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" Patience and ingenuity

The want

of natural gifts supply."

S a sequel

to the

two works, "Manual of


Carving" and "Fret-cutting,"
editions, the writer

which have been so well received as to
has been





another Manual, for








Neither of these arts have been



any great extent by amateurs,

the class for whose instruction in particular the present volume



obtainable in Buhl-work

and Marquetry




degree than in




not only

are they arts which


reviving as



elegance and adornment of home,



present openings

remunerative employment which are so

much needed

many who have





has been the aim of the writer to give the instructions in clear and simple

a series


from trade technicalities and lectures on

art matters







guide the Student to the attainment of

considerable excellence



and place him

a position to carry out larger






known examples






or from special




Tools, &c.



y 13

How How
TO CUT BUHL-WORK TO Engrave on Metal and Ivory


How to cut Marquetry Shaded Marquetry Designs and how to obtain them Carved Marquetry Laid on Buhl or Marquetry
Imitation or Stencilled Marquetry...


to Polish

Explanation of Designs


post free. 3. made with either steel or wood. No." and consists of a piece of wood half an inch is with the saw cut out a piece near 15 by 20 inches . doz. 5. No. per Nos. between the clips. at the I is a saw frame. 5 is a holdfast. 4 for Buhl and Marquetry. and adapted for either arts. is what useful is a size termed a "horse. useful for fastening No. 6 in thickness. and for pressing work when glued No. tighten the saw. No. 9.. together. No. No. 6 to the table. 7d. No. : No. 4ipt- lA 4 if^^^^^^ig^^^^^^^if No. No. 3 and 4 are Drills. 4. NaT- 6 i^^^^^^^^^^f^^^ No. The saw is inserted first handle end.TOOLS HE tools required to cut ttie same tools are also Buhl-work or Marquetry are few and inexpensive. then placed between the clips The screw at the extreme end is then turned to at the opposite end and screwed up. 3 is best adapted for heavier work. . Cutter. and screwed tight. these can be had per post. which will bend and break unless properly tightened. 2 shows the width of the saw blades. 8. and consist of the following : — No.

which would not be the case if the "rooter" was alone made by . No. 5. take the steel sharpener." letting it project exactly the depth of is No. then rest the Now work against some object. and position. in which insert tightly a piece of broken saw. When the bevelled project very side only little must be rubbed on the face of the plane. a holdfast. 9 called a " rooter. The method of using it is as follows. The position of the hands No. The right hand moves the saw up and down. and turns it in the The left hand presses the required direction. " rooter" has cleared its This applies to the long In cutting across the grain a small steel cutter must first be used way of the grain. The method is toothing marks. get a strip of wood planed true. resting one corner of the scraper on the bench." which consists of a narrow strip of wood cut from a veneer. or ground. 8 polished. until all the toothing marks are removed. and be "set. The rooter is easily made and consists of a piece of hard wood 2 inches by i inch and 3 inches long. moving the strip of wood which acts as a gauge. the fact that it roots up a narrow groove." from which is the "string" beyond the face of the wood. to one at corner. Make a sawgate lengthways of the wood. work against the saw. or fasten it to the table by the hold- fast. in a similar manner. and. until there is a burr on the scraper. the " rooter " is then used the cutter will be neatly removed without leaving a burr. 7 it is a toothing plane for roughing or "toothing" the work." or beyond the for No. lean it forwards and scrape the surface from you. fasten it on the work at each end by means of hand" " rooter screws. the width of the "string.lO BUHL-WORK AND MARQUETRY. so as to cause to adhere the better to the foundation. to cut the set. at the exact distance the line is required. with pressure. in inserted a "string. of inch inches this the wide and deep at the one and a half The saw works in the letter V. edge of the table. illustration shows the and work. and be held firmly thereto by opening. is a scraper. then move the steadily backwards and forwards. cleaning off the of sharpening this tool and rub the edge on the oil stone. before the work is to hold the scraper in an upright then give a slight rub on each side. point. hold the scraper in both hands. and also turns it to assist the saw in keeping on the line of the design. the toothing iron requires sharpening oil-stone. when the piece between the two lines " blade . rub the steel up and down smartly. two the part not cut away acting as a The "horse" should project over the support. rooter" against pressing the to the depth at which it is way " the strip of wood until the second line exactly the same width as the " rooter as before. the thumbs behind and the fingers before the scraper. the shape end. as in planing.

II used across the grain. lo. its working on a bar at the bow end of the frame." and is turned about by the perpendicularly by The right hand moves the saw frame backwards left hand. as a larger amount of work. Bemroses' Improved Saw-Frame. 1 1. Some any and its ordinary table. but will employ the cabinet maker. II. saw can be set at an angle. The prepare these.BUHL-WORK AND MARQUETRY. Bemrosts' Improved Fret-Holder. to meet the wants of such the improved holder will be found a most useful invention it can be screwed to . position by The also by the same means at the saw end of the frame. The wood is placed between the clips. and rooter and cutter must also be made to fit the gauge. . There are a variety of machines for the purpose. is held there by an India-rubber spring. but are convenient for those who can afford them. which is maintained without any maintained " on the part of the operator. After describing the a few words must be said on the subject of the bed or foundation on which the Buhl or Marquetry is to be laid. tools. and that of a superior character. as it . Improved Saw Frame. It is not supposed that the amateur will Fret-Cutting. to which is affixed The power is a small circular saw and a boring apparatus. The cutter can be made in a similar manner to the "rooter" by inserting a flat-pointed piece of steel instead of the saw.) which ensures the saw being in the same position throughout. No. the saw will require bending to the same shape for the rooter. material employed for this purpose may be a cheap wood. The saw frame being held in the horizontal and forwards. The cheapest is the No. and Boring Maciiine. can be obtained by their use. For cutting circles or ovals. which admits of The saw is held being turned about in any direction. pressed against hand in Machines are not requisite. and very great regularity of work obtained. obtained by the foot working on a treadle. The work is held the " holder. Sawing. effort This illustration (No. persons prefer to cut their work when in an upright position. a piece of wood cut to the required shape must be used as the gauge. in the right is the knee a horizontal position. both hands are at liberty to move the work in the required direction. 12) shows one of the more expensive perpendicular motion machines. For heavy work the holder to assist the spring." (No.

will There are in most houses work- boxes.12 BUHL-WORK AND MARQUETRY. small tables. nothing could be better on which to lay the Buhl or Marquetry. Providing they are otherwise in good repair. . made in laying down The best method is to veneers. but must be well seasoned. or other objects. The only preparation required being the application of the toothing plane. The joint is thus less perceptible than if cut straight across. or other figured woods. and to run the saw in a wavy line across the two pieces. so that when laid down the one piece fits into the other to the greatest nicety. cabinets. which have done good service and now look shabby. It often occurs that a joint has to be woods as walnut. be entirely covered. in such lay one piece on the other in the position they are to occupy.

