each. Jointed from lod. each. 
 
 No. 63— FOLDING ]MAHL STICKS, 
 
 3/- each. 
 
 No. 64.— MAHOGANY PALETTE BOARDS, 
 
 OBLONG AND OVAL. 
 
 6J., 8d., gd., l/-, 1/4, 1/6, 1/9, 2/-, and 2/6 each. 
 
 No. 65.— DIPPERS. 
 
 No. I Single Tin Dippers .... 
 
 2 Double ditto 
 
 3 Single Conical ditto 
 
 4 Double ditto ditto 
 
 5 Single ditto with Neck 
 
 6 Double ditto with Neck 
 
 7 Single ditto with Screw 
 Top 
 
 8 Single ilitto with Capped 
 Lid 
 
 PLAIN. 
 s. d. 
 
 JAPAN'D 
 s. d. 
 
 2i 
 
 6 
 
 5 
 
 I 
 
 2J 
 
 6 
 
 5 
 
 I 
 
 5 
 
 9 
 
 10 
 
 I 3 
 
 8 
 
 I 4 
 
 9 
 
 
 No. g Double Dippers with 
 
 Capped Lid 
 
 „ 10 Single Conic.il ditto 
 
 „ II Double ditto ditto 
 
 „ 12 Single Shallow Tin Dip- 
 pers 
 
 „ 13 Double ditto ditto .... 
 „ 14 Single Dipper, with 
 
 Rim........ 
 
 „ 15 Double ditto ditto .... 
 
 JAPAN'D 
 d. 
 
BRODIE & MIDDLETON, 79, X.ONG ACRE, LONDON. 
 
 No. 66.— OVAL AND ROUND TIN CASES, 
 
 FOR PENCILS, ETC. 
 
 4d., 6d., I/-, 1/3, 1/6, 1,9, and 2/- each. 
 
 No. 67.— WRITERS' AND DECORATORS' WOOD COMPASSES, 
 
 V.A.RIOUS PATTERNS. 
 
 =■1 - ' 
 
 m 
 
 1,3, 1.6, 1/9, 2/-, 2/3, 2/6, 3/-, 3/6, and 4/- each. 
 
 No. 68.— WRITERS' GOLD SIZE. 
 
 9d. per bottle, or 4/- per quart. 
 
 No. 69.— OIL GOLD SIZE. 
 
 Besi Oil Gold Size kept ready Jor use, and 
 
 thick in pots, \-oz., 2-oz., 4-oz., 6-oz., S-oz., 12-os., 
 
 and l6-oz. 
 
 3d., 4id., 7^d., i/-, 1/3, 2/-, aud 2/6 each. 
 
 Matt Size, l/- lb. Burnish Size, i/- lb. 
 
PRODIE & MIDDLETON, 79, LONG ACRE, LONDON. 
 
 27 
 
 No. 70.— COTTON WOOL, 2/6 per lb. 
 
 No. 71.— PARCHMENT CUTTINGS, i/- per lb. 
 
 No. 72.— PIPE CLAY, in Sticks, 3d. per doi. 
 
 No. 73.— TISSUE PAPER, 6d. per Quire. 
 
 No. 74.— GOLD LEAF. 
 
 Deep Full Size, 1/2 per book, 45/- thousand. 
 Pale ditto i/i ,, 42/6 ,, 
 
 Half-gold ditto sd. „ 12/6 „ 
 
 Dutch Metal 2d. „ 
 Transfer Gold 1/4 ,, 
 
 No. 75.— CAMEL-HAIR PENCILS, SHORT. 
 CROW. 
 
 GOOSE. 
 
 FULL GOOSE, 
 
 Crow, 8/-; Duck, 10/-; Goose, 12/-; Full Goose, 14/- 
 Assorted, G. D. C, 10/- gross. 
 
 No. 76.— CAMEL-HAIR, l^IIDDLE. 
 
 CROW. 
 
