TO MARKETERIE WOOD- STAINING 1 - Woodworking … · 7 g o a practical handbook to marketerie...

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A PRACTICAL HANDBOOK

TO

MARKETERIE WOOD-STAINING

AND KINDRED ARTS.

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

PROFUSELY ILLUSTRATED.1LONDON

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

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Fretwork and Marquetry.A Practical Manual ofInstructions in the Art ofFret-cutting and MarquetryWork. By D. DENNING.Profusely Illustrated. Incloth gilt, price 2s. 6d., by

post 2s. 9d.

LONDON : L. UPCOTT GILL,170, STRAND.

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Preface.

A RELIABLE guide to the very pretty art of wood-staining has hitherto been a desideratum ; it is

therefore hoped that this long-felt want may be satisfac-torily supplied in the following pages. By the use ofcertain stains and enamels, to be presently fully de-scribed, reproductions of almost every kind of inlay canbe effected ; but in order to do this artistically, someknowledge of the original work is required, as, for in-stance, the styles prevalent at different periods, the ma-terials and, in the case of wood-inlays, the stains employed.Therefore, before proceeding to the more practical, orrather technical, part of our subject, it may be of interestto glance at the history of the art, chiefly with a viewto calling attention to some of the many fine examplesto be found in our national collections. It is surprisinghow fascinating and absorbing a visit to either the SouthKensington or the British Museum becomes if, instead ofaimlessly wandering, with wearied feet and aching head,through rooms crowded with priceless treasures, whosevery beauty and variety bewilder us, we resolutely deter-mine to devote ourselves to one class of objects alone, andto do so with some attempt at intelligent comprehensionof 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

IVORY INLAY

ECAILLINE ON GLASS

55

61

CHAPTER IV

CHAPTER V

CHAPTER VI

FRENCH-POLISHING ... . 71

CHAPTER VII

THE CHOICE AND COST OF MATERIALS . . . 76

IND=

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7

MARQUETERIE WOOD-STAININGAND KINDRED ARTS.

CHAPTER I.

The Origin and History of the Art of Inlay.

THE earliest examples of inlaid work possessed bythe nation are in the fourth Egyptian Room of the

British Museum, some of the specimens thus decoratedbeing articles in domestic use over 2,000 years ago. As" imitation is the sincerest form of flattery," we may fairly

1

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

conclude that these embellishments were both covetedand admired in those days, from the fact that a painted

9

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tci Marpeterie Wood Staining.

reproduction of an inlaid chair is shown in the same caseas one in real ebony and ivory—No. 2,474. The patternon the legs of both is similar, and this is shown in Fig.1 ; the little square at the bottom is bright red, stainedin the ivory to represent cornelian, and, of course, copiedin the painting. The colouring of the ivory appears tohave been a favourite device ; we find it again in a verystriking and perfect manner in No. 5,897, a box fromThebes, in which the alternate squares of ivory, separatedby bands of ebony, as shown in Fig. 2, are stained bright

FIG. 2.-INLAID BOX-TOP FROM THEBES.

red and blue, in simulation of cornelian and glazed porce-lain.

Occasionally the porcelain itself is used as inlay—forinstance, in a draught-board of the Eighteenth Dynasty,in which the squares, all of one colour, are of blue ware,separated by bands of ivory ; in another example thesquares are of some dark wood, with the same intersect-ing ivory bands.

Fig. 3 illustrates a very quaint conceit in the shape ofducks' heads, inlaid with ivory, and terminating the legsof a chair in campstool form, also from Thebes (No.

The Origin and History of the Art of Inlay. II

2,474). Another chair, singularly modern in form, has aback inlaid on some rich, warm-tinted wood, with linesand bands of ebony dividing upright panels decoratedwith rows of tiny dots of ivory with a crowning tulip-like flower.

FIG. 3.-INLAID DUCKS' HEADS FORMING LEGS OF

AN EGYPTIAN CHAIR.

Contemporary Oriental art of this kind is familiar tous through the minute work that comes from India,in the shape of sandal-wood, mother-of-pearl and ebonyboxes, trays, etc., as well as through specimens fromAlgeria and Morocco ; and, considering the conservativetendency of Eastern nations in all matters connected withdesign and handicraft, we may safely assume that thepatterns now in use have been handed down from genera-tion to generation, and are of very ancient origin.

The period of the Moorish occupation of Spain is, ofcourse, a comparatively modern date in reference to anyEastern art, and the particular one we are consideringwas known and practised in Asia many centuries before.It is believed to have originated in Persia, this belief

-1111 0101.

12 Marqueterie Wood-Staining.

being confirmed by a remarkable passage in the Bookof Esther, where, in the gorgeous description of KingAhasuerus's palace, occurs the following distinct mention ofcoloured mosaic : " The beds were of gold and silver, upona pavement of red, and blue, and white, and black mar-ble " (Esther i. 6). The Egyptians probably broughttheir knowledge from Persia, and the Romans, thosepioneers of culture amongst Western nations, no doubtobtained theirs from a similar source. Mosaic of stoneand glass, so much employed by them, is, of course, onemost important kind of inlay. The term " wood-mosaic"is often applied, and is strictly correct.

There are some beautiful examples of comparatively latePersian art—viz., of the seventeenth century—in theSouth Kensington Museum. For instance, a dark woodcabinet, richly inlaid with conventional floral designs inivory (No. 2,410) ; another interesting piece (No. 747), acabinet with a curious resemblance to a Portuguese cabi-net to be found in another department of the museum ;and last, not least, au embroidery-frame, exactly on theprinciple of our modern ones, decorated with an elaboratepattern in mother-of-pearl.

During the Middle Ages simple black-and-white inlayappears to have been that chiefly in use, and it wasknown in Italy as " Moresco " ; another variety—viz.,ivory inlaid into solid cypress or walnut wood—tookthe name " Certosina," from the famous Certosa atPavia, the choir fittings of that magnificent church beingentirely decorated with this work. The geometrical styleof the patterns employed clearly indicates an Easternorigin. It is a , well-established fact that the art wasimported to Venice from Persia, its gradual spread thence

The Origin and History of the Art of Inlay. is

all over Italy being certain to follow ; also that such abeautiful and attractive branch of the fine arts shouldshare in that general development, revival, and activitydisplayed at the period of the Renaissance, was onlynatural.

The earliest examples of the fourteenth century areVenetian and Florentine marriage-coffers; later on, in the

FIG. 4.—TRIQUETI MARBLE: "DAVID-ELOQUENCE AND HARMONY."

(From a Photograph by Miss Davison.)

beginning of the fifteenth century, the work was freelyemployed in churches by many artists of note, such asFilippo Brunelleschi, Giuliano da Majano, and others, thechoir-stalls, sacristy presses, etc., being often richly orna-mented with " Intarsia " of wood. This term was appliedto inlay, either of stone or wood, at this time alwaysexecuted in two colours only, and unshaded. The black-

T4 Marqueterie Wood-Staining.

and-white marble pavement of the cathedral at Siam isa typical specimen of stone Intarsia, a style that wasrevived under modified conditions by the late Baronde Triqueti, whose last great work—part of the muraldecoration of the Albert Memorial Chapel at Windsor—is one of the most remarkable of modern days. A seriesof tablets surrounding the chapel represent subjects from

FIG. 5.-OLD INTARSIA PANEL.

the Old and New Testaments, and suggest passages inthe life of the Prince Consort. These are executed invarious coloured marbles and stones in flat pieces ; thedrawing was fully carried out by incised lines, which wereafterwards filled in with special coloured cements, and thewhole then polished, presenting an unbroken, perfectlysmooth surface. The process was invented by the Baronde Triqueti, and carried out under his superintendence

FIG. 6,-OLD INTARSIA PANEL.

15


by workmen specially trained by himself for the work.Fig. 4 will serve to give some idea of one of the tablets(" David—Eloquence and Harmony "), and in a slightdegree to supplement the above explanation of the modeof their execution, The beauty and harmony of the designand colouring, the masterly composition, and, above all,the noble and deep religious feeling with which the wholeis inspired, can only be appreciated by a visit to thechapel and a careful study of all parts of Baron deTriqueti'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 Dukeof Urbino, and presumed to be)by Antonio, master ofGubbio. Figs. 5 and 6 illustrate two of the panels. Theoriginals are in walnut and satin-wood, very rich andmellow in tone. The choir of St. Maria delle Grazie, atMilan, is surrounded by panels of similar Intarsia and ofthe same period, unfortunately in a sad state of neglect—broken, worm-eaten, and decayed. Other instances are thestalls 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,cupids, scrolls, etc.

Later in the century Intarsia fell out of use for ecclesi-astical purposes, the architectural school of Palladio andhis followers being opposed to the introduction of smalldetails of decoration ; consequently inlay came more andmore into favour for the ornamentation of furniture and

houses.Many good pieces of Italian secular work can be seen

at South Kensington, amongst them a sixteenth-century

The Origin and History of the Art of Inlay. 17

cabinet, from which Fig. 7 is taken. It will be observedwhat a marked contrast the style of the design presentsto that of the fifteenth-century Intarsia. Other instancesmay be studied in a fine circular table completely coveredwith scrolls, griffins, heads, etc., in satin-wood and walnut,and a seventeenth-century marriage-coffer of tortoiseshelland ivory, the side of which is represented in Fig. 8.

FIG. 7.—PORTION OF A SIXTEENTH-CENTURY ITALIAN CABINET.

Towards the end of the fifteenth century the art tra-velled northwards, crossing the Alps to Augsburg, Nurem-berg, the Lower Rhine, and Holland, and undergoingconsiderable modification and .development in its progress.Novel methods were invented as the treatment and choiceof subject became more pictorial. Thus greater varietyof colour in the woods employed, staining to produce dif-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 desiredeffects.

We now approach a period of art the marqueterie ofwhich is probably more familiar to our readers than any

" Jones Bequest " including, in its incomparable treasuresof French art, a veritable mine of wealth both in mar-queterie and in that especial branch of inlay of brass andtortoiseshell known as " Boule" work. The name is thatof the inventor, Andre Charles Boule, an artist who wasemployed in the decoration of the Palace of Versailles.He was also mainly instrumental in introducing themodern naturalistic treatment of marqueterie ; two inlaidpanels representing vases of flowers, executed by himearly in the eighteenth century, may almost be said tohave made an epoch in the annals of the art. The newstyle rapidly grew in favour, and its development wasaided by the fast-increasing facilities for procuring foreignwoods of new and varied tints, these being further supple-mented by the free employment of all the devices alreadyalluded to, such as staining with bright colours, scorchingwith hot sand, etc. Bouquets of flowers in natural colours,warlike and musical trophies, amoretti, pastoral andclassical figures, in turn decorate the panels and otherparts of the splendid furniture of the luxurious reigns ofLouis XIV., Louis XV., and Louis XVI. All the emi-nent masters of this distinguished period are representedin the Jones Collection, including the patriarch Boule (hewas born in 1642 and lived ninety years), Riesener, David,Oeben, and many others, whose signatures are stampedon tables, cabinets, commodes, and other objects in thegallery ; for instance, the writing-table (No. 1,052) bearsthe name of " Petit," and No. 1,069, a very fine piece ofwork, is signed " P. Gamier."