B U H L-W O R K n " " " -11- •' •• •> • " .


ivory. has revived for this neglected art. with good results. In the one instance the gilder is gained. chapter is devoted to engraving. but we This difficulty will soon be overcome by training the upon the foreign workman. art is of considerable antiquity. and it attained considerable excellence in the When so that tortoiseshell laid is used it is sometimes is gilt. place under a weight until dry. a French carver in wood. by means of a very fine saw. The The English manufacturer is now manufacture. then lay them flat. of art turning his attention to this branch are still in a great measure dependent English workman the to this class of work. born 1642. Thus — complete designs obtained. vermillion. and with a sharp knife cut the edges even. But as conin . not obtainable in very large pieces. silver. or other metal. died 1732. or some other other color is mixed with varnish and a thin coat brushed on. one case the design is in brass. as indifferently executed engraving spoils the best Buhl cutting. first who this particular style of The two so that materials of "veneer" thickness are fastened together and cut at the there are two same time. the beginner is recommended to go to a practical engraver some instruction. in the other. thus place the two pieces one on the other. It consists brought of a design cut out in gold. employed. designs mostly partake of a delicate and complicated character. The in Italy. . and have a It is only within the last few years that public taste rich and substantial appearance. or inlaid into ebony. brass. and the ground-work brass. so that it is often necessary them together. at the back. and put a strip of glued paper on the Tortoiseshell is : to join joint. tortoiseshell. Boulle. or coloured red. one being the reverse of the other.Jl II II 11 II 11 II 1 111. I II II II t BUH L-WO RK |0 called after Andre Ch. Of course in both instances. giving the necessary instructions for carrying this part of the subject to a successful issue. and then let in. reverse the design A siderable practice for is required. &c.. work to great perfection. or other wood. and is supposed to have been brought from 15 th century the East by Romans. and its seat of manufacture has been hitherto confined to the continent. &c. and the ground-work ebony while in the is in ebony. at the same time pressing the two edges together. The metal is further improved by the aid of the graver. the gilt or coloured side is laid richer effect when down a downwards.

which should be as fine as the thickness of the material will allow to be used.l6 BUHL-WORK AND MARQUETRY. If the design is hole need be drilled." "holder. so that the saw can make a start. drill a hole in each of such openings. the graver. over with chalk to prevent the brass slipping forwards. and rub down. the angle to be the thickness of the "sawgate" so that when cut. is a continuous one. one that the saw can follow until design completed. the saw may be run part wraps The other line will be cut by through on one of those lines. With a drill as fine as the saw about to be used drill several holes. Now place the left behind the toothing plane to hold the brass. then turn it round and tooth the other it on one side. Before " upon a " toothed over by tool No. and cease to press it against the saw. proceed to saw out the design. so that they each help one another to keep the saw on the design. then glue the paper and place the wood piece of newspaper on it. i. they will then require less toothing when completed. 7 fastening the brass and wood together. inserted i as an example. HOW jAVING fixed TO CUT BUHL-WORK.e. without any design. shorten the strokes it under perfect command. when coming to a sharp corner. so as to acquire steadiness and command of the saw. A beginner should first Having try on a bit of brass. answer admirably to press the pieces together until dry. and veneer on it. so as to have direction. which are for the spot where they will be least observed. the saw should be held in a slanting direction. choosing a Place the metal and wood. If the present to be treated as if one piece. In some designs where one over another part and will require lines engraving. and tightened the saw. and the wood veneer should be of the same thickness. and try to follow it with the saw. Now glue the back of the design and place it upon the When all sides are toothed. design. afterwards choose a simple design. having previously rubbed hand end. ensure close fitting work. the brass and ebony or To .. This is accomplished in the following manner. Place the brass or wood on a level surface. See design No. A copying press. turning the brass so as to assist the saw in keeping on the line of the design. upon the "horse. for the purpose." or machine. if at hand. procure a piece of ebony or tortoiseshell and a The brass is specially prepared piece of brass of the same size as the design. then proceed as before. use the tool as an ordinary plane. it until the surface is covered by the tooth marks. they should be on both sides. will and put the glued pieces under a weight until dry. placing a rub well down. practice is Some little unison with the work in the left required to accustom the saw in the right hand to act in hand. at the same time turn the brass round until the saw is in the required new of the saw-frame. only one one requiring openings inside. warm the brass and glue brass. and so economise time. merely turning the brass about at fancy.

for cutting a cheap and useful machine we strongly recommend the one shown on page II. is cut. As No. a similar copy of the design being fastened on the top. cut without the aid of machinery." In the illustration the "sawgates" are represented fit by No. The But then comes the question whether those who can afford a machine do not possess great advantages over those who use the hand saw frame. so that the amateur need not despair of producing good work. and drop the design We will suppose the design materials . therein. so that when separated the design will fit To accomplish this successfully requires convery accurately into the ground-work. operation is to lay the Buhl-work on to its bed. it well down with paper. the black lines 2. (No. However. the design when fitted into the ground work will be found to fit without any "gapes. and place it under a weight The next requires be a great question for the amateur to decide. and place the glued side the hand. — cutters is to — the material to be inlaid are cut. rubbing until dry. the next operation is to separate the two a knife between them on pressing it forward the paper by carefully inserting will be found to split. siderable practice. raising one side or end of the board to the desired angle. II. perseverance. 17 other material shall be on a bevel. whether this mechanical part of the process would not be better done by a cabinet maker. then glue a piece of newspaper. and aptitude. we give the following instructions. if skill. If one of the more expensive perpendicular motion machines is adopted. that angle being maintained throughout. in . to ensure all the designs being exactly alike on one or more thicknesses of the groundThen one or more thicknesses of work. thereby producing regularity of work. Another method adopted by some professional Buhl and Marquetry lay the design which is in outline and often engraved on steel or copper-plate.BUHL-WORK AND MARQUETRY. it will tightly into consequence of its be readily understood that No. i and being cut on a bevel . the angle can easily be obtained by having a loose board placed upon the table of the machine. and it will This Having well " toothed " the foundation. and cut carefully on tlu line of the design. warm it and the Buhl-work by repeatedly c . Lay the ground-work on a flat surface. no doubt. splendid old Buhl-work still in existence was. are combined. which can be set at any required angle. care to ensure the Buhl-work adhering to the bed. In some instances the pieces are separated by exposing them to steam or hot water. 12). will this ensures good fitting Buhl-work. The saw in this instance does not cut on a bevel. or other soft on to the Buhl-work. or foundation. for those who prefer to lay down their own work. boring a hole for the saw to work in. and the design cut just inside the line.