 Hk 
 
 D'JCK. 
 
 GOOSE. 
 
 Crow, S/-; Duck, 10/-; Goose, 12/-. Assorted, 10/- cross. 
 
k8 
 
 BRODIE & MIDDLETON, 79, LONG ACRE, LONDON. 
 
 No. 77.— CAMEL-HAIR WRITERS. 
 CROW. 
 
 DUCK. 
 
 GOOSE. 
 
 Crow, S/-; Duck, 10/-; Goose, 12/-. Assorted, 10/- gross. 
 
 No. 78.— CAMEL-HAIR JAPANNERS' LONG WRITERS. 
 
 CROW. 
 
 DUCK. 
 
 GOOSE. 
 
 Crow, 8/-; Duck, 10/-; Goose, 12/-; Assorted, 10/- gross. 
 
 No. 79.— CAMEL-HAm SWAN PENCILS. 
 
 Small, 18/.; Large, 24/- 
 
 No. 80. -CAMEL-HAIR SWAN TINS. 
 
 24-/ gross. Ex. Large, 42/- 
 
BRODIE & MIDDLETON, 79, LONG ACRE, LONDON. 
 
 29 
 
 No. 81.— CAMEL-HAIR LINERS, OR STRIPERS, 
 
 FINE. 
 
 CROW. 
 
 Fine, 8/-; Crow, 8/-; Duck, 10/-; Goose, 12/-; Swan, 24/.; 
 Middle Swan, 36/-; Large Swan, 48/- gross. 
 
 No. 82.— WRITERS' BOXES, &c., &c. 
 
 Boxes for Sign Writers, Glass Embossers, Decorators, Missal Painters, 
 
 Gilders, C^c., 
 
 Price 2i/' 
 
 BOXES MADE TO ANY 
 DESIGN. 
 
 Containing Boxes with Lids, for Colors, &c.; Screw Bottles, for Varnishes, Oils, 
 &^c.; Spaces for Gold Leaf Brushes, Tube Colors, and Palette. 
 
30 BRODIE & MIDDLETON, 79. LONG ACRE, LONDON. 
 OIH. OOXjOIE^S. 
 
 FINELY GROUND BY MACHINERY. IN PATENT COLLAPSIBLE TUBES. 
 
 
 SINGLE. 
 
 WHITE { 
 
 Single, 3d. 
 Double Size, 6d. 
 Larger, 9d. and Is. 
 
 Verona Brown 
 
 Caledonian Brown 
 
 Yellow Ochre 
 
 Roman or Golden 
 Ochre 
 
 Brown Ochre 
 
 Raw Sienna 
 
 Burnt ,, 
 
 Prussian Blue 
 
 Antwerp ,, 
 
 Indigo „ 
 
 New „ 
 
 Magenta 
 
 Mauve 
 
 Olive Green 
 
 Sap ,, 
 
 Permanent Blue 
 
 Indian Red 
 
 Light _ ,, 
 
 Venetian Red 
 
 Bone Brown 
 
 Cappah ,, 
 
 Vandyke ,, 
 
 Pale Naples Yellow 
 
 Deep ,, ,, 
 
 Extra Deep Naples 
 Yellow 
 
 Patent Yellow 
 
 Chromes, Nos. 1,2,3,4 
 
 Raw Umber 
 
 Burnt „ 
 
 Sacrum, or Drj-ers 
 
 IMineral Green 
 
 Mummy 
 
 Bitumen 
 
 Asphaltum 
 
 Dutch Pink 
 
 Brown „ 
 
 Italian 
 
 Neutral Tint 
 
 Red Lead 
 
 Cologne Earth 
 
 Yellow Lake 
 
 Purple ,, 
 
 Indian 1, 
 
 Lake 
 
 Ivory Black 
 
 Lamp „ 
 
 Blue „ 
 
 Terravert 
 J Verdigris 
 ] Emerald Green 
 
 Flake White 
 
 Cassell Earth 
 
 Blue Verditer 
 
 White Zinc 
 
 4d. each. 
 