Amongst a large number of examples of Boule work itis impossible not to distinguish the magnificent cabinetNo. 1,026. This is justly considered a masterpiece, as

FIG. 8.-PORTION OF A SEVENTEENTH-CENTURY MARRIAGE CASKET.

of that hitherto under consideration. The South Kensing-ton Museum abounds in fine specimens of all the bestworkers of this time, namely the close of the seventeenthand the whole of the eighteenth century, the munificent

-.1111.=n- A

FIG. 9.-nFRONT PANEL OF CABINET-"BOULE " (JONES BEQUEST).

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2O' Marqueterie Wood-Staining.

regards both design and execution, and it is said that fewspecimens, either in this country or in France, equal oreven approach it in excellence. It is valued at £10,000.The first works produced in this style were extremelycostly, owing to the waste incurred in cutting. Later onthis was remedied by the device of sawing through severalthicknesses of the different materials at once, and after-wards 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 thedesign in metal richly engraved ; " Counter," in whichthe materials are reversed, the design being inlaid intortoiseshell on a metal ground. The former is necessarilythe handsomer, the engraving of the metal allowing freescope for the expression of all details of drawing desiredby the artist. In No. 1,045, the cabinet from whichFigs. 9 and 10 are copied, the Counter panels are conse-quently relegated to the sides, the same design in Boulebeing displayed on the front ones. This work is entirelyexecuted in the two substances named, but in many in-stances additional richness was gained by the employmentof enamel, silver, and ivory. Further diversity of appear-ance was attained by different ways of backing the thin,transparent sheets of shell ; as, for instance, with richgilding, or, in later times, with vermilion to give thered colour so frequently seen in modern Boule. In a pairof handsome cabinets in the possession of the Duke ofWestminster at Grosvenor House, either silver or a verypale tint of gold has been resorted to. The effect pro-duced is most unusual, and closely resembles that of darkmarble.

The remarkable and beautiful pieces of fine marqueterie


Fm. 10.-SIDE PANEL OF CABINET-" COUNTER " (JONES BEQUEST).

that claim our attention in the Jones Bequest are sonumerous that it becomes difficult to make a satisfactoryselection for illustration in the limited space at our com-


mand. We must therefore restrict ourselves to endeavour-ing to give some slight idea of the variety of treatmentby 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.

intrinsic merit and from the interesting associations at-tached to it. Fig. 11 is from the inside of one of theflaps that close in the central portion. The flowers haveapparently been originally fully coloured, because, although


in the pair of little panels from which the illustrationis taken only faint tints of red, yellow, green, and blueare perceptible, yet a much fuller and richer scheme of

FIG. 12.-SIDE PANEL OF A CABINET BY ROENTGEN.

colour prevails on the sides under the flaps, where nostrong light has reached the stains. The back and otherparts are inlaid in a different style, namely, with land-scape and architectural subjects, and with trophies, chiefly


musical. This latter is a form of decoration in whichRiesener excelled, and one that evidently found favourin the eyes of Marie Antoinette : it is constantly to bemet with on furniture said to have once been in herpossession. Two further authentic specimens formerlybelonging 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-paratively insignificant examples offers of £5,000 were onmore than one occasion refused by their late owner, Mr.Jones. It is almost superfluous to remark that the greatand apparently disproportionate value of such objects ishistorical rather than artistic. No. 705 displays on thefront of the cabinet a very beautiful floral group by

-AN


Riesener, in which the modern treatment is most notice-able, and managed with consummate skill. The tone ofcolouring is low (possibly here again the stains may havefaded) and the style natural, the shading being washedin quite in the manner of a tinted water-colour draw-ing.

David Roentgen, usually called David, another masterof 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 waywith festoons of ribbons and flowers, all shaded in mono-chrome green, relieved only with touches of orange, andinlaid on a ground of walnut of fine and peculiar grain.The effect is strikingly original, and totally unlike anyother marqueterie to which we have hitherto called atten-tion.

Fig. 13 is from No. 1,108, attributed to Oeben. Theetched lines introduced in the ground, and which help togive relief to the figures, are very ingenious and remark-able.

Fig. 14 illustrates a few of the diaper patterns muchaffected by the French artists of the period, and to beobserved on many pieces of furniture bearing celebratedsignatures and displaying the most perfect and finishedworkmanship.

Amongst the noteworthy examples of sixteenth-centurywork that may be studied at South Kensington is a re-markable Italian cabinet, the whole of the exterior beingprofusely decorated with figure-subjects, chiefly, but notentirely, Biblical, the " Pillars of Hercules " taking up aprominent position. For the first time we come uponred and blue stains, these colours being freely employed


in the dresses. Two minutely carried-out still-life groupson the- inner drawers should not be overlooked : one re-presents a tinder-box, an inkstand, a book, and a pair ofscissors ; the other an hour-glass and two books. Butthe most characteristic and interesting specimen of thisperiod in the museum is the Augsburg cabinet (No. 4,250).

FIG. 14.-FRENCEI DIAPER PATTERNS.

This wonderful piece of furniture is completely covered,inside and out, with designs in coloured woods, tintedand stained to the tones required by the artist. A borderabout 4 in. wide, of curved or domed shape (the Germanswere famed for such work), depicts a quaint landscape,


with houses, trees, mountains, etc., in which blues andgreens are freely introduced ; while animals of variouskinds, such as the wild boar, lion, and horse, appear atintervals in full flight. These are drawn with the utmostspirit and action, and coloured according to nature. Theinterior of the cabinet is divided into nearly forty com-partments—small drawers, recesses, and cupboards. Eachpanel has its appropriately fitted. subject, from the tiniestlandscapes to the most elaborate figure-compositions ; theselatter include musicians, warriors, courtiers, horsemen(one with a lady on a pillion), all represented. in subduedbut strictly natural combinations of colour. This master-piece cost the nation the very inadequate sum of £50.

FIG. 15.-A CORNER OF AN EARLY SIXTEENTH-CENTURY CABINET.

In No. 27, of early sixteenth-century work, carved andinlaid, a very bright, vivid green is introduced. Theeffect is crude and harsh, in spite of which this particulartint was in great favour at the time and deserves noticeon that account. Fig. 15 is from one of the corners ofthis cabinet. Contemporary English work, of widely dif-ferent style from any of the above, is represented by thecomplete set of fine oak panels, inlaid with holly andbog-oak, removed from Sizergh Castle, in Westmoreland


(No. 3). A Spanish organ and cabinet combined (No. 216)shows work very distinctive of the date, viz., about1560.

Figs. 16 and 17, from a set of marqueterie drawers inthe possession of the writer, probably Dutch, are of muchthe same character as the last example, and serve toillustrate the style in vogue at the time. The woods usedin these drawers are walnut, mahogany, and some lighter

FIG. 16.-SIXTEENTH-CENTIJILY MARVETERIE DRAWER

sort, perhaps pear. Green is but sparingly employed, andonly in the long, semi-architectural panel. Similar workwas produced in many different countries and during manysucceeding years ; in fact, no such marked. transition be-tween the art of the sixteenth and that of the followingcentury occurs as between that of the fifteenth and six-teenth centuries. Dutch, French, and English artistsentered. the field, vying with one another in the beautyand variety of the furniture decorated with " marqueterie "


—a term derived from the French verb marque?. (to mark,to brand) and one in general use in modern days.

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

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

FIG. 18.-HALF OF A DRAWER IN A LATE SEVENTEENTH-CENTURY

ENGLISH WARDROBE.

gives half of one of the drawers, on each one of whichthe same design is repeated, varying solely in the terminal

FIG. 19.—FLOWERs ON LATE SEVENTEENTH-CENTURY

ENGLISH WARDROBE.

flowers, which are all different. A few of these flowersare represented in Fig. 19, so that the reader may beenabled to judge of the grace and absolute truth to naturewith which they are drawn. The panels of the doorsover the drawers are covered with serolls and leaves, withfigures here and there according to the prevailing taste.The colouring throughout is uniform, except that the

semi-conventionalised leaves (these will be readily dis-tinguished in Fig. 18) appear either to have been slightlytinted with some olive stain or to have been carefullyselected and cut from wood of a darker shade than therest of the scroll-work and flowers. The effect of thisfaint suggestion of varying colour is most delicate andcharming.

Other good examples of marqueterie work will be found

The Origin and History of the Art of inlay. 31


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 variouswoods, and a cabinet (No. 4,619) of the same date, shouldnot be overlooked. No. 4,620 is a table of the kind knownas " Tunbridge " work, and was very likely produced atthat place ; it is executed in wood and ivory. The mani-pulation is wonderfully minute, and the design geo-metrical.

CHAPTER II.

Practical Instructions in the Use of Stains,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 hasgone; we may proceed to the consideration of how, by•means of simple stains, we may be enabled to reproducein an intelligent and artistic way, the effect of some ofthe best inlay of former days ; whilst at the same timestudy of the finest attainable models will enable us toarrange or originate designs of our own suitable for manymodern uses to which possibly such work may not yethave been applied. Most of our readers will doubtless beacquainted with at least the name of " Marqueterie Wood-staining," this being a form of decoration greatly infavour at the present time ; the word " Ecailline " will,however, probably not have such a familiar sound Theprocess thus named is an invention of our own, and isintended for the imitation of ivory inlaid on wood ortortoiseshell, also for the representation of Boule work,thus forming a useful addition to the stains, which areonly adapted for the reproduction of wood marqueterie.

The successful manipulation of all stains is to a certainextent 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, providedit be free from knots and similar blemishes, will answerthe purpose fairly well ; for instance, pine and commonAmerican bass—the better sort of the latter is particularlygood, as it takes the stains readily, shows nice grain,

The articles selected for staining should be well madeand thoroughly seasoned, because as they have necessarilyto be wetted more than once, warping has to be guarded

against as much as possible.Almost any article of furniture may be decorated in

marqueterie colouring, but it should be borne in mind

FIG. 21.-STRAIGHT-LEGGED TABLE.

