Siddons, George A. The Cabinet Maker's Guide, or, Rules and Instructions in the art of Varnishing, Dying, Staining, Japanning, Polishing, Lackering, and Beautifying Wood, Ivory, Tortoiseshell, & Metal. Fifth Edition. London: Sherwood, Gilbert, and Piper, 1837. Typed in by Simon St.Laurent, simonstl@simonstl.com, 2018. No copyright claimed. Part of a set at http://toolbytool.org/resources/Japanning.html . You can find the original at https://archive.org/details/cabinetmakersgui00sidd . For this project, I am only typing in the sections relevant to japanning and varnishing, with occasional pieces of other content where it's easier included than skipped. Please note that many of the ingredients used here are toxic! 39 VARNISHING GENERAL OBSERVATIONS IT is the custom, in order to heighten the beauty of the wood, and give additional lustre 40 in furniture, &c. to varnish it; the simplicity of the process requires but little to be said on the subject, but that nothing may be wanted to benefit the workman, I shall endeavour, as clearly as possible, to lay down some rules and cautions necessary to be observed, both in the making, and method of using varnish, that the work may appear as beautiful as possible. In London it is hardly worth while to make varnish, unless in large quantities, as there are several shops where it may be had very good, and at a fair price; but in the country, where the carriage is an object, and you cannot depend upon the genuineness of the article, it is necessary to be known by the practical mecha- nic. The varnish in general sold for varnishing furniture, is white hard varnish. Cautions respecting the making of Varnish. As heat in many cases is necessary to dissolve the gums used in making varnish, the best way, when practical, is to use was the chemists call a sand bath, which is simply placing the vessel 41 in which the varnish is, in another filled with sand, and placed on the fire; this will generally be sufficient to prevent the spirits catching fire; but in case of such accidents (which not unfrequently happens), it will be best to take a vessel sufficiently large that there shall be little danger of spilling any; indeed the vessel should never be more than two-thirds filled, but in case of accident, have ready at hand a piece of board sufficiently large to cover the top of the vessel in case of its taking fire, as also a wet wrapper, in case it should be spilt when on fire, as water by itself through on it, would only increase the mischief; and the person who attends the varnish pot should have his hands covered with gloves, and if they are made of leather, and rather damp, it will effectually prevent injury. I would particularly impress these cautions on the workman, as, from practical knowledge, I have several times witnesses shocking personal injury from the neglect of these cautions. 42 General Directions in choosing the Gums and Spirits used. When you purchase a quantity of gum, first examine it, and see that it consists for the most part of clear transparent lumps without a mix- ture of dirt; next, when you get it home, select the clearest and lightest pieces for the most particular kinds of varnish, reserving the others, when separated from extraneous matter, for the coarser varnishes. In choosing spirits of wine, the most simple test is by immersing the finger in it, and if it burns quickly out without burning the finger, it is good; but if, on the contrary, it is long burning, and leaves any dampness remaining on the finger, it is mixed with inferior spirit; it may be also compared with other spirit, by comparing the weight of equal quantities; the lightest is the best; the goodness of spirits of turpentine may be likewise ascertained in the same manner by weighing it, and by noticing the degree of inflammability it possesses; the most inflammable is the best and 43 a person much in the habit of using it, will tell by the smell its good or bad qualities; for good turpentine has a pungent smell, and the bad a very disagreeable one, and not so powerful. To varnish a Piece of Furniture. First observe the work to be clean; then see if any knots or blemishes require filling up, which must be done with cement of the same colour; have your varnish in an earthen pot, with a piece of wire diametrically across the top, slackened downwards, to stroke the brush against; then see that your brush is clean, and free from loose hairs, dip your brush in the varnish, stroking it across the wire, and give the work a thin and regular coat; soon after that another, and another, always taking care not to pass the brush twice in the same place; let it stand to dry in a moderately warm place, that the varnism may not chill. When you have given your work about six or seven coats, let it get quite hard (which you will prove by pressing your knuckles on it, if it 44 leaves a mark it is not hard enough); then with the three first fingers of your hand rub the varnish till it chafes, and proceed over that part of the work you mean to polish, in order to take out all the streaks, or