 Crimson Lake 
 Scarlet , 
 
 6d. eacti. 
 
 Vermilion 
 
 6d each. 
 
 Mineral Grey 
 
 Royal Yellow 
 
 Cerulean (blue) 
 
 French Ultramarine 
 
 Green Lake 
 
 No. 1 
 
 „ No. 2 
 
 .. No. 3 
 
 No. 4 
 
 Gamboge 
 
 8d. each. 
 Oxide of Chromium 
 Mars Yellow 
 Strontian Yellow 
 Indian ,, 
 
 9d. each. 
 
 Lemon Yellow, Pale 
 ,, ,, Deep 
 Cobalt 
 
 Scarlet Vermilion 
 Ext. ,, 
 
 lOd. each. 
 
 Madder Brown 
 Mars Orange 
 Sepia 
 
 Is. each. 
 
 Pink Madder 
 Madder Lake 
 Malachite Green 
 Rose Madder 
 Pale Ultramarine 
 
 Ash 
 Veronese Green 
 
 Is. 66.. each. 
 
 Carmine 
 Violet Carmine 
 Cadmium Yellow 
 Deep Ultramarine 
 
 Ash 
 Purple Madder 
 Madder Car- 
 
 mine 
 
 2s. 6d. each. 
 
 Aureolin 
 
 DOUBLE. 
 
 Double 
 6d. 
 
 Treble 
 8d. 
 
 Quadruple 
 
 IS. 
 
 Single 
 3d. 
 
 MY GULPH (Copal) -j ^'"fj* 
 
 Chrome Green, Light, Middle, Deep, 
 
 MYGtULPH (Mastic) | 
 
 i-lb. 
 2S. 6d. 
 
 Double 
 6d. 
 Double 
 6d. 
 3d. each. 
 
 2.1b. 
 4s. 6d. 
 
 each. 
 
BRODIE & MIDDLEION, 79, LONG ACRE, LONDON. 
 
 GILDEES' BRUSHES, &c. 
 
 No. 83.— GILDERS' DABBERS OR MOPS IN QUILLS. 
 
 Wire-hr)uiid. Flat ott Top or Domed. 
 
 I 23456 Quill. 
 
 2/6 3/6 4/6 6/- 8/- 9/- dozen. 
 
 No. 84.— GILDERS' MOPS ON HANDLES. 
 Flat on Top or Domed. 
 
 No. 123456789 10 II 
 
 3/6 4/6 6/- 7/6 9/- 10/6 13/- 15/- 17'- 20/- 22/. 
 
 No. 85.— GILDERS' TIPS. 
 
 THREE DIFFERENT LENGTHS OF HAIR. 
 
 12 
 
 24/-doz 
 
 I inch, \\ inch, 2 inches long, and 4 inclies wide— 3/- dozen. 
 
32 
 
 BRODIE & MIDDLETON, 79, LONG ACRE, LONDON. 
 
 No. 86.— GILDERS' CUSHIONS. 
 
 84 X 54 Size, 15/- dozen, 94 x 6^ Size, 18/- dozen. 
 
 jjo, 87.— GILDERS' KNIVES, BALANCE HANDLES. 
 
 Silililiiillllii 
 
 z 
 
 12/- dozen. 
 No. 88.— GILDERS' KNIVES. 
 
 y ^ir^ n — I / 
 
 10/- dozen. 
 
 No. 89.- GILDERS' BURNISHERS. 
 
 Agate, 2/- each ; Flint, 2/6 each. 
 
 No. 90.— LONG HANDLE BURNISHER, 
 
 ^OK BOOK BINDERS, dc. 
 
 2/6, 3/-, 3/6, 4/-, 4/6, and S/- each. 
 
BRODIE & MIDDLETON, 79, LONG ACRE, LONDON. 3J 
 
 No. 91. -QUILLED TOOLS, OR SKEWING BRUSHES. 
 
