French Polishing and Enamelling Part 2

=Rubbers.=--In commencing to polish, the materials required are old flannel for the rubbers and clean old linen or cotton rags for the coverings, the softer the better; some polishers, however, prefer white wadding for rubbers instead of flannel. Rubbers for large surfaces are usually made of soft old flannel, firmly and compactly put together somewhat in the form of a ball, and the more they possess softness and compactness, and are large and solid, the more quickly and satisfactorily will they polish extensive surfaces. Small pliable rubbers are usually employed for chairs or light frame-work. Perhaps for a beginner a rubber made of old flannel may be best, as it takes some little practice to obtain the necessary lightness of hand.

The rubber for "spiriting-off" should be made up from a piece of old flannel or woollen cloth, and covered with a piece of close rag, doubled. Carefully fold the rag and screw it round at the back to make it as firm as possible, and sprinkle some spirit on the face of it just as it is covered; then give it two or three good smacks with the palm of the hand, and begin by laying on as lightly as possible for the first few strokes and gradually increase the pressure as the rubber gets dry; then take off the first fold of the cover and work it perfectly dry.

The rubber should present to the wood you are about to work on a smooth-rounded or convex surface. Have beside you linseed-oil in one receptacle, and some French polish in another. Apply one drop of polish and one drop of oil, and polish with a circular movement--traversing steadily the _whole_ surface to be polished, and from time to time, as may be necessary (when the rubber gets sticky and harsh, indicating that the inside needs replenis.h.i.+ng with more polish), open and apply more of it, and again draw over the linen cover, holding it tightly to form the convex face proper to do the work. After replenis.h.i.+ng, the rubber will probably need a little more oil to help it to work smoothly. Having thus worked on one coat of polish evenly over all the wood until it has got what may best be described as a _full look_, set it aside for two or three hours to sink in and become hard, and when completely dry, lightly paper off with gla.s.s-paper (very finest), afterwards dusting the surface to remove any trace of powder, and lay on a second coat of polish in the same method. Then allow twenty-four hours to dry. Another light papering may possibly be needed--dust off as before recommended and let the wood have a _third_ coat of polish.

For this third coat a fresh rubber should be made, the inside being sparingly supplied with spirits of wine instead of polish. Put a double fold of linen over it, touch it with one drop of oil, and go very lightly and speedily over the whole work.

In spiriting-off--the object of which is to remove any trace of smudge that may blur the surface unless removed thus by spirit--you should go gently to work, using a very light hand, or you may take the polish off as well, amateurs more especially.

=Position.=--All work should be placed in an easy and accessible position while it is being polished, so that the eye may readily perceive the effect of the rubber; this will greatly help to relieve the difficulties attending the polis.h.i.+ng of a fine piece of furniture. It should also be kept quite firm, so that it cannot possibly move about.

The most suitable benches for polishers are the ordinary cabinet-makers'

benches, with the tops covered with thick, soft cloths; these cloths should not be fastened down, it being an advantage to be able to remove them when required. When a piece of work too large to be placed upon the bench is in hand, pads will be found useful to rest it upon. These can be made by covering pieces of wood about two feet in length by three inches in width with cloth several times doubled, the work being placed so that a good light falls upon it. All thin panelling should be tacked down upon a board by the edges while polis.h.i.+ng.

=Filling-in.=--The first process the wood usually undergoes is "filling-in." This consists in rubbing into the pores of the wood Russian tallow and plaster of Paris, which have been previously heated and mixed together so as to form a thick paste. For rosewood, or to darken mahogany, a little rose-pink should be added. After well rubbing in, the surface should be cleared from all the surplus paste with the end of the sc.r.a.per, and then rubbed off with shavings or old rags, and made quite clean. For birch or oak, some use whiting or soft putty moistened with linseed-oil for the filling; this preparation prevents in a great measure the rising of the grain. For white delicate woods, such as sycamore, maple, or satin-wood, plaster of Paris, mixed with methylated spirit, is used. When polis.h.i.+ng pine, a coat of Young's patent size (2d. per lb.) is used instead of the above mixtures, and when dry is rubbed down with fine gla.s.s-paper.

