Marketerie Wood- Staining and Kindred Arts

A PRACTICAL HANDBOOK

TO MARKETERIE WOOD- STAINING AND KINDRED ARTS.

By ELIZA TURCK,

AUTHOR OF "HINTS ON PAINTING WITH VARIOUS MEDIUMS," ETC.

PROFUSELY ILLUSTRATED.

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LONDON L. UPCOTT GILL, 17o, STRAND, W.C. 1899 Preface.

RELIABLE guide to the very pretty art of wood- A staining has hitherto been a desideratum ; it is therefore hoped that this long-felt want may be satisfactorily supplied in the following pages. By the use of Fretwork and Marquetry. certain stains and enamels, to be presently fully described, reproductions of almost every kind of inlay can A Practical Manual of Instructions in the Art of be effected ; but in order to do this artistically, some Fret-cutting and Marquetry knowledge of the original work is required, as, for in- Work. By D. DENNING. stance, the styles prevalent at different periods, the ma- Profusely Illustrated. In terials and, in the case of wood-inlays, the stains employed. cloth gilt, price 2s. 6d., by Therefore, before proceeding to the more practical, or post 2s. 9d. rather technical, part of our subject, it may be of interest to glance at the history of the art, chiefly with a view to calling attention to some of the many fine examples LONDON : L. UPCOTT GILL, 170, STRAND. to be found in our national collections. It is surprising how fascinating and absorbing a visit to either the South Kensington or the British Museum becomes if, instead of n • • ° •• • • • • • aimlessly wandering, with wearied feet and aching head, • "•• • • ••• •a• ••• •a' through rooms crowded with priceless treasures, whose VA? '14 -1 very beauty and variety bewilder us, we resolutely deter- " : • ". •-• : • :`: : mine to devote ourselves to one class of objects alone, and • •a• •• • % • • • to do so with some attempt at intelligent comprehension of what we are looking at.

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Contents.

CHAPTER I THE ORIGIN AND HISTORY OF THE ART OF INLAY . 9

CHAPTER II

PRACTICAL INSTRUCTIONS IN THE USE OF STAINS, ENAMELS, ETC . 33

CHAPTER III

ECAILLINE ON WOOD 55

CHAPTER IV

IVORY INLAY 61

CHAPTER V

ECAILLINE ON GLASS

CHAPTER VI FRENCH-POLISHING ... . 71

CHAPTER VII

THE CHOICE AND COST OF MATERIALS . . . 76

IND= 79

7 MARQUETERIE WOOD-STAINING AND KINDRED ARTS.

CHAPTER I. The Origin and History of the Art of Inlay. HE earliest examples of inlaid work possessed by T the nation are in the fourth Egyptian Room of the British Museum, some of the specimens thus decorated being articles in domestic use over 2,000 years ago. As " imitation is the sincerest form of flattery," we may fairly

FIG. 1.-INLAID LEG OF CHAIR FROM THEBES.

conclude that these embellishments were both coveted and admired in those days, from the fact that a painted 9 • ' '

tci Marpeterie Wood Staining. The Origin and History of the Art of Inlay. II reproduction of an inlaid chair is shown in the same case 2,474). Another chair, singularly modern in form, has a as one in real ebony and ivory—No. 2,474. The pattern back inlaid on some rich, warm-tinted wood, with lines on the legs of both is similar, and this is shown in Fig. and bands of ebony dividing upright panels decorated 1 ; the little square at the bottom is bright red, stained with rows of tiny dots of ivory with a crowning tulip- in the ivory to represent cornelian, and, of course, copied like flower. in the painting. The colouring of the ivory appears to have been a favourite device ; we find it again in a very striking and perfect manner in No. 5,897, a box from Thebes, in which the alternate squares of ivory, separated by bands of ebony, as shown in Fig. 2, are stained bright

FIG. 3.-INLAID DUCKS' HEADS FORMING LEGS OF AN EGYPTIAN CHAIR.

Contemporary Oriental art of this kind is familiar to us through the minute work that comes from India, FIG. 2.-INLAID BOX-TOP FROM THEBES. in the shape of sandal-wood, mother-of-pearl and ebony red and blue, in simulation of cornelian and glazed porce- boxes, trays, etc., as well as through specimens from lain. Algeria and Morocco ; and, considering the conservative Occasionally the porcelain itself is used as inlay—for tendency of Eastern nations in all matters connected with instance, in a draught-board of the Eighteenth Dynasty, design and handicraft, we may safely assume that the in which the squares, all of one colour, are of blue ware, patterns now in use have been handed down from genera- separated by bands of ivory ; in another example the tion to generation, and are of very ancient origin. squares are of some dark wood, with the same intersect- The period of the Moorish occupation of Spain is, of ing ivory bands. course, a comparatively modern date in reference to any Fig. 3 illustrates a very quaint conceit in the shape of Eastern art, and the particular one we are considering ducks' heads, inlaid with ivory, and terminating the legs was known and practised in Asia many centuries before. of a chair in campstool form, also from Thebes (No. It is believed to have originated in Persia, this belief -1111 0101.

12 Marqueterie Wood-Staining. The Origin and History of the Art of Inlay. is being confirmed by a remarkable passage in the Book all over Italy being certain to follow ; also that such a of Esther, where, in the gorgeous description of King beautiful and attractive branch of the fine arts should Ahasuerus's palace, occurs the following distinct mention of share in that general development, revival, and activity coloured mosaic : " The beds were of gold and silver, upon displayed at the period of the Renaissance, was only a pavement of red, and blue, and white, and black mar- natural. ble " (Esther i. 6). The Egyptians probably brought The earliest examples of the fourteenth century are their knowledge from Persia, and the Romans, those Venetian and Florentine marriage-coffers; later on, in the pioneers of culture amongst Western nations, no doubt obtained theirs from a similar source. Mosaic of stone and glass, so much employed by them, is, of course, one most important kind of inlay. The term " wood-mosaic" is often applied, and is strictly correct. There are some beautiful examples of comparatively late Persian art—viz., of the seventeenth century—in the South Kensington Museum. For instance, a dark wood cabinet, richly inlaid with conventional floral designs in ivory (No. 2,410) ; another interesting piece (No. 747), a cabinet with a curious resemblance to a Portuguese cabinet to be found in another department of the museum ; and last, not least, au embroidery-frame, exactly on the principle of our modern ones, decorated with an elaborate pattern in mother-of-pearl. During the Middle Ages simple black-and-white inlay FIG. 4.—TRIQUETI MARBLE: "DAVID-ELOQUENCE AND HARMONY." appears to have been that chiefly in use, and it was (From a Photograph by Miss Davison.) known in Italy as " Moresco " ; another variety—viz., ivory inlaid into solid cypress or walnut wood—took beginning of the fifteenth century, the work was freely the name " Certosina," from the famous Certosa at employed in churches by many artists of note, such as Pavia, the choir fittings of that magnificent church being Filippo Brunelleschi, Giuliano da Majano, and others, the entirely decorated with this work. The geometrical style choir-stalls, sacristy presses, etc., being often richly orna- of the patterns employed clearly indicates an Eastern mented with " Intarsia " of wood. This term was applied origin. It is a , well-established fact that the art was to inlay, either of stone or wood, at this time always imported to Venice from Persia, its gradual spread thence executed in two colours only, and unshaded. The black- T4 Marqueterie Wood-Staining. and-white marble pavement of the cathedral at Siam is a typical specimen of stone Intarsia, a style that was revived under modified conditions by the late Baron de Triqueti, whose last great work—part of the mural decoration of the Albert Memorial Chapel at Windsor— is one of the most remarkable of modern days. A series of tablets surrounding the chapel represent subjects from

