CHAPTER IV.
CHEAP WORK.
Glazing.—Glaze is known to the trade under several names, such as slake, finish, and telegraph; it is used only for cheap work, when economy of time is a consideration, and is made as follows: mastic, 1 oz.; benzoin, 5 ozs.; methylated spirit, 5 gills. A superior article can be obtained from G. Purdom, 49, Commercial Road, Whitechapel, E., who is the manufacturer of a "patent glaze."
First give the work a rubber or two of polish after the "filling-in"; it is important to dry the last rubber thoroughly, so that no unctuousness remains upon the surface before applying the glaze, otherwise it will be of no effect. The way to apply it is as follows: Prepare a rubber as for polishing and make it moderately wet, and take only one steady wipe the way of the grain, never going over the same surface twice while wet; and when dry, if one coat is found not to be enough, apply a second in the same manner. For mouldings or the backs and sides of chair-work, this is generally considered to be sufficient. Some polishers will persist in using glaze to a large extent, even on the best-paid work; but it is not recommended, as the surface will not retain its brilliancy for a lengthened period, particularly in hot weather. Nothing is so good for the best class of work as polishing entirely with French polish.
The way of treating small flat surfaces such as the frames of tables, looking-glasses, builders' work, etc., is to first fill in, and give one or two rubbers of polish, drying the last rubber thoroughly; then glaze, and after a period of two or three hours finish with a rubber slightly wetted with thin polish. It is a bad plan to put glaze on newly-spirited work, or to re-apply it on old bodies.
The following is another method for cheap work: A coating of clear size is first given in a warm state (this can be obtained at most oil-shops), and when dry is rubbed down with fine glass-paper, after which a coating of varnish is applied with a sponge or a broad camel-hair brush, giving long sweeping strokes. The tool should be plied with some degree of speed, as spirit varnishes have not the slow setting properties which distinguish those of oil, and care should be taken not to go over the same part twice. When this is thoroughly hard it is nicely smoothed with fine paper, a few rubberfuls of polish is given, and it is then ready for spiriting-off.
Another plan is frequently adopted for cheap work: Make a thin paste with plaster of Paris, suitably tinted and watered, and well rub in across the grain with a piece of felt or old coarse canvas till the pores are all full; any superfluity should be instantly wiped off from the surface before it has time to set. The succeeding processes are papering and oiling. In applying the polish, which should be done immediately after oiling, the rubber should be made rather sappy with thin polish, and worked without oil. During the embodying a pounce-bag containing plaster of Paris is sparingly used; this application tends to fill the pores and also to harden the body of polish on the exterior, but too much should not be used, or it will impart a semi-opaque appearance to the work. This first body is allowed sufficient time to harden; it is then rubbed down lightly with flour paper or old worn No. 1, and then embodied with thicker polish or a mixture of polish and varnish, and the smallest quantity of oil applied to the rubber. When a sufficient body of polish is given to the work, the surface is rubbed very carefully with a lump of moist putty plied in the longitudinal direction of the grain; this will bring up a gloss, and very little spiriting will be required.
Stencilling.—An imitation of marqueterie on light-coloured woods can be obtained by the following method: Cut a stencil pattern in stout cartridge paper (this is best done upon a piece of glass with the point of a sharp penknife), and place it on the centre of a panel or wherever required, and have ready some gas-black mixed with thin polish; apply this with a camel-hair pencil over the cut-out pattern, and when it is removed finish the lines and touch up with a finer tool. The work should be first bodied-in, and when the pattern is dry rubbed down with a piece of hair-cloth (the smooth side down) on a cork rubber to a smooth surface, after which the polishing can be proceeded with until finished. Upon oak this will have the appearance of inlaid work.
Charcoal Polishing.—A method known as "charcoal polishing" is now much used for producing the beautiful dead-black colour which seems to have the density of ebony. Its invention is due to French cabinet-makers. The woods used by them are particularly well adapted for staining black or any other colour, limetree, beech, cherry, pear, soft mahogany, or any wood of a close and compact grain being the woods usually selected.
The first process is to give the work a coating of camphor dissolved in water and made rather strong; this will soon soak into the wood, and immediately afterwards another coat composed of sulphate of iron-water with a few nut-galls added. These solutions in blending penetrate the wood and give it an indelible tinge, and also prevent insects from attacking it. After these coats are dry, rub the surface with a hard brush (an old scrubbing-brush will do) the way of the grain, after which rub the flat parts with natural stick charcoal, and the carved or indented portions with powdered charcoal; the softest portion of the charcoal only should be used, because if a single hard grain should be applied it would seriously damage the surface. The workman should have ready at the same time a preparation of linseed-oil and essence of turpentine (linseed-oil one gill, and essence of turpentine one teaspoonful), a portion of which should be freely taken up with a piece of soft flannel and well rubbed into the work. These rubbings with the preparation and charcoal several times will give the article of furniture a beautiful dead-black colour and polish. This method of polishing is applied to the black-and-gold furniture, cabinets, etc., in imitation of ebony.
Another good black polish is obtained by gas-black being applied to the rubber after wetting with French polish, the cover being then put on and worked in the usual manner.
These black polishes should not be applied if there are coloured woods in the piece of furniture. Should the work be already dyed black, or in black veneers, it is best to use white polish, which will greatly help to preserve the transparent density of the dye.