. work the glue has thoroughly set (for which allow twenty-four hours). This prevents the work from being injured by sticking to the board. in the same file marks. The next and two to three feet long. until the surface is perfectly even. is When repeatedly warmed up is loses its tenacity. larger works a veneering hammer. and rub the charcoal Make a polishing-rubber by backwards and forwards until a fine surface is obtained. it. working the glue into the "sawgates" by giving a circular motion to the glue brush and also rub well down and place under heavy pressure. rolling up tightly and evenly a strip of fine flannel or cloth three or four inches wide. damp sponge by using a previously passed over flat file. free from scratches. and only mixed in small quantities. to see if there are any "gapes" or holes. On one end of the " rubber" apply a few drops of linseed oil. procure a piece of stick charcoal." or a latter consists of a piece of wood cut to the shape of the work. which hot. the BuhlIt is essential that the glue should be hot. of good ready for cleaning off. The scraper will soon remove the paper. and free from all scratches. applying occasionally a fresh supply of oil and powder. If an extra good surface is desired. and Fine pumice-stone. then secure it in the roll shape by stitching it. or greased with place lard. in the direction of its fibre. of sand or grit stone. In laying down " " volume being of small applied with considerable pressure until the glue has size." would be used.18 BUHL WORK AND MARQUETRY. passing a hot smoothing iron over them. polish is got by using finely-powdered charcoal. with some pressure. caul. until a fine polished If the materials being poHshed are ebony and brass. a still finer surface is obtained. Buhl-work good condition by being rubbed with a . the method before described will The designs in this suffice. When this stopping is thoroughly dry clean off the excess with the scraper. direction as the finest. if so they must be filled up with a stopping. until all scratches have disappeared. or the use this until a smooth level surface. Now put a piece of No. is obtained. then change the emery cloth for No. always in one direction. if a The surface now requires levelling this is done . ground to a level surface on process is to polish. and sprinkle the surface of the Buhl-work with tripoli powder. sold by most Ironmongers and Druggists. must be rubbed backwards and a piece forwards. o. rub the Buhl-work. not too thick. to prevent the glue setting too quickly . is kept in a bright and clean wash leather once or twice a week. put a few drops of oil on the Buhl-work. as glue which has been quality. and being made set. now apply an even coat of well boiled glue to the unpapered side of the Buhl-work. with a knife cut the end on a bevel. then examine the Buhl-work. made by mixing very fine sawdust fine of the wood or other material with clear glue. taking care to glue the foundation a board on the top of the work which has been slightly tallowed. on the Buhl-work. i emery cloth round a flat piece of cork or wood and rub the surface backwards and forwards.

When the engraving is completed. a piece of paper being between the brass and the wood. so that it may be more easily removed when the The graver should not be held at any great angle. the coarser or thicker the line. fig. or else it engraving is finished. greater pressure must be used. the handle being pressed forward by the first finger and the thumb (Fig. 3- Fig. obtain the gradually increased thickness in the curved lines. will dig into the brass and soon lose its point. Fig. The work to be engraved . the latter to cut them deeply into the brass. off. The not a good plan to get up the effect by crossing the effect of Buhl-work will be better if single lines only are used.=^ Fig. yet in the hands of one not practised it would soon break and require to be again sharpened. as although by this means it will cut more easily. the centre of the hand. This is rubbed carefully and left to dry. 3). 5- the best until mode of sharpening is as follows : —The the required sharpness is obtained. and the tool may be passed through those parts of a line requiring more breadth several times. by 2). which gives a section of the tool. used should be a square one. is filling up with melted added black. or other colour. vermillion. as lines. a lozenge being open to the same objection as a square one sharpened at too great an angle. but it angle too great. cut of increased thickness to secure effect. The diagram will show how it should be held. To work. it is as is done in etching. Ordinarily but two the former to tools need be used. and the tool guided The handle is represented here (Fig. but plenty of practice. i) and the mark on the brass the lines to veins in leaves. however large. to which in. 4. Gravers can be had of any thickness to suit The larger the graver. such as the curves in scrolls (Fig. is 5 ground to shows the The graver to be angle to be avoided until greater expertness has been acquired.BUHL-WORK AND MARQUETRY. 3. an etching point and a square graver be engraved. then cleaned . will enable the amateur to add much to the appearance of his work. It will graver must be rubbed on its end will be advisable not to make the be found that the point will keep longer in good condition if the graver about the slope shown in Fig. 19 HOW ITTLE TO ENGRAVE ON METAL AND IVORY. and . and few tools. must first be sawn and then be glued firmly to a piece of wood. Fig. the lines require mastich. instruction.




and of considerable length. lime. . and the design. throws nothing away for in cutting a table top.. for instance. SS^JENEERS as walnut. and can be obtained from the thickness of a sheet of paper upwards. shells. cabinet. At other times this order different work inlaid with coloured woods. of the width of the tree. pieces of divers &c. from marque. or other material. ERIVED sign. is reversed. to this foundation. inlay the term used to describe . ivory. rosewood. be it a table. two tops are obtained. below is will best illu.strate the subject. WOOD. Marquetry. and are always obtainable in veneers.MARQUETRY. The examples . these are also to be met with in veneer thickness. and are principally used coloured woods. thus giving a solid appear- ance to the work when completed. sycamore. is from the French marqueter. to represent groups of flowers. the result is a negative and a positive. and many other natural The various fancy coloured woods are dyed. the one the reverse of the In the other. one instance the ground-work would be dark. and the marquetry is glued on object. . for marquetry is always put on to a body or foundation. the joints being cunningly put together. unlike ordinary " fret-cutting. or to speak photographically. ebony. to checker. such mahogany. mark. oak. y^i*. or other The body is mostly made of a cheaper wood. is of one or more lighter shades of wood. Marquetry may be likened to a coat which a man puts on to clothe his body. vary in substance. Many woods are suitable for marquetry. as in it will be at once seen that the second design really what was cut away forming the first. which mostly partakes of the character of scrolls. &c. or geometric designs. and the design in lighter colours the other would have a light ground and the design in darker colours." . The ground-work is often dark in colour.