FIG. 5.-OLD INTARSIA PANEL. the Old and New Testaments, and suggest passages in the life of the Prince Consort. These are executed in various coloured marbles and stones in flat pieces ; the drawing was fully carried out by incised lines, which were afterwards filled in with special coloured cements, and the whole then polished, presenting an unbroken, perfectly FIG. 6,-OLD INTARSIA PANEL. smooth surface. The process was invented by the Baron de Triqueti, and carried out under his superintendence 15 16 Marqueterie Wood-Staining. The Origin and History of the Art of Inlay. 17 by workmen specially trained by himself for the work. cabinet, from which Fig. 7 is taken. It will be observed Fig. 4 will serve to give some idea of one of the tablets what a marked contrast the style of the design presents (" David—Eloquence and Harmony "), and in a slight to that of the fifteenth-century Intarsia. Other instances degree to supplement the above explanation of the mode may be studied in a fine circular table completely covered of their execution, The beauty and harmony of the design with scrolls, griffins, heads, etc., in satin-wood and walnut, and colouring, the masterly composition, and, above all, and a seventeenth-century marriage-coffer of tortoiseshell the noble and deep religious feeling with which the whole and ivory, the side of which is represented in Fig. 8. is inspired, can only be appreciated by a visit to the chapel and a careful study of all parts of Baron de Triqueti's chef d'ceuvre. A representative set of old Intarsia wood panels is No. 103 at South Kensington ; this is fifteenth-century work, from the palace built in that century by Federigo Duke of Urbino, and presumed to be)by Antonio, master of Gubbio. Figs. 5 and 6 illustrate two of the panels. The originals are in walnut and satin-wood, very rich and mellow in tone. The choir of St. Maria delle Grazie, at Milan, is surrounded by panels of similar Intarsia and of the same period, unfortunately in a sad state of neglect— broken, worm-eaten, and decayed. Other instances are the stalls of St. Maria Novella, Florence, by Baccio d'Agnolo, and many in Bologna and Venice, the style being gener-

ally that of the early Renaissance—vases with flowers, FIG. 7.—PORTION OF A SIXTEENTH-CENTURY ITALIAN CABINET. cupids, scrolls, etc. Later in the century Intarsia fell out of use for ecclesi- Towards the end of the fifteenth century the art tra- astical purposes, the architectural school of Palladio and velled northwards, crossing the Alps to Augsburg, Nurem- his followers being opposed to the introduction of small berg, the Lower Rhine, and Holland, and undergoing details of decoration ; consequently inlay came more and considerable modification and .development in its progress. more into favour for the ornamentation of furniture and Novel methods were invented as the treatment and choice houses. of subject became more pictorial. Thus greater variety Many good pieces of Italian secular work can be seen of colour in the woods employed, staining to produce dif- at South Kensington, amongst them a sixteenth-century ferent tones, etching, scorching with hot sand, burning, Marqueterie Wood-Staining. The Origin and History of the Art of Inlay. 19

etc., were gradually introduced to produce the desired " Jones Bequest " including, in its incomparable treasures effects. of French art, a veritable mine of wealth both in mar- We now approach a period of art the marqueterie of queterie and in that especial branch of inlay of brass and which is probably more familiar to our readers than any tortoiseshell known as " Boule" work. The name is that of the inventor, Andre Charles Boule, an artist who was employed in the decoration of the Palace of Versailles. He was also mainly instrumental in introducing the modern naturalistic treatment of marqueterie ; two inlaid panels representing vases of flowers, executed by him early in the eighteenth century, may almost be said to have made an epoch in the annals of the art. The new style rapidly grew in favour, and its development was aided by the fast-increasing facilities for procuring foreign woods of new and varied tints, these being further supple- mented by the free employment of all the devices already alluded to, such as staining with bright colours, scorching with hot sand, etc. Bouquets of flowers in natural colours, warlike and musical trophies, amoretti, pastoral and classical figures, in turn decorate the panels and other parts of the splendid furniture of the luxurious reigns of Louis XIV., Louis XV., and Louis XVI. All the eminent masters of this distinguished period are represented in the Jones Collection, including the patriarch Boule (he was born in 1642 and lived ninety years), Riesener, David, Oeben, and many others, whose signatures are stamped on tables, cabinets, commodes, and other objects in the

FIG. 8.-PORTION OF A SEVENTEENTH-CENTURY MARRIAGE CASKET. gallery ; for instance, the writing-table (No. 1,052) bears the name of " Petit," and No. 1,069, a very fine piece of of that hitherto under consideration. The South Kensing- work, is signed " P. Gamier." ton Museum abounds in fine specimens of all the best Amongst a large number of examples of Boule work it workers of this time, namely the close of the seventeenth is impossible not to distinguish the magnificent cabinet and the whole of the eighteenth century, the munificent No. 1,026. This is justly considered a masterpiece, as

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2O' Marqueterie Wood-Staining. regards both design and execution, and it is said that few specimens, either in this country or in France, equal or even approach it in excellence. It is valued at £10,000. The first works produced in this style were extremely costly, owing to the waste incurred in cutting. Later on this was remedied by the device of sawing through several thicknesses of the different materials at once, and afterwards alternating the pieces as ground-work and design : this is technically known as " Boule and Counter "—namely, " Boule," in which the ground is of tortoiseshell and the design in metal richly engraved ; " Counter," in which the materials are reversed, the design being inlaid in tortoiseshell on a metal ground. The former is necessarily the handsomer, the engraving of the metal allowing free scope for the expression of all details of drawing desired by the artist. In No. 1,045, the cabinet from which Figs. 9 and 10 are copied, the Counter panels are consequently relegated to the sides, the same design in Boule being displayed on the front ones. This work is entirely executed in the two substances named, but in many instances additional richness was gained by the employment of enamel, silver, and ivory. Further diversity of appearance was attained by different ways of backing the thin, transparent sheets of shell ; as, for instance, with rich gilding, or, in later times, with vermilion to give the red colour so frequently seen in modern Boule. In a pair of handsome cabinets in the possession of the Duke of Westminster at Grosvenor House, either silver or a very pale tint of gold has been resorted to. The effect produced is most unusual, and closely resembles that of dark FIG. 9.-n marble. FRONT PANEL OF CABINET-"BOULE " (JONES BEQUEST). The remarkable and beautiful pieces of fine marqueterie 21 22 Marqueterie Wood-Staining. The Origin and History of the Art of Inlay. 23

mand. We must therefore restrict ourselves to endeavour- ing to give some slight idea of the variety of treatment by different great masters of the art. No. 1,043, an escritoire of Marie Antoinette's, by Riesener, first attracts our attention and admiration, both from its

FIG. II.-PANEL FROM INSIDE FLAP OF MARIE ANTOINETTE'S ESCRITOIRE.

Fm. 10.-SIDE PANEL OF CABINET-" COUNTER " (JONES BEQUEST). intrinsic merit and from the interesting associations at- tached to it. Fig. 11 is from the inside of one of the that claim our attention in the Jones Bequest are so flaps that close in the central portion. The flowers have numerous that it becomes difficult to make a satisfactory apparently been originally fully coloured, because, although selection for illustration in the limited space at our com- 24 Marqueterie Wood-Staining. The Origin and History of the Art of Inlay. 25 in the pair of little panels from which the illustration musical. This latter is a form of decoration in which is taken only faint tints of red, yellow, green, and blue Riesener excelled, and one that evidently found favour are perceptible, yet a much fuller and richer scheme of in the eyes of Marie Antoinette : it is constantly to be met with on furniture said to have once been in her possession. Two further authentic specimens formerly belonging to her are Nos. 1,057 and 1,058—small and un- pretending tables that might easily be overlooked by a

FIG. 13.-DESIGN ATTRIBUTED TO OEBEN.

casual visitor to the gallery. For these simple and com- FIG. 12.-SIDE PANEL OF A CABINET BY ROENTGEN. paratively insignificant examples offers of £5,000 were on more than one occasion refused by their late owner, Mr. colour prevails on the sides under the flaps, where no Jones. It is almost superfluous to remark that the great strong light has reached the stains. The back and other and apparently disproportionate value of such objects is parts are inlaid in a different style, namely, with land- historical rather than artistic. No. 705 displays on the scape and architectural subjects, and with trophies, chiefly front of the cabinet a very beautiful floral group by