 2/- 2/3 2/6 3/- 3/6 4/- 5'- 6/- 7/- S/- 11/- doz. 
 No. I 2 3 4 5 6 7 8 9 10 12 
 
 See also Sash Tools, Fig 40. * 
 
 No, 92.— ROUND FRENCH TOOLS, 
 
 STRING BOUND, FINE HAIR. 
 
 2/- 2/6 3/- 3/6 4/- 5/- 6/- 7/- 9/- 10/- 11/- 13/- doz 
 No. 2 4 6 8 10 12 14 16 iS 20 22 24 
 
 No. 93.— OIL GOLD SIZE, 
 
 Thick and ready for use, prepared in Pots. See Fig 69. 
 
 3d., 44d., 7|d., i/-, 1/3, 2/-, and 2/6 each. 
 
 No. 94.— MATT AND BURNISH GOLD SIZE, i/- per \\\ 
 
 No. 95.— GILDERS' COTTON, 2/6 per lb. 
 
 No. 96.— PARCHMENT CUTTINGS, i/- per lb. 
 
 No. 97.— GOLD LEAF, 
 See Fi^ 70. 
 
 Deep full size, 1/2 per book. 
 Ditto, pale, l/i ,, 
 
 No. 98.— CANING TUBES, 
 FOR CARRIAGE BUILDERS, &>€. 
 
 Single, 1/6 each ; Double, 2/6 each, 
 
BRODIE & MIDDLETON, 79, LONG ACRE, LONDON. 
 
 SCENE PAINTERS' BRUSHES. 
 
 No. 99.— LONG HAIR SASH TOOL. 
 
 8/- lo/- 13/- 16/- 18/- 20/- 24/- 30/- 34/- 39/- 48/- doi 
 No. 3 4 5 6 7 8 9 10 12 14 16 
 
 No. 100.— LONG HAIR QUILLED TOOLS. 
 
 2/6 3/- 3/6 4/- 5/- 6/- 7/- 8/- 9/- 10/- 11/- i2/-(Ioz. 
 No. I 2 3 4 5 6 7 8 9 10 11 12 
 
 No. loi.— SHORT HAIR QUILLED TOOLS. 
 
 2/- 2/6 3/- 3/6 4/6 5/6 7/- 8/. 9/- 10/- 11/- I2/-d0Z. 
 No. I 2 3 4 5 6 7 8 9 10 12 12 
 
 No. 102.— ONE KNOT DISTEMPER. 
 
 7-inch Hair, 4/- and 4/6 each. 0-inch Hair, 3/-, 3/6, 4/- each. 
 
 No. 103.— FLAT COPPER BAND DISTEMPERS. 
 
 66/- dozen. 
 
 No. 104.— TWO KNOT GROUND DISTEMPERS. 
 
 (See Fig- 3Q J 
 
BRODIE & MIDDLETON, 79, LONG ACRE, LONOON. 
 
 3S 
 
 Messrs. BRODIE ^ MIDDLETON are prepared to supply Amateurs 
 with Colors prepared for Scene Painting in small or large quantities. 
 
 
 
 d. 
 
 V 
 
 
 s. 
 
 d. 
 
 White Lead . 
 
 . per lb. I 
 
 
 
 Maroon . 
 
 . per lb. 
 
 2 
 
 
 
 No. I Chrome . 
 
 
 
 
 Purple . . 
 
 
 2 
 
 
 
 No. 2 Chrome 
 
 
 
 
 Light Blue . 
 
 
 2 
 
 
 
 No. 3 Cnrome . 
 
 
 
 
 Dark Blue . 
 
 
 ■\ 
 
 6 
 
 Dutch Pink . 
 
 ,, 
 
 
 
 Ultramarine . 
 
 
 2 
 
 6 
 
 Brown Ochre 
 
 >> 
 
 8 
 
 Emerald Green . 
 