partial lumps made by the brush; give it then another coat, and let it stand a day or two to harden. Note. - The best vessel for holding your varnish is commonly sold at colour-shops, called a varnish pan; it is constructed of tin with a false bottom; the interval between the two bottoms is filled with sand, which being heated over the fire, keeps the varnish fluid and flows more readily from the brush: there is a tin handle to it, and the false bottom comes sloping from one end to the other, which causes the varnish to run to one end, and with a wire across in the same manner as recommended in the above directions. To keep your Brushes in order. The brushes used for varnishing are either flat in tin, or round tied firm to the handle, and 45 either made of camels' hair or very fine bristles; in the use of which it is necessary to be very careful in cleaning them after being used, for if laid by with the varnish in them they are soon spoiled; therefore after using them, wash them well in spirits of wine or turpentine, according to the nature of your varnish; after which you may wash them out with hot water and soap, and they will be as good as new, and last a great while with care; and the spirits that are used for cleaning, may be used to mix with varnish for the more common purposes, or the brushes may be cleaned merely with boiling water and strong yellow soap. To make the best white hard Varnish. Rectified spirits of wine, two gallons; gum sandrach, five pounds; gum mastic, one pound; gum anime, four ounces; put these in a clean can, or bottle, to dissolve, in a warm place, frequently shaking it, if (when the gum is dissolved) you strain it through a lawn sieve it is fit for use. 46 To make Mastic Varnish proper for varnishing Pictures or Drawings. To every quart of spirits of turpentine, put one pound and a quarter of the cleanest gum mastic, set it in a sand bath till it is all dissolved, then strain it through a fine sieve, and it is ready for use; if too thick, you may thin it with spirits of turpentine. To make Turpentine Varnish. To one gallon of spirits of turpentine, add five pounds of clear rosin pounded; put it in a tin can, on a stove, and let it boil for half an hour; when the rosin is all dissolved, let it cool, and it is fit for use. To make Varnish for Violins, &c. Take half a gallon of rectified spirits of wine, to which put six ounces of gum mastic, and half a pint of turpentine varnish; put the above in a tin can, keep it in a very warm place, frequently shaking it, until is it dissolved 47 strain it, and keep it for use. Should you find it harder than you wish, you may add a little more turpentine varnish. To varnish Harps and Dulcimers in the Indian Manner. Prepare the work with size and red ochre; then take ochre, burnt umber, and red lead, well ground, and mix up a dark brown colour in turpentine varnish, adding so much spirits of turpentine that you may just be able to work it, pass over your work fair and even; and while it is yet wet, take a muslin sive, and sift as much Dutch metal (bronze) upon it as you think requisite to produce the effect; after which, varnish and polish it. To Varnish Drawings, or any kind of Paper or Card Work. Take some clear parchment cuttings, boil them in water in a clean glazed pipkin, till they produce a very clear size, strain it, and keep it for use. 48 Give your work two coats of the above size, passing quickly over the work, not to disturb the colours; proceed as before directed with your varnish. Another Method still better. Take one ounce of the best isinglass, dis- solve it in about a pint of water by simmering it over the fire; strain it through fine muslin, and keep it for use. Try the size on a piece of paper (heat it to a moderate heat), and if it glistens it is too thick; then add more water, if it soaks into the paper it is too thin; add or diminish the isinglass till it merely dulls the surface; then take your drawing, and give it two or three coats, being careful (particularly in the first coat) to bear very lightly on the brush (which should be a flat tin camel's hair), and plenty of size to flow freely from it, otherwise you may damage the drawing. Then take the best mastic varnish and with it give at least three coats, and the effect will an- swer your most sanguine wishes. 