Fm. 20.-TABLE WITH CURVED LEGS.

and is of suitable pale colour. But all these advantages,with better and harder texture, are obtainable by workingon holly, sycamore, or chestnut, which are all very white ;further, sycamore and chestnut have often very prettymarkings, which show up well through the lighter stains,such as satin-wood, grey or green.

that the simpler the construction the better will thedecorated article look.

Tables should have either straight or curved legs, thetwo examples illustrated being suitable shapes. The roundtable (Fig. 20) is taken from a photograph of one paintedwith ebony stain only, the design being left in thenatural wood, which in this case was sycamore, itbeing necessary to use the whitest wood when it is in-tended that the design shall be left uncoloured. The table

Practical Instructions in flee Use of Stains, etc. 37

=-7---"

FIG. 23.-TABLE BOOKCASE.

FIG. 24.-•••FRENCH CABINET.

of furniture for marqueterie painting. The top and sidesmight be ornamented either with Louis Seize wreaths and

with straight legs (Fig. 21) was, made of bass and paintedwith coloured stains.

Chairs should have either straight or curved legs inpreference to turned ones ; if the latter are used, theyshould be of a slender and simple pattern. The hall-chair(Fig. 22) looks well when decorated. The panel in the

FIG. 22.-HALL-CHAIR.

back could be suitably occupied by the family coat-of-arms, crest, etc., or might, if preferred, be coveredwith a conventional scroll design, a similar scroll beingarranged on the shaped piece at the top of the back.

The small table-bookcase (Fig. 23) is well adapted fordecoration of the Louis Seize period.

The French cabinet (Fig. 24) is a most suitable piece


Practical Instructions in the Use of Stains, etc. 39

effect of the most daintily executed piece of stainingAfter having scrupulously removed the dust causedby the rubbing, the surface must be damped all overto make the grain rise. If held to the fire for a fewminutes it will be an assistance. Another application ofthe glass paper will now be required, and the processmust be continued till a satin-like smoothness is attained.

After again removing all dust, Marqueterie PreparingSolution is to be brushed over the wood before startingwith the painting. This has the great advantages ofpreventing the stains from running, and of obviating tooquick absorption, which is apt to cause unsightly blotchesand patches. On soft woods two coats or more of solutionmay be advisable ; also on all cross-grained portions, in-cluding the edges, which will be found to absorb thepreparation greedily. The solution dries in a few minutes,and the surface may then be rubbed down for the lasttime with the finest glass-paper, viz., Oakey's " Flour,"and the dust again removed.

A clear tracing- of the selected design must now be madeon special tracing-paper, of tough but at the same timetransparent texture. Black-lead pencil or, if great dis-tinctness is demanded, pen-and-ink may be used. Thetracing can be fixed in position by means of scraps ofstamp or other adhesive paper ; drawing-pins are inad-missible for the purpose, the holes they make being mostobjectionable.

For transferring the design black-lead transfer-papershould be used, the ordinary carbon-paper leaving coarseand indelible marks, which would be fatal to the effectof the finished work. The black-lead transfer, on thecontrary, makes a delicate, faint line, easily rubbed out

•

38

Marqueterie Wood-Staining

bows, or with a conventional design of birds and flowers,or of flowers and leaves only. The decoration of the frontof the drawers should, of course, be in keeping with thatof the top and sides ; but the arrangement of design shouldhere be kept as light as possible, for too much elaborationon the front would make the whole look heavy.

Amongst the smaller articles adapted for marqueteriepainting are frames (especially those of a size suitablefor panel photographs), boxes for gloves, handkerchiefs,cabinet photographs, letters, manuscripts, etc., trays,blotters, hand-mirrors, hair-brushes, coat-brushes, etc.

Many of the fancy articles sold for painting on aremade of very new wood, and in this case are not worththe time and trouble spent in decorating them ; the addi-tional cost of better specimens will be amply repaid bythe superior results attained.

Even the more carefully-finished objects will requirethorough rubbing down with glass-paper before commenc-ing the painting ; Oakey's No. 12 is the quality to beginwith. A small piece of this should be .wrapped round acork block, or, failing that, an ordinary matchbox willserve.

The rubbing must be done in straight lines, up anddown, the way of the grain, and the pressure must beequal throughout. Applying the glass-paper across the grain,or circularly, is apt to scratch the wood and leave marks.This remark does not apply to the edges of panels, photo-graph frames, etc., where, the wood being necessarily cutacross the grain, the rubbing has to follow the same di-rection ; these edges require an extra amount of preliminaryattention, and should not be neglected in any way, aseven a little roughness in such parts tends to ruin the

with india-rubber where required. It is well to strengthenthe tracing with a fine, hard pencil before proceeding tocolour the design.

A small quantity of each needed stain should be preparedbeforehand by mixing with about a third part of Mar-queterie Medium in a saucer, and leaving it to standawhile.

As a general rule, the best state in which to use thecolours is when they are about half-dry ; but much dependson individual taste, also on whether large or small surfaceshave to be covered, and whether the stains are desiredto be of extra strength in any particular part. Even ifallowed to completely dry up in the saucers, they may bemade use of to the last ; the stains being water-stains,the dry colour can be moistened with a wet paint-brushagain and again. The medium is intended not only toprevent running, but also to give body and assist themanipulation of the stains. The skilful combination ofthese is, of course, a matter partly of practice, partly ofartistic feeling.

The design being now distinctly and delicately outlinedon the wood, the work should be proceeded with, thestaining of the ground being the first thing to do. Inlaying this, start at the outlines, with somewhat drycolour, bit by bit, filling up the intervening spaces withmuch more flowing colour ; this must be quite dry beforethe pattern is attempted. It is by no means essentialthat the tint thus applied should be unbroken : on thecontrary, inequalities in colour, skilfully managed so asto represent the natural grain and knots of wood, tendto heighten the effect, and are much more artistic thana fiat, uniform surface.

41

FIG. 25.---DESIGN FOR BELLOWS.

_

40Marqueterie Wood-Staining.

42 Marqueterie Wood-Staining Practical Instructions in the Use of Stains, etc. 43

A few suggestions for the colouring of some of theaccompanying illustrations may here come in as a usefulguide to inexperienced workers.

Fig. 25, a design for bellows in the style of MarieAntoinette's escritoire at South Kensington, might betreated in a similar manner to the floral panels introducedin that remarkable piece of furniture, and described inChapter I. A ground in rather light-toned walnut wouldbe appropriate. A border-line of satin-wood, about half-an-inch from the edge of the bellows, could be added toframe in the subject ; such lines, darker or lighter thanthe ground, are of very frequent occurrence, both in Dutchand in French marqueterie, varying in width according tocircumstances, and sometimes diversified by patterns onthe 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 markingrectangular corners, and compasses for circles. Instancesof border-lines can be observed in Figs. 6, 7, 8, 16, 17,26, and 34.

The colouring of the bellows may now be proceededwith as follows :—Flower to the left, yellow, with palerosewood stamens ; flower to the right, pale rosewood, withyellow stamens. Leaves, various shades of lighter anddarker green (for the darker shades, walnut is to be mixedwith the green or olive employed), a bluish tinge hereand there, but all flat tints, with no attempt at naturalshading. Small star-flowers and buds, satin-wood withedges slightly tinged with blue. The outlines, veinings,and all inner markings, in this case as in all others, tobe done last. For these ebony is to be used with a finesable brush, and should give a firm, jet-black line ifproperly managed.

Fig. 26 is a design for the top of a box or for a smallpanel. Grl'ound, dark rosewood, leaving the centre ovaluncoloured ; ribbon, basket, and two top leaves of outsidescroll-pattern, satin-wood ; balls in scroll and all fruit andberries, mahogany ; two large scrolls, green or olive withwalnut stems ; two smaller scrolls, walnut with green orolive stems ; scrolls representing handles of basket, olive ;

FIG. 26.-DESIGN FOR TOP OF BOX OR SMALL PANEL.

small spiked leaves in basket, green ; centre ornament ofscroll-pattern, olive.

Fig. 27 is a design for a blotter. Ground, satin-wood ;four corner roses, pale crimson, turned over with rose-wood ; smaller flowers and centre ' roses, yellow ; leavesand scrolls, olive, walnut and rosewood diversified ; letters,olive.

For the finishing markings and outlines, some workersfind a pen easier to manage than the fine sable brush


previously recommended. The latter certainly gives greaterfreedom and sweep of line, but the pen is quite admissible,if preferred. In this case, a brush should be kept forcharging the tip of the pen, as simply dipping it intothe ebony stain will not answer.

The stains may be freely mixed together to alter theexisting 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 inthe original cabinet from which Fig. 15 is taken, may beimitated by adding blue stain to green ; this tint is, ofcourse, not that of any natural wood, and was alwaysartificially produced. The best mahogany stain supplied in.bottles is of the rich, dark hue of what is known as " oldSpanish mahogany." If a lighter tone be desired, the stainmay be mixed with satin-wood, and even brightened bya few drops of red. The above are merely indications ofwhat can be done in this way ; the possible modificationsare practically endless.

A few words of advice as to the judicious use of thebrighter tints may be added. Pretty, lively colours arevery tempting to the ordinary amateur, and therefore awarning will probably not be superfluous. Blues, reds,yellows, etc., should be very sparingly employed in mar-queterie painting, and, as a rule, only in pale tones. Thistreatment is strictly in accordance with that of the bestmasters, and produces the most pleasing results, theobvious reason being that, as real marqueterie has alwaysbeen chiefly executed with woods of natural hues, artificialcolouring carried to any excess is certain to degenerateinto vulgarity.

There exists, however, a modern adaptation of wood-

FIG. 27.-DESIGN FOR A BLOTTER.

45


staining which admits of the free and legitimate use ofbrilliant tints, and gives scope for originality both indesign and in colouring. This new departure consistsliterally in the employment of liquid transparent stains inplace of solid oil or water colours for the decoration ofwood. It will therefore be perceived that the range ofsuitable subjects thus opened up is practically inexhaustible.Groups and wreaths of flowers, birds, butterflies, evenlandscapes, Louis Seize motifs, scroll-work, arabesques,dragons, etc., are all equally available, whether the treat-ment chosen be natural or semi-conventional. The additionof solid colour here and there is perfectly admissible, andin some cases essential. White flowers, cream-tinteddraperies, and so on, cannot be represented without suchaid. Solid, high lights may also be touched on with greateffect, and serve to throw up the contrasting transparencyof the middle tints and shadows. Even gold may beintroduced : it materially adds to the decorative appear-ance of the work in conventional designs. It will be founddesirable to add a few stains to those usually suppliedfor marqueterie reproduction. Orange, violet, and ultra-marine would probably be sufficient. Marqueterie mahog-any affords a good substitute for burnt sienna, satin-woodfor raw sienna, and walnut for umber ; whilst green andolive, modified as desired with blue, orange, brown, oryellow, supply all the required variety for the paintingof foliage.