 
 2 
 
 6 
 
 Venetian Red 
 
 ,, 
 
 8 
 
 Dark Green . 
 
 
 2 
 
 
 
 Orange Red 
 
 M I 
 
 
 
 Raw Sienna 
 
 
 I 
 
 6 
 
 Persian Red . 
 
 M I 
 
 9 
 
 Burnt Sienna . 
 
 
 I 
 
 6 
 
 Magenta 
 
 M I 
 
 9 
 
 Vandyke Brown 
 
 
 I 
 
 6 
 
 Damp Lake . 
 
 4 
 
 
 
 Ivory DrojJ Black 
 
 
 I 
 
 6 
 
 Carnation . 
 
 5 
 
 6 
 
 
 
 
 
 Pans to hold I lb. of the above, 2d. each. 
 
 Theatrical Cannas, of all sizes, prepared for Scene Paintings 
 ^. per Superficial Square loot. 
 
 No. 105.— MADONG, 2/6 per lb. 
 
 eVERV REQUISITE PROVIOEO FOR SCENE PAINTERS 
 
 VAKNISH BRUSHES AND TOOLS, 
 
 WARRANTED TO STAND. 
 
 No. 106.— OVAL VARNISH BRUSHES, 
 
 TIN BOUND. 
 
 15/- iS/- 24/. 27/- 30/- 36/. 42/- 48/- doz. 
 No. I 2 3 4 5 6 7 8 
 
 No. 107.— CARRIAGE VARNISH BRUSHES. 
 
 No. I 
 
 15/- iS/- 24/- 27/- 
 
 S-T 
 
 2fil' 42/- 48/- doz. 
 
36 nRODIE & MIDDLETON, 79. I-ONG ACRE. LONDON. 
 
 No. loS.-OVAL COPPER-WIRE BOUND VARNISH BRUSHES, 
 
 V5/- 24/- 30/- 45/- 54/- doz. 
 No. 1 2 3 4 5 
 
 No. 109.— VARNISH TOOLS, 
 
 /« Socket, and Wire Bound. 
 
 3/. 6/- 9/- 12/- 15/- iS/- doz. 
 No. 2 4 6 8 10 12 
 
 No. no.— PINNED VARNISH BRUSHES. 
 
 iSiiiiiiiiiiir 
 
 5/. 6/- 7/- 9/- 10/6 14/- 17/6 2i/- 24/6 28/- doz. 
 i a I ii i^ 2 2^ 3 34 4 inch. 
 
 No. III.— BEARS' HAIR VARNISH BRUSHES. 
 
 30/- 36/= 42/- 4S/- doz. 
 24 3 3^ 4 inch. 
 
BRODIE & MIDDLETON, 79, LONG ACRE, LONDON. 
 
 37 
 
 No, 112.— ROUND AND FLAT HOG-HAIR TOOLS, 
 
 lillllrill>N IN TIN, POLISHED CEDAR HANDLES. 
 
 Flat or Round same price. 
 
 2,6 2/6 3/. 3/- 3/6 4/- 4/6 5/- 6/- 7/- S/- 8/-doA 
 
 No. I 2 3 4 56 7 8 9 10 II 12 
 
 9/- 10/- 12/- 14/- 16/- 18/- 21/- doz. 
 No. 13 14 16 18 20 22 24 
 
 No. 113.-ROUND AND FLAT FRENCH TOOLS, 
 
 IN TIN — WHITE HANDLES— ENGLISH SIZES. 
 
 2/. 2/- 2/. 2/6 2/6 3/- 3/- 3/6 4/- 5/- 6/- 6/- dor. 
 
 No. I 2 3 4 5 6 7 S 9 10 II 12 
 
 I 
 
^8 BRODIE & MIDDLETON, 79, LONG ACRE, LONDON. 
 
 No. 114.— SABLE TOOLS, IN TIN, FLAT AND ROUND, 
 
 POUSHED CEDAR HANDLES, 12-INCH LONG. 
 