49 Note. - This is the method used by many eminent artists, and is found superior to any that has been tried. Amber Varnish. Take amber eight ounces, in powder, and two of gum lac; melt the amber by means of heat, in a glazed pipkin, with half a pint of the best spirits of turpentine; and when melted, add the gum lac, place it on the fire again, and keep stirring it with a piece of wood till all dissolved, then add one ounce of the clearest cold drawn linseed oil; stir it well together, and strain it for use. Oil Varnish Take any quantity of the best linseed oil, let it boil for an hour, then to every pound of oil add a quarter of a pound of the clearest rosin in powder, stir it well till dissolved; then add for every pound of oil used, one ounce of spirits of turpentine, strain it and bottle for use. Note. - This is a cheap and good varnish for 50 sash frames, or any work where economy is re- quired; it has besides the property of bearing hot water without being damaged, and is not subject to crack or scratch. Copal Varnish Takes pirits of wine one quart, gum copal one ounce, and shell-lac half an ounce; reduce the gums to powder, put the spirits in a jar or bottle, add the gums, place the whole in a warm place, with the cork lightly in the bottle; shake it occasionally, and when the gums are quite dissolved, strain and bottle for use. To make a Colourless Copal Varnish. As all copal is not fit for this purpose, in or- der to ascertain such pieces as are good, each must be taken separately, and a single drop of pure essential oil of rosemary, not altered by keeping, must be let fall on it. Those pieces that soften at the part that imbibes the oil, are good; reduce them to powder, which sut through a very fine hair sieve, and put it into a 51 glass, on the bottom of which it must not lie more than a finger's breadth thick, pour upon it essence of rosemary to a similar height; stir the whole for a few minutes, when the copal will dissolve intoa viscous fluid. Let it stand for two hours, and then pour gently on it two or three drops of very pure alcohol, which dis- tribute over the oily mass by inclining the bottle in different directions with a very gentle mo- tion; repeat this operation by little and little, till the incorporation is effected, and the varnish reduced to a proper degree of fluidity. It must then be left to stand a few days, and when clear, be decanted off. This varnish thus made without heat, may be applied with equal suc- cess to pasteboard, wood, and metals, and takes a better polish than any other; it may be used on paintings, the beauty of which it greatly heightens. Turpentine Copal Varnish. Take of gum copal, one ounce and a half, the very best oil of turpentine, eight ounces. 52 put the turpentine into a vessel, which place in a sand bath when it is very hot; but being cautious not to let it boil; then gradually add the gum copal, stirring it with a wooden spa- tula, adding fresh gum as the other dissolves, when all thoroughly incorporated, take the vessel off the bath and let it cool, let it remain covered over for a few days to settle, and decant it clear off. Note. - In making this varnish it frequently happens that the gum will not melt so readily as it ought, which is general is owing to the tur- pentine not being sufficiently rectified, but when that is good it will always succeed. It is best also to let your turpentine be exposed for some time in the sun in a corked bottle, that the wa- tery particles may be gradually dissipated; the bottle should not be stopped quite tight. 53 JAPANNING. GENERAL OBSERVATIONS. It frequently happens that japanned work receives damage, when it is very inconvenient (either from distance or other circumstances) to send for a japanner to repair it; therefore it may not be improper to lay down the most simple methods used in that branch. First, provide yourself with a small muller and stone, to grind any colour you may require. Secondly, provide yourself with white hard varnish, brown varnish, turpentine varnish, ja- pan gold size, and spirits of turpentine, which you may keep in bottles for the purpose. Thirdly, provide yourself with flake white, red-lead, vermillion, lake, Prussian blue, king's and patent yellow, orpiment, spruce and brown ochre, mineral green, verditer, burnt umber, and lamp black, to which may be added raw siennaand burnt sienna, with the best yellow 54 ochre and light red (or burnt ochre), and Van- dyke brown. Observe - That all your wood-work must be prepared with size, and some coarse material mixed with it to fill up and harden the grain of the wood (such as may best suit the colour in- tended to be laid on), which must be rubbed smooth with glass paper when dry; but in cases of accident, it is seldom necessary to re-size the damaged places, unless they are considerable. With the foregoing colours you may match almost any colour now in use in japanning, always observing to grind your colours smooth in spirits of turpentine; then add a small quan- tity of turpentine and spirit-varnish, lay it care- fully on with a camel-hair brush, and varnish it with brown or white spirit-varnish, accord- ing to the colour. Note. - You will find a box filled with cur- riers' shavings useful for cleaning your stones and pallet with, for they should never be laid by dirty, as the beauty of the work de- pends a great deal on keeping all your colours separated, and that before you grind another colour, the first should be well wiped off your stone. For a Black Japan. Mix a little gold size and lamp-black, it will bear a good gloss without varnishing over. To imitate Black Rose-wood. The work must be grounded black, after which take some red lead, well ground, and mixed up as before directed, which lay on with a flat stiff brush, in imitation of the