-AN 26 Marqueterie Wood-Staining. The Origin and History of the Art of Inlay. 27

Riesener, in which the modern treatment is most notice- in the dresses. Two minutely carried-out still-life groups able, and managed with consummate skill. The tone of on the- inner drawers should not be overlooked : one re- colouring is low (possibly here again the stains may have presents a tinder-box, an inkstand, a book, and a pair of faded) and the style natural, the shading being washed scissors ; the other an hour-glass and two books. But in quite in the manner of a tinted water-colour draw- the most characteristic and interesting specimen of this ing. period in the museum is the Augsburg cabinet (No. 4,250). David Roentgen, usually called David, another master of repute, is represented by several works , in the gallery. Fig. 12 is taken from the side-panel of a cabinet. (No. 1,107), the whole of which is carried out in the same way with festoons of ribbons and flowers, all shaded in mono- chrome green, relieved only with touches of orange, and inlaid on a ground of walnut of fine and peculiar grain. The effect is strikingly original, and totally unlike any other marqueterie to which we have hitherto called attention. Fig. 13 is from No. 1,108, attributed to Oeben. The etched lines introduced in the ground, and which help to give relief to the figures, are very ingenious and remarkable. Fig. 14 illustrates a few of the diaper patterns much affected by the French artists of the period, and to be observed on many pieces of furniture bearing celebrated signatures and displaying the most perfect and finished workmanship. Amongst the noteworthy examples of sixteenth-century work that may be studied at South Kensington is a re- FIG. 14.-FRENCEI DIAPER PATTERNS. markable Italian cabinet, the whole of the exterior being profusely decorated with figure-subjects, chiefly, but not This wonderful piece of furniture is completely covered, entirely, Biblical, the " Pillars of Hercules " taking up a inside and out, with designs in coloured woods, tinted and stained to the tones required by the artist. A border prominent position. For the first time we come upon about 4 in. wide, of curved or domed shape (the Germans red and blue stains, these colours being freely employed were famed for such work), depicts a quaint landscape, 28 Marqueterie Wood-Staining. The Origin and History of the Art of Inlay. 29 with houses, trees, mountains, etc., in which blues and (No. 3). A Spanish organ and cabinet combined (No. 216) greens are freely introduced ; while animals of various shows work very distinctive of the date, viz., about kinds, such as the wild boar, lion, and horse, appear at 1560. intervals in full flight. These are drawn with the utmost Figs. 16 and 17, from a set of marqueterie drawers in spirit and action, and coloured according to nature. The the possession of the writer, probably Dutch, are of much interior of the cabinet is divided into nearly forty com- the same character as the last example, and serve to partments—small drawers, recesses, and cupboards. Each illustrate the style in vogue at the time. The woods used panel has its appropriately fitted. subject, from the tiniest in these drawers are walnut, mahogany, and some lighter landscapes to the most elaborate figure-compositions ; these latter include musicians, warriors, courtiers, horsemen (one with a lady on a pillion), all represented. in subdued but strictly natural combinations of colour. This masterpiece cost the nation the very inadequate sum of £50.

FIG. 15.-A CORNER OF AN EARLY SIXTEENTH-CENTURY CABINET. FIG. 16.-SIXTEENTH-CENTIJILY MARVETERIE DRAWER

In No. 27, of early sixteenth-century work, carved and sort, perhaps pear. Green is but sparingly employed, and inlaid, a very bright, vivid green is introduced. The only in the long, semi-architectural panel. Similar work effect is crude and harsh, in spite of which this particular was produced in many different countries and during many tint was in great favour at the time and deserves notice succeeding years ; in fact, no such marked. transition be- on that account. Fig. 15 is from one of the corners of tween the art of the sixteenth and that of the following this cabinet. Contemporary English work, of widely dif- century occurs as between that of the fifteenth and six- ferent style from any of the above, is represented by the teenth centuries. Dutch, French, and English artists complete set of fine oak panels, inlaid with holly and entered. the field, vying with one another in the beauty bog-oak, removed from Sizergh Castle, in Westmoreland and variety of the furniture decorated with " marqueterie " 30 Marqueterie Wood-Staining. The Origin and History of the Art of inlay. 31

—a term derived from the French verb marque?. (to mark, flowers, which are all different. A few of these flowers to brand) and one in general use in modern days. are represented in Fig. 19, so that the reader may be enabled to judge of the grace and absolute truth to nature with which they are drawn. The panels of the doors over the drawers are covered with serolls and leaves, with figures here and there according to the prevailing taste. The colouring throughout is uniform, except that the

FIG. 1 7.—SIXTEENTH-CENTURY MARQUETERIE DRAWER.

Fig. 18 is from an English wardrobe (No. 157) of the latter part of the seventeenth century, veneered in walnut, with panels of pear-wood inlaid in ebony. The illustration

FIG. 19.—FLOWERs ON LATE SEVENTEENTH-CENTURY ENGLISH WARDROBE.

semi-conventionalised leaves (these will be readily distinguished in Fig. 18) appear either to have been slightly tinted with some olive stain or to have been carefully FIG. 18.-HALF OF A DRAWER IN A LATE SEVENTEENTH-CENTURY selected and cut from wood of a darker shade than the ENGLISH WARDROBE. rest of the scroll-work and flowers. The effect of this faint suggestion of varying colour is most delicate and gives half of one of the drawers, on each one of which charming. the same design is repeated, varying solely in the terminal Other good examples of marqueterie work will be found 32 Marqueterie Wood-Staining. in the furniture corridor of the South Kensington Museum, notably several fine clock-cases of Queen Anne's reign ; amongst these, No. 4,618, by Poisson, inlaid with various woods, and a cabinet (No. 4,619) of the same date, should not be overlooked. No. 4,620 is a table of the kind known as " Tunbridge " work, and was very likely produced at CHAPTER II. that place ; it is executed in wood and ivory. The manipulation is wonderfully minute, and the design geo- Practical Instructions in the Use of Stains, metrical. Enamels, etc.

AVING in the preceding pages passed in review, necessarily in a very hasty and cursory manner, the various phases through which the art of inlaying has gone; we may proceed to the consideration of how, by •means of simple stains, we may be enabled to reproduce in an intelligent and artistic way, the effect of some of the best inlay of former days ; whilst at the same time study of the finest attainable models will enable us to arrange or originate designs of our own suitable for many modern uses to which possibly such work may not yet have been applied. Most of our readers will doubtless be acquainted with at least the name of " Marqueterie Wood- staining," this being a form of decoration greatly in favour at the present time ; the word " Ecailline " will, however, probably not have such a familiar sound The process thus named is an invention of our own, and is intended for the imitation of ivory inlaid on wood or tortoiseshell, also for the representation of Boule work, thus forming a useful addition to the stains, which are only adapted for the reproduction of wood marqueterie. The successful manipulation of all stains is to a certain extent influenced by the choice of the wood on which they 33

34 Marqueterie Wood-Staining. Practical Instructions in the Use of Stains, etc. 35

are employed. Almost any sort of white wood, provided The articles selected for staining should be well made it be free from knots and similar blemishes, will answer and thoroughly seasoned, because as they have necessarily the purpose fairly well ; for instance, pine and common to be wetted more than once, warping has to be guarded American bass—the better sort of the latter is particularly against as much as possible. good, as it takes the stains readily, shows nice grain, Almost any article of furniture may be decorated in marqueterie colouring, but it should be borne in mind

FIG. 21.-STRAIGHT-LEGGED TABLE.

that the simpler the construction the better will the

Fm. 20.-TABLE WITH CURVED LEGS. decorated article look. Tables should have either straight or curved legs, the and is of suitable pale colour. But all these advantages, two examples illustrated being suitable shapes. The round with better and harder texture, are obtainable by working table (Fig. 20) is taken from a photograph of one painted on holly, sycamore, or chestnut, which are all very white ; with ebony stain only, the design being left in the further, sycamore and chestnut have often very pretty natural wood, which in this case was sycamore, it markings, which show up well through the lighter stains, being necessary to use the whitest wood when it is in- such as satin-wood, grey or green. tended that the design shall be left uncoloured. The table 36 Marqueterie Wood-Staining. Practical Instructions in flee Use of Stains, etc. 37

with straight legs (Fig. 21) was , made of bass and painted with coloured stains. Chairs should have either straight or curved legs in preference to turned ones ; if the latter are used, they should be of a slender and simple pattern. The hall-chair (Fig. 22) looks well when decorated. The panel in the

=-7---"

FIG. 23.-TABLE BOOKCASE.

