y 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 quantity 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 glass 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 polishing can be proceeded with until finished.
Upon oak this will have the appearance of inlaid work.

=Charcoal Polishing.=--A method known as "charcoal polishing" 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. Thes