72. Wax finishing is a good method of finishing any kind of hard or dark-colored wood; (A.) it does not give as satisfactory results, however, as do some other methods of finishing, upon soft or light-colored wood. There are a number of different kinds of wax finishes which can be purchased in almost any desired quantity, (B.) but an economical and satisfactory wax finish may be made by dissolving as much pulverized resin as may be picked up on a cent in a half pint of turpentine or gasolene heated in a water or steam double vessel. After this is clear, cut up and add a piece of beeswax as large as a thimble, and allow the finish to simmer slowly, until it is clear, when it is ready for use. This may be mixed in larger quantities by using the same proportions. If placed in an air-tight vessel, it will keep indefinitely.

(C.) This finish should be applied hot, with a brush, as smoothly and as evenly as possible, and allowed to stand until it has become quite hard, when it should be polished with a soft rag which is free from lint. As many coats as desired may be applied, each coat being treated in the same way, and adding to the beauty of the finish. Another method of applying this finish, and which gives satisfac tory results upon broad surfaces, is to make a pad of a rag, and rub the wax on the wood, rubbing until it is dry. This is not as satisfactory as it is to use a brush upon work where there are many corners to finish around.

One of the advantages of this wax finish is that it may be brightened if it becomes dim by going over it with a soft cloth, or it may be renewed and improved by another coat at slight expense and little trouble.

This is also a satisfactory method of finishing a dark floor made of a wood which will not splinter when it is rubbed.

73. (A.) Oil finish is perhaps the most simple way to finish a piece of furniture; it is best adapted to hard, dark woods. The material is made by mixing a quarter of a pint of turpentine with seven eighths of a quart of boiled linseed oil. It should be spread evenly over the surface to be finished, and should stand until as much of it as will, has soaked into the wood, when the surface should be brought to a finish by rubbing. This will require muscle, as the finish should stand about ten hours, during which time a thin film or skin will form, which must be removed by rubbing. Only a soft rag, free from lint, should be used, and be sure that the folds of the cloth do not leave their marks upon the surface. Rub with the grain.

(B.) Oil finish is a very durable finish, easily taken care of, and is used to some extent in finishing the most artistic furniture, being especially adapted to finishing mahogany. It has a character peculiarly its own, and exposure to moisture and heat affects it less than almost any other form of finish. As it should be occasionally oiled, it improves with age and care. This finish was used in olden times, and the care of generations gives a polish attainable by no other method.

74. Varnish forms the finish which is used most com monly upon all grades and kinds of work. (A.) The different grades are made of various vegetable gums and resins, cut in turpentine and mixed with boiled oil. A cheap grade of varnish or hard oil may be made by boiling resin, turpentine, and boiled oil together. Other gums may be treated the same way; the varnish used upon the best work, for instance, is made from copal, a vegetable product of the tropics. By a very careful process of boil ing, straining, and ripening, extending over months, copal is made into the product which is used so extensively upon furniture finishing, carriages, etc.

(B.) Varnish should be applied in a room heated to about 80° F., the dust should be laid by sprinkling, and there should be no drafts of air, nor flies or other insects to light upon it, if the best results are desired.

(C.) In flowing varnish, instead of laying a thin coat as in shellac, a thick coat should be applied. This may be done by using a thick, heavy brush; some prefer a heavy, round brush, and others think they can obtain the best results from a broad, flat brush. The finer the hairs, the better the results obtained.

The brush must be taken up full of varnish, enough to cover the entire surface, if possible, and spread or flowed very quickly. The brush should then be wiped out in the varnish pot. With the brush thus dried, go over the surface, picking up all that the brush will absorb; wipe this out in the pot, and repeat the operation until nothing is left but a thin film of varnish. If this is done properly, it will prevent all runs and streaks which result from un skillful workmanship.

When this coat is thoroughly dried, rub with number 00 sandpaper, pulverized pumice stone, or a smooth block of pumice stone (carriage painter's method), and repeat the process until the desired body of varnish is obtained. Rub down last coat with oil and polish. Allow as much time between last coats as possible, as the harder the varnish is, the better and more durable the work will be when completed.