An example of a semi-conventionalized design is shownin Fig. 28, which is a sketch of black bryony, arrangedfor the decoration of a chestnut-wood wall-pocket. Thecolouring is meant to be entirely in flat tints : the leavesin greens, lighter or darker as indicated in the illustration,

41


the latter even tending to brown or russet, the berriesvarying in the same way from light to dark red ; theoutlines and markings in ebony.

In this connection, it may be interesting to call attentionto a novel variety of inlay at present finding great favouracross the Channel. Fine specimens have been displayedin the decorative sections of the last three or four ex-hibitions of the Paris Salon. The style is founded on

FIG. 28.-BLACK BRYONY DESIGN FOR CHESTNUT-WOOD 1VALL•POCKET.

Japanese models, and may, in fact, be appropriately termed" Franco-Japanese "—landscapes, fish, groups of birds inflight or swimming, the plumage most carefully renderedin different woods, always, however, in the subdued tonesof old marqueterie, relieved perhaps by a touch of red inthe head of a crane or the comb of a cock. In one in-stance, the ripple of water was represented by inlaid curvesof bright metal. This very characteristic class of decora-


tion is admirably adapted for staining and, in this countryat all events, offers an absolute novelty. Fig. 29 givesa good idea of what can be done in this way, and onlydemands four colours for its execution. A satin-woodground would just give sufficient relief to the light partsin the swimming duck and to the bird on the left to

Practical Instructions in the - Use-Of ;Stains

Stained Pyrography.

A modification of the two styles of decoration lastdescribed could be made by the combination ofpoker-work with the stains in the manner known as" Russian Poker-work." In this case the markings, out-lines, and dark grounds are put in with the hot point.The rich tone thus obtained, especially in large surfaces,

FIG. 29.-FRANCO-JAPANESE DESIGN FOR A BRACKET.

allow of their remaining unstained, i.e. of the naturaltone of the wood. Walnut and mahogany would giveenough variety in the plumage, and ebony would completethe range required. Subjects of this kind abound inJapanese picture-books, and the spirited representations ofbird-life depicted in them answer for wood-staining almostwithout re-arrangement.

FIG. 30.-DESIGN FOR HANDKERCHIEF-BOX.

forms a delightful contrast to the transparency of thestains, and the whole possesses a distinct character of itsown that should recommend it to the notice of all workerswith the platinum point.

A very rich effect can also be produced by gilding theincised lines after the colouring is completed; this iseasily managed with Ecailline gold and medium (seefollowing instructions for Ecailline). This will be effectu-

D


Fig. 27, a blotter, could be carried out very prettily on

FIG. 33.-GEOMETRICAL DESIGN FOR CORNER OR BRACKET

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

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

II

Mari"tarie YI7ood-Staining.

ally preserved by a coat of " Decorators' Varnish," whichis also needed for the protection of the water-stain ; thelatter are liable to injury by accidental wetting if leftwithout 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. 31.-DESIGN FOR HANDKERCHIEF•BOX.

bination. A rich, deeply burnt ground and markingsshould give good contrast to the trophy, coloured asfollows :—Trumpets, yellow ; pipe (at the back), lightmahogany ; guitar and front pipe, satin - wood ; ribbon,delicate blue ; music, unstained.

Another charming suggestion is Fig. 31. Ground, asabove ; leaves and stems, green and olive, tending to ma-

iql


a light ground. Thus, the scrolls and leaves, walnut, tend-ing to olive ; the flowers, alternately mahogany and un-stained. Gilt outlines and markings. Similar treatmentcould be employed for Fig. 41, the design being as welladapted for wood-staining as for Ecailline.

A simple geometrical design for the top of a smalltable, or of a stool, is shown in Fig. 32. Corners, sup-porting brackets, etc., may also be decorated with geo-metrical designs, such as that illustrated in Fig. 33.

Incised Work Stained.

Another idea for stained decoration comes to us fromthe United States. It appears that Cincinnati is thehome of wood-carving, and that all the inhabitants—men,women, and children—are familiar with the art. Chip-carving, so much practised here by beginners, is unknownamongst them. Its place is taken by incised work, whichis considered a first-rate means of acquiring a mastery overone of the wood-carver's important tools, i.e. the veiner.Light-coloured wood is often stained all over to any de-sired depth ; the pattern, being cut into this with deeply in-cised lines, is prettily relieved in light against dark. Themethod may be further diversified by the introduction ofcoloured stains, and by gilding the incised lines ; in fact,by exactly following the plan laid down for Russianpoker-work, merely substituting the veiner for the hotpoint. Punched grounds throw up the designs well, andenrich the general effect greatly. Figs. 12, 44, and 45would produce good results in either of the last-mentionedways.


Care is essential in the use of all stains, but especiallyin the case of the lighter tints. Brushes that have beenused for rosewood, walnut, and so on, must be scrupulouslycleansed if required for delicate blue, green, or yellowtouches. Thorough rinsing in clean water is all that isrequired ; but it must be noted that the smallest trace ofdark stain in brush or water will inevitably spoil thepurity of the brighter colours.

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.

It will be found an excellent precaution, as soon as thepainting is dry, to give it one or two coats of transparentFrench-polish with a soft, flat, camel's-hair brush (theone used for the solution will serve). This plan effectu-ally fixes the stains, and obviates any danger of disturb-ing them in the subsequent French-polishing ; the pre-liminary application must be allowed to dry before anyrubbing is attempted.

Red, rosewood, and blue sometimes show a slight tend-ency to run ; therefore a little caution may be demandedin laying the French polish on these stains. This simplyconsists in the light handling of the brush—just pass-ing over such parts in one direction, letting the polishsink in, and repeating the operation when the first coat isdry. Even when the work is to be entrusted to a pro-fessional French-polisher these protecting applications ofpolish with a brush should always be given, as ordinaryFrench-polishing is started at once by rubbing, and thestains are liable to be thereby interfered with.

Another precaution in dealing with the professionalpolisher is to insist on the use of colourless polish.


CHAPTER III.

Ecailline on Wood.

THE name " Ecailline " is derived from the FrenchJet:tine, i.e. tortoiseshell, the imitation of this sub-

stance on wood or glass being one of the chief aims of theingenious process about to be described. The desired resultis arrived at by the application of a semi-transparent lacquerof a rich brown tone, and this affords an excellent and mosteffective 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 care-fully carrying out the following directions, even the mostinexperienced amateur should have no difficulty in achiev-ing success ; but for the benefit of those desirous of makingcloser acquaintance with this novel art, we may mentionthat finished panels, frames, etc., in Ecailline can be seenat 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 downwith glass-paper to remove all roughness of surface—hasbeen already described. The next varies, as instead of pre-paring solution, a coat of Ecailline ruby or Ecailline goldenvarnish is to be applied to the wood : the choice of colourdepends on the ultimate effect desired. Ruby gives a

55

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

Ecailline on Wood. 57

as possible all over the design. When quite hard, it hasto be carefully rubbed down to a smooth surface with fineglass-paper ; the slightly scratched appearance thus pro-

FIG. 34.-FRENCH CLOCK-CASE.

duced is of no consequence, as the polishing entirely re-moves it. The outlines and markings which complete theprocess are done with Ecailline outlining black mixed onthe palette with Ecailline medium, using a fine brush.


warm tone for the imitation of red tortoiseshell ; golden, arich yellowish-brown representation, either of ordinarytortoiseshell or of foreign walnut. On the varnished sur-face, when dry, the design is transferred and afterwardspencilled in (see page 39).

A small quantity of Ecailline enamel is now to bepoured into some small vessel, preferably with a cover,that should be kept for it, and the ground (not the de-sign) thinly and flatly covered, using a camel's-hair brush.The enamel freshly taken from the bottle will probably beexactly in the right state for this purpose : if it is foundtoo thin, it must be allowed to stand a little while ; iftoo thick, it can be liquefied with some Ecailline medium.This first application must be dry before a second, in-cluding the marking and mottling of the ground, can besatisfactorily undertaken. The remainder of the Ecaillinethat has already been poured out will now be in muchstiffer condition, and, consequently, just what is wanted.

Instead of a flat, even surface, the aim is now, on thecontrary, to produce a varied effect. A little practice inlaying on the enamel will soon lead to satisfactory resultsand the acquisition of a knack in its management. Thegreat thing to guard against is the tendency of the Ecail-line to settle in an unexpected manner into ridges andunsightly blotches after it has been apparently well laidon. The remedy is, not to use the enamel in too liquida state, and not to put on too much at a time. Theobjects thus enamelled must remain in a flat positionwhilst drying : if stood up, the Ecailline will run down tothe bottom and spoil the work.

The last surface being dry, the Ecailline ivory, thinnedwith a little of the medium, is coated as flatly and evenly


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 wellsuited for Ecailline on wood, and can also be utilisedfor marqueterie. Very good results are obtained by

Marqueterie Wood-Staining.

a combination of the two decorations ; indeed, in noother way can reproductions of certain old styles becarried out. For instance, in the furniture corridor in theSouth Kensington Museum we find a cabinet of the timeof Louis XIV., in which inlay of wood, ivory, and metalis to be seen on the same panel, some of the flowers, and

FIG. 37.-TRAY.

all the leaves, of a bouquet being in wood marqueterie,whilst a small terminal group of jasmine flowers is inivory. A modification of this idea might be adopted inthe treatment of Fig. 36, in the following manner : theground to be either walnut stain or Ecailline ; the scrollsand leaves, satin-wood diversified with green ar olive ; andthe flowers, ivory.

Where stains are employed in combination with Ecail-line, the coloured preparatory varnish must not cover thedesign as it does in the case of only ivory being used ; atleast, it must not interfere with those parts that are in-tended for the stains, for it would, of course, injure theirpurity and transparency.

CHAPTER IV.

Ivory Inlay.

EBONY inlaid with ivory is a most beautiful form ofinlay, easily imitated by the conjunction of ebony

marqueterie stain and ivory Ecailline enamel. Possiblytwo applications of the stain may be needed to givesufficient depth and richness to the ground, as it should

FIG. 33.-SIMPLE DESIGN FOR IVORY INLAY.

be laid on until a real jet-black is obtained. The ivoryenamel is of course employed in precisely the same manneras that indicated above, and the outlines are done withEcailline outlining black.

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

FIG. 39.-TABLE-TOP IN IVORY INLAY.

