CHAPTER IX.
AMERICAN POLISHING PROCESSES
The method of polishing furniture practised by the American manufacturers differs considerably from the French polishing processes adopted by manufacturers in most European countries. This difference, however, is mostly compulsory, and is attributable to the climate. The intense heat of summer and the extreme cold of winter will soon render a French polish useless, and as a consequence numerous experiments have been tried to obtain a polish for furniture that will resist heat or cold. The writer has extracted from two American cabinet-trade journals, The Cabinet-maker and The Trade Bureau, descriptions of the various processes now used in the States, which descriptions were evidently contributed by practical workmen. The following pages are not, strictly speaking, a mere reprint from the above-named journals, the articles having been carefully revised and re-written after having been practically tested; attention to them is, therefore, strongly recommended.
In these processes the work is first filled in with a "putty filler," and after the surface has been thoroughly cleaned it is ready for shellac or varnish. Second, a coating of shellac is next applied with a brush or a soft piece of Turkey sponge. This mixture is composed of two parts (by weight) of shellac to one of methylated spirits, but what is called "thin shellac" is composed of one part shellac to two of spirits. After the coating is laid on and allowed to dry, which it does very soon, it is rubbed carefully with fine flour glass-paper, or powdered pumice-stone—about four coats are usually given, each one rubbed down as directed. Third, when the surface has received a sufficient body, get a felt-covered rubber and apply rotten-stone and sweet oil in the same manner as you would clean brass; with this give the work a good rubbing, so as to produce a polish. Fourth, clean off with a rag and sweet oil, and rub dry; then take a soft rag with a few drops of spirit upon it, and vapour up to a fine polish. With these few preliminary remarks, the following will be easily understood.
Use Of Fillers.—The cost of a putty filler consists chiefly in the time consumed in applying it. In the matter of walnut-filling much expense is saved in the processes of coating and rubbing if the pores of the wood be filled to the surface with a substance that will not shrink, and will harden quickly. The time occupied in spreading and cleaning a thin or fatty mixture of filler, or a stiff and brittle putty made fresh every day, is about the same, and while the thin mixture will be subject to a great shrinkage, the putty filler will hold its own. It will thus be seen that a proper regard to the materials used in making fillers, and the consistency and freshness of the same, form an important element in the economy of filling.
A principal cause of poor filling is the use of thin material. By some a putty-knife is used, and the filling rubbed into the surfaces of mouldings with tow, while others use only the tow for all surfaces, mostly, however, in cases of dry filling. In the use of the wet filler, either with a knife or with tow, workmen are prone to spread it too thin because it requires less effort, but experience shows that the greatest care should always be taken to spread the putty stiff and thick, notwithstanding the complaints of workmen. In fact, this class of work does not bring into play so much muscle as to warrant complaints on account of it. Nor can there be any reasonable excuse for taking a longer time to spread a stiff filler than a thin filler.
Good results are not always obtained by the use of thick fillers, because the putty is spread too soon after the application of the first coat of oil, which liquid should be quite thin, and reduced either with benzine or turpentine, so that when the putty is forced into the pores the oil already in them will have the effect of thinning it. As an illustration of the idea meant here to be conveyed, we will suppose a quantity of thick mud or peat dumped into a cavity containing water, and a similar quantity of the same material dumped into another cavity having no water; the one fills the bottom of the cavity solid, while the other becomes partly liquid at the bottom, and must of necessity shrink before it assumes the solidity of the former. Hence it appears that work to be filled should be oiled and allowed to stand some time before receiving the filler, or until the oil has been absorbed into the pores.
The preparatory coating should not be mixed so as to dry too quickly, nor allowed to stand too long before introducing the putty, for in this case the putty when forced along by the knife will not slip so easily as it should.
The cost of rubbing and sand-papering in the finishing process is very much lessened if the cleaning be thorough, and if all the corners and mouldings be scraped out, so that pieces of putty do not remain to work up into the first coat of shellac, or whatever finish may be used as a substitute for shellac.
Another important feature in hard filling is to let the work be well dried before applying the first coat of finish. One day is not sufficient for the proper drying of putty fillers, and if in consequence of insufficient drying a part of the filling washes out, it is so much labour lost. As a safeguard against washing out, these fillers should be mixed with as much dryer or japan as the case warrants, for it frequently occurs that work must be finished, or go into finish, the day following the filling, whether it be dry or not.