and Having decided upon a design. helps to strengthen the work whilst being cut. 7. as in the former case the crack disappears when properly put down. and without a " gape. Veneers should be kept between two pieces of wood. as it it common wood. or in some woods a small hole or two. If the veneer rolls up and seems likely to crack in it on a damp floor for several hours. or a piece of veneer is let in. veneers are often cut at one time. Instead of metal and wood. and bend it pasting down at each end some prefer to file off the ends level with the veneer. suitable to the subject of the The veneers should be all of the same thickness." which are thinner than those which are "saw-cut. the one called The latter give more substance to work upon. . and for a beginner by not allowing it to cut too quickly. whether the hand-saw or machine is used^ it is necessary to cut the work on a No. size. 2." in price.24 BUHL-WORK AND MARQUETRY. We will suppose four veneers are cut at one time. obtain pieces of wood of the required colours "tooth" these over on both sides with tool No. like Buhl-work. 4. steadies the saw Marquetry. These pins can be made by filing the heads off some ordinary pins. There are ordinarily two thicknesses of veener kept by most "knife-cut. 5 . and the design. 3 into No. Paper will do. or glueing the design on to the top one. turning over to the back. dealers. HOW HE Four or pieces of five TO CUT MARQUETRY. design fitted into the ground-work. large book. or inside a In choosing woods a good contrast is wanted. the surface will be laid level. 'Pj^ bevel to obtain perfect results. place without splitting. a good plan to prevent this to glue a narrow strip of calico. but not so well as calico. indeed it is well to have a few to put with the work. so as to facilitate its being down. but are necessarily dearer Veneers being of a is it fragile nature are apt to split ." So that it is at once apparent that. It is well to whilst the wood it trying to lay glue a strip of paper on a crack as it prevents the crack extending is being cut. when there are only two veneers. Insert at each corner a pin. we have now to deal with other materials than metal. modus operandi of marquetry is very similar to that of Buhl-work. The amateur must is not think that the veneer ruined if it is cracked. and in the latter case the holes are neatly stopped with a proper coloured cement. so that when cut." whereas if cut without a bevel there would be a "gape" the width of the "saw-gate. i will fit into No. it will then lie flat flat. and place it across each end of the veneer. place them one upon another. it is evident from the illustration that No. should be cut on a bevel to ensure its fitting without any gapes or misfits.

or if there are only two or three veneers. gently pressing paper will be found to split. it forward . rubbing it down and put side until the until dry. and fit into it the various pieces according to the colour of the design. and having tightened As each part is cut and falls out. the whole will then feel like a thick veneer the veneers together. drill Now always cutting across the grain.. insert as they would be if they were in single veneers. then place under a weight until quite dry. it will be best to fasten by pieces of soft newspaper. these can be In some instances it will not be changed about so as to form four complete designs We we can now advisable to attempt to make four complete designs. different colours are cut separately. laying the veneers one on all . with. the groundwork is cut by itself. At present only the black ground-work and portions of each of the other colours under a weight We have been used. either printed designs or the requisite number of designs have been drawn at one operation. laying each colour by itself. used and the nature of the design. so that had a ground-work and a complete design of eack colour to start use for the second. D .BUHL-WORK AND MARQUETRY. providing the paper designs are exactly alike. the one or more holes as required. with the point of a penknife make a small nick or cut on the line of the design. or any design composed of several colours. as the nick made by the penknife is about the width of the saw blade. The The fourth. whole design is cut. except where some of the pieces were used in the first design.e. insert the saw blade. Then lay the ground-work on a flat surface. and suppose red. design. the white ground and black design. will that four different coloured woods have been used. no holes need be drilled. the red ground and green third can be green ground and red design. using another or two of the designs as required to cut up for fastening on to the different colours. the veneers upon the "horse" or machine. Place . and the pieces separate with ease. green. because the design is cut so as to fit exactly into the groundwork. If the design is much depends upon the colours a floral one in natural colours. as the saw can be run up to the part of the design required from the edge of the material. and is almost imperceptible when the work is made up. In cutting the parts that are to be inlaid. black. so that the latter If this method is adopted. placing a greased board between it and the weight. If the design is 2$ very elaborate. Now glue a piece of soft paper and lay it on the completed work. or the veneers might split this latter method is superior to the round hole made by the drill. Then separate the various colours by the insertion of a penknife between the veneers. so as to ensure their Then the various being facsimilies one of the other. lay it on one it proceed to cut out the design. otherwise the damp glue will prevent the saw working properly. i. and the design on the top one. between the veneers the edge of a thin bladed knife. the saw should not cut on a bevel will fit into the former. glued or pasted on both sides. the delicate parts of the design will not be so liable to break When disunion is desired. taking care to cut the groundwork on tlie line of the design. namely. the other. and the inlaid parts just inside the line. white.

GOOD efiect is . When the sand is sufficiently heated. with the exception that no file is required. so as not to overdo it. We will now about 18 by 12 Put some dry sand into the or a small old iron tray will answer the purpose well. Better results are obtained if the wood is well baked or dried before it is sawn.26 BUHL-WORK AND MARQUETRY. this occurs Marquetry is laid down a similar manner to Buhl-work (see page 17). The scraper. and certain parts requiring shade can then be treated so as to obtain the most delicate gradations of light and shade. then apply No. in the same direction as the fibre. placing the cloth round a piece of cork as before described. SHADED MARQUETRY. will give a rounded appearance. bend up the sides about one inch. Holly and box wood are well adapted for shaded marquetry. must now be used after the work is laid down on (see page 18). 2 glass cloth. . 8. to form a tray or dish. easily produced by artistically browning or shading a light coloured the round part of a musical instrument forming of a design (see plate XL). The heat of withdrawing it repeatedly to watch the efiect. A whilst the part immediately underneath the curl would require Those who possess correct ideas of light and shade would be able to produce capital eff'ects by this simple process. the curl would be left of the natural shading. this purpose. when laid down. it wood process. See chapter on Polishing. placing the edge requiring the deepest shade downwards. and place it upon the fire or stove. No. heat. if carefully browned by the following simple part for instance. and finish off with the finest. This is done by placing the veneer between two pieces of sheet iron. sometimes requires again when all the veneers have not been of the same thickness. either in an oven or before the It will prevent shrinking when undergoing the shading process. In treating a group of flowers on this method. as in the case of a curled leaf. those next would require a degree less shade. Pumice stone is often used for the foundation . and binding them together. and in some leaves where the high lights are required. expose them to fire. the toothing plane and scraper removing any inequalities of the surface. It should be rubbed to a flat surface on is a piece of sandstone. the sand is tested by inserting a bit of thin waste wood into it. in toothing over. colour. the centre of a rose would be of the darkest shade. pressing it gently into the hot sand. a pair of pliers take hold of the part of the design which requires shading. describe the process of shading. Procure a piece of sheet iron inches. with tray. therefore the pieces forming the centre would require browning the most. design consisting of white wood can thus be sawn out. The marquetry then ready for polishing. The Marquetry.