.4


somer, although more ambitious undertaking would befound 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.

ECAILLINE on glass demands some variation from thetreatment described for wood, as the following

directions will show : Plate-glass, not too thick, is thebest kind, not because the completed work on it presentsany special advantage of appearance over that executedon ordinary sheet or crown glass, but on account of thereduced risk of breakage, especially in large pieces. Abevelled edge is a good finish, and is desirable in caseswhere no frame is needed. Of course, where panels are tobe fitted into doors, furniture, etc., or used for girandoles,screens, and other such purposes, a plain edge is quite inplace.

The piece of glass (it must be first thoroughly cleanedwith methylated spirits) is laid over the design that isto be copied, which, if small and liable to shift, can bekept in place with a drawing-pin here and there at theedges.

Designs for Ecailline require to be well-drawn, with allthe lines distinct and sharp. Plenty of excellent onesmay be found in such publications as the Art Amateur,Home Art Work, and others. The whole of the outlinesand inner markings have to be traced on the glass with

63

64 Marqueterie Wood- Staining.

a fine sable brush, using outlining brown and Ecaillinemedium. The lines must be One and yet solid, and, ,above all, equal in density. If it be borne in mind thatthey are intended to represent the lines made by agraver on metal, it will be apparent that precision andfirmness have to be aimed at. The glass can be occasion-ally held up to the light to reveal defects in the work ;if any of the lines are not dense enough it is easy to goover any such weak parts again, but raggedness or unduebreadth of line is best altered by scraping with a sharppenknife when the colour is dry. Fig. 40, a design foran overmantel-panel, and Fig. 41, one for a girandole-glass, show exactly the style required, and are purposelyleft without a dark ground in order better to illustratethe 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 andenamel would be liable to run together. A flat coat ofEcailline is now spread thinly all over the ground, butit may be applied with much more body than on wood,as long as it is not allowed to settle in awkwardblotches which would show on the face of the glass. Ofcourse, the whole of thoprocess we are describing is doneon the back, therefore a certain amount of lumpiness isof no consequence, and does not affect the ultimate effectinjuriously, 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 ; thisenables the artist to judge of the mottling required inthe tortoiseshell part, and also of the correctness of thedesign.

Having introduced as much variety as desired in the

um

FIG. 42.-PHOTOG RANI-FRAME IN ECAILLINE ON GLASS.

G7

I-

F G. 43.-" COUNTER" FINGER-PLATE IN ECAILLINE ON GLASS.


sufficient gold powder should be put out at a time forthe purpose required ; if left to dry up with the mediummixed with it, no further use can be made of it. If onecoat appears to be insufficient to give richness to thedesign, a second can be put on just in those parts thatneed it ; the ground seldom requires two coverings.

It is self-evident that after the gold backing is on noalterations of any kind are possible ; beginners are thereAfore cautioned to look over their work carefully at aprevious stage, and to have pretty frequent recourse tothe 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 knackin using the enamel and in judging of the exact state itshould be in to produce a certain desired result. As arule, it is more manageable in rather a " tacky " condi:tion, and to make it so, it has to be poured out a littlewhile before it is wanted.

The gold backing may be protected by a thin coat ofcommon paint, or, better still, by a final application ofEcailline enamel, which gives a most satisfactory andhomogeneous appearance. A soft camel - hair brushanswers very well for the enamel. That and all otherbrushes should be cleaned at once in turpentine, otherwisethey will be spoiled. The same brush must not on anyaccount be used for tortoiseshell and gold, because someof the latter is sure to remain sticking in the hairs, andwould work out of the brush and cause the face of thetortoiseshell to be sprinkled with tiny gold specks.

Two of the illustrations represent " Counter " treatment,Fm. 44.-" BOULE " FINGER-

PLATE IN ECA.ILLINE ON GLASS.

69

Margueterie Wood-Staining.

viz., Fig. 42, a photograph-frame, and Fig. 43, one of apair of finger - plates ; the second, Fig. 44, being in"Houle." " Counter " is more readily imitated withEcailline than even "Boule," as no inner markings arerequired, and smaller surfaces of the enamel are of courseeasier to put on than larger ones. Some of our readersmay therefore like to commence with this style of work,

FIG. 45.-DESIGN FOR A PAPER-WEIGHT,

and if two pairs of finger-plates should be undertaken forthe same room, or even for different sides of the samedoor, it would be quite according to rule for one pair tobe in "Soule" and the other in " Counter," thus afford-ing the beginner a chance to start with the latter andgain a little experience, before attacking the more difficultmethod. Fig. 45 is for a paper-weight, and is not adesign that would reverse satisfactorily.

CHAPTER VI.

French= Polishing.

FRENCH-POLISHING, an essential finish to all thevarious branches of wood-decoration described in the

foregoing pages, is by no means beyond the power ofamateurs if the instructions about to be given are care-fully carried out. They will be found to differ in one ortwo respects from the usual directions, such variationshaving been deliberately made after many experimentsand due consideration, in order to meet the requirements,firstly, of stained work, and, secondly, of non-professionalpolishers. One of these innovations is the application ofseveral coats of polish with a soft camel's-hair brush,before starting in the ordinary way with a pad. In layingon these preparatory coats the brush should not be workedbackwards and forwards, but lightly in one directiononly ; on the second occasion a contrary direction is to betaken, and so on in the same way for each successiveapplication. Every layer of polish is to be allowed to drybefore more is put on, and this course may be pursueduntil a shiny appearance is secured. Specks of dust,loose hairs from the brush, etc., must be removed withthe point of a pin whilst the polish is still tacky.

The work has now to be set aside for twenty-four hours71

,m1111•Mn1M-

French-Polishing. 73

let the polish set for about half an hour, when rubbingmay recommence as before.

Should the pad stick, a little oil on it will make it goeasily again, but only enough is to be used to effect this ;if too much is used, it gives trouble afterwards, as everytrace of greasiness has ultimately to be got rid of. Whenthe pad dries and requires recharging, this must alwaysbe done at the back of it, and the polish allowed togradually soak through to the front.

FIG. 47.-DIAGRAM SHOWING DIRECTION OF RUBBING

IN FRENCH-POLISHING,

•M.


to harden, and it will then bear rubbing down with fineglass-paper to get rid of roughness and inequalities,which may sometimes be the consequence of the unduesettlement of polish here and there.

The surface is now ready for polishing with a pad.The necessary pads for this purpose (Fig. 46) consist ofsquares of about five inches of soft linen, containing agood-sized wad of cotton-wool. The linen is spread out ona saucer, with the wad in the centre, and colourless

FIG 46.-PAD FOR FRENCH-POLISHING.

French-polish poured over the wad till it is well satu-rated. Then the linen is gathered up with the fingersto form a neat pad, and a drop or two of polishing oilare applied to the face of it with the finger. Rubbing shouldbe gentle, slow and equal, in circles, figures of eight(Fig. 47), or straight lines, and confined to a small portionof the work at a time ; a square of six inches is aboutwhat is desirable. After five minutes, a fresh squaremay be started, and the same course pursued till thewhole expanse has been covered. It is then advisable to

Patience and deliberation will in time ensure success :hurry and hard work are alike detrimental. Quick orviolent rubbing is pretty sure to bring off some, of thepolish, or, at least, to cause it to rise in ridges. Betweeneach rubbing, a pause must be made for the work to set.

As soon as the surface shows a good glaze, the firststage, which is termed " bodying-in," is complete, and thesecond, that of " spiriting-off," may be started, but notuntil a good interval has been afforded for hardening.

shallow saucer, allowed to dry and rubbed till fairly softagain. The small amount of spirit left in the saucershould be poured into the polish bottle to avoid waste.

In conclusion, it is hoped that the above directions may •

be found sufficiently clear and explicit to enable amateurswho are desirous of attacking one or more of the minorarts that fall within the scope of the preceding pages, todo so without the aid of a teacher ; and that to many,who live far beyond the range of such help, they willprove of value and interest in opening up fresh fields ofoccupation and amusement.

Nevertheless, in case lessons should be desired, either bytown residents or by those who are paying a flying visitto London, it may be well to note that help and instructionof a thoroughly practical nature can be obtained at theStudio and Showroom, 63, Regent Street (entrance, 4a, AirStreet). A single lesson may sometimes be of great servicein clearing obstacles from the path of the beginner.

74 Marqueterie Wood-Staining-. French-Polishing-. 75

Benzoline well rubbed over the work helps to take offthe now superfluous oil, and leaves the French-polishabsolutely untouched. The pad, slightly charged with

. methylated spirit, is used precisely as before, but withgreater caution, as there is danger of the spirit attackingand even taking off the polish if not carefully managed.The great thing is, to apply very little at a time ; thelinen face of the pad should be barely damp, and a dropof oil, put on as before with the finger, is a help, as itfacilitates smooth rubbing and thus prevents the pad fromcatching.

At the very last, however, no oil is permissible, and afresh pad with pure spirit should be substituted for theold one. In order to prevent any superabundance of spiritfrom passing through, the pad may be enveloped inseveral thicknesses of rag ; the face of it should bebarely damp. Spiriting-off should continue at intervalstill the desired brilliancy is attained and no vestige ofgreasiness remains

Cold, damp, and draughts are to be guarded against.All the operations must be conducted in a temperatureof 60° Fahr. or over.

The handling or packing of French-polished articles ison no account to be attempted until at least a day afterthey are finished. A piece of cardboard is the best pro-tection ; soft paper has a tendency to stick wherever theremay chance to be the least tackiness.

The wads of cotton wool are best discarded after oneservice, for they harden so as to be practically useless asecond time ; but the linen squares, on the contrary, areworth 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, AirStreet, Regent Street, London, where also the necessarymaterials for Ecailline can be obtained, at about the samecost as those for wood-staining.

CHAPTER VII.

The Choice and Cost of Materials.

AS regards marqueterie stains, the one thing needfulis to start with reliable and durable colours. For

this reason, it is well to avoid the many cheaper kinds thatare now so freely offered, as, being in most cases compoundedof pure aniline dyes, the colours cannot fail to prove ex-tremely fugitive. The writer of this little guide havingbeen for many years engaged in the manufacture of artisticmediums and stains, the good qualities of which are attestedby the awards of prize medals in various parts of the world,feels justified in recommending these preparations to allthose whose notice they may hitherto have escaped. "Turck'sMarqueterie Stains," are procurable from the leading artists'colourmen, stores, and fancy dealers in London and theprovinces. It is by no means necessary to start with thewhole range of twelve colours ; a convenient little boxcontaining seven of the most generally useful tints, in ad-dition to bottles of Medium, Preparing Solution and Polish,costs five shillings. A further outlay of about four shillingswould amply cover the expense of every other requisite formarqueterie staining, and to a great extent for RussianPokerwork. The three additional stains suggested in thisconnection would be found amongst the solid " Rainbow "

76

List of Requisites.