FIG. 22.-HALL-CHAIR. back could be suitably occupied by the family coat-of- arms, crest, etc., or might, if preferred, be covered with a conventional scroll design, a similar scroll being arranged on the shaped piece at the top of the back. The small table-bookcase (Fig. 23) is well adapted for FIG. 24.-•••FRENCH CABINET. decoration of the Louis Seize period. of furniture for marqueterie painting. The top and sides The French cabinet (Fig. 24) is a most suitable piece might be ornamented either with Louis Seize wreaths and

38 Marqueterie Wood-Staining Practical Instructions in the Use of Stains, etc. 39

bows, or with a conventional design of birds and flowers, effect of the most daintily executed piece of staining or of flowers and leaves only. The decoration of the front After having scrupulously removed the dust caused of the drawers should, of course, be in keeping with that by the rubbing, the surface must be damped all over of the top and sides ; but the arrangement of design should to make the grain rise. If held to the fire for a few here be kept as light as possible, for too much elaboration minutes it will be an assistance. Another application of on the front would make the whole look heavy. the glass paper will now be required, and the process Amongst the smaller articles adapted for marqueterie must be continued till a satin-like smoothness is attained. painting are frames (especially those of a size suitable After again removing all dust, Marqueterie Preparing for panel photographs), boxes for gloves, handkerchiefs, Solution is to be brushed over the wood before starting cabinet photographs, letters, manuscripts, etc., trays, with the painting. This has the great advantages of blotters, hand-mirrors, hair-brushes, coat-brushes, etc. preventing the stains from running, and of obviating too Many of the fancy articles sold for painting on are quick absorption, which is apt to cause unsightly blotches made of very new wood, and in this case are not worth and patches. On soft woods two coats or more of solution the time and trouble spent in decorating them ; the addi- may be advisable ; also on all cross-grained portions, in- tional cost of better specimens will be amply repaid by cluding the edges, which will be found to absorb the the superior results attained. preparation greedily. The solution dries in a few minutes, Even the more carefully-finished objects will require and the surface may then be rubbed down for the last thorough rubbing down with glass-paper before commenc- time with the finest glass-paper, viz., Oakey's " Flour," ing the painting ; Oakey's No. 12 is the quality to begin and the dust again removed. with. A small piece of this should be .wrapped round a A clear tracing- of the selected design must now be made cork block, or, failing that, an ordinary matchbox will on special tracing-paper, of tough but at the same time serve. transparent texture. Black-lead pencil or, if great dis- The rubbing must be done in straight lines, up and tinctness is demanded, pen-and-ink may be used. The down, the way of the grain, and the pressure must be tracing can be fixed in position by means of scraps of equal throughout. Applying the glass-paper across the grain, stamp or other adhesive paper ; drawing-pins are inad- or circularly, is apt to scratch the wood and leave marks. missible for the purpose, the holes they make being most This remark does not apply to the edges of panels, photo- objectionable. graph frames, etc., where, the wood being necessarily cut For transferring the design black-lead transfer-paper across the grain, the rubbing has to follow the same di- should be used, the ordinary carbon-paper leaving coarse rection ; these edges require an extra amount of preliminary and indelible marks, which would be fatal to the effect attention, and should not be neglected in any way, as of the finished work. The black-lead transfer, on the even a little roughness in such parts tends to ruin the contrary, makes a delicate, faint line, easily rubbed out

• _

40 Marqueterie Wood-Staining.

with india-rubber where required. It is well to strengthen the tracing with a fine, hard pencil before proceeding to colour the design. A small quantity of each needed stain should be prepared beforehand by mixing with about a third part of Mar- queterie Medium in a saucer, and leaving it to stand awhile. As a general rule, the best state in which to use the colours is when they are about half-dry ; but much depends on individual taste, also on whether large or small surfaces have to be covered, and whether the stains are desired to be of extra strength in any particular part. Even if allowed to completely dry up in the saucers, they may be made use of to the last ; the stains being water-stains, the dry colour can be moistened with a wet paint-brush again and again. The medium is intended not only to prevent running, but also to give body and assist the manipulation of the stains. The skilful combination of these is, of course, a matter partly of practice, partly of artistic feeling. The design being now distinctly and delicately outlined on the wood, the work should be proceeded with, the staining of the ground being the first thing to do. In laying this, start at the outlines, with somewhat dry colour, bit by bit, filling up the intervening spaces with much more flowing colour ; this must be quite dry before the pattern is attempted. It is by no means essential that the tint thus applied should be unbroken : on the contrary, inequalities in colour, skilfully managed so as to represent the natural grain and knots of wood, tend to heighten the effect, and are much more artistic than FIG. 25.---DESIGN FOR BELLOWS. a fiat, uniform surface. 41 Practical Instructions in the Use of Stains, etc. 43 42 Marqueterie Wood- Staining

A few suggestions for the colouring of some of the Fig. 26 is a design for the top of a box or for a small accompanying illustrations may here come in as a useful panel. Grl'ound, dark rosewood, leaving the centre oval guide to inexperienced workers. uncoloured ; ribbon, basket, and two top leaves of outside Fig. 25, a design for bellows in the style of Marie scroll-pattern, satin-wood ; balls in scroll and all fruit and Antoinette's escritoire at South Kensington, might be berries, mahogany ; two large scrolls, green or olive with treated in a similar manner to the floral panels introduced walnut stems ; two smaller scrolls, walnut with green or in that remarkable piece of furniture, and described in olive stems ; scrolls representing handles of basket, olive ; Chapter I. A ground in rather light-toned walnut would be appropriate. A border-line of satin-wood, about half- an-inch from the edge of the bellows, could be added to frame in the subject ; such lines, darker or lighter than the ground, are of very frequent occurrence, both in Dutch and in French marqueterie, varying in width according to circumstances, and sometimes diversified by patterns on the lines themselves or in the space between two lines. Such borders demand a good deal of care and exactitude. A T square should invariably be resorted to for marking rectangular corners, and compasses for circles. Instances of border-lines can be observed in Figs. 6, 7, 8, 16, 17, 26, and 34. The colouring of the bellows may now be proceeded OF BOX OR SMALL PANEL. with as follows :—Flower to the left, yellow, with pale FIG. 26.-DESIGN FOR TOP rosewood stamens ; flower to the right, pale rosewood, with yellow stamens. Leaves, various shades of lighter and small spiked leaves in basket, green ; centre ornament of darker green (for the darker shades, walnut is to be mixed scroll-pattern, olive. with the green or olive employed), a bluish tinge here Fig. 27 is a design for a blotter. Ground, satin-wood ; and there, but all flat tints, with no attempt at natural four corner roses, pale crimson, turned over with rose- shading. Small star-flowers and buds, satin-wood with wood ; smaller flowers and centre ' roses, yellow ; leaves edges slightly tinged with blue. The outlines, veinings, and scrolls, olive, walnut and rosewood diversified ; letters, and all inner markings, in this case as in all others, to olive. be done last. For these ebony is to be used with a fine For the finishing markings and outlines, some workers sable brush, and should give a firm, jet-black line if find a pen easier to manage than the fine sable brush properly managed.

44 Marqueterie Wood-Staining. previously recommended. The latter certainly gives greater freedom and sweep of line, but the pen is quite admissible, if preferred. In this case, a brush should be kept for charging the tip of the pen, as simply dipping it into the ebony stain will not answer. The stains may be freely mixed together to alter the existing tints, thus affording great variety and the possi- bility of matching all sorts of different foreign woods. The vivid green mentioned in Chapter I. as occurring in the original cabinet from which Fig. 15 is taken, may be imitated by adding blue stain to green ; this tint is, of course, not that of any natural wood, and was always artificially produced. The best mahogany stain supplied in. bottles is of the rich, dark hue of what is known as " old Spanish mahogany." If a lighter tone be desired, the stain may be mixed with satin-wood, and even brightened by a few drops of red. The above are merely indications of what can be done in this way ; the possible modifications are practically endless. A few words of advice as to the judicious use of the brighter tints may be added. Pretty, lively colours are very tempting to the ordinary amateur, and therefore a warning will probably not be superfluous. Blues, reds, yellows, etc., should be very sparingly employed in marqueterie painting, and, as a rule, only in pale tones. This treatment is strictly in accordance with that of the best masters, and produces the most pleasing results, the obvious reason being that, as real marqueterie has always been chiefly executed with woods of natural hues, artificial FIG. 27.-DESIGN FOR A BLOTTER. colouring carried to any excess is certain to degenerate into vulgarity. There exists, however, a modern adaptation of wood- 45

