In straight lines, or even in letting in circles, parts of circles, ellipses, in fact, any curved or angular work with veneers, I invariably cut the pattern out before laying it on the box, and then fit the other colored pieces in the spaces left. Very many veneers cannot be handled at all when dry, without breaking all to pieces and spoiling the pattern. It will be necessary to soak ebony, for instance, for some time before you want to use it. With this precaution, you can cut it in any shape without danger. It is the same with maple veneer. When I have cut out an intricate pattern in ebony, and wish to inlay the same with holly, I obtain an exact duplicate of the shape the holly should have, by placing it, wet, over the ebony, holding it firmly, so that it cannot slip, and then rapping the holly with the end of a tool handle. In this way a fac simile of the pattern is transferred in wet lines to the holly, and you have only to follow them over with a lead pencil to get a perfect shape. Then take a sharp square-ended knife, and laying the veneer on a hard surface, cut slowly and carefully all round the marks, and after a few incisions, you will have the satisfaction of seeing it come out perfect.
CHAPTER XVI.
DESIGNS IN MOSAIC.
These methods greatly expedite the labor of inlaying, for mere labor much of it is; that is, when repetition of the pattern is frequent, as it is in small designs.
The great trouble and vice of amateur mechanics is haste; they are too anxious to see the result of a design to give it proper attention in detail, and, as a consequence, it lacks that nicety and uniform elegance that characterize the shop-made goods. For where men work by the day, they are not too energetic as a rule.
DESIGNS IN MOSAIC.
By this I mean the employment of small bits of different colored woods to produce a certain effect. I have seen many that were made to represent foliage of trees, the wood being stained green, of course, but these works of art seem to me labor thrown away, and, except as mere curiosities, are in no wise attractive; for no workman can do more than imitate nature in this line, and it is a poor imitation.
Fig. 72.