By observing the main facts here alluded to, good filling may always be obtained, and at a cost not exceeding that of poor work.
For the light woods, including ash, chestnut, and oak, the filling is similar to that used in walnut, except the colouring material, which, of course, must be slight, or just enough to prevent the whiting and plaster from showing white in the pores. This colouring may consist of raw sienna, burnt sienna, or a trifle raw, or umber; one of these ingredients separate, or all three combined, mixed so as to please the fancy and suit the prevailing style. The colouring may be used with a dry filling, although a wet filling is more likely to give a smooth finish and greater satisfaction, and the colour of the filler can be seen better in the putty than in the dry powder.
Upon cheap work a filler should be used that requires the least amount of labour in its application. For this purpose liquid fillers, like japan, are suitable. If, however, a fine finish on fine goods is required, the putty compositions of various mixtures are the more appropriate. The secret of the process of filling consists in the mixing of the compounds and the method of using them. A liquid filler or a japan simply spread over the work in one or two coats can hardly be called filling, yet this will serve the purpose very well for cheap furniture.
Thick compositions or putty fillers are composed of whiting and plaster, or similar powders having little or no colour. This material is mixed with oil, japan, and benzine, with a sufficient quantity of colouring matter to please the fancy. The value of these fillers is in proportion to their brittleness or "shortness," as it is termed, and, to give them this quality, plaster is used and as much benzine or turpentine as the mixture will bear without being too stiff or too hard to clean off. Sometimes a little dissolved shellac is used to produce "shortness." This desirable feature of a filler is best effected by mixing a small quantity of the material at a time. Many workmen mistakenly mix large batches at a time with a view of securing uniformity of colour, and this is one cause why such fillers work tough and produce a poor surface. An oil mixture soon becomes fatty and tough, and must be reduced in consistency when used, as it is apt when old to "drag" and leave the pores only partly filled. These fillers should be mixed fresh every day, and allowed to stiffen and solidify in the wood rather than out of it.
The surface of a pore is the largest part of it, and it is desirable to fill it to a level as nearly as possible. This is done by using the filler thick or stiff.
Making Fillers.—In making "fillers," a quantity of the japan which is used in the ingredients can be made at one time, and used from as occasion may require. It is made in the following manner:
Japan of the Best Quality.—Put ¾ lb. gum shellac into 1 gall. linseed-oil; take ½ lb. each of litharge, burnt umber, and red-lead, also 6 oz. sugar of lead. Boil in the mixture of shellac and oil until all are dissolved; this will require about four hours. Remove from the fire, and stir in 1 gall. of spirits of turpentine, and the work is finished.
Fillings for Light Woods.—Take 5 lb. of whiting, 3 lb. calcined plaster (plaster of Paris), ½ gall. of raw linseed-oil, 1 qt. of spirits of turpentine, 1 qt. of brown japan, and a little French yellow to tinge the white. Mix well, and apply with a brush; rub it well with excelsior or tow, and clean off with rags. This thoroughly fills the pores of the wood and preserves its natural colour.
Another for Light Woods.—Take 10 lb. of whiting, 5 lb. of calcined plaster, 1 lb. of corn starch, 3 oz. calcined magnesia, 1 gall. of raw linseed-oil, ½ gall. spirits of turpentine, 1 qt. of brown japan, 2 oz. French yellow. Mix well, and apply with brush; rub in well with excelsior or tow, and clean off with rags.
For Mahogany or Cherry Wood.—Take 5 lb. of whiting, 2 lb. of calcined plaster, 1½ oz. dry burnt sienna, 1 oz. Venetian red, 1 qt. of boiled linseed-oil, 1 pt. of spirits of turpentine, and 1 pt. of brown japan. Mix well, apply with brush, and rub well in with excelsior or tow. Clean off with rags dry.
For Oak Wood.—Take 5 lb. of whiting, 2 lb. calcined plaster, 1 oz. dry burnt sienna, ½ oz. of dry French yellow, 1 qt. raw linseed-oil, 1 pt. benzine spirits, and ½ pt. white shellac. Mix well, apply with brush, rub in with excelsior or tow, and clean off with rags.
For Rosewood.—Take 6 lb. of fine whiting, 2 lb. of calcined plaster, 1 lb. of rose-pink, 2 oz. of Venetian red, ½ lb. of Vandyke brown, ½ lb. of Brandon red, 1 gall. of boiled linseed-oil, ½ gall. of spirits of turpentine, 1 qt. of black japan. Mix well together, apply with brush, rub well in with tow, and clean off with rags.
