Marquetry Staining

The border No. 125 (Supplement

B.) for marquetry staining should first be lined in with black stain with a fine pen, the colours afterwards being filled in, care being taken not to use them too strong. Water stains are best for the purpose; they may be freely diluted and worked as in water-colour painting, to prevent them running; the wood may be brushed over with a wash of Steyuphix, which will also fill up the pores. The long panel by Ellen Welby, as well as the Iris and Daffodil designs, Nos. 115 and 116 (Supplement A.) may be treated in the same manner.

Chip-Carving

The Frame. No. 126, presents no difficulties, even to the beginner. Care should be taken with the corners, clean sharp cuts being necessary to avoid running into the adjacent pockets.

Metal Work

No. 124 is suitable for plain tracing, with the ground-work matted. Trace the design carefully upon the metal, the lines evenly indented, and then punch the background with a three-point punch. The design could be adapted for respousse.

Pyrogravure

The Borders Nos. 124 and 125 would be very suitable for poker work. A fine point should be used, and the line only slightly indented. The background could be treated in any of the various ways shown on page 294 of Vol. I. (November). The acorn border would be suitable also for relief burning. The background may be first lowered with the aid of a gauge, and afterwards burned. The relief of the leaves should be slight, the natural curves being carefully treated. The acorns will be the highest relief, say, 1/4 inch. If the border be stained, brush over thoroughly after burning with a wire brush to remove the charred wood.

Leather Work

Design No. 124 would look well in high relief. The pattern should he incised, or cut to about l-32nd in. and the ground then punched down. The work may be stained.