Some workmen, who regard their modes of filling-in as important secrets, do their work surprisingly quick by the methods here given. The various processes are soon acquired by a little practice, and contribute greatly to the speedy advancement of a smooth and imporous ground, which is the most important point to observe in polis.h.i.+ng.

=Applying the Polish.=--In commencing to use the polish some are provided with a small earthenware dish, into which the polish is poured for wetting the rubbers; while others make a slit in the cork of the polish bottle, and so let it drip on to the rubber; whichever method is adopted, the rubber should not be saturated, but receive just enough to make a smear. Every time after wetting the rubber and putting on the cover it should be pressed upon the palm of the hand, or if a small rubber it can be tested between the thumb and finger. This is an important operation, for by it the polisher can easily tell the exact state of moisture, and at the same time, by the pressure being applied, the moisture is equalised. The tip of the finger should then be just dipped into the linseed-oil, and applied to the face of it; if the rubber should be rather sappy, the greatest care must be used or a coa.r.s.e streaky roughness will be produced; extreme lightness of hand is required until the rubber is nearly dry. (It would be a serious error to bear heavily on the rubber while the surface is moist; to do so, and to use too much oil on the rubber, are the causes of many failures in polis.h.i.+ng.)

In commencing to work, pa.s.s the rubber a few times gently and lightly over the surface in the direction of the grain; then rub across the grain in a series of circular movements, all one way, in full and free sweeping strokes, until the rubber is dry. Continue this operation until the pores are filled in, and the surface a.s.sumes a satisfactory appearance. It should then be left for about twelve hours; the polish will be well into the wood by that time. The polish should then be carefully rubbed down with No. gla.s.s-paper; this will remove the atomic roughness usually caused by the rising of the grain during the sinking period. In flat-surface work a paper cork can be used, and the rubbing lightly and regularly done in a careful manner, so as to avoid rubbing through the outer skin, especially at the edges and corners, or the work will be irremediably defaced.

The woods which possess a rising grain are well known to polishers; these are the light-coloured woods with a coa.r.s.e grain, viz., ash, birch, and oak. This rising of the grain can in a great measure be prevented by pa.s.sing a damp sponge over the work before commencing the polis.h.i.+ng, allowing it to dry, and papering it. After the rubbing or smoothing-down process is finished, the work should be well dusted; the polis.h.i.+ng can then recommence. The above operation must be again repeated with a rotary motion and gradually increased pressure as the rubber gets dry, and finished by lighter rubbings the way of the grain; this will remove any slight marks that may be occasioned by the circular movements of the rubber.

Working too long on any one part is to be avoided, nor should the rubber be allowed to stick even for an instant, or it will pull the coating of polish off to the bare wood. The rubber should be covered with a clean part of the rag as soon as a s.h.i.+ny appearance becomes apparent upon it, or at each time of damping, and less oil should be used towards the end of the operation, so as to gradually clear it all off from the surface.

Rubber marks can be removed by rubbing in a direction the reverse of the marks with a half-dry rubber and increased pressure. When the work has received a sufficient body, in finis.h.i.+ng the drying of the last rubber, ply it briskly the way of the grain to produce a clean dry surface for the spiriting-off.

The following is the method usually employed on fine carved or turned work when finished in the best style. In the first place it is embodied with polish, using a small rubber for the operation, after which it should have one coat of sh.e.l.lac (two parts by weight of sh.e.l.lac to one of spirits) applied with a brush, and when dry it should be carefully smoothed down with flour paper, the utmost caution being observed in dealing with the sharp edges, or the carving will be spoiled. Then it is embodied with polish again, and one coat of glaze applied with the greatest care. A few hours should be allowed to harden, and then finished off with a rubber slightly damped with thin polish. This is an expensive method, but it will pay in appearance for all the time bestowed.