and we must leave must be made. and XIII. where the only true nature. as. the effect being to char it. for instance. &c. picture frames. After an amateur has executed most of these he difficult examples. Plates XII. Two or three shades of a similar colour. drawer fronts.BUHL-WORK AND MARQUETRY. cabinets. Supposing the amateur has not obtained a loose copy of the design to fasten on the work. which can be bought for the purpose for a trifle. In choosing colours for a design much discretion is often required. the outer edge being the darkest. in pencil or ink. If for a dark shade. . rather than a stereotyped pattern for one and all. One is to trace the design from the original on tracing paper. with border lines of a more decided colour. contain examples of this process. This method will not burn the wood. centres of panels. and if ordinary care is used. and numberless small objects of ornament and utility. the amateur thus having some choice and interesting to the amateur. the choice with the amateur. For the lighter shades the sides or cooler parts of the sand must be used. and remain there until the desired shade is obtained.. watch-stands. boxes.. mirrors. These remarks do not apply guide as to colour is to such designs as flowers. and fasten the tracing on to the top veneer. DESIGNS. and various made up designs are given so that a great variety is obtained by changing the borders. to give designs in such a form as was thought desirable would be most useful viz. Again. the wood must be placed in the hottest part of the sand. It is then laid down as described on page 17. which may be followed as closely as possible. care being taken not to have the changes of colour too abrupt. a series of borders applicable to . AND E HOW TO OBTAIN THEM. a copy of the one chosen There are several methods for accomplishing this. . Nearly It all the following designs are equally adapted to either Buhl or Marquetry. 27 A in little practice is required to enable the amateur to know the proper place which to dip the piece of wood into the sand. tables. will be more agreeable than two or three gaudy and ill-assorted colours. inkstands. many purposes. and in both cases the wood must be repeatedly examined. have given designs which are of a simple character and easily worked more elaborate ones would be out of place in a manual for a beginner. borders to drawers. with a delicate gradation of shade fading away to the natural colour of the wood. designs for will be in a position to attempt more which are easily to be met with.

trace over the whole of the design. The Pentagraph the amateur. and also the extra trouble of removing the paper when the work is cut. over the design. the design may be pinned upon the wood. place two or three pieces of white paper.28 BUHL-WORK AND MARQUETRY. quired. insert the pivot in the hole at C. to be had from any operation stationer. move it carefully over the design. and press the follows: The method — Pin Insert the tracing point into the drawing board. proceed to trace over the design. having previously placed a piece of carbonic paper underneath. desired. by which several designs exactly is : the following obtain several sheets of carbonic paper. putting enough pressure on to ensure the transfer of the design on to the bottom sheet of plain paper. Designs thus produced are very useful at where many colours are used. or steel point. design being used in a similar manner for other colours. If an enlargement is desired. is or larger or smaller. as only that part of the design wanted for a particular colour is cut out and fastened to the veneer. operation. a duplicate design sharpened to a point. in will be a most useful adjunct to by this useful producing working drawings. the pencil at B. then with a piece of pointed hard wood. as instrument any design can be size drawn the same as so as It the original. merely putting enough pressure on to ensure the marking of the pencil on the blank paper. and proceed as before described. the size of the design. The pivot always remains at either pencil marked on the gauge. at the same time place the fingers of the left hand on the pencil. and cut separately the other parts of the . the groundwork being cut by itself If the wood is not too dark in colour to show the pencil marks. A . taking If the design is care to let the pencil move along as directed by the right hand. and the pencil over the blank sheet of paper in the hole at A. point in the hole at B. A be done to scale by moving the slider to the proper position for the tracing point and or C. Another method. This method avoids the use of glue or paste. With the fingers of the right hand on the tracing point. required The drawing can tracing point at C. then lay the design on the top and pin all together — alike can be produced at one the two top corners. with a steel point. will be found upon the wood. and upon each of them put a piece of carbonic paper. and the to be reduced place the pivot at (sec illustration). purely a mechanical that no artistic knowledge is re- of using the pentagraph is as the copy and a sheet of paper on to a drawing board. or piece of hard wood On removing the design and carbonic paper.

HIS term is applied is when one material is let into another and afterwards is carved. There are numbers of suitable designs to be seen on been so extensively introduced into manufactures. when with but little additional cost an artistic effect is produced. since art has Many pretty borders are also to be CARVED MARQUETRY. laid on but as a rule the inlaid work is preferable. Further. not improve upon the present style of " cheap furniture.f applied by a short * Manual of Wood Carving. and when With a fine pointed the ivory design is inserted in the ebony ground it will project.BUHL-WORK AND MARQUETRY." oftener than not painted stone colour. laid on a piece of wood of a different colour. The ivory suppose the two materials will be two or three times as thick as the ebony. Bemrose & Sons. + See Chapter on Stains. or steel point mark how high the ebony comes up the ivory. some leaves may have been cut out of a piece of brass or wood. 5/-. without the . |HIS sometimes useful to use up parts of Buhl or Marquetry. which consists of a thin piece so that when placed upon the wood. must refer our readers to the Manual* on that subject.. LAID ON BUHL OR MARQUETRY. HERE style are some persons who would object to the introduction of a spurious of Marquetry in this volume. Some borders look very well. which are not required in a design. that is undoubtedly far preferable. Our plea is. yet a few words may be said on the subject. For instructions in wood carving taking care not to cut lower than the pencil mark. they will be sawn together. and proceed to carve the ivory. and it is not desirable to use the reverse if this is style is . trouble of further sawing out. . all 29 sides now. a good effect is obtained. then glue the ivory pencil on to a rough piece of wood with paper between. is metal stain in which the design cut out. about to be operated upon are ebony and ivory. and the stiff brush. Thus. IMITATION OR STENCILLED MARQUETRY. carefully only that part where the metal has been removed to form the design receives the stain. . called a stencil brush. found in the illustrated books of the present day. why necessarily expensive. It altogether a higher branch of art than likely to be attained We will by most amateurs. that genuine Marquetry is and therefore beyond the reach of many. 4to. we Ivory carving is principally done by a scraping and filing process rather than a cutting one. and is of a character to promote a taste for something better than the present tasteless style of modern " cheap furniture." Manufacturers use what of soft is called a stencil plate. with designs and full instructions. London and Derby.