For Black Walnut (1).—For medium and cheap work. Take 10 lb. of whiting, 3 lb. dry burnt umber, 4 lb. of Vandyke brown, 3 lb. of calcined plaster, ½ lb. of Venetian red, 1 gall. of boiled linseed-oil, ½ gall. of spirits of turpentine, 1 qt. of black japan. Mix well and apply with brush; rub well with excelsior or tow, and clean off with rags.
For Black Walnut (2).—An improved filling, producing a fine imitation of wax finish, may be effected by taking 5 lb. of whiting, with 1 lb. of calcined plaster, 6 oz. of calcined magnesia, 1 oz. of dry burnt umber, 1 oz. of French yellow to tinge the white. Add 1 qt. of raw linseed-oil, 1 qt. of benzine spirits, ½ pt. of very thin white shellac. Mix well, and apply with a brush; rub well in, and clean off with rags.
An Oil-Colour for Black Walnut (3), to be used only on first-class and custom work.—Take 3 lb. of burnt umber ground in oil, 1 lb. of burnt sienna ground in oil, 1 qt. of spirits of turpentine, 1 pt. of brown japan. Mix well and apply with a brush. Sand-paper well; clean off with tow and rags. This gives a beautiful chocolate colour to the wood.
Numerous compositions are in the market for filling the pores of wood, and in this connection particular attention has been given to walnut, for the reason that this wood is used in large quantities in the furniture industry, and is nearly, if not quite, as porous as any other of the woods used.
A variety of walnut fillings have been recommended to the trade in order to meet the demand consequent upon the different grades of finish and the method of obtaining the finish, so that it would be difficult to pronounce as to the superiority of any one filling for general purposes. In treating this subject, attention should be given to the necessities for the use of filling, so that each one may determine for himself the kind of composition best adapted for the work in hand, and the best method of applying it.
Finishing.—Having described the methods of making and applying the "fillings," we will now describe the mode of finishing, and begin with the "dead-oil finish." We can remember when a satisfactory oil-finish was produced either with a good quality of japan or a fair quality of spirits. These materials are recommended to be used by inexperienced workmen and those not familiar with the mixing of the various grades of japan and varnish with oil, turpentine, benzine, etc. This method of oil-finish, too, is scarcely inferior to the shellac or spirit-varnish method, and it is cheaper. When the best finish is desired, a sufficient number of coats to fill the pores of wood to a level are required, and then the whole surface should be subjected to the rubbing process. The use of these fillers provides an oil-finish in a simplified form for those who are not aware of the difference between hard and soft gum compositions as a base for rubbing. In fact, the rubbing process constitutes a fine oil-finish, and requires a hard gum, whether it be of japan, varnish, or shellac.
The use of varnish or its substitute as a filler and finish is more frequent than the use of shellac, and for cheap work it is equally good. The surface produced by a hard gum composition must be smooth and dead, or but slightly glossed, so as to admit of the pores being filled full or to a level. It may be added that a coat or any number of coats of the composition referred to above is substantially a filling, and the quality of finish depends upon the number of coats, together with the amount of rubbing applied.
Thus far we have simply called attention to the best quality of oil-finish and the manner of producing it. Possibly three-fourths of all wood-finishing, particularly walnut-finishing, is several degrees below the best quality. In fact, oil-finish may imply only one coat of any composition that will dry, while two coats may be regarded as fair, and three coats a very good quality of finish. For the class of finish not rubbed down with pumice-stone and water, oil-varnish would be out of place on account of its gloss; hence shellac, being in composition similar to japan, is the better material, because of its dull appearance or lack of gloss as compared with shellac.
In addition to the liquid fillers already mentioned, there is a putty or powder filling used for cross-grained woods, or such woods as have a deep pore. This filling is forced into the wood previous to the application of the other finishing compounds, with the use of which it in no way interferes. On the contrary, it economises the use of the liquid fillers, and, while constituting a part of an oil-finish, is also a finish wholly independent of the other methods mentioned—that is to say, the same results can be obtained by the use of either one, although the putty or powder filling is attended with greater expense both as to time and material. The hard filling is generally used on walnut, ash, and all coarse-grained woods.