For Marqueterie Wood-Staining.

Preparing solutionMediumColourless polishStains :— ebony, walnut, satinwood, each, 6d. and I s.

rosewood, mahogany, green, red,olive, grey, yellow, blue, andcrimson

Tracing and black-lead transfer-paper, per sheet, 2d. and 4d.Glass-paper, No. li . 2 sheets, lid.Ditto, No. 0 or " Flour " .71 „

Cork-lined block, for rubbing-down . 4d.Agate or bone tracing-point . 9d.Flat camel's-hair brush, No. 9 .10d.Three round fitch brushes, Nos. 2, 4, 6 each, 6d. and 8d.Sable brush, No. 0, for outlines . 6d.Six small saucers . 6d.

For Decorative Wood-Staining, Russian Poker-Work, andIncised and Stained Work.

All the above, with the addition of :-Stains :— orange, violet, and ultramarine, solid

" Rainbow " . each, 6d.

••• • • • •• • •.• • • • • • ••• :•• • :

I 11•• 11 '11

:•9 : :1 : .7 ••:"1:

INDEX

1f gold

1f ruby varnish

f golden „Two square-tipped

brushes

One sable brush for outlines

came

•

l's-hair

1,5 • • 111.• • • 1

•• so • • •I 1• • •17 • •••• ••0 ••• ••• 1•1 •

78Marqueterie Wood-Staining.

Florentine tapestry medium for oil-colours,rella medium for water-colours .

Ecailline gold and medium .Two veineri (for incised lines), one broad, one

or Aqua-. each, ls.

„ 6d.

each, ls.ls.

ls.ls.

Gd.6d.6d.6d.ls.ls.

glass-painting

• each, 3d.6d.

narrow

Decorators' varnish

PAG1

Albert Memorial Chapel . 14Augsburg Cabinet . . . 27

Backing, Gold, for Ecail-

line 66, 68Blacklead Transfer .Bodying-in Border Lines Boule Boule and Counter

Certosina Choice and Cost of Mate-rials 76

Choice of Wood, etc. . 33, 38Cleaning Brushes . . 53, 68

„ Saucers, etc. . . 53Colouring Bellows . . . 42

Blotter . . 43, 51Box-top . . . 43Bracket . . . 48Handkerchief-

box . . . 49, 50

„ Wallpocket . . 46Counter, Boule and . . 20, 68

Decorator's Varnish . . . 50Derivation of word Ecail-

line Derivation of word Mar-

queterie 29Designs for Ecailline 63

Diaper Patterns . .27Dutch Marqueterie • 29

PAGE

Ecailline and Stains com-bined . . . 60

Derivation ofword . . . 55

Designs for . . 63Enamel . . 5G, 68Glass for . . . 63Gold-backing 66, 68Golden Varnish 55Grounding 56, 64, 66,

68Ivory • • . 56, 61

.7Medium 49, 56, 57,

64, 66on Glass . . • 63

Wood . • 55,55 58Outlines . 57, 61, 64Ruby Varnish . 55

Enamel, Ecailline . • 56, 68English Marqueterie . . 30

Franco-Japanese Marque-terie 47

French Marqueterie 19„ Polishing .53, 71

German Marqueterie • . 27Glass for Ecailline . . . 3

71 Paper 38, 39Gold 46, 49Gold-backing, Ecailline 66, 68Golden Varnish „ • • 55Grounding . . 56, 64, 66, 68G rounds, Punched . . . 52

79

. 39734219

. 20,68

12

77

77

I

55

77

. 7

For Ecailline.Ecailline enamel (brown)

11 medium .

fl ivory

11 outlining brown .

ff

I f black .

For French-Polishing.Colourless French-polish .Polishing oilMethylated spirit .Cotton wool and linen for pads

• ls. Gd.• 6d.

6d.2d.

PAGEHistory and Origin of the

Art of inlay 9

Incised Stained Work . 52Inlay, Egyptian . . . 9

„ History and Originof Art of . . . 9

„ Ivory and Ebony . 61„ Persian . . . 11, 12

Intarsia 16Ivory and Ebony . • 61, 62

„ Ecailline . 56, 61

Jones Bequest 19

Lessons 75Lists of Requisites 77

Management of Stains 33, 40, 53Marie Antoinette Escri-

toire, etc. 23Marqueterie, Derivation of

word . . . Dutch 29English . . . 30Franco-Japanese 47French . . . 19

Oil for polishing .

Outlines, Ecailline72, 73, 7457, 61, 64

PAGEOutlines, Marqueterie 40, 42, 43

„ Pen for . . . 43

Pads for polishing . . 72, 74Pen for outlines . . . . 43Persian Inlay . . . 11, 12Polishing, French . . 53, 71

„ Oil . . . 72, 73, 74Pads . . . 72, 74

Practical Instructions inthe use of Stains, Ena-mels, etc. 33

Preparing solution, Mar-queterie 39

Punched Grounds . 52Pyrography, Stained 49

Rainbow Stains . . . 46, 76Requisites, Lists of . . . 77Rubbing down . . 38, 55, 57Ruby Varnish, Ecailline 55

Solid Colour 46Spiriting-off 73Stains and Ecailline com-

bined 60Stains, Management of

33, 40, 53,, Rainbow . . . 76

Stained Pyrography . 49

Tables 35Tracing and Transferring 39Transfer, Blacklead . . 39Triqueti Marbles . . . . 14

Wood, etc., Choice of . 33, 38Wood-mosaic 12Wood-staining, Modern

adaptation of . . . . 46

29

It

11

11

• German . . . . 27„ Grounding . . . 40„ Medium . . . . 40„ PreparingSolution 39„ Outlines. . . 40, 42

Materials, Choice and cost of 76Modern adaptation of

Wood-staining . 46Moresco 12Mosaic 12

Butler & Tanner, The Selwood Printing Works, Frome, and London.

ART. PAGE

DESIGNING, HARMONIC 5OLD VIOLINS 12

PAINTING, DECORATIVE 8PERSPECTIVE

9

AMUSEMENTS.,DARDS 4CARD GAMES-4, 6, 8, 11, 12

CONJURING 4 11

ENTERTAINMENTS 3, 5, 11, 12

FORT0NE TELLING 6

GAMES, GENERAL 6MAGIC LANTERNS 7

PALMISTRY 8PHOTOGRAPHY 9POOL 9VAMPING 12

COLLECTORS.AUTOGRAPHS 2

BOOKS 7 11

BUTTERFLIES

3COINS 4DRAGONFLIES 3

i ENGRAVINGS HANDWRITING

57

1 HAWK MOTHS

7

. 'PAINTERS 89POSTAGE STAMPS 9POSTMARKS 9POTTERY & PORCELAIN

12VIOLINS 12WAR MEDALS

FARM.GOATS

6

HORSES 7

PIGS 9

POULTRY 7, 10SHEEP

11

STOCK RECORDS ....3, 9, 11

GAROEN.BEGONIAS

2

BULBS

3CACTUS 3

PAGECARNATIONS 4CHRYSANTHEMUMS 4CUCUMBEP S 4DICTIONARY OF GAR-

DENING ........ 6FERNS 5FRUIT 6GARDENING IN EGYPT 6GRAPES 7GREENHOUSE MANAGE•

MENT 7HOME GARDENING 6MUSIIROOMS 8ORCHIDS . 8PERENNIALS 7ROSES 10

TOMATOES 12VEGETABLES 12

HOME.

COOKERY 2 4, 5, 6MEDICINE 7MILLINERY 8NEEDLEWORK 5, 8

SHAVING 11

MECHANICS.

BOOKBINDING ..... 3CANE BASKET WORK .. 4FIREWORK MAKING .. 6FRETWORK MARQUETERIE 6, 7METAL WORKING..2, 11, 13MODEL YACHTS 8PIANO TUNING 9TICKET WRITING 13

TURNING 12WOOD WORKING ..2, 3, 6,

8, 9, 12, 13

NATURAL HISTORY.AQUARIA 2INSECTS 2, 3, 7DIRECTORY....... 8

PAGESK ETCHES 8,11TAXIDERMY 11VIVARIUM 12

PETS.

BIRDS 2, 3, 5, 6, 8, 12CATS 4Doss.... ..4, 5, 6, 7, 10. 12GUINEA PIGS 7MICE 8MONKEYS 8

PHEASANTS ..... 9PIGEONS 9RABBITS 10

SPORT.

ANGLING Z. 6CYCLING 6, 10FERRETING 6GAME PRESERVING 6SAILING 3, 7, 10, 11SKATING 11TRAPPING 12WILDFOWLING 12WILD SPORTS 12

SEAFARING.

BOAT SAILING .. 3DICTIONARY OF SEA

TERMS 11REALITIES OF SEA LIFE 11SAILING TOURS 10SOLENT GUIDE 10YACHTING YARNS 7

TOURISTS.

FRIESLAND MERES .... 6INLAND WATERING

PLACES 7MOUNTAINEERING,

WELSH 8ROUTE MAPS 5, 10SEASIDE WATERING

PLACES 11THAMES GUIDE 11

199 C 10/99

Catalogue of Practical HandhoqsPublished by L. Upcott Gill,170, Strand, London, W.C.

CONTENTS.

2 Published by L. IIPCOTT GILL,

American Dainties, and How to Prepare Them. By an AMERICAN LADY.In paper, price ls., by post ls. 2d.

Angler, Book of the All-Round. A Comprehensive Treatise on Angling inboth Fresh and Salt Water. In Four Divisions as named below. By JOHNBICKERDYKE. Witb over 220 Engravings. In cloth gilt, price 5s. 6d., by post 58.10d.

Angling for Coarse _Fish. Bottom Fishing, according to theMethods in use on the Thames, Trent, Norfolk Broads, and elsewhere. NewEdition, Revised and Enlarged. illustrated. In paper, price ls., by post Is. 2e1.

Angling for Pike. The most approved Metbods of Fishing for Pikeor Jack. New Edition, revised and enlarged. Profusely Illustrated. Inpaper, price ls., by post ls. 2d.

Angling for Game Fish. The Various Methods of Fishing forSalmon ; Moorland, Chalk-stream, and Thames Trout ; Grayling and Char.Well Illustrated. In paper, price ls. 6d., by post ls. 9d.