and removing the paper. and boil : the following manner them in a little water. the When work may be bees-waxed or varnished. the edge of the stencil plate. and with a sharp knife (or. with a space the width of the required line between them. with a gouge) removing the design. after use. wood beyond cheap substitute for the stencil plate can be made by drawing or pasting the design upon a thin cardboard. pass it over the plate with a circular motion. The to dry. when a fresh one must be used. applying the If a black line is wanted. and the smaller the quantity of stain used the more clear and perfect will be the result. made in Procure a few parchment cuttings from a stationer's. be available for some little A time. a spare piece of clean wood. for this process are Designs specially adapted on Plate VII. The great art in stencilling is to press the stencil plate close to the work with Put a few drops of the fingers of the left hand. according to the colour desired. with care. apply the stain. until sufficiently stained. For this purpose cut out the design in paper. and allowed to remain several minutes. It is stencil cards should be wiped clean and put between blotting paper much the fashion now to stain the floors of rooms for about two feet round the outside of the carpet. the ground will be stained. and applied with a brush. cut two strips and fix them line. good effect is produced by stencilling a bold design as a border to the carpet. The metal plates. which serves and paste it in its position on the floor. In the case of a white border the width of the required line. should be immediately steeped in a solution of equal parts of warm water and vinegar. and placed to dry between blotting paper. but when the stencil card is once cut. All work for stencilling must be scraped and finished off with glass cloth before the stain is applied. then apply the stain and remove the paper. evenly and It prevents the stain from running into the grain of the lightly. and the pattern in the natural colour of the wood. — This size must be used thin. then taken out and rinsed with cold water. Before applying the stain. rubbing the brush round on it until nearly the stain on The brush dry. the wood should be brushed over with size. where curves occur. A The same design can be used several times. fixing it with paste in its position. This will require a practice to accomplish neatly. the brush to be in the right hand. . stain a simple plan is to cut a strip of paper and. dry.30 BUHL-WORK AND MARQUETRY. it will. and has received a thin coat of varnish on both sides. and lift up the paper design. should never be used when very moist.

Dis- —Brush in over with the tincture of turmeric. brush well over until thoroughly stained. it is useful at times to be able to stain any desired colour. but for the kept by most druggists. and lay them down on the unstained side on glued separate when any paper. 3 1 STAINS. —Boil cold a half-pennyworth of log wood chips in six ounces of soft water. which are If a lighter colourmen's. whilst it is being cleaned off. and proceed as before directed. Afterwards paper. work solve Yellow. and before it is finally put together. a few drops of the dye into a saucer and add a drop or two of hot water until the shade is attained. first if let it stand for with the logwood is decoction. Where possible. vinegar. fill obtained at any whitesmith's. there may be only several red berries wanted in a design. shade is desired. otherwise one stain would run into another. the work must be laid on glued is cut staining has to be done. Blue. several days before it is used. up the bottle with Brush the wood over . the pieces to stain them. to be put into a bottle. therefore the stain must be applied when the Marquetry has been scraped and cleaned off. —Boil half-:a-pound of Brasil wood. we be required in rather large quantities enable those who wish to make their own give a few recipes to may Black. For instance. and afterwards with the vinegar solution required apply two coats of each. which generally one of the colours used in a design. and it is a pity to cut a few holes in piece of red wood to obtain them.BUHL-WORK AND MARQUETRY. and half-an-ounce of pearlash in half-a-gallon brush over the work until a proper colour. pour As for stains. The stained woods obtained from the veneer dealers are stained throughout by a process that cannot be followed by the amateur. finish the work off before the Marquetry If not. quarter of a pound of woad. when Into another bottle put some iron filings. — Boil two ounces of indigo. and brush over with hot solution until a proper colour. and then on a rough piece of wood. All amateur staining penetrates but little below the surface. one ounce of alum in a pint of water and brush the solution over the before it dries. —Dissolve verdigris in vinegar. [LTHOUGH a large woods can be obtained of almost any colour. half-an-ounce of alum a pint of water. a very dark stain Green. and while hot. of water. Oak and many other stains can be bought at most brighter colours we recommend Judson's dyes. Red. . black and a few other colours ground-work. when they can be so readily produced by is staining the white wood.

evenly. design . 13. first if recommended operation is neither to employ a polisher. by white ground. it is not requisite holes in each of the inside pieces. as the graver adds to the good 12. and 6.. effect. as thin and evenly as possible. as shown on Plate string improved by the addition of the of the designs in this book can be obtained from the Publishers. except the latter. which is a double can be used independently. the rag should feel slightly "tacky. as clean nor pleasant. on which put a drop or two of sweet it — sticking then rub the wood. 3. gd. is and so gain access to the interior of the design. place this prevents the it inside circular motion to the rag." green wood." or sticky. glass-paper Having obtained the polish light or dark. the running part of the design. allowing flat or other surfaces parts must be " some hours to intervene between each application. 9. the method the flat as follows : —In the not sufficiently so the place must be again applied. they are also adapted for Buhl-work. O polish well requires considerable is practice. Borders easily enlarged or reduced I. As a possible must be used rule. application of this poli-sh on EXPLANATION OF DESIGNS. each. As little oil as the exact quantity can only be learnt by experience." that is. lo. but before applying a piece of linen rag. look well if cut in black . rag from and repeat the supply of and oil as required. oil — to the wood. being leaf designs. 7 shows the same design in Buhl and Marquetry. giving a polish . add more polish to the cotton wool. a border in which there are inside pieces which require sawing. 8 Nos. as it is impossible to varnish on a rough surface. until the whole surface is uniformly polished. to drill it I. ready for fastening down on Any to the material. according to size. the amateur ever. according to the colour of the wood soak a small bit of tow. POLISHING. and white "strings. or cotton wool. As only which can be got at freely can be French polished. jHESE are characters are designs are mostly adapted for either Buhl or Marquetry.32 BUHL-WORK AND MARQUETRY. and 16. putting the part that overlaps in a different colour to Nos. that surfaces are perfectly smooth if — — . and. or walnut ground. No. but run the saw through on one of the stalks where I. The other line in each case cut with the graver in Buhl-work. " " on one or both sides. either No. have what is called brush polish applied with a camel hairbrush. 2. Howis the he desires to polish his own work. PLATE No. in the polish. at 6d. is best adapted for Buhl-work. or is. and apply it. is crosses the other. 4. care must be taken to avoid the the French polish already on the flat parts of the work. when touched by the finger in applying the oil. Some woods receive the polish better by applying it at two or three different times. to the wood then see . in Marquetry the lines are cut by the saw. need no special remarks. 5.. the other brush polished. the latter being in ebony on a Two different coloured woods may be used with good effect in this design. and being of simple if the size given is not suitable.