With regard to oil-finishes, viz., spirit-varnish or oil-varnish, shellac is thought by many to be the best for fine work; but others think differently. We may say of shellac that it will finish up into any degree of polish, and while it will not retain a French polish long in this climate, it will replenish easier and cheaper than any other finish, and continue to improve under each application. For a common finish, however, oil preparation is as good as shellac, and even for a fine finish it is only second to shellac, if made of a hard gum. On common finish, too, the oil will wear better than shellac in stock or on storage, so far as preserving its freshness is concerned.
The cost of oil-finish is governed chiefly by the amount of labour expended on it. A suite of walnut furniture can be well rubbed with sand-paper in two hours, or even less; while two weeks could be profitably employed in rubbing another suite with pumice and water.
Black Walnut Finishing.—The fashionable finish for black walnut work, particularly chamber sets, is what is known to the trade as the "dead-oil finish." It is admired, perhaps, because it has a gloss, rather than a shine of the varnish stamp. There is no more labour required upon it than upon a bright finish, but the process of manipulation is different, and harder to the fingers.
It should be premised that the walnut work of the day bears upon its surface, to a greater or less extent, raised panels covered with French burl veneer. And upon this fact largely depends the beauty of the production. And the endeavour is to so finish the article that there shall be a contrast between the panel and the groundwork on which it is placed. In other words, the former should be of a light colour, while the latter is of a darker shade. In that view the palest shellac should be used on the panels, and darker pieces, liver coloured, etc., on the body of the work. The darker grades of shellac are the cheaper, and will answer for the bulk of the work, but the clearest only for the panels.
In commencing to finish a job direct from the cabinet-maker's hand, rough and innocent of sand-paper, first cover the panels with a coat of shellac to prevent the oil in the filling from colouring them dark. Next, cover the body of the work with a wood filling composed of whiting and plaster of Paris, mixed with japan, benzine, and raw linseed-oil, or the lubricating oil made from petroleum; the whole covered with umber, to which, in the rare cases when a reddish shade is wanted, Venetian red is also added. This filling is then rubbed off with cloths, and by this process tends to close up the grain of the wood and produce an even surface. More or less time should be allowed after each of the several steps in the finishing process for the work to dry and harden, though much less is required in working with shellac than with varnishes composed of turpentine, oil, and gums. But the time that should be allowed is often lessened by the desire to get the work through as soon as possible, so that no standard can be set up as to the number of hours required between each of the several processes. It would be well if twelve hours intervened, but if work to which ten days could well be devoted must be hurried through in three, obviously the processes must follow each other in a corresponding haste.
A coating of shellac is then given the whole work, light on the panels and dark on the body work, and when it has dried and hardened, which it does very soon, it may be rubbed down. This process of "rubbing down" should be done evenly and carefully, so as not to rub through the shellac at any point, and be done with the finer grades of sand-paper for the cheaper class of work, particularly at first, but at a later period of the process, and for the better class of articles in all cases, hair-cloth should be used, the material for the "rubbing down" being pumice-stone moistened with raw linseed-oil for the best work, and the lubricating oil, before mentioned, for cheaper work, or the covered parts of the better grades. This rubbing down involves labour, wear of fingers and finger-nails, and is carried on with an ordinary bit of hair-cloth, the smooth surface next the wood, and not made in any particular shape, but as a wad, ball, or otherwise. In the corners and crevices where the hair-cloth will not enter it will be necessary to use sand-paper of the finest grades, and worn pieces only.
Three coats of shellac are put on, followed each time by this rubbing-down process, each one giving the work a smoother feeling and a more perfect appearance. Afterwards, to complete the whole, a coating of japan thinned with benzine is applied, which gives to the work a clean appearance and the dead glossy finish.
There is this objection to the above style of finish, that the japan catches all the dust which touches it, and holds it permanently, so that many of the best workmen will not have work finished in this way for their own private houses, preferring the brighter look given by shellac and varnish without rubbing down the last coat, believing that the work can be kept much cleaner.
Finishing Veneered Panels, etc.—The large oval panels of desks, etc., covered with French veneer, are generally taken out and finished by themselves. The process is similar to that above given, with successive coats of shellac and varnish, and the oil and pumice-stone rubbing down; but the final part of this latter process is a rubbing down with rotten-stone; then the merest trifle of sweet-oil is applied all over the surface and wiped off. (See Rosewood, etc., farther on.)
For Light Woods (Dead Finish).—Apply two or three coats of white shellac; rub down with pumice and raw linseed-oil, and clean off well with rags; use varnish-polish on the panels.