46 Marqueterie Wood-Staining. Practical Instructions in the Use of Stains, etc. 47

staining which admits of the free and legitimate use of the latter even tending to brown or russet, the berries brilliant tints, and gives scope for originality both in varying in the same way from light to dark red ; the design and in colouring. This new departure consists outlines and markings in ebony. literally in the employment of liquid transparent stains in In this connection, it may be interesting to call attention place of solid oil or water colours for the decoration of to a novel variety of inlay at present finding great favour wood. It will therefore be perceived that the range of across the Channel. Fine specimens have been displayed suitable subjects thus opened up is practically inexhaustible. in the decorative sections of the last three or four ex- Groups and wreaths of flowers, birds, butterflies, even hibitions of the Paris Salon. The style is founded on landscapes, Louis Seize motifs, scroll-work, arabesques, dragons, etc., are all equally available, whether the treatment chosen be natural or semi-conventional. The addition of solid colour here and there is perfectly admissible, and in some cases essential. White flowers, cream-tinted draperies, and so on, cannot be represented without such aid. Solid, high lights may also be touched on with great effect, and serve to throw up the contrasting transparency of the middle tints and shadows. Even gold may be introduced : it materially adds to the decorative appearance of the work in conventional designs. It will be found desirable to add a few stains to those usually supplied for marqueterie reproduction. Orange, violet, and ultramarine would probably be sufficient. Marqueterie mahog-

any affords a good substitute for burnt sienna, satin-wood FIG. 28.-BLACK BRYONY DESIGN FOR CHESTNUT-WOOD 1VALL•POCKET. for raw sienna, and walnut for umber ; whilst green and olive, modified as desired with blue, orange, brown, or Japanese models, and may, in fact, be appropriately termed yellow, supply all the required variety for the painting " Franco-Japanese "—landscapes, fish, groups of birds in of foliage. flight or swimming, the plumage most carefully rendered 41 An example of a semi-conventionalized design is shown in different woods, always, however, in the subdued tones in Fig. 28, which is a sketch of black bryony, arranged of old marqueterie, relieved perhaps by a touch of red in for the decoration of a chestnut-wood wall-pocket. The the head of a crane or the comb of a cock. In one in- colouring is meant to be entirely in flat tints : the leaves stance, the ripple of water was represented by inlaid curves in greens, lighter or darker as indicated in the illustration, of bright metal. This very characteristic class of decora- 48 Marqueterie Wood-Staining. Practical Instructions in the - Use-Of ;Stains 49 tion is admirably adapted for staining and, in this country at all events, offers an absolute novelty. Fig. 29 gives Stained Pyrography. a good idea of what can be done in this way, and only A modification of the two styles of decoration last demands four colours for its execution. A satin-wood described could be made by the combination of ground would just give sufficient relief to the light parts poker-work with the stains in the manner known as in the swimming duck and to the bird on the left to " Russian Poker-work." In this case the markings, outlines, and dark grounds are put in with the hot point. The rich tone thus obtained, especially in large surfaces,

FIG. 30.-DESIGN FOR HANDKERCHIEF-BOX. FIG. 29.-FRANCO-JAPANESE DESIGN FOR A BRACKET. forms a delightful contrast to the transparency of the allow of their remaining unstained, i.e. of the natural stains, and the whole possesses a distinct character of its tone of the wood. Walnut and mahogany would give own that should recommend it to the notice of all workers enough variety in the plumage, and ebony would complete with the platinum point. the range required. Subjects of this kind abound in A very rich effect can also be produced by gilding the Japanese picture-books, and the spirited representations of incised lines after the colouring is completed; this is bird-life depicted in them answer for wood-staining almost easily managed with Ecailline gold and medium (see without re-arrangement. following instructions for Ecailline). This will be effectu- D Mari"tarie YI7ood-Staining. Practical Instructions in the Use of Stains, etc. 51

ally preserved by a coat of " Decorators' Varnish," which is also needed for the protection of the water-stain ; the latter are liable to injury by accidental wetting if left without a covering of either varnish or polish. In Fig. 30, a design suitable for the top of a handker- kerchief-box, will be found an effective subject for com-

FIG. 32.-GEOMETRICAL DESIGN FOR TABLE-TOP OR STOOL.

hogany; flowers, satin-wood, with perhaps a touch of red to a few petals here and there ; vase, unstained. II

FIG. 31.-DESIGN FOR HANDKERCHIEF•BOX.

bination. A rich, deeply burnt ground and markings should give good contrast to the trophy, coloured as follows :—Trumpets, yellow ; pipe (at the back), light mahogany ; guitar and front pipe, satin - wood ; ribbon, delicate blue ; music, unstained. FIG. 33.-GEOMETRICAL DESIGN FOR CORNER OR BRACKET Another charming suggestion is Fig. 31. Ground, as above ; leaves and stems, green and olive, tending to ma- Fig. 27, a blotter, could be carried out very prettily on iql

52 Marqueterie Wood-Staining. Practical Instructions in the Use of Stains, etc. 53

a light ground. Thus, the scrolls and leaves, walnut, tend- Care is essential in the use of all stains, but especially ing to olive ; the flowers, alternately mahogany and un- in the case of the lighter tints. Brushes that have been stained. Gilt outlines and markings. Similar treatment used for rosewood, walnut, and so on, must be scrupulously could be employed for Fig. 41, the design being as well cleansed if required for delicate blue, green, or yellow adapted for wood-staining as for Ecailline. touches. Thorough rinsing in clean water is all that is A simple geometrical design for the top of a small required ; but it must be noted that the smallest trace of table, or of a stool, is shown in Fig. 32. Corners, sup- dark stain in brush or water will inevitably spoil the porting brackets, etc., may also be decorated with geo- purity of the brighter colours. metrical designs, such as that illustrated in Fig. 33. All saucers, etc., need only to be well washed in water, except such as have been used for the preparing solution ; for these, methylated spirit will be necessary. Incised Work Stained. It will be found an excellent precaution, as soon as the painting is dry, to give it one or two coats of transparent Another idea for stained decoration comes to us from French-polish with a soft, flat, camel's-hair brush (the the United States. It appears that Cincinnati is the one used for the solution will serve). This plan effectu- home of wood-carving, and that all the inhabitants—men, ally fixes the stains, and obviates any danger of disturb- women, and children—are familiar with the art. Chip- ing them in the subsequent French-polishing ; the pre- carving, so much practised here by beginners, is unknown liminary application must be allowed to dry before any amongst them. Its place is taken by incised work, which rubbing is attempted. is considered a first-rate means of acquiring a mastery over Red, rosewood, and blue sometimes show a slight tend- one of the wood-carver's important tools, i.e. the veiner. ency to run ; therefore a little caution may be demanded Light-coloured wood is often stained all over to any de- in laying the French polish on these stains. This simply sired depth ; the pattern, being cut into this with deeply in- consists in the light handling of the brush—just pass- cised lines, is prettily relieved in light against dark. The ing over such parts in one direction, letting the polish method may be further diversified by the introduction of sink in, and repeating the operation when the first coat is coloured stains, and by gilding the incised lines ; in fact, dry. Even when the work is to be entrusted to a pro- by exactly following the plan laid down for Russian fessional French-polisher these protecting applications of poker-work, merely substituting the veiner for the hot polish with a brush should always be given, as ordinary point. Punched grounds throw up the designs well, and French-polishing is started at once by rubbing, and the enrich the general effect greatly. Figs. 12, 44, and 45 stains are liable to be thereby interfered with. would produce good results in either of the last-mentioned Another precaution in dealing with the professional ways. polisher is to insist on the use of colourless polish. 54 Marqueterie Wood-Staining.

Common dark polish ruins the delicate colours of the marqueterie stains, and is only suitable in cases where an antique appearance is to be aimed at, and, consequently, a very sober tone is desirable throughout.

CHAPTER III.

Ecailline on Wood.