which requires very careful engraving. would look well in coloured Marquetry. No. Buhl be cut in brass. that will not warp. No. may be in a different colour to the other four. Comer for a table or if box top. so if the saw is run through where shown. the book. but it A is monogram not really would require a line engraving. 19. might be substituted for the cross if desired. 29. 16. 13 is still further improved if the back of the band of a darker colour than the front. which should have a leather back of a if A bookbinder will easily suitable colour. and tied in neat bows. II is 33 the centre bar is and 13 are best adapted for Buhl-work. 31. The design looks very intricate. Marquetry. inch in in enlarged adapted for a centre of a small table or panel. some colour II. and two sides might be cut No. Nos. 32 is III. are if suitable as corners to many of the borders as they are If for not adapted to join. No. 35 forming the bottom put together by narrow ribbon being passed through the holes made for the purpose. or by cutting the foundation to that shape. 17. . thickness a glass is If enlarged it will make a very neat watch-stand. No. it Suitable for a miniature frame. if is laid on a foundation of about quarter-of-an- . and the saw gate When cut. and if for Marquetry. required. Corners for small Articles. 22. and the edge bevelled or moulded and A neat rim attach the sides to and clasps would add much to the appearance. and 28. improved by a "string" running from one comer to the other. This design looks very well cut in Marquetry. if The two centre pieces. easily enlarged if required. PLATE No. as answers the same purpose. 26. to suit the border. the opposite comers being connected by No. Nos. Borders of a simple character adapted for both Buhl and No. a design for a book-side suitable for a Bible or Prayer Book." 21. The ivory should be of veneer thickness. PLATE No. Marquetrj'. although very pretty in Marquetry if of a different colour. Nos. suitable for many purposes. and 20. the Buhl -work should be laid on a foundation of some hard wood stained. but look better they will run up to in a square placed at the corner. Centre for a box top. E . a "string. 27. 30. 18. In this case it would want supporting at the back by two small stmtts or legs. Nos. 34 is is at one time.BUHL-WORK AND MARQUETRY. 23 and 24. Comer. a hole quarter-of-an-inch wider in diameter than the centre of frame should be bored out of the foundation for the reception of glass and picture. 25. A Frame for picture or mirror in Buhl. or ivory and ebony. it an example of a fretted ivory basket of eight sides.

cases. . 38. No. stalks brown. or medicine. Several veneers can be cut at one time. to be hung up in an entrance hall in this case. or in sight. PLATE No. pocket handkerchief. the other panel must correspond. centre panel can be filled with either monogram or crest.. pieces 42. on the of small turned boxes they look well and a variety of purposes. Nos. and be about i of an inch the When pocket is completed. If an ordinary monogram little is used instead of the sacred monogram. In getting out material for a for fan.34 BUHL-WORK AND MARQUETRY. the slit in the more depth obtained -by giving more margin round chosen. . either in Buhl or Marquetry. lid card cases. with a white border line. in V. or for comers of larger articles. Two The designs for panels are given.. and looks well in Buhl or Marquetry. the leaves might be green. . if the latter. and are equally applicable to Buhl or Marquetry. If let case they are faced up and polished in the lathe. Nos. and put them together when the design cut. of the designs on this plate are shown but many of them look well when cut in coloured Marquetry. The be laid design is suitable for either Buhl or Marquetry. article of bed furniture. IV. the edge of the foundation should be stained black. Two The designs for side panels are shown whichever is chosen other one must correspond. No. 33 and 36 are borders suitable alike for either Buhl or Marquetry. or lid of a box. A Fan. 40 and 41 are suitable for tops of boxes. whichever is small perspective view shows how the will box is put together. that may be required during the night. and the interior pieces fretted or open work. and a for a letter box. it is well to have the two outside somewhat thicker than the pieces used the inside. The drawing the is of full size. The foundation wood that will not easily warp or bend. a cabinet-maker is should get out the pieces for the foundation. 37 is suitable for a cabinet drawer front. The hook is for the purpose of hanging the watch upon the box beneath for the reception of the chain. and only the two outside pieces cut. and in both cases the veneers would should be of some hard thick. lid adapted would require lengthening. gives the natural colour according to the material used. either No. 39. Some persons may prefer to have the outsides solid. and grapes purple. Bed and watch pocket. the panels. it is Alms box. jewel boxes. Or a paper inside to the fan can be used. for Buhl-work. for The foundation should be about J of an inch in thickness Buhl-work be best adapted an alms box. They in this are well adapted for centres of small sides of books. a useful and ornamental . the edge of the foundation when as it As this article requires carefully putting together. PLATE The whole remarkably boxes. It is a good plan to insert a string on a finished appearance to the work. cigar . It is well adapted for being cut in either bone or ivory. &c. left on to the separate pieces of foundation before they are put together. &c.

the design being repeated. 55. These are alike applicable to either Buhl-work or Marquetry. Nos. 6a to 69 are designs specially adapted given on page 29 VII. black hat. &c.. a design for Marquetry border for larger objects. No. is shown. Would look cut in ebony and ivory. or coloured Marquetry. should be cut out of well-seasoned The section shows wood when the . PLATE No. and for Buhl-work. in this good coriiplete designs can be obtained from four or and some of the other designs. 72 is IX. A hand a thin mirror. we might instance No. 74 and 75. Whether for wall or table provision has to be made at the back for holding the picture and glass. VIII. walnut ground. use. full instructions are for the successful carrying out of this pleasing style of decoration. and requires to be repeated. In hang keys. as it The boy in similar colours to above. PLATE No. portrait or picture. This hangs against the wall. . such as figured walnut. Border for a table top. The saw should run round the is arm and hand and on the By so doing. so as to well if make all strong and secure. the stalk of grass green. viz. produced." No. The coal might be green. a box like part has to be fastened to the front about li inches deep. breaks up the otherwise dead effect of one level colour. PLATE No. black. a better effect flap of the pocket. a frame for a suitable for several it purposes. and a little larger than the square opening of the doors. Several colours being used.BUHL-WORK AND MARQUETRY. the 70. white stockings. Corners to borders. 76. brass and ebony. for Imitation Marquetry. for small objects. is VI. but of some is be No. and the handle screwed on to this. 57 doors. Some of these designs are readily adapted for Marquetry. are frames for carte-de-visite photographs. and five different shell another colour. with lock on doors. Marquetry border in colours. 60. The ground need not colour that will show up the leaves and flowers. if Nos. 44. The interior should be lined with velvet and fitted up with small hooks on which to this case As a key and trinket-cupboard. as shown it thickness is of the foundation. one half of the design The sections given with each frame will explain the shape of the foundation. look best connected by " strings. with two If to stand on a table will require a support at the back. 58. &c. 73. PLATE Nos. 71 No. and 61. As an application 35 of Marquetry. snail black. waistcoat scarlet. 59. mirror inserted polished back-board should be screwed to the frame. a Marquetry border in colours for a table top.