Another.—Finish as in the previous recipe. For a flowing coat of varnish-finish apply one flowing coat of light amber varnish. If a varnish-polish is desired, apply three coats of Zanzibar polishing varnish. Rub down and polish, and the result will be a splendid finish.
Mahogany or Cherry Wood.—For shellac dead finish apply two coats of yellow shellac. Rub down with pumice and raw linseed-oil. If a varnish-finish is desired, apply a flowing coat of light amber varnish or shellac thus rubbed. The panels should receive two coats of Zanzibar polishing varnish.
Oak.—For a dead finish give three coats of shellac, two-thirds of white and one-third of yellow, mixed. Rub down with pumice and raw linseed-oil. For a cheap varnish-finish give one flowing coat of light amber varnish in the shellac, rubbed as directed. Varnish-polish the panels.
Rosewood, Coromandel, or Kingwood (a Bright Finish).—Apply two thin coats of shellac, sand-papering each coat; then apply three or four coats of Zanzibar polishing varnish, laying it on thin, and giving it sufficient time to dry thoroughly. When it is perfectly hard, rub down with pumice and water. Polish with rotten-stone to a fine lustre, clean up with sweet-oil, and vapour up the oil with a damp alcohol rag. The result is a splendid mirror-like polish. This is the method employed in polishing pianofortes in America.
Walnut.—For a cheap finish, apply one coat of yellow shellac. When dry, sand-paper down. Apply with brush; rub in well; clean off with rags. This gives a very fair finish.
For a medium dead finish apply two or three coats of yellow shellac. When dry, rub down with pumice and raw linseed-oil; clean up well; varnish-polish the panels.
For finish. Before using the above filling, give the work one coat of white shellac. When dry, sand-paper down, and apply the above filling. Give two coats of white shellac; rub down with pumice and raw linseed-oil; clean up well with brown japan and spirits of turpentine, mixed. Wipe off. This is a good imitation of wax-finish; it is waterproof, and will not spot as wax-finish does. The panels are to be varnished-polished. This is to be used with the improved filling No. 2.
For finish. Apply three coats of yellow shellac; rub down with pumice and raw linseedoil; clean off well. Varnish-polish the panels. Use this with the oil colour No. 3.
Finishing Cheap Work.—With One Coat of Varnish.—Give the work a coat of boiled linseed-oil; immediately sprinkle dry whiting upon it, and rub it well in with tow all over the surface. The whiting absorbs the oil and completely fills the pores of the wood. For black walnut add a little dry burnt umber. For mahogany or cherry add a little Venetian red, according to the colour of the wood. The application can be made to turned work while in motion in the lathe. Clean off well with rags. The work can then be finished with a single coat of varnish, and for cheap work makes a very good finish.
For varnishing large surfaces, a two-inch oval varnish brush is to be used first to lay out the varnish, and then a two-inch flat badger flowing-brush for a softener. The latter lays down moats and bubbles left by the large brush. A perfectly smooth glass-like surface is thus obtained. When not in use, these tools should be put into a pot containing raw linseed-oil and spirits of turpentine. This keeps them in a better working condition than if they are kept in varnish, making them clean and soft. Standing in varnish they congeal and become hard as the spirit evaporates from the varnish. For shellacing a large surface use a two-inch bristle brush; for small work, such as carvings and mouldings, use a one-and-a-half inch flat brush. These brushes when not in use should be taken from the various pots and deposited in an earthen pot sufficiently large to hold all the shellac brushes used in the shop. Put in enough of raw linseed-oil and thin shellac to cover the bristles of the brushes. Kept in this manner, they will remain clean and elastic, and will wear much longer.
Wax Finishing.—Take ½ gall. of turpentine, 1½ lb. yellow beeswax, 1 lb. white beeswax, ½ lb. white rosin. Pulverise the rosin, and shave the wax into fine shavings. Put the whole into the turpentine, and dissolve it cold. If dissolved by a fire-heat, the vitality of the wax is destroyed. When it is thoroughly dissolved, mix well and apply with a stiff brush. Rub well in, and clean off with rags. When dry, it is ready for shellac or varnish as may be desired.
A Varnish Polish.—Take 10 oz. gum shellac, 1 oz. gum sandarach, 1 drachm Venice turpentine, 1 gall. alcohol. Put the mixture into a jug for a day or two, shaking occasionally. When dissolved it is ready for use. Apply a few coats. Polish by rubbing smooth.