75. Polishing. - This term applies to the process by which a polish is built up by rubbing, or "ragging" as workmen sometimes call it. The piece to be polished should receive two or three coats of shellac or varnish, which should be rubbed down to a surface, when it is ready for the polish.

To make a pad of convenient size for polishing, fold a piece of old, soft cloth, free from lint, and fill it with cot ton waste; or the end of a roll of cloth may be covered by the piece which is to do the actual polishing. Provide a cup of moderately thin shellac and another of boiled oil, of which about one quarter is turpentine; or better, a cup of sweet oil without turpentine. Dip the pad into the oil and allow it to soak in completely, then do the same with the shellac. Now dip the pad again into the shellac, and with the finger put on a single drop of oil, and rup lightly upon the work, with a circular motion, or if the work is large enough, the stroke may be longer. If the work is done with a straight stroke, do not stop at the end of the stroke, as the instant between the end of one stroke and the beginning of the return may be enough to allow the shellac to stick and make a hole in the surface, which will be difficult to repair; begin and end the stroke with a sweep ing motion. The idea of this method of polishing is to bring the shellac to a polish, using as little oil as possible for lubri cating, as the less oil used, the better will be the polish.

76. Brushes. - (A.) If brushes are to be used for stain or for filling, a cheap brush of any suitable size will do, a flat brush being preferred upon ordinary work. For shellac and varnish, the finer the brush, the better the results usually obtained. Ordinarily it is the best practice to use as large a brush as the nature of the work will per mit, as it will hold more, and cover more surface, than a smaller brush, and have fewer "laps." Chisel-pointed, flat brushes, from 11/2" to 21/2" in width, will be found satis factory for the work of schools and amateurs, but upon professional work, brushes from 31/2" to 5" often are used.

(B.) The care of the brushes is an important part of the work of those who use them, as neglect or carelessness may destroy a valuable brush overnight. Unless a brush is going to be used again the next day, it is always best to clean it thoroughly. If a stain, filling, paint, or varnish brush, use gasolene or turpentine, but if a shellac brush, use wood alcohol, cleaning off all the small particles. To obtain the best results, all brushes should be washed in hot, soapy water, and afterward rinsed in clean water; in general, however, this latter precaution may be dispensed with, unless the brushes are to be laid away indefinitely. Unless the above precautions have been taken, care should be taken that shellac and varnish brushes are not changed from one to the other. Never allow a brush to stand on its side for more than a few minutes at a time, as a wrong direc tion is easily given the bristles, and the brushes may be quickly destroyed by a little carelessness or negligence.

Old brushes, well broken in and cared for, will give better results than new brushes; therefore they should be treated with every possible consideration.

Varnish brushes often are left in the varnish pot, and if they are hung up so that they will not rest upon their bristles, this is the best way to keep them when they are in almost constant daily use.

Suggestive Exercises

69. Why is wood filler used? Describe paste filler. Describe the process of spreading filler and of rubbing it off. Describe liquid filler and the process of spreading it.

70. Why do we stain wood? What is the difference in the results of staining and filling and of filling alone? How may stains for open grained woods be mixed and used? Describe a simple cherry or ma hogany stain. Describe black walnut stain. What is the objection to a water stain? How may a rich mahogany stain be mixed? How may woods be darkened? Describe the composition of a rich brown stain; of a good green stain; of a brownish black. Describe ebonizing. For what purposes are shellac and lampblack and black varnish used?

71. Of what does shellac finish consist? What is the source of supply of shellac? Compare shellac and copal varnish. Demonstrate the application of shellac. Are thin or thick coats of shellac the better? Why is rubbing down necessary? Demonstrate. What precautions should be taken in regard to oily rags? Why? What should be guarded against in rubbing? What is a convenient size for a piece of sandpaper? Describe and demonstrate patching.

72. Describe the preparation of wax finish. Describe and demon strate two methods of applying wax finish.

73. Describe oil finish and its application. Describe its qualities.

74. Describe briefly the manufacture of varnish. Describe ideal con ditions for flowing varnish. Describe and demonstrate the method of flowing varnish.

75. Describe and demonstrate the process of polishing.

76. Describe the kinds of brushes suitable for different kinds of work. How should brushes be cleaned? What should be the general treat ment of a brush? How may varnish brushes be kept ready for use?