ORNAMENTAL DESIGNS FOR INLAYING.
Although a handsomely veined piece of wood is as beautiful a thing as
any one would wish to see, there are occasionally pieces of work that
look well inlaid, and for this it is desirable that we should have as
pretty patterns and judiciously chosen woods and contrasts as we can
get.
I give here what I think is a pretty design for the cover of a round
box. It is easily made, and I venture to suggest that the following
colors will be found agreeable; No. 1, tulip with outside edge of white
holly, tulip to be cut across the grain. No. 2, ebony cut out of a
solid veneer, that is not pieced. It will save a great deal of time and
labor to glue this veneer on to mahogany a quarter of an inch thick,
and then saw the pattern out with a fine turn-saw. To get the veneer
off whole, soak it in warm water for a few minutes. No. 3, boxwood.
No. 4, ebony. No. 5, tulip, or, if you can get it, turtle wood. It is
sometimes to be had of Henry A. Kerr, Center street, New York, dealer
in woods. The central flower can be omitted or executed. It is a good
deal of work, but will make a beautiful piece when well done. Turtle
wood is very remarkable, being yellow inclining to salmon, mottled with
brownish black streaks, sometimes black with superb crimson markings,
like a summer sunset after a thunder storm.
Fig. 76 is another similar pattern. Of course the workman will make
such disposition of the colors as he pleases. When these are varnished
and French polished, they certainly look splendidly, and are specimens
of work that any one may be proud of; of course supposing them to be
well fitted as to joints, and without the glairy, sticky appearance
that characterizes varnish half rubbed down, and that worked before it
has hardened. Hardening and drying are two different things. Varnish
dries before it hardens, and requires time, the more the better, to
season, so it can be polished. This is a very easy pattern to fit, and
any one of experience can make it complete in four or six hours.
Fig. 77 is still another pattern, but what is shown dark, as at A, in
the outer circles should be light to represent tulip wood. Tulip
contrasts splendidly with ebony. The center or body of the cover should
be rosewood. This must be put on first, all over the whole surface, and
a white holly ring put on the outside edge. The exterior and interior
circles, which form the pattern, are then cut out by a tool like a
carpenter’s bit used in the lathe, as in this diagram. The letter _a_
is round, and will, of course, make a slight center hole in the box
cover, but as it is covered up that is a matter of no moment. The inner
circles B should also be tulip, or some wood that contrasts with ebony;
mahogany is very handsome. This pattern is not pretty, but it is
striking and unique, which is sometimes the same thing. Of course, the
distances of the circles must be determined beforehand with a pair of
compasses.
In scroll sawing much can be done that is pleasing to the eye in small
works, but for large designs and intricate ones, the amateur will find
an upright or jig saw necessary, unless he be more than usually patient.
For the joints of boxes before veneering I always prefer screws rather
than dovetailing, which takes a long time, and is no better when done;
screws are sure, never start, and save time, which is a great
consideration with amateurs, whose tasks are often, indeed, in nearly
all cases, carried on after some other labor is over, in the interim
between arduous toil.
White woods, such as holly, need white glue, else the joints will show.
Beware of dust in your varnish brush, and take care that you soak it
for half a day before using it, else the hairs will come out on your
work and ruin it. Flat, camel’s hair brushes are to be used, and can be
had in every paint store. Use only the whitest copal varnish for your
white holly, else you will find it yellow holly after the varnish has
been put on. Most varnishes need thinning slightly with turpentine
before use, especially if they have been kept some time.
Keep your lathe centers so that they run true on the points at all
times, and have a mark on them so that they always enter from the same
side of the lathe mandrel.
When you put clamps on to hold your veneers, as you always should, be
careful, if your wood is soft, that you do not set the clamps so tight
as to sink the veneer into the lower wood, for the result will be an
uneven surface, that nothing can remedy.
Be careful to have clean glue and clean surfaces if you wish to make
sound work. Dust or grit ruins glue so that it will not hold.