For the best cla.s.s of cabinet and pianoforte work in amboyna or burr-walnut it is advisable not to use linseed-oil on the sole of the rubber when polis.h.i.+ng, but the best hog's lard; the reason for this is that these veneers being so extremely thin and porous the oil will quickly penetrate through to the groundwork, softening the glue, and causing the veneers to rise in a number of small blisters. Of course, this is not always the case, but the use of lard instead of oil will be found a good preventative. Lard is also used on the above cla.s.s of work when it is desirable to preserve the colour of the wood in its natural state.

The following method is employed for the best work: Immediately on receiving the job from the cabinet-maker, a good coating of thin, clean glue should be applied with a sponge or brush; this is allowed to dry, and thoroughly harden; it is then cleaned off, using the sc.r.a.per and gla.s.s-paper, cutting it down to the wood. The bodying-in with white polish is the next process, the usual sinking period being allowed; it is again cleaned off, but the sc.r.a.per this time should not quite reach the wood. Then embody again, and treat in a like manner. In getting up the permanent body, commence with a slight embodying; let this stand, and when the sinking period is over rub it down with a felt rubber and powdered pumice-stone; continue this several times, till the surface presents a satisfactory appearance, and the job is ready for the spiriting process. By this means the wood will retain its natural colour, and a beautiful transparent polish will result, and remain for a number of years. This also is an expensive process, but the result cannot be obtained in any other way.

=Spiriting-off.=--Most polishers affirm that if an interval of at least a couple of hours elapse between the final embodying and the spiriting-off the brilliancy of the polish will be improved, and remain harder and more durable. The spirit is applied in exactly the same way as the polish, and the same rubber can be used, but it should be covered with more than one fold of the soft linen rag; care should be taken not to make it very wet, or the gum on the surface of the work will be redissolved, and a dulness instead of a brilliancy will result. If the spirit should be very strong, the rubber should be breathed upon before using, and a little more oil taken up; some, however, prefer to mix a little polish with the spirit, while others prefer the spirit to be weakened by exposure to the air for a few hours; experience alone must be the teacher in this particular; but if the spirit should not "bite,"

as it is termed, all will be well. The last rubber should be worked a little longer than usual, and a trifle quicker, so as to remove the slight greasy moisture on the surface.

The finis.h.i.+ng touch is given to the work by a soft rag loosely rolled up and just a few drops of spirit dropped upon it, applied quickly the way of the grain. This will remove every defect, and leave it clear and brilliant. If, in a short time after finis.h.i.+ng, the polish becomes dull or rough, it will be owing to too much oil being absorbed in the process and working through the surface, combined with dust. It should be cleaned off first with a soft cloth, damped with a little warm water, and the whole repaired, as at first, with equal parts of polish and spirits mixed together, using the least possible damp of oil to make it finish clear; there is no danger of its happening again. In all cases the work must be rubbed till quite dry, and when nearly so the pressure may be increased.

The rubber for spiriting-off should be made up from a piece of old flannel, and be covered with a piece of old rag. This is preferable to very thin rag, and will give a better finish.

=Prepared Spirits.=--This preparation is useful for finis.h.i.+ng, as it adds to the l.u.s.tre and durability, as well as removes every defect of other polishes, and it gives the surface a most brilliant appearance.

It is made of half a pint of the very best rectified spirits of wine, two drachms of sh.e.l.lac, and two drachms of gum benzoin. Put these ingredients in a bottle and keep in a warm place till the gum is all dissolved, shaking it frequently; when cold add two teaspoonfuls of the best clear white poppy oil; shake them well together, and it is fit for use.

=Antique Style.=--For mediaeval or old English furniture a dull polish is generally preferred to a French polish, because it has a gloss rather than a brilliant polish, which materially a.s.sists in showing up mouldings or carvings to the best advantage; it is also more in character with the work of the Middle Ages. Another advantage is the facility of obtaining a new polish (after being once done) should the first one get tarnished, as the finis.h.i.+ng process can be performed without difficulty by any one, and a new polish obtained each time.