 -^^IM^ 
 
 1 II -^ 
 
 Flat 4/6 5/- 6/- 7/- 8/- 9/. 12/- 16/- 20/. 24/- 30/- 36/- doz 
 Round 4/6 5/- 6/- 7/- 8/- 9/- iG/- 20/- 22/- 33/- 42/- 51/- „ 
 No. 1234567 8 9 10 II 12 
 
BRODIE & MIDDLETON, 79, LONG ACRE, LONDON. 
 
 39 
 
 MISCELLANEOUS. 
 
 No. 115.— FLAT C. HAIR VARNISH BRUSHES, 
 
 In Tin — Best quality. 
 
 inch. 
 « 1 ... 
 W A ... 
 ^ t ••• 
 
 CJ 16 ... 
 
 t— " t 
 
 K 8 ■■• 
 
 H k ... 
 
 5/- 
 
 a 
 4 
 
 s/- 
 
 6/- 
 
 I 
 6/. 
 8/- 
 10/. 
 
 7/6 
 
 9/- 
 12/- 
 
 15/- 
 
 10/6 
 
 2 
 
 12/- 
 16/- 
 20/- 
 22/- 
 
 24/- 
 30/- 
 
 2-i 
 
 15/- 
 20/- 
 
 25/- 
 
 28/- 
 
 3 
 
 18/- 
 
 21/- 
 30/- 
 
 33/- 
 36/- 
 
 45/- 
 
 34 
 
 21/- 
 28/- 
 35/- 
 39/- 
 
 4 
 
 24/- 
 
 3V- 
 40/- 
 
 44/- 
 48/- 
 60/. 
 
 inch. ! 
 dozen. 
 
 No. 116.— ROUND C. HAIR VARNISH OR LACQUERING 
 
 BRUSHES. 
 
 2/- 2/6 
 No. I % 
 
 3/- 
 3 
 
 4/- 
 4 
 
 5/. 6/- 7/- 8/- 9/- 
 56789 
 Larger sizes to order. 
 
 1 1/- 
 10 
 
 12/- 
 
 13/- doz. 
 12 
 
 No. 1 1 7.- FLAT BADGER SOFTENERS, 
 
 IN TIK SOCKETS. 
 
 8/. 12/- 16/- 20/- 24'- 32/- 36/- 48/- 56/- 64/- dor. 
 
 i 
 
 li 
 
 - 1 
 
 3i 
 
 4 inch. 
 

 10 
 
 BRODIE & MIDDLETON, 79, LON<; ACRE, LONDON, 
 
 No. 118.— ROUND BADGER SOFTENERS. 
 
 6/- 8/- 10/- 12/- IS/- iS/- 24/- 30/- 36/- 45/- 54/- 60/- doz. 
 No. I 2 3 4 5 6 7 8 9 10 II '12 
 
 No. 119.— BORDERING BRUSH. 
 
 lo/. 
 
 No. I 
 
 42/- doz. 
 8 
 
 No. 120.— POONAH BRUSH, 
 
 POLISHED CEDAR HANDLES. 
 
 I to 6 Assorted, 3/- per doz. 
 No. 121.— POONAH, OR VELVET SCRUB, 
 
 rOI.ISlIED CEDAR HANDLES. 
 
 I to 6 Assorted, 3/- per doz. 
 
 No. 122.— BADGER POONAH, 
 
 POLISHED CEDAR HANDLES. 
 
 3/- 4/- 6/- 7/- 8/- 9/- doz. 
 No. 123456 
 
 No. 123.— MARKING BRUSH. 
 
 JJi;».feiiilllil !l tt - 
 
 1/6 2/- 2/6 3/- doz. 
 No. 1334 
 
 D 
 
 33 /3 5^J?-0 5^ 
 
GETTY CENTER LIBRARY 
 
 3 3125 00799 0860