streaks in the wood; after which take a small quantity of lake, ground fine, and mix it with brown spirit-var- nish, carefully observing not to have more co- lour in it than will just tinge the varnish; but should it happen on trial, to be still too red, you may easily assist it with a little umber ground very fine; with whichpass over the whole of the work intended to imitate black rose wood, and it will have the desired effect. If well done, when it is varnished and po- 56 lished, it will scarcely be known from rose wood. Note. - Instead of the umber in the above, you may use a small quantity of Vandyke brown, as it is much more transparent than the umber. INDIA JAPANNING. GENERAL OBSERVATIONS. THIS art has of late been successfully prac- tised in this country, and many pieces of cabinet work executed that with difficulty could be distinguished from the real India Japan. I shall, therefore, endeavour to give some de- scription of the art as now practiced. One great peculiarity in the Indian method is the embos- sing, or raising the figures, &c. above the sur- face or ground, and the metallic, or bronze-like hue of the several designs, also the grotesque appearance of the several ornaments, whether figures, landscapes, or whatever other designs 57 they are embellished with, being so totally dif- ferent from every principle of perspective, and so opposite to every idea we have of correct drawing. Nothing but the study of Chinese models themselves will enable the workman to imitate with any degree of precision their seve- ral characteristics. I shall, therefore, content myself with giving such directions for preparing the ground, embossing the designs, and pro- ducing the peculiar effect of Chinese Japan, as will I trust enable the ingenious mechanic to execute any work of the kind, with truth and accuracy, according to any copy given, while it must remain with him to use his taste and judgment in producing original designs, charac- terizing this peculiar manufacture. Ground for Chinese Japan. Take any quantity of the finest whitening, and mix it up to the consistence of paint with isinglass size; lay on your wood two or three coats, observing to put it on evenly and smoothly, and not too thick; let it dry; and rub it gently 58 with a soft rag and water till the surface is quite level and polished; you may if you please add a small portion of honey to the mixture, which will render it less liable to crack or peel off. If your ground is to be black, which is the most usual one, you may give it a coat or two of the black japan mentioned in the com- mon method of japanning, and it is prepared for your figures, &c. Another Ground. Take fine plaster of Paris, and mix it with size not too thick, and apply it quickly, for it soon gets hard; two coats in most instances will be sufficient: after it is quite dry, polish it with fine glass paper, and rub it with a wet soft cloth; you may now give it two or three coats of drying linseed oil, or as much as it will soak up; when dry it is ready for japanning. To make Black Japan Grind ivory or lamp-black very fine with turpentine, and a little lac varnish or copal var- 59 nish, and temper it to a proper consistence with varnish for laying on your ground; you must give your work two or three coats at least, using a gentle heat as directed in varnishing. To trace your Design on the Ground. Having drawn what figures you please on a piece of white paper either with ink or pencil, rub the back of it with fine chalk or whiting, and shake all the loose powder off; lay it on your ground, and trace or go over every part of your outline with the end of a blunt bodkin, or other similar instrument; you will then have a sketch in faint outline on your ground; you may then proceed to put in your figures, &c. with any colour you wish, or bronze them. To raise Figures on your Work. Make a mixture of whiting and size; or some prefer the whites of eggs, of a consis- tence to flow freely from your pencil, the hairs of which must be rather long. Begin with a figure, or other part, but do not do too much at a 60 a time, and trace the outline correctly with a free hand; take then a piece of stick pointed at the end, and dip it into your composition, and fill up the inside of your outline; continue to put more of the mixture on till it is raised sufficiently above the surface, let it get quite dry, and then polish it with a soft camel-hair pencil and clean water, which will make it per- fectly smooth and level. Care must be taken in this process, that your composition is not too thin, or it will spread beyond the bounds of your outline, but just so thick as to drop from the stick; some mix with the white a portion of flake white, or dry white lead. This is an improvement, and for very particular work should be adopted. Gold Bronze. Take any quantity of gold leaf, empty out of the book into a stone mortar, add a little honey, and a small portion of water, grind it well together, till the gold seems dispersed throughout the whole paste, add by degrees 61 more water till it is