For the commonest kind of work in black walnut a very cheap polish can be made in the following manner: Take 1 gall. of turpentine, 2 lb. pulverised asphaltum, 1 qt. boiled linseed-oil, 2 oz. Venetian red. Put the mixture in a warm place and shake occasionally. When it is dissolved, strain and apply to the wood with a stiff brush. Rub well with cloth when dry. Then take 1 pt. of thin shellac, ½ pt. boiled linseed-oil. Shake it well before using. Apply with cloth, rubbing briskly, and you will have a fine polish.
With Copal or Zanzibar Varnish.—As a substitute for filling, the wood may receive one coat of native coal-oil, thinned with benzine-spirits; then apply one coat of shellac, and follow with varnish, as desired. The time is not far distant when manufacturers must and will use varnish for the finishing of all kinds of furniture on account of the high price of shellac. Furniture finished in the last-named method may be rubbed with either water or oil. Water has a tendency to harden varnish, while oil softens it. If water is used there will be a saving of oil and rags. In the other case shellac, when rubbed with oil, should be cleaned with japan. This removes the greasy and cloudy appearance which is left after the rubbing with oil, and the work will have a clean, dry, and brighter appearance than otherwise.
We suggest another idea for finishing black walnut for a cheap or a medium class of work. In the first place, fill the pores of the wood, and apply one thin coat of shellac to hold the filling in the pores of the wood. Let this stand one day; sand-paper down with fine paper, then with a brush apply a coat of coach japan. Rub well, and clean off with rags. Let this stand one day to dry, then, with some sand-paper that has been used before, take off the moats from the japan. Go over the whole surface with a soft rag saturated with japan; wipe and clean off carefully, and the job is finished. This, though a cheap finish, is a good one for this class of work.
We give one more method of finishing black walnut, that is, with boiled linseed-oil only, and there is no other way of obtaining a genuine oil-finish. Sand-paper the wood down smoothly; apply a coat of boiled linseed-oil over the whole surface; sand-paper well, and clean up dry with rags; let it stand one day to dry, then apply one more coat of oil; rub well in with rags, but do not use sand-paper on this coat. Apply three, four, or more coats in the same way. When the work has received the last coat of oil and is dry, sand-paper down with old paper. Then clean up with the best coach japan with rags, and let the work stand one day to dry. The panels are to be varnish-polished the same as other wood. The work is then finished, and ready for the warerooms.
This method takes a longer time than finishing with either varnish or shellac; but the cost is less both for materials and for labour, the workman being able to go over a greater surface in the same time. The work will stand longer, and the method gives a rich and close finish, bringing out the figure and rich colour of the wood better than in any other method of finishing. It does not cost so much as shellac finish; it only requires a little more time for drying between the coats of oil. In finishing in varnish or shellac, to get the body or surface for polishing three or four coats are frequently applied, which is liable to produce a dull cloudy appearance. For this reason, and having in view the high and increasing price of stock, it seems to us that this really superior method of finishing in oil must take the place of shellac and varnish-finish in good work.
Polishing Varnish.—This is certainly a tedious process, and considered by many a matter of difficulty. The following is the mode of procedure: Put two ounces of powdered tripoli into an earthen pot or basin, with water sufficient to cover it; then, with a piece of fine flannel four times doubled, laid over a piece of cork rubber, proceed to polish your varnish, always wetting it well with the tripoli and water. You will know when the process is complete by wiping a part of the work with a sponge and observing whether there is a fair and even gloss. Clean off with a bit of mutton suet and fine flour. Be careful not to rub the work too hard, or longer than is necessary to make the face perfectly smooth and even. Some workmen polish with rotten-stone, others with putty-powder, and others with common whiting and water; but tripoli, we think, will be found to answer best.
An American Polish Reviver.—Take of olive-oil 1 lb., of rectified oil of amber 1 lb., spirits of turpentine 1 lb., oil of lavender 1 oz., tincture of alkanet-root ½ oz. Saturate a piece of cotton batting with this polish, and apply it to the wood; then, with soft and dry cotton rags, rub well and wipe off dry. This will make old furniture in private dwellings, or that which has been shop-worn in warerooms, look as well as when first finished. The articles should be put into a jar or jug, well mixed, and afterwards kept tightly corked.
This is a valuable recipe, and is not known, the writer believes, outside of his practice.