best or particular gums,
resins and their individual mode of application, a matter that will
take up hereafter our more undivided attention, it may be taken as a
certainty that the varnishing materials used for the parts under
consideration must be of an alcoholic solution, no other would "set,"
evaporate or dry with sufficient rapidity to allow of handling: or,
as we may put it in another way, that would lose tackiness within a
convenient time.

Most people are aware of the nature of an oil varnish during the drying
process, there is firstly the "setting," that is, all the volatile
particles dispersing; secondly, the real drying or hardening which
ensues with sufficient time or age; both accompanied with some degree
of contraction, and until the process is complete, handling or friction
of any kind has to be carefully avoided. This will at once show its
unsuitableness for repairs and restorations, especially of the kind
now under consideration. The same process has to be gone through in
the drying of a spiritous or alcoholic varnish, but it is so much the
more rapid in consequence of there being only the alcohol to disperse,
leaving the resin in a comparatively dry state.

Colouring will be the chief consideration after the resin has been
selected, and on this the judgment of the operator will have to be
centred. For obtaining the effect desired or that is fashionable at
the present day, one or two coats or paintings will be commenced at
the corners where the graft is inserted in the upper ribs and gradually
being thinned off as the curved part rounding upwards from the button
dies away. Sometimes in consequence of the fresh wood appearing very
white--it is not always possible to obtain aged wood--some colouring
material or stain mixed with the first two wettings will subdue the
staring aspect, this may be continued along the graft and bring up the
figure or curl more prominently. Often between the curves each end of
the graft repairers force very strong stain, this being sometimes
common writing ink; when varnished over the effect is violent and
common even when nicely done. The best that can be recommended is some
sufficiently dark wood stain--sold at most of the oil and colourmen's
shops--and rub it in, allowing it to dry and then finishing off as
before described.

If the neck is to be left unvarnished, as it is termed, the colouring
and fining off can be followed with a rubbing of good oil, linseed,
raw or bo