quite thin, keeping it con- tinually stirred; let it settle, and pour the water off as near as you can without wasting your gold, then repeat the washing till you see the gold in the form of a fine powder at the bottom; then pour the water clean off, and turn the gold out on a piece of blotting paper, keep it from the dust, and when all the moisture is evaporated put it into a bottle for use. Note. - This is a very expensive bronze and used only for those works which are very par- ticular; however a very good substitute may be had my treating Dutch metal in the same man- ner, but you must be sure to keep this close stopped, or it is very apt to tarnish. Silver Bronze. This may be made with silver leaf treated in the same manner as above directed for gold; bt this must be kept also well stopped in a bottle and wrapped in paper, as it also is as apt to change as the Dutch metal. 62 Copper Bronze. Procure some very fine filings of copper, put them into an iron mortar, and beat them the same as that of the gold leaf or Dutch metal, except, instead of using honey, you may pound it dry with a portion of sal ammoniac, and then wash it as above; keep this also from the air. Brass filings may be treated in the same manner. Tin Bronze. Take any quantity of grain-tin and melt it in a ladle over the fire, when it is in a fluid state add by degrees quicksilver, and stir it well, it will be transformed into a greyish powder, which for the sake of variety you may use with others, either alone or mixed. Note. - We may, by mixing these different bronzes together, produce a great variety, that will add much to the beauty of your work, and we may here remark that there is a variety of colours in gold lear, all of which will produce a different coloured powder. 63 In London we can produce a variety of co- loured bronze at the colour shops, and at lss expence than we can make them, but for the sake of the country workman I have here set down those that are most generally useful. Method of applying the Bronze. Go over the part you intend to bronze with gold size or varnish, and when it is sufficiently dry, that is, when it feels tackey, as workmen term it, or does not adhere to the finger, but feels clammy, dip a piece of cotton, rolled hard into a ball, in your bronze powder, and dab on the places intended to be bronzed; or you may mix your powder with varnish and apply it at once to the parts intended; but the first method I prefer, as it not only saves material, but your bronze looks more brilliant. To Japan Work-Boxes &c. There is a very pretty method of ornament- ing boxes, cabinets, &c. so that the figures, &c. shall appear of the colour of the wood and the 64 ground black; this by many is produced by first tracing out your pattern, and then prick- ing in those parts which shall appear as the ground, either black or any colour at fancy. This is a very tedious process, and even when finished with the greatest care will not appear regular or well-defined in the pat- tern; suppose, for instance, we wish to orna- ment our work with a plain trellis pattern, so that the cross bars shall appear of the colour of the wood, and the squares which they enclose of a black or any other colour; here would be no great difficulty in drawing the trellis bars with any colour, so as to leave the squares, but it is extremely troublesome and tedious to prick in the squares and leave the bars. The follow- ing method will be found very expeditious, and at the same time very correct; it is but very little known, and as such will to the practical japanner be the more acceptable; it may also be applied to many other purposes than the one here alluded to. The following prepara- tion is necessary, and which I shall denomi- 65 nate by the term stopping out mixture; it is made by dissolving the best white bees-wax in spirits of turpentine till it is of the consis- tence of varnish; keep this mixture in a bottle, and when wanted for use mix sufficient for your present purpose with white lead in powder, or flake white, to give it a body, but not too thick, only so it will flow freely from your pencil; having now traced your design, go over those parts which you wish to remain of the colour of your wood and let it dry; then mix ivory black in very fine powder with parch- ment or isinglass size, and go evenly and smoothly every part of your work; it will now appear wholly black, or of whatever colour you have mixed with your size; let the whole get thoroughly dry, then with a stiffish brush, dipped in plain spirits of turpentine, rub the whole of the work well, and those parts that have been gone over with the stopping-out mixture will come off, leaving your black or other colour per- fect; it will then appear as if you had pricked in your work, but much more sharp, and will 66 if carefully done, have a beautiful effect; you have now nothing more to do than varnish your work, as in general, and polish it as di- rected under the article Polishing. Note. - In finishing your work in the manner of Indian japan, you must not be sparing of