HE name " Ecailline " is derived from the French T Jet:tine, i.e. tortoiseshell, the imitation of this sub- stance on wood or glass being one of the chief aims of the ingenious process about to be described. The desired result is arrived at by the application of a semi-transparent lacquer of a rich brown tone, and this affords an excellent and most effective ground for the display of designs in ivory or gold, such designs being also executed with special varnishes, enamels, and mediums prepared for the purpose. By carefully carrying out the following directions, even the most inexperienced amateur should have no difficulty in achiev- ing success ; but for the benefit of those desirous of making closer acquaintance with this novel art, we may mention that finished panels, frames, etc., in Ecailline can be seen at 63, Regent Street (entrance, 4a, Air Street), W. The first operation in the method indicated by the head- ing of this chapter — that of thoroughly rubbing down with glass-paper to remove all roughness of surface—has been already described. The next varies, as instead of preparing solution, a coat of Ecailline ruby or Ecailline golden varnish is to be applied to the wood : the choice of colour depends on the ultimate effect desired. Ruby gives a 55 56 Marqueterie Wood-Staining. Ecailline on Wood. 57 warm tone for the imitation of red tortoiseshell ; golden, a as possible all over the design. When quite hard, it has rich yellowish-brown representation, either of ordinary to be carefully rubbed down to a smooth surface with fine tortoiseshell or of foreign walnut. On the varnished sur- glass-paper ; the slightly scratched appearance thus pro- face, when dry, the design is transferred and afterwards pencilled in (see page 39). A small quantity of Ecailline enamel is now to be poured into some small vessel, preferably with a cover, that should be kept for it, and the ground (not the design) thinly and flatly covered, using a camel's-hair brush. The enamel freshly taken from the bottle will probably be exactly in the right state for this purpose : if it is found too thin, it must be allowed to stand a little while ; if too thick, it can be liquefied with some Ecailline medium. This first application must be dry before a second, including the marking and mottling of the ground, can be satisfactorily undertaken. The remainder of the Ecailline that has already been poured out will now be in much stiffer condition, and, consequently, just what is wanted. Instead of a flat, even surface, the aim is now, on the contrary, to produce a varied effect. A little practice in laying on the enamel will soon lead to satisfactory results and the acquisition of a knack in its management. The great thing to guard against is the tendency of the Ecail- line to settle in an unexpected manner into ridges and unsightly blotches after it has been apparently well laid on. The remedy is, not to use the enamel in too liquid a state, and not to put on too much at a time. The FIG. 34.-FRENCH CLOCK-CASE. objects thus enamelled must remain in a flat position whilst drying : if stood up, the Ecailline will run down to duced is of no consequence, as the polishing entirely re- the bottom and spoil the work. moves it. The outlines and markings which complete the The last surface being dry, the Ecailline ivory, thinned process are done with Ecailline outlining black mixed on with a little of the medium, is coated as flatly and evenly the palette with Ecailline medium, using a fine brush. 58 Marqueterie Wood-Staining.

The three designs—viz., Fig. 34, a French clock-case ; Fig. 35, a hand-screen ; and Fig. 36, the quarter of an

FIG. 35. -HAND-SCREEN. oblong panel intended for a tray (Fig. 37)—are all well suited for Ecailline on wood, and can also be utilised for marqueterie. Very good results are obtained by Marqueterie Wood-Staining. a combination of the two decorations ; indeed, in no other way can reproductions of certain old styles be carried out. For instance, in the furniture corridor in the South Kensington Museum we find a cabinet of the time of Louis XIV., in which inlay of wood, ivory, and metal is to be seen on the same panel, some of the flowers, and

CHAPTER IV.

Ivory Inlay.

BONY inlaid with ivory is a most beautiful form of FIG. 37.-TRAY. E inlay, easily imitated by the conjunction of ebony marqueterie stain and ivory Ecailline enamel. Possibly all the leaves, of a bouquet being in wood marqueterie, two applications of the stain may be needed to give whilst a small terminal group of jasmine flowers is in sufficient depth and richness to the ground, as it should ivory. A modification of this idea might be adopted in

the treatment of Fig. 36, in the following manner : the ground to be either walnut stain or Ecailline ; the scrolls and leaves, satin-wood diversified with green ar olive ; and the flowers, ivory. Where stains are employed in combination with Ecail- line, the coloured preparatory varnish must not cover the

design as it does in the case of only ivory being used ; at least, it must not interfere with those parts that are intended for the stains, for it would, of course, injure their FIG. 33.-SIMPLE DESIGN FOR IVORY INLAY. purity and transparency. be laid on until a real jet-black is obtained. The ivory enamel is of course employed in precisely the same manner as that indicated above, and the outlines are done with Ecailline outlining black.

A simple design to start with is Fig. 38 ; but a hand- 61 .4

62 Marqueterie Wood-Staining. somer, although more ambitious undertaking would be found in the round table-top, Fig. 39. Figs. 5 to 9, 18, and 26 may also be suggested for the wQrk.

CHAPTER V.

Ecailline on Glass.

CAILLINE on glass demands some variation from the E treatment described for wood, as the following directions will show : Plate-glass, not too thick, is the best kind, not because the completed work on it presents any special advantage of appearance over that executed on ordinary sheet or crown glass, but on account of the reduced risk of breakage, especially in large pieces. A bevelled edge is a good finish, and is desirable in cases where no frame is needed. Of course, where panels are to be fitted into doors, furniture, etc., or used for girandoles, screens, and other such purposes, a plain edge is quite in place. The piece of glass (it must be first thoroughly cleaned with methylated spirits) is laid over the design that is to be copied, which, if small and liable to shift, can be kept in place with a drawing-pin here and there at the FIG. 39.-TABLE-TOP IN IVORY INLAY. edges. Designs for Ecailline require to be well-drawn, with all the lines distinct and sharp. Plenty of excellent ones may be found in such publications as the Art Amateur, Home Art Work, and others. The whole of the outlines and inner markings have to be traced on the glass with 63 um

64 Marqueterie Wood- Staining.

a fine sable brush, using outlining brown and Ecailline medium. The lines must be One and yet solid, and, , above all, equal in density. If it be borne in mind that they are intended to represent the lines made by a graver on metal, it will be apparent that precision and firmness have to be aimed at. The glass can be occasionally held up to the light to reveal defects in the work ; if any of the lines are not dense enough it is easy to go over any such weak parts again, but raggedness or undue breadth of line is best altered by scraping with a sharp penknife when the colour is dry. Fig. 40, a design for an overmantel-panel, and Fig. 41, one for a girandole- glass, show exactly the style required, and are purposely left without a dark ground in order better to illustrate the preliminary stage at which we have arrived. The outlines must be dry, or at least set or " tacky," before the ground is attacked, otherwise colour and enamel would be liable to run together. A flat coat of Ecailline is now spread thinly all over the ground, but it may be applied with much more body than on wood, as long as it is not allowed to settle in awkward blotches which would show on the face of the glass. Of course, the whole of thoprocess we are describing is done on the back, therefore a certain amount of lumpiness is of no consequence, and does not affect the ultimate effect injuriously, as it would on wood. It is a good plan, before putting the final coat of Ecailline on the ground, to place a piece of gold paper behind the work ; this enables the artist to judge of the mottling required in the tortoiseshell part, and also of the correctness of the design. Having introduced as much variety as desired in the FIG. 42.-PHOTOG RANI-FRAME IN ECAILLINE ON GLASS. G7 68 Marqueterie Wood-Staining.

sufficient gold powder should be put out at a time for the purpose required ; if left to dry up with the medium mixed with it, no further use can be made of it. If one coat appears to be insufficient to give richness to the design, a second can be put on just in those parts that need it ; the ground seldom requires two coverings. It is self-evident that after the gold backing is on no alterations of any kind are possible ; beginners are thereA fore cautioned to look over their work carefully at a previous stage, and to have pretty frequent recourse to the gold paper as above recommended. The finished ground should have the effect of nicely- marked tortoiseshell ; on the skill with which the mot- tlings are managed depends the ultimate success. A little practice is needed to acquire a certain knack in using the enamel and in judging of the exact state it should be in to produce a certain desired result. As a rule, it is more manageable in rather a " tacky " condi: tion, and to make it so, it has to be poured out a little while before it is wanted. The gold backing may be protected by a thin coat of common paint, or, better still, by a final application of Ecailline enamel, which gives a most satisfactory and homogeneous appearance. A soft camel - hair brush answers very well for the enamel. That and all other brushes should be cleaned at once in turpentine, otherwise I- they will be spoiled. The same brush must not on any F G. 43.-" COUNTER" FINGER- account be used for tortoiseshell and gold, because some PLATE IN ECAILLINE ON GLASS. of the latter is sure to remain sticking in the hairs, and would work out of the brush and cause the face of the tortoiseshell to be sprinkled with tiny gold specks. Fm. 44.-" BOULE " FINGER- Two of the illustrations represent " Counter " treatment, PLATE IN ECA.ILLINE ON GLASS. 69 Margueterie Wood-Staining.

viz., Fig. 42, a photograph-frame, and Fig. 43, one of a pair of finger - plates ; the second, Fig. 44, being in "Houle." " Counter " is more readily imitated with Ecailline than even "Boule," as no inner markings are required, and smaller surfaces of the enamel are of course easier to put on than larger ones. Some of our readers may therefore like to commence with this style of work, CHAPTER VI.

French= Polishing.