Angling in Salt Water. Sea Fishing with Rod and Line, from theShore, Piers, Jetties, Rocks, and from Boats ; together with Some Accountof Hand-Lining. Over 50 Engravings. In paper, price ls., by post, ls. 2d.

Angler, The Modern. A Practical Handbook on all Kinds of Angling. By"OTTER." Well illustrated. New Edition. In cloth gilt, price 2s. 6d., bypost 2s. 9d.

Aquaria, Book of. A Practical Guide to the Construction, Arrangement,and Management of Freshwater and Marine Aquaria ; containing FullInformation as to the Plants, Weeds, Fish, Molluscs, Insects, &c., How andWhere to Obtain Them, and How to Keep Them in Health. By REV. GREGORYC. BATEMAN, A.K.C., and REGINALD A. R. BENNETT, B.A. Illustrated.In cloth gilt, price 5s. Set., by post 58. 10d.

Aquaria, Freshwater: Their Construction, Arrangement, Stocking, andManagement. By REV, G. C. BATEMAN, A.K.C. Fully Illustrated. Incloth gilt, price 3s. 6d., by post 3s. 10d.

Aquaria, Marine: Their Construction, Arrangement, and Management.By R. A. R. BENNETT, B.A. Fully Illustrated. In cloth gilt, price 28. 6d.,by post 28. 9d.

Australia, Shall I Try? A Guide to the Australian Colonies for tbeEmigrant Settler and Business Man. With two Illustrations. By GEORGELACON JAMES. In cloth gilt, price 3s. by post 3s. 10d.

Autograph Collecting: A Practical Manual for Amateurs and HistoricalStudents, containing ample information on the Selection and Arrangementof Autographs, the Detection of Forged Specimens, &c., &c., to which areadded numerous Facsimiles for Study and Reference, and an extensiveValuation Table of Autographs worth Collecting. By HENRY T. SCOTT,M.D., L.R.C.P., In leatherette gilt, price 7s. 6d. nett, by post 7s. 10d.

Bazaars and Fancy Fairs : Their Organization and Management. ASecretary's Vade Mecum. By JOHN MITIR. In paper, price ls., by post Is. 2d.

Bees and Bee-Keeping: Scientific and Practical. By F. R. CHESHIRE,F,L S., F.R.M. S., Lecturer on Apiculture at South Kensington. In two vols.,cloth gilt, price 16s., by post 16s. 6d.

P•o/. I. Scientific. A complete Treatise on the Anatomy and Physio-logy of the Hive Bee. In cloth gilt, price 7s. 6d., by post 7s. 10d.

Vol. I I. , Practical Management of Bees, An Exhaustive Treatiseon Advanced Bee Culture. In cloth gilt, price 8s. 6d., by post 8s. 11d.

Bac-Keeping, Book of. A very practical and Complete Manual on the ProperManagement of Bees, especially written for Beginners and Amateurs who havebut a few Hives. By W. B. WEBSTER, First-class Expert, B.B.K.A. FullyIllustrated. In viper, price ls., by post ls. 2d. ; cloth, ls. 6d., by post ls. Bd.

Begonia Culture, for Amateurs and Professionals. Containing Full Directionsfor the Successful Cultivation of the Begonia, under Glass and in the OpenAir. By B. C. RAVENSCROFT. New Edition, Revised and Enlarged. Illus-trated. In paper, price ls., by post is. 2d.

Bent Iron Work : A Practical Manual of Instruction for Amateurs in tbeArt and Craft of Making and Ornamenting Light Articles in imitation of tbebeautiful Mediaeval and Italian Wrought Iron Work, By F. J. ERSKINE.

Illustrated. In paper, price ls., by post Is. 2d.Birds, British, for the Cages and Aviaries. A Handbook relating to

all British Birds which may be kept in Confinement Illustrated. By DR.

W. T. GREENE. In cloth gilt, price 3s. 6c1., by post 3s. 9d.Boat Building and Sailing, Practical. Containing Full Instructions for

Designing and Building Punts, Skiffs, Canoes, Sailing Boats, &c. Particularsof tbe most suitable Sailing Boats and Yachts for Amateurs, and Instructionsfor their Proper Handling. Fully Illustrated with Designs and WorkingDiagrams. By ADRIAN NEISON, C.E., DIXON KEMP, A.I.N.A•, and G.CHRISTOPHER DAVIES. In one vol., cloth gilt, price 7e. 6d., by post 7s. 10d

170, Strand, London, W.C. 3

Boat Building for Amateurs, Practical. Containing Full Instructionsfor Designing and Building Punts, Skiffs, Canoes, Sailing Boats, &c. FullyIllustrated with Working Diagrams. By ADRIAN NELSON, d.E. SecondEdition, Revised and Enlarged by DIXON KEMP, Author of "A Manual ofYacht and Boat Sailing," &c. In cloth gilt, price 28. 6d., by post 28. 9d.

Boat Sailing for Amateurs, Practical. Containing Particulars of themost Suitable Sailing Boats and Yachts for Amateurs, and Instructionsfor their Proper Handling, etc. Illustrated with numerous Diagrams. ByG. CHRISTOPHER DAVIES. Second Edition, Revised and Enlarged, and withseveral New Plans of Yachts. In cloth gilt, price 5s., by post 5s. 4d.

Bookbinding for Amateurs : Being Descriptions of the various Tools andAppliances Required, and Minute Instructions for their Effective Use. ByW. J. E. CRANE. Illustrated with 156 Engravings. In cloth gilt, price 25. 6d„by post 2s. 9d.

Breeders' and Exhibitors' Record, for the Registration of Particulars con-cerning Pedigree Stock of every Description. By W. K. TAUNTON. In 3 Parts,Part I., The Pedigree Record. Part II., The Stud Record. Part III., The ShowRecord. In cloth gilt, price each Part 2s. 6d., or the set 6s., by post 6s. 6d.

British Dragonflies. Being an Exhaustive Treatise on our Native Odonata :Their Collection, Classification, and Preservation. By W. J. LUCAS, B. A.Very fully Illustrated, with about 40 Coloured Plates, and numerous Black-and-White Engravings. In cloth gilt, by subscription, 21s. nett. The price willbe raised on publication to not less than 30s. nett.

Bulb Culture, Popular. A Practical and Handy Guide to the SuccessfulCultivation of Bulbous Plants, both in the Open and under Glass. By W. D.DRURY. New Edition. Fully Illustrated. In paper, price ls., by pest 1s. 2d.

Bunkum Entertainments : A Collection of Original Laughable Skits onConjuring, Physiognomy, Juggling, Performing Fleas, Waxworks, Panorama,Phrenology, Phonograph, Second Sight, Lightning Calculators, Ventriloquism,Spiritualism, &c., to which are added Humorous Sketches, WhimsicalRecitals, and Drawing-room Comedies. By ROBERT GANTHONY Illustrated.In cloth, price 2s. 6d., by pest 2s. 9d.

Butterflies, The Book of British : A Practical Manual for Collectorsand Naturalists. Splendidly Illustrated throughout with very accurateEngravings of the Caterpillars, Chrysalids, and Butterflies, both upper andunder sides, from drawings by the Author or direct from Nature. ByW. J. LUCAS, B.A. In cloth gilt, price 3s. 6d., by post 3s. 9d.

Butterfly and Moth Collecting: Where to Search, and What to Do. ByG. E. Simms. Illustrated. In paper, price ls., by post ls. 2d.

Cabinet Making for Amateurs. Being clear Directions How to Constructmany Useful Articles, such as Brackets, Sideboard Tables, Cupboards,and other Furniture. Illustrated. In cloth gilt, price 2s. 6d., by post 2s. 9d.

Cactus Culture for Amateurs: Being Descriptions of the various Cactusesgrown in this country ; with Full and Practical Instructions for their Success-ful Cultivation. By W. WATSON, Assistant Curator of the Royal BotanicGardens, Kew. New l'alition. Profusely Illustrated. In cloth, gilt, price 5s.nett, by post 5s. 4d.

Cage Birds, Diseases of : Their Causes, Symptoms, and Treatment. A Handbook for everyone who keeps a Bird. By DR. W. T, GREENE, F.Z.S. In paper,vrice ls., by post ls. 2d.

Cage Birds, Notes on. Second Series. Being Practical Hints on theManagement of British and Foreign Cage Birds, Hybrids, and Canaries. Byvarious Fanciers. Edited by Da. W. T. GREENE. In cloth gilt, price6s., by post 6s. 6d.

Canary Book. The Breeding, Rearing, and Management of all Varieties ofCanaries and Canary Mules, and all other matters connected witb this Fancy.By ROBERT L. WALLACE. Third Edition. In cloth gilt, price 5s., by lost58. 4d. ; with COLOURED PLATES, 6s. 6d., by post 6s. 10d.

General Management of Canaries. Cages and Cage-making,Breeding, Managing, Mule Breeding, Diseases and their Treatment, Moulting,Pests, &c. Illustrated. In cloth gilt, price 2s. 6d., by post 28. 9d.

Exhibition Canaries. Full Particulars of all the different Varieties,their Points of Excellence, Preparing Birds for Exhibition, Formation ar dManagement of Canary Societies and Exhibitions. Illustrated. In clothgilt, price 28. 6d., by post 28. 9d.

I

4 Published by L. UPCOTT GILL,

Cane Basket Work: A Practical Manual on Weaving Useful and FancyBaskets By ANNIE FIRTH. Illustrated. In cloth gilt, price is. 6d., by post 18.ed,

Card Conjuring: Being Tricks with Cards, and How to Perform Them. By PROF.ELLIS STANTON. Illustrated, and in Coloured Wrapper. Price ls., by post is. he.

Card Tricks, Book of, for Drawing-room and Stage Entertainments byAmateurs ; with an exposure of Tricks as practised by Card Sharpers andSwindlers. Numerous Illustrations. By PROF. R, KUNARD. In illustratedscrapper, price 2s. 6d., by post 2s. 9d.

Carnation Culture, for Amateurs. The Culture of Carnations and Picoteesof all Classes in the Open Ground and in Pots. By B. C. RAVENSCROFT. Illus-trated. In paper, price ls., by post ls. 2d.

Cats, Domestic or Fancy : A Practical Treatise on their Antiquity, Domestication, Varieties, Breeding, Management, Diseases and Remedies, Exhibitionand Judging. By JOHN JENNINGS. Illustrated. In cloth gill, price 2s. 6d., bypost 2s. 9d.

Chrysanthemum Culture, for Amateurs and Professionals. Containing FullDirections for the Successful Cultivation of the Chrysanthemum for Exhibitionand the Market. By B. C. RAVENSCROFT. New Edition. Illustrated. inpaper, price ls., by post ls. 2d.