your varnish, but give it eight or ten coats, so that it will bear polishing. Sealing Wax Varnish. For fancy work this has of late years been much used, and if well applied, and your wax good, will be a very good imitation of Indian japan. The method of making the varnish or japan is very easy, being simply reducing the wax to a coarse powder and pouring the best spirits of wine on it in a bottle, and letting it gradually dissolve without heat, shaking the botte occasionally till it is all dissolved. One shilling stick of wax will be enough for about a quarter of a pint of spirits Note. - As much depends on the goodness of the sealing wax, the following is the best 67 method of preparing it. Take of shell or seed lac, the shell is best, two ounces, the best white resin one ounce, and vermillion in fine powder one ounce, melt the whole into a mass, stirring it well to make the colour even through- out, you need not for this purpose form it into sticks, but merely pour it out on a piece of marble in a cake to cool. If you wish your wax of any other colour, you must substitute any other colour powdered instead of vermillion; thus, for black substitute ivory black; for green, verdigris or crystals of verdigris; blue, verditer or smalt; yellow, turpeth mineral or masticot; purple, vermillion and smalt mixed, and so for any other colour. POLISHING. GENERAL OBSERVATIONS. First, the varnish for cabinet-work should be clean and bright, otherwise it will give a dingy shade to all light-coloured woods. 68 Secondly, some persons polish with rotten stone, others with putty-powder, and I have seen varnish polished with common whiting and water; but Tripoli will be found to answer the best. To Polish Varnish. It has been considered by many as a matter of difficulty, they have furnished themselves with a quantity of materials, and as often failed of success, the process being rather tedious. Take two ounces of Tripoli powdered, put it in an erthen pot or basin, with water to cover it; then take a piece of fine flannel four times doubled, lay it over a piece of cork rub- ber, and proceed to polish your varnish, always wetting it with the Tripoli and water; you will know when the process is done, by wiping a part of the work with a sponge, and observe whether there is a fair and even gloss; take a bit of mutton suet and fine flour and clean off the work. Caution. - You must be careful not to rub 69 the work too hard, nor longer than is necessary to make the face perfectly smooth and even. The French Method of Polishing. Take a piece of fine pumice-stone and water and pass regularly over the work with the grain, until the rising of the grain is down then take powdered Tripoli and boiled linseed oil, and polish the work to a bright face, which will be far superior to any other polish, but it requires much time. To Polish Brass Ornaments Inlaid in Wood. First, carefully observe to have your brass- work filed very clean with a smooth file; then take some Tripoli, powdered very fine, and mix it with linseed oil, and with a rubber made from a piece of old hat, of felt, you may polish the work as you would polish varnish, until you have the desired effect. If the work is ebony, or black rose-wood, take some elder-coal powdered very fine, and 70 apply it dry after you have done with the Tri- poli; it will produce a superior polish. To Polish Ivory. Ivory is best polished with putty and water, by means of a rubber made of hat, which in a short time produces a fine gloss. To Polish any Work of Pearl. Take pumice-stone, finely powdered (and washed to separate the impurities and dirt), with which you may polish it very smooth; then take putty-powder as directed for ivory, and you will have a fine gloss and a good colour. To Polish Marble. It frequently happens that the cabinet-maker has a table-top of marble to remount, which is scratched and requires repolishing; the follow- ing is the process used by the mason, and will perhaps not be unacceptable in a work like the present. Procure a piece of sandstone with a 71 very fine grit, then with that rub your slab backwards and forwardsm using very fine sand and water, till your marble appears equally rough and not in scratches; next use a finer stone and finer sand, till its surface appears equally gone over, then with fine emery powder and a piece of felt or old hat, wrapped round a weight, rub it till all the marks left by the former process is worked out, and it appears with a comparative gloss on its surface; afterwards finish the polish with putty powder and fine clean rags, taking care not to put any more powder on your rags, but rub it well, and in a short time it will appear as fresh as when out of the mason's hands. To Polish Tortoise-shell or Horn. After having scraped your work perfectly smooth and level, rub it with very fine sand- paper or Dutch rushes, then with a bit of felt dipped in finely powdered charcoal with water, and lastly with rotten-stone or putty powder; 72 then with a piece of soft wash-leather, damped with a little sweet oil, to wash it.