RENCH-POLISHING, an essential finish to all the F various branches of wood-decoration described in the foregoing pages, is by no means beyond the power of amateurs if the instructions about to be given are carefully carried out. They will be found to differ in one or two respects from the usual directions, such variations having been deliberately made after many experiments and due consideration, in order to meet the requirements, firstly, of stained work, and, secondly, of non-professional polishers. One of these innovations is the application of several coats of polish with a soft camel's-hair brush, before starting in the ordinary way with a pad. In laying on these preparatory coats the brush should not be worked FIG. 45.-DESIGN FOR A PAPER-WEIGHT, backwards and forwards, but lightly in one direction and if two pairs of finger-plates should be undertaken for only ; on the second occasion a contrary direction is to be the same room, or even for different sides of the same taken, and so on in the same way for each successive door, it would be quite according to rule for one pair to application. Every layer of polish is to be allowed to dry be in "Soule" and the other in " Counter," thus afford- before more is put on, and this course may be pursued ing the beginner a chance to start with the latter and until a shiny appearance is secured. Specks of dust, gain a little experience, before attacking the more difficult loose hairs from the brush, etc., must be removed with method. Fig. 45 is for a paper-weight, and is not a the point of a pin whilst the polish is still tacky. design that would reverse satisfactorily. The work has now to be set aside for twenty-four hours 71 •M.

,m1111•Mn 1M-

72 Marqueterie Wood-Staining. French-Polishing. 73

to harden, and it will then bear rubbing down with fine let the polish set for about half an hour, when rubbing glass-paper to get rid of roughness and inequalities, may recommence as before. which may sometimes be the consequence of the undue Should the pad stick, a little oil on it will make it go settlement of polish here and there. easily again, but only enough is to be used to effect this ; The surface is now ready for polishing with a pad. if too much is used, it gives trouble afterwards, as every The necessary pads for this purpose (Fig. 46) consist of trace of greasiness has ultimately to be got rid of. When squares of about five inches of soft linen, containing a the pad dries and requires recharging, this must always good-sized wad of cotton-wool. The linen is spread out on be done at the back of it, and the polish allowed to a saucer, with the wad in the centre, and colourless gradually soak through to the front.

FIG 46.-PAD FOR FRENCH-POLISHING. FIG. 47.-DIAGRAM SHOWING DIRECTION OF RUBBING IN FRENCH-POLISHING, French-polish poured over the wad till it is well satu- rated. Then the linen is gathered up with the fingers Patience and deliberation will in time ensure success : to form a neat pad, and a drop or two of polishing oil hurry and hard work are alike detrimental. Quick or are applied to the face of it with the finger. Rubbing should violent rubbing is pretty sure to bring off some, of the be gentle, slow and equal, in circles, figures of eight polish, or, at least, to cause it to rise in ridges. Between (Fig. 47), or straight lines, and confined to a small portion each rubbing, a pause must be made for the work to set. of the work at a time ; a square of six inches is about As soon as the surface shows a good glaze, the first what is desirable. After five minutes, a fresh square stage, which is termed " bodying-in," is complete, and the may be started, and the same course pursued till the second, that of " spiriting-off," may be started, but not whole expanse has been covered. It is then advisable to until a good interval has been afforded for hardening. Marqueterie Wood-Staining-. 74 French - Polishing-. 75

Benzoline well rubbed over the work helps to take off shallow saucer, allowed to dry and rubbed till fairly soft the now superfluous oil, and leaves the French-polish again. The small amount of spirit left in the saucer absolutely untouched. The pad, slightly charged with should be poured into the polish bottle to avoid waste. . methylated spirit, is used precisely as before, but with greater caution, as there is danger of the spirit attacking In conclusion, it is hoped that the above directions may • and even taking off the polish if not carefully managed. be found sufficiently clear and explicit to enable amateurs The great thing is, to apply very little at a time ; the who are desirous of attacking one or more of the minor linen face of the pad should be barely damp, and a drop arts that fall within the scope of the preceding pages, to of oil, put on as before with the finger, is a help, as it do so without the aid of a teacher ; and that to many, who live far beyond the range of such help, they will facilitates smooth rubbing and thus prevents the pad from catching. prove of value and interest in opening up fresh fields of At the very last, however, no oil is permissible, and a occupation and amusement. Nevertheless, in case lessons should be desired, either by fresh pad with pure spirit should be substituted for the town residents or by those who are paying a flying visit old one. In order to prevent any superabundance of spirit to London, it may be well to note that help and instruction from passing through, the pad may be enveloped in of a thoroughly practical nature can be obtained at the several thicknesses of rag ; the face of it should be Studio and Showroom, 63, Regent Street (entrance, 4a, Air barely damp. Spiriting-off should continue at intervals Street). A single lesson may sometimes be of great service till the desired brilliancy is attained and no vestige of in clearing obstacles from the path of the beginner. greasiness remains Cold, damp, and draughts are to be guarded against. All the operations must be conducted in a temperature of 60° Fahr. or over. The handling or packing of French-polished articles is on no account to be attempted until at least a day after they are finished. A piece of cardboard is the best protection ; soft paper has a tendency to stick wherever there may chance to be the least tackiness. The wads of cotton wool are best discarded after one service, for they harden so as to be practically useless a second time ; but the linen squares, on the contrary, are worth preserving, and can be used over and over again. They need only to be soaked in methylated spirit in a List of Requisites. 77

tints, a new departure, introduced at the Studio, 4a, Air Street, Regent Street, London, where also the necessary materials for Ecailline can be obtained, at about the same cost as those for wood-staining.

List of Requisites. CHAPTER VII. For Marqueterie Wood-Staining. The Choice and Cost of Materials. Preparing solution S regards marqueterie stains, the one thing needful Medium A is to start with reliable and durable colours. For Colourless polish this reason, it is well to avoid the many cheaper kinds that Stains :— ebony, walnut, satinwood, each, 6d. and I s. are now so freely offered, as, being in most cases compounded rosewood, mahogany, green, red, of pure aniline dyes, the colours cannot fail to prove ex- olive, grey, yellow, blue, and tremely fugitive. The writer of this little guide having crimson been for many years engaged in the manufacture of artistic Tracing and black-lead transfer-paper, per sheet, 2d. and 4d.

mediums and stains, the good qualities of which are attested Glass-paper, No. li . 2 sheets, lid. by the awards of prize medals in various parts of the world, Ditto, No. 0 or " Flour " . 71 „

feels justified in recommending these preparations to all Cork-lined block, for rubbing-down . 4d.

those whose notice they may hitherto have escaped. "Turck's Agate or bone tracing-point . 9d.

Marqueterie Stains," are procurable from the leading artists' Flat camel's-hair brush, No. 9 . 10d. colourmen, stores, and fancy dealers in London and the Three round fitch brushes, Nos. 2, 4, 6 each, 6d. and 8d.

provinces. It is by no means necessary to start with the Sable brush, No. 0, for outlines . 6d.

whole range of twelve colours ; a convenient little box Six small saucers . 6d. containing seven of the most generally useful tints, in addition to bottles of Medium, Preparing Solution and Polish, For Decorative Wood-Staining, Russian Poker-Work, and costs five shillings. A further outlay of about four shillings Incised and Stained Work. would amply cover the expense of every other requisite for marqueterie staining, and to a great extent for Russian All the above, with the addition of :- Pokerwork. The three additional stains suggested in this Stains :— orange, violet, and ultramarine, solid connection would be found amongst the solid " Rainbow " " Rainbow " . each, 6d. 76

•

1,5 • • 111. • • • 1 • so •I 1 • • • • • •17 • • ••• ••0 ••• ••• 1•1 • ••• • • • •• • • .• • • • • • ••• :•• • : I 11•• 11 '11 78 Marqueterie Wood-Staining. :•9 : :1 : .7 ••:"1:

Florentine tapestry medium for oil-colours, or Aqua- rella medium for water-colours . . each, ls. Ecailline gold and medium . „ 6d. Two veineri (for incised lines), one broad, one narrow each, ls. INDEX Decorators' varnish ls.