Chrysanthemum, The Show, and Its Cultivation. By C. SCOTT, ofthe Sheffield Chrysanthemum Society. In paper, price 6d., by post 7d.

Coins, a Guide to English Pattern, in Gold, Silver, Copper, and Pewter,from Edward I. to Victoria, with their Value. By the REV. G. F. CROWTHER, M.A.Illustrated. In silver cloth, with gilt facsimiles of Coins, price 5s., by post 5s. 3d.

Coins of Great Britain and Ireland, a Guide to the, in Gold, Silver,and Copper, from the Earliest Period to the Present Time, with their Value.By the late COLONEL W. STEWART THORBURN. Third Edition. Revised andEnlarged, by H. A. GRUEBER, F.S.A. Illustrated. In cloth gilt, price 10s. 6d.nett, by post 108. 10d.

Cold Meat Cookery. A Handy Guide to making really tasty and muchappreciated Dishes from Cold Meat. By MRS. J. E. DAVIDSON. In paper,price 18., by post ls. 2d.

Collie, The. Its History, Points, and Breeding. By HUGH DALZIEL, Illus-trated with Coloured Frontispiece and Plates. In paper, price ls., by postls. 24. ; cloth gilt, 24., by post 2s 3d.

Collie Stud Book. Edited by HUGH DALZIEL. In cloth gilt, price 3s. 6d,each, by post 3s. 9d. each.

Vol. I., containing Pedigrees of 1308 of the best-known Dogs, traced totheir most remote known ancestors ; Show Record to Feb., 1890, Ac.

Vol. II. Pedigrees of 795 Dogs, Show Record, Ac.Vol. III. Pedigrees of 786 Dogs, Show Record, Ac.

Conjuring, Book of Modern. A Practical Guide to Drawing-room andStage Magic for Amateurs. By PROFESSOR R. KUNARD. Illustrated. inillustrated wrapper, price 2s. 64., by post 2s. 9d.

Conjuring for Amateurs. A Practical Handbook on How to Performa Number of Amusing Tricks. By PROF. ELLIS STANTON. In paper, price ls., bypost ls. 2d.

Cookery, The Encyclopaedia of Practical. A complete Dictionary of allpertaining to the Art of Cookery and Table Service. Edited by THEO. FRANCISGARRETT, assisted by eminent Chefs de Cuisine and Confectioners. Profusely 4Illustrated with Coloured Plates and Engravings by HAROLD FURNESS, GEO.CRUIKSHANK, W. Mums ANDREW, and others. In 2 vols., deny 4to., halfmorocco, cushion edges, price £3 3s.; carriage free, £3 5s.

Cookery for Amateurs ; or, French Dishes for English Homes of allClasses. Includes Simple Cookery, Middle-class Cookery, Superior Cookery,Cookery for Invalids, and Breakfast and Luncheon Cookery. By MADAMEVALERIE. Second Edition. In paper, price ls., by post ls. 2d.

Cucumber Culture for Amateurs. Including also Melons, Vegel able Mar-ro .vs and Gourds. Illustrated. By W. J. MAY. In paper, price ls., by post ls. 2d.

170 Strand, London, W .C.

Cyclist's Route Map of England and Wales. Shows clearly all the Maly,and most of the Cross, Roads, Railroads, and the Distances between theChief Towns, as well as the Mileage from London. In addition to this,Routes of Thirty of the Most Interesting Tours are printed in red. FourthEdition, thoroughly revised. The map is printed on specially preparedvellum paper, and is the fullest, handiest, and best up-to-date tourists mapin the market. In cloth, price ls., by post ls. 2d.

Dainties, English and Foreign, and How to Prepare Them. By MRS .D In paper, price 18., by post ls. 2d.

Designing, Harmonic and Keyboard. Explaining a System whereby anendless Variety of Most Beautiful Designs suited to numberless Manufacturesmay be obtained by Unskilled Persons from any Printed Music. Illustratedby Numerous Explanatory Diagrams and Illustrative Examples. By C. H.WILKINSON. Deity 4to, cloth gilt, price £3 3s. nett, by post £3 35. 8d.

Dogs, Breaking and Training: Being Concise Directions for the propeleducation of Dogs, both for the Field and for Companions. SecondEdition. By "PATHFINDER." With Chapters by HUGH DALZIEL. Illus-trated. In cloth gilt, price 6s. 6d., by post 6s. 10d.

Dogs, British, Ancient and Modern: Their Varieties, History, andCharacteristics. By HUGH DALZIEL, assisted by Eminent Fanciers.Beautifully Illustrated with COLOURED PLATES and full-page Engraving-of Dogs of the Day, with numerous smaller illustrations in the text. Thisis the fullest work on the various breeds of dogs kept in England. Inthree volumes, demy 8vo, cloth gilt, price 10s. 6d. each, by post lls. each.

vol. L Dogs Used in Field Sports.Vol. III. Praetleal Kennel Management: A Complete,

Treatise on all Matters relating to the Proper Management of Dogs whetherkept for the Show Bench, for the Field, or for Companions.

Vol. II. is out of print, but Vols. I. and III. can still be had as above.

Dogs, Diseases of : Their Causes, Symptoms, and Treatment ; Modes ofAdministering Medicines ; Treatment in cases of Poisoning, Ac. For the useof Amateurs. By HUGH DALZIEL. Fourth Edition. Entirely Re-writtenand brought up to Date. In paper, price ls., by post ls. 2d. ; in cloth gilt,2s., by post 2s. 3d.

Dog-Keeping, Popular: Being a Handy Guide to the General Managementand Training of all Kinds of Dogs for Companions and Pets. By J. MAXTEE.Illustrated. In paper, price ls., by post ls. 2d.

Egg Dainties. How to Cook Eggs, One Hundred and Fifty Different Ways,English and Foreign. Inpaper, price ls., by post ls. 2d.

Engravings and their Value. Containing a Dictionary of all the GreatestEngravers and their Works. By J. H. SLATER. New Edition, Revised and ,brought up to (late, with latest Prices at Auction. In cloth gilt, price 15snett, by post, 15s. 5d.

Entertainments, Amateur, for Charitable and other ObjectsHow to Organise and Work them with Profit and Success. By ROBERTGANTHON Y. In paper, price ls., by post ls. 2d.

Fancy Work Series, Artistic. A Series of Illustrated Manuals on Artisticand Popular Fancy Work of various kinds. Each number is complete initself, and issued at the uniform price of 6d., by post 7,1. Now ready-(1)MACRAME LACE (Second Edition) ; .42) PATCHWORK; (3) TATTING; (4) CREWELWORK ; (5) APPLIQUE ; (6) FANCY EWING.

Feathered Friends, Old and New. Being the Experience of many years'Observation of the Habits of British and Foreign Cage Birds. By DR. W.T. GREENE. Illustrated. In cloth gilt, price 5s., by post 5s. 4d.

Ferns, The Book of Choice: for the Garden, Conservatory, and Stove.Describing the best and most striking Ferns and Selaginellas, and givingexplicit directions for their Cultivation, the formation of Rockeries. thearrangement of Ferneries, Ac. By GEORGE SCHNEIDER. With numerousColoured Plates

es. nett, byand otheprosItllEn 5trastions. in 3 vols., large post 4to. Cloth

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THE 1899 EDITION OF

Seaside Watering Places(23rd YEAR OF PUBLICATION).

A Description of over 250 Holiday Resorts on the Costs ofEngland and Wales, the Isle of Wight, the Channel Islands,and the Isle of Man, including the gayest and most quietplaces, giving full particulars of them and their attractions,and all other information likely to assist persons in selectingplaces in which to spend their Holidays according to theirindividual tastes ; with Mildness Directory of Tradesmen, so

that Visitors can send orders in advance of their arrival.

Corrections, Directory Announcements, and Adver-tisements for the 1900 Edition should now be sent in.

PROSPECTUSES FREE ON APPLICATION.

London : I. Upeott Gill, 170, Strand, W.C.P. T. 0

A Supplement to thatSplendid Book, PUBLISHED BY E. and F. N. SPON, Ltd.

0NICHOLSON'S

Dictionary ofGardening,

Is in preparation, bringing this great work on the Art andPractice of Horticulture right up to date. This is the finestwork on Gardening at present existing, and the Supplement—which is magnificently illustrated—will make it the newest.

it is expected that the first portion will be readyat an early date.

In Preparation.

TI1E SEA SERVICES.A Cuide to the Royal Navy and Mercantile Marine,

INCLUDING

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By A. COWIE.

The Book of Gardening :lbanObook of borticulture.

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Fourth Edition, 8vo, cloth, 4s. 6d.Bicycle Repairing. A Manual compiled from Articles in the "Iron

Age," by S. D. V. BURR. 208 pages, with over 200 illustrations.

Third Edition, considerably enlarged. 8vo, cloth, Illustrated, 9s.Metal Plate Work: Its Patterns and their Geometry, also Notes on

Metals and Rules in Mensuration for the Use of Tin, Iron, and Zinc-plateWorkers, Coppersmiths, Boiler-makers, Plumbers, and others. By C. T.MILLts, M.I.M.E., Examiner in Metal Plate Work to the City and Guildsof London Institute, &c.

CATALOGUE POST FREE ON APPLICATION.

LONDON:

L. UPOOTT GILL, 170, STRAND,'W.O. LONDON : E. & F. N. SPON LTD., 125, STRAND,AND OF ALL BOOKSELLERS.

•

DOG SOAPMADE BY

SPRATT'SPATENT

LIMITED.A NON-POISONOUS PREPARATION.

Invaluable for Preparing the (bat for Exhibition.

SOLD IN TABLETS.

DOG MEDICINES.Alterative Cooling Powders

Aperient Tasteless Biscuits

Chronic Skin Disease Cure

Cough Pills

Chemical FoodChorea Pills (St. Vitus' Dance)

Diarrhcea Mixture

Distemper Powders

Distemper Pills

Disinfectant for Kennels

Ear Canker Lotion

Eczema Lotion

Eye Lotion

Hair Stimulant

Jaundice or "Yellows " Pills

Locurium Oil ( atent) for Anima.

Use

Locurium Oil (Patent) for

Human Use (including Govern.

ment Stamp)

Mange Lotion

Purging Pills

Rheumatic., and Sprain Liniment

Rheumatic and Chest Founder Pills

Tonic Conditioit PillsVegetable Puppy VermifugeWorm Powders

Worm Pills

YOUR TRADESMAN OR STORES WILL SUPPLY YOU.

Spratt's Patent Limited, Bermondsey, London, S.E,PAMPHLET ON CANINE DISEASES, POST FREE.

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