INLAYING CONTINUED.
A very convenient tool for inlaying veneers edgewise, so as to produce
alternate dark and white lines is made by taking a piece of steel, one
fourth of an inch by one sixteenth thick, and making a chisel, like
Fig. 73. The bottom is rounded to prevent it from digging in. To use
this tool, or to inlay fine white and black lines, or white lines
alone, all over the surface of any piece of wood in any pattern
desired, it is only needful to mark out the pattern first, incise it
all around with a sharp keen edge, such as a knife blade broken off to
form a square end, and then follow the lines with this tool, when the
wood will come away, leaving a clean channel, in which the veneer may
be inserted with expedition and neatness. In crossing the corners, it
is necessary to use caution, so that they be not broken away, for no
inlaying looks well if chipped, or ragged at the edges. This is
especially convenient for drawing lines across mahogany boxes that have
been put together before inlaying was thought of for them. The veneers
should all be glued together, side and side first, that is, if two
colors are used, then they will fit on the ends properly, and may be
handled with more expedition.
[Illustration: Fig. 73.]
GLUING IN VENEERS.
In a previous part of this little work I have advised the use of
waterproof cements for fine inlaying, so that dampness will not affect
them, but as this is not always convenient, it is well to make the glue
so that it can be used and the work finished off in a short time. This
is easily done by making the glue as thick as it will run, or so that
it is like a jelly. If applied in this condition, it will set hard in
thirty minutes, and the work may be cut down without fear or danger of
its moving. I have done this frequently, in order to see what kind of
work I was making. Always put a clamp on your work wherever you can,
for although the glue will adhere of itself to the wood, it adheres
much more strongly if pressed down by a clamp. Also, never put a veneer
on a piece of work that is uneven, for although it may set square under
the pressure of the clamp, when you come to scrape it, it will give way
and yield to the inequalities, and when varnished and polished, will be
full of depressions.
Don’t be afraid to rub down with sand paper, under the impression that
you are spoiling the work, but let the varnish get thoroughly dried,
and be hard before you attempt it. Be sure, also, to remove every
particle of varnish if you touch it at all, otherwise that which
remains will take a coat while the bare wood will not take so much, and
you will have a surface full of scars and ridges. It is not necessary
to touch the wood in rubbing down, but go down _to_ the wood, so that a
waxy appearance is presented, and you will have a handsome finish that
will add greatly to the beauty of the work. White holly is easily
soiled when used in connection with ebony, by the dust from it, and it
will be necessary to rub it, or scrape it delicately, before
varnishing, without touching the ebony.
IVORY.
This substance is certainly a most attractive one to the turner. Pure
in color, hard, solid and strong beyond belief in texture or grain, it
has the fewest disadvantages of any substance we use. It is easily dyed
to any shade, and will hold it a long while. Either for jewelry, or
rather for personal adornment, or articles of utility, it is well
adapted, and but for the cost of it would be in general use. It is
getting dearer and scarcer each year. The best comes from Ceylon, and
that in least repute from African elephants; the former is said to be
much stronger and more solid.
Of its general manipulation there is not much to be said, except that
the workman will find it trying to the edge of his tools. In all
respects it can be cut and turned like hard woods.
[Illustration: Fig. 74.]
It is easily softened by immersion for a time in weak acid, so that its
friability, toughness, or tendency to resist the carving tool, is
destroyed, and this without injuring the goods, unless the acid is too
strong.
As it is so expensive in general, it is well for the amateur to know
that he can purchase it in all shapes, either in squares like Fig. 74,
or in flat, cord-like slips, from dealers in it. I will mention one
person, F. Grote, 78 Fulton street, New York, who generally has a good
assortment of this kind.
It is extremely convenient to find pieces of the exact size and shape
one needs, and it is also economical, both in time and material, for
all ivory must be sawed, and that is slow work where there are no
facilities. After the article, whatever it may be, is turned, it may be
either dyed, or polished in its natural color.
POLISHING.
This is performed in the easiest way. A wet rag will polish ivory, but
in order to put on a brilliant gloss, take starch, or Spanish white,
saturate a wet rag with it, and hold it on the work; when dried off and
rubbed with a woolen cloth or a piece of chamois leather, it will have
a brilliant and durable gloss.
DYEING IVORY.
I tried a great many plans and recipes for dyeing ivory before I hit
upon any that were in all respects satisfactory. Most of them were
nasty, involved the purchase of drugs and dyes that were sure to be
adulterated, and the results were vexatious, but one day, in dyeing
some silk with family dye color, prepared by Howe and Stevens, of
Boston, Massachusetts, the idea occurred to me to try it on ivory. It
succeeded to admiration, and I had found what I had so long sought,
namely, a clean, cheap, simple and _sure_ method of coloring ivory to
any shade needed, in a short time. The color can always be had, ready
for use, in any town, as much so as a bottle of ink, while the various
shades and gradations of tint are ready made to hand; there is no need
of stale urine, or any other mess,—simple immersion in the hot liquid
from ten to twenty-four hours will give a permanent and brilliant hue
to any article. I have never seen such brilliant colors as these dyes
give. The solferino and the black are particularly handsome, and are
insoluble in water; that is, the goods may be washed without injury.
The solferino will not bear _hard_ rubbing in water, but the black and
other colors will, without injury. The depth to which the color
penetrates depends upon the length of time the goods are immersed, but
twenty-four hours, and even six hours in some cases, will answer all
purposes. For chess-men, the solferino is a splendid color, while all
the other tints can be had for other kinds of fancy work.
Ivory is particularly suitable for mosaic inlaying, as it never chips,
and can be cut into the smallest and thinnest pieces without danger of
fracture. It will hold on wood with glue, though there are other
cements, stronger, for the purpose.
It can also be dyed before inlaying, and afterwards rubbed down to a
uniform surface, but the work must be done well, as the dyes do not
always penetrate equally, and if the work is delicate and the design
small, it is apt to change the colors to rub them down. Napkin rings,
breast pins, masonic mallets and emblems generally, miniature gothic
chairs with carved backs for ornamental purposes, chess and checker
men, small boxes for lip and eye salves, needle cases, thimble cases,
ring and jewel boxes, penholders, silk-winders, card cases, all afford
a fine opportunity for the skill and taste of the amateur.