PAG1 PAGE For Ecailline. Albert Memorial Chapel . 14 Ecailline and Stains combined . . . 60 Ecailline enamel (brown) Augsburg Cabinet . . . 27 ls. 77 Derivation of medium . word . . . 55 11 ls. Backing, Gold, for Ecail- Designs for . . 63 fl ivory line 66, 68 Gd. . . 5G, 68 . . 39 Enamel outlining brown Blacklead Transfer 11 . 6d. Bodying-in 73 Glass for . . . 63 Gold-backing 66, 68 ff I f black . Border Lines 42 6d. Golden Varnish 55 Boule 19 . 7 1f gold 6d. Grounding 56, 64, 66, Boule and Counter . 20,68 1f ruby varnish ls. 68 Ivory • • . 56, 61 f golden „ Certosina 12 ls. Medium 49, 56, 57, .7 Two square-tipped camel's-hair Choice and Cost of Mate- glass-painting rials 76 64, 66 brushes on Glass . . • 63 • each, 3d. Choice of Wood, etc. . 33, 38 55,55 58 One sable brush for outlines Cleaning Brushes . . 53, 68 Wood . • 6d. Outlines . 57, 61, 64 „ Saucers, etc. . . 53 Ruby Varnish . 55 Colouring Bellows . . . 42 . • 56, 68 . . 43, 51 Enamel, Ecailline For French-Polishing. 77 Blotter . . 30 Box-top . . . 43 English Marqueterie Colourless French-polish 77 . • ls. Gd. Bracket . . . 48 Polishing oil Handkerchief- Franco-Japanese Marque- • 6d. I 47 box . . . 49, 50 terie Methylated spirit . French Marqueterie 19 6d. „ Wallpocket . . 46 „ Polishing . 53, 71 Cotton wool and linen for pads 2d. Counter, Boule and . . 20, 68 • . 27 Decorator's Varnish . . . 50 German Marqueterie Derivation of word Ecail- Glass for Ecailline . . . 3 Paper 38, 39 line 55 71 Derivation of word Mar- Gold 46, 49 queterie 29 Gold-backing, Ecailline 66, 68 • • 55 Designs for Ecailline 63 Golden Varnish „ . . 56, 64, 66, 68 Diaper Patterns . . 27 Grounding . . . 52 Dutch Marqueterie • 29 G rounds, Punched 79 Catalogue of Practical Handhoqs Published by L. Upcott Gill, 170, Strand, London, W.C. PAGE PAGE History and Origin of the Outlines, Marqueterie 40, 42, 43 Art of inlay 9 „ Pen for . . . 43 CONTENTS. ART. PAGE PAGE PAGE Incised Stained Work . 52 Pads for polishing . . 72, 74 DESIGNING, HARMONIC 5 CARNATIONS 4 SK ETCHES 8,11 Inlay, Egyptian . . . 9 Pen for outlines . . . . 43 TAXIDERMY 11 OLD VIOLINS 12 CHRYSANTHEMUMS 4 „ History and Origin Persian Inlay . . . 11, 12 PAINTING, DECORATIVE 8 CUCUMBEP S 4 VIVARIUM 12 of Art of . . . 9 Polishing, French . . 53, 71 PERSPECTIVE 9 DICTIONARY OF GAR- „ Ivory and Ebony . 61 „ Oil . . . 72, 73, 74 DENING ...... 6 PETS. „ Persian . . . 11, 12 Pads . . . 72, 74 AMUSEMENTS. FERNS 5 BIRDS 2, 3, 5, 6, 8, 12 Intarsia 16 Practical Instructions in , DARDS 4 FRUIT 6 CATS 4 Ivory and Ebony . • 61, 62 the use of Stains, Ena- CARD GAMES-4, 6, 8, 11, 12 GARDENING IN EGYPT 6 Doss...... 4, 5, 6, 7, 10. 12 „ Ecailline . 56, 61 mels, etc. 33 CONJURING 4 11 GRAPES 7 GUINEA PIGS 7 Preparing solution, Mar- ENTERTAINMENTS 3, 5, 11, 12 GREENHOUSE MANAGE• MICE 8 Jones Bequest 19 queterie 39 FORT0NE TELLING 6 MENT 7 MONKEYS 8 GAMES, GENERAL 6 PHEASANTSPunched Grounds . 52 HOME GARDENING 6 ..... 9 Lessons 75 Pyrography, Stained 49 MAGIC LANTERNS 7 MUSIIROOMS 8 PIGEONS 9 Lists of Requisites 77 PALMISTRY 8 ORCHIDS . 8 RABBITS 10 PHOTOGRAPHY 9 PERENNIALS 7 Rainbow Stains . . . 46, 76 POOL 9 ROSES 10 SPORT. Management of Stains 33, 40, 53 Requisites, Lists of . . . 77 VAMPING 12 TOMATOES 12 ANGLING Z. 6 Marie Antoinette Escri- Rubbing down . . 38, 55, 57 VEGETABLES 12 CYCLING 6, 10 toire, etc. 23 Ruby Varnish, Ecailline 55 COLLECTORS. FERRETING 6 Marqueterie, Derivation of AUTOGRAPHS 2 HOME. GAME PRESERVING 6 word . . . 29 Solid Colour 46 BOOKS 7 11 SAILING 3, 7, 10, 11 Dutch 29 Spiriting-off BUTTERFLIES 3 COOKERY 2 4, 5, 6 73 SKATING 11 English . . . 30 Stains and Ecailline com- COINS 4 MEDICINE 7 It TRAPPING 12 Franco- DRAGONFLIES 3 MILLINERY 8 11 Japanese 47 bined 60 WILDFOWLING 12 ENGRAVINGS 5 NEEDLEWORK 5, 8 11 French . . . 19 Stains, Management of WILD SPORTS 12 7 SHAVING 11 . . . . HANDWRITING • German 27 33, 40, 53 i 1 HAWK MOTHS 7 „ Grounding . . . 40 ,, Rainbow . . . 76 SEAFARING. . 'PAINTERS 8 MECHANICS. „ Medium . . . . 40 Stained Pyrography . 49 BOAT SAILING .. 3 POSTAGE STAMPS 9 „ PreparingSolution 39 BOOKBINDING ..... 3 DICTIONARY OF SEA POSTMARKS 9 „ Outlines. . . 40, 42 Tables CANE BASKET WORK .. 4 TERMS 11 35 POTTERY & PORCELAIN 9 FIREWORK MAKING .. 6 REALITIES OF SEA LIFE 11 Materials, Choice and cost of 76 Tracing and Transferring 39 12 VIOLINS FRETWORK Modern adaptation of . . SAILING TOURS 10 Transfer, Blacklead 39 WAR MEDALS 12 MARQUETERIE 6, 7 SOLENT GUIDE Wood-staining . 46 Triqueti Marbles . . . . 14 10 METAL WORKING..2, 11, 13 Moresco 12 FARM. YACHTING YARNS 7 MODEL YACHTS 8 Mosaic 12 Wood, etc., Choice of . 33, 38 GOATS 6 9 TOURISTS. Wood-mosaic 12 HORSES 7 PIANO TUNING TICKET WRITING 13 FRIESLAND MERES .... 6 Oil for polishing . 72, 73, 74 Wood-staining, Modern PIGS 9 12 POULTRY 7, 10 TURNING INLAND WATERING Outlines, Ecailline 57, 61, 64 adaptation of . . . . 46 WOOD WORKING ..2, 3, 6, SHEEP 11 PLACES 7 STOCK RECORDS ....3, 9, 11 8, 9, 12, 13 MOUNTAINEERING, WELSH Butler & Tanner, The Selwood Printing Works, Frome, and London. 8 GAROEN. NATURAL HISTORY. ROUTE MAPS 5, 10

BEGONIAS 2 AQUARIA 2 SEASIDE WATERING

BULBS 3 INSECTS 2, 3, 7 PLACES 11 CACTUS 3 DIRECTORY...... 8 THAMES GUIDE 11 199 C 10/99 2 Published by L. IIPCOTT GILL, 170, Strand, London, W.C. 3

American Dainties, and How to Prepare Them. By an AMERICAN LADY. Boat Building for Amateurs, Practical. Containing Full Instructions In paper, price ls., by post ls. 2d. for Designing and Building Punts, Skiffs, Canoes, Sailing Boats, &c. Fully Illustrated with Working Diagrams. By ADRIAN NELSON, d.E. Second Angler, Book of the All-Round. A Comprehensive Treatise on Angling in Edition, Revised and Enlarged by DIXON KEMP, Author of "A Manual of both Fresh and Salt Water. In Four Divisions as named below. By JOHN Yacht and Boat Sailing," &c. In cloth gilt, price 28. 6d., by post 28. 9d. BICKERDYKE. Witb over 220 Engravings. In cloth gilt, price 5s. 6d., by post 58.10d. Angling for Coarse _Fish. Bottom Fishing, according to the Boat Sailing for Amateurs, Practical. Containing Particulars of the Methods in use on the Thames, Trent, Norfolk Broads, and elsewhere. New most Suitable Sailing Boats and Yachts for Amateurs, and Instructions Edition, Revised and Enlarged. illustrated. 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