for a 77 and 83. walnut. Design a long drawer for a pilaster in No. on the Lady's Card Case. and have front. or be purchased ready for laying The saw must be used to divide the design at the proper distance. in 3 colours of wood. with and withfor out a neat moulding round it. adapted -for small objects. 90. The difference being in the size. as shown above. and the foundation Marquetry. so that Marquetry. or The design is also well adapted for ebony and ebony and German silver or ivory. to be used with Nos. A good box work for this and 77 Nos. 77. and use 79. The shading on for the musical see instrument and on ground the leaves obtained by shaded Marquetry. No. and 86 are suitable mats. is for a blotting-case side to well-seasoned board. 89 is an example of shaded or burnt Marquetry . thus in shaded — laid on a which can be stained black. the foundation for the for Buhlwork or Marquetry to be put upon. No. reversed. brass. 82 is is half of the design for drawer front. the veneer being cut square and laid on the foundation The bookbinder will add the back and pockets and insert the blotting-paper. size. and mode of coloured Marquetry. 3 Pilasters should project i an inch to an i inch beyond the panels. No. will These materials are cut in and polished in the same manner as Buhl-work. 85. Corner design Half of design Marquetry. there are No. the top and sides A the lid can be pulled off.36 BUHL-WORK AND MARQUETRY. XII. PLATE No. 84. the monogram can be replaced by The foundation can either be an old case. 83 nine colours is of wood used is in this design. for various small objects. in brass and tortoiseshell. the design is meant for a panel to a small cabinet.\TE XIII. &c. for small cabinet drawer front. &c. 81. are well adapted shaded Marquetry. See Instructions on page 26. 80. now to be found in most houses. as centres of tops. with Nos. or. crest if desired. The particulars to 87 are equally applicable to 88. X. panel for cabinet or cheffionier. may be ebony. Drawer front or top of box. 82 and 83. in coloured Marquetry. Gentleman's card case. As shown. 87. If for a box lid or drawer front a neat moulding placed round adds much to the effect. End it for a book-slide. if repeated and Pilasters are seldom less than 4^ inches in width. and i to 2 inches of plain wood outside it. see some as For strength. and the reverse be liked some instances better than the design shown. PLATE XL No. No. a figured walnut wood ground would look well. Other designs. for This pilaster is meant to be used or 4 inches of plain wood above and below the design. mother of pearl. PL. Marquetry for a cabinet or cheffionier. . No. shown in several colours. 88. instructions page 26. the border line shown should be placed several inches further from the design. plain one 78. No. it should be have a mould worked round. table PLATE No. in putting together. or purchase a existing example.

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by aid of which any Master may easily teach boys the simplest and most useful parts of Military Drill. Jun. F. and other Useful Exercises.. price is. 6d.LIST OF 21. Being a List of Tools and their Uses. Illustrated. Jun. LONDON. with Introduction. cloth. and showing at a glance who takes part both to Company and Battalion Drill are printed on opposite pages. by in its it. &c. and orna- this pleasing art.. &c. Post Free. Llewellynn Jewitt. BATTALION DRILL. BUHL- WORK. M. Manual of Edition. Fourth By Commander F. A his Drill for Elementary Schools.. BEMROSE'S GUIDE TO FRET CUTTING." Sixth Edition. Demy 4to. is Handy-Book allion Drill designed to facilitate greatly the practical and ready acquantance with OSficers.. and imparting all necessary information to Beginners in this Useful Art. AND DERBY. PUBLISHED BY BEMROSE & PATERNOSTER ROW. with Practical Instructions in Carving. Author of " Manual of useful Wood With Fifty-Four Designs suitable for every description of mental Articles of Furniture and Ornament. by Enlarged. Bemrose. A MANUAL OF WOOD CARVING. cloth. 1870. Movements common Uniform with the Pocket Edition of the Field Exercises. Company and Batt- Rifle Exercises. Price is. Ninth Edition. Demy lamo. A HANDY-BOOK OF COMPANY With the This &. Second Edition.. presenting to the eye.N. With numerous Explanatory Plates. Post free for one stamp.A. Bemrose. With Practical Instructions. arrangement and type. &c. Norman. by Volunteer and others. Containing upwards of 130 Original and Selected Designs for the Guidance of Amateurs. AND MARQUETRY. Neatly bound in cloth. WORKS SONS. Price 5 s. Crown 4to. . Sergeants. a clear view of every movement in full. R. By W.. By W. Price 5s. THE SCHOOLMASTER'S DRILL ASSISTANT. FRET CUTTING AND PERFORATED CARVING. WOOD CARVING.S..

. Cloth. By a Bank Manager. each. MARMADUKE MERRY. which does away with the reference to an index. 6d. cloth elegant. 21.COOKERY FOR THE TIMES." &c. Second Edition. Author of "Thurston Meverell.. late 5th Fusiliers. Canada. the United States of America (including California). or in Seven parts. OR Thoughts on the Providence OF God. G. 2s.. price 6d. Poem by Lord Nugent. By W. in cloth gilt. Crown 8vo. price 3s. THE SPANISH By J. Kendall. neat.. in a frame for the purpose. and other Poems. author of "Peter the Whaler. &c. Autobiography of Forty Years' Professional Experience and Travels in the United Kingdom. London.SKTT BouLDiNG. Second Edition. &c.. elegantly the Midshipman.. cloth M. Prime Jones. toned paper 4s. Considerations on the Military and Political Events accompanying the Conquest and Settlement of the Island of Britain. price 53. C. STRANGE FOOTSTEPS. toned paper. PAPERS ON BANKING AND FINANCE. With some account of the Earliest Settlements in Nova Scotia and Newfoundland. and 1}. elegantly bound in cloth. price 3s." &c. gilt edges. 6d. By Major William Crown 8vo. Oxon. CONQUEST AND SETTLEMENT OF BRITAIN. cloth neat. 6d. H. Edited by John Luntley. CATALINA. paper covers. the West Indies. Fcp. South America. B. Danes. The QUEEN'S JESTER. adapted Family Dinners. . 208 pages. Map price 5s. 4to. Foolscap 8vo. By Revs. gilt edges. 6d. H. price for 6s.. and Normans. which may be purchased with the work. Small 4to. price is. price 2s. and Derby. with i o Illustrations by V. Darwin. Crown 8vo. Illustrated by Incidents New and Old. Crown 8vo. Illustrated. This Book contains well-tested and fully-described recipes. 6d. 6d. YE DOLE OF TICHBORNE. and is arranged on a new and simple plan. By Blanche Moore.A. Kingston. ss. WALLETT.L. 7th Surrey Rifle Volunteers. price PUBLIC LIFE OF W. . WiM.. like cards... NUN .. Crown 8vo. 3s. by the Saxons. Second Edition. Bemrose & Sons. By Henry Kirke. THE FIRST ENGLISH CONQUEST OF CANADA.C.. is. handsomely bound in cloth gilt. In one vol. An F. with 227 pp. bound price 5s. Demy 8vo. Paternoster Row. cloth neat. The parts may be hung up 2s. Mexico. with an intro- ductory chapter on the occupation of the Island by the Romans.

. Thermometer. gilt edges. SHORT STORIES FOR YOUNG PEOPLE.. Royal i6mo. . CLAUDE SPENCER. its various forms and modes of action. GERTY ROSS. M. Illustrated. Ward. by Mrs. Two Tales in One Vol. AND LITTLE BLUE-COAT BOY. Tyas. By Mrs. R.. M. with Blank Form and Diagrams