On receiving a job which is required to be done in this style, it should be "filled-in" in the usual manner, and afterwards bodied with white polish to a good extent; it is then left for a sinking period (say twelve hours). The work is then carefully rubbed down with powdered pumice-stone and a felt-covered block or rubber, and after well dusting it is ready for finis.h.i.+ng. The preparation used for this process is mainly composed of bees'-wax and turpentine (see Wax Polish, page 87), well rubbed in with a piece of felt or a woollen rag, and finished off by rubbing briskly with a very soft cloth or an old handkerchief to produce a gloss.

=Dull or Egg-sh.e.l.l Polish.=--This is another style of finis.h.i.+ng for mediaeval work; the process is very simple. In commencing a job to be finished in this style, the process of "filling-in" and "embodying" are first gone through, then a sinking period is allowed, after which it is embodied again, till the work is ready for finis.h.i.+ng. All the parts should be carefully examined to see if there is a good coating of polish upon them. This is important, for if the work should be only thinly coated it is liable to be spoiled by rubbing through in the last process. After allowing a few hours for the surface to harden, a pounce bag of powdered pumice-stone should be applied to the work, and a felt-covered rubber used, rubbing down in the direction of the grain until the work is of the desired dulness.

For the cheaper kind of work done in this style, the first process, of course, is the filling-in; then a rubber of wadding is taken and used without a cover, made rather sappy with polish and a few drops of oil added; and after bodying-in with this sufficiently, the work should be stood aside for twelve hours, then rubbed down with some fine worn gla.s.s-paper. The embodying is then again commenced, a proper rubber and cover being used; and when sufficient is put on, and while the surface is still soft, the pounce above mentioned should be applied, and rubbed down with a piece of wadding slightly moistened with linseed-oil until the desired dulness appears. This is becoming the fas.h.i.+onable finish for black walnut work.

=Polis.h.i.+ng in the Lathe.=--The lathe is of more use to a polisher than a great many persons outside the trade would imagine. By its aid turned work can be finished in a most superior style, and in less time than by hand. The articles usually done by the lathe are wood musical instruments, such as clarionets, flutes, etc.; also cornice-poles, ends, and mahogany rings, the latter being first placed in a hollow chuck and the insides done, after which they are finished upon the outside on a conical chuck. For table-legs, chair-legs, and all the turnery used in the cabinet-work, it will be found of great advantage to finish the turned parts before the work is put together.

Most of the best houses in the trade finish their work in this way, where all the work is polished out entirely with the rubber. In the first place, the filling-in is done. The band is thrown off the pulley and the work rubbed in; at the same time the pulley is turned round by the left hand. When this is done, the band is replaced and the work cleaned off with rags or shavings, the lathe to be driven with speed to get a clean surface. When applying the polish the lathe should revolve with a very slow motion.

The rubbers best adapted for turned work are made of white wadding, as the hollows and other intricacies can be completely finished out with a soft rubber. The work should first receive a coating of thick sh.e.l.lac, two parts by weight of sh.e.l.lac to one of methylated spirits, and applied with a brush or a soft sponge; after a couple of hours this is nicely smoothed with fine paper, and the "bodying-in" completed with the soft rubber and thin polish. There are numerous hard woods which do not require filling-in, amongst which may be mentioned boxwood, cocus, ebony, etc.; these may be rapidly polished in the lathe, on account of their texture, with the white polish. In spiriting-off a very soft piece of chamois leather (if it is hard and creased it will scratch) should be damped with methylated spirits, then wrung so that the spirit may be equally diffused; the lathe should then be driven at a rapid speed, and the leather held softly to the work. In a few minutes, if a dark wood, a brilliant surface will be produced.

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 polis.h.i.+ng 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 cla.s.s of work as polis.h.i.+ng entirely with French polish.

The way of treating small flat surfaces such as the frames of tables, looking-gla.s.ses, 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 gla.s.s-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 coa.r.s.e 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 quant.i.ty 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 gla.s.s 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 polis.h.i.+ng can be proceeded with until finished.

Upon oak this will have the appearance of inlaid work.

=Charcoal Polis.h.i.+ng.=--A method known as "charcoal polis.h.i.+ng" 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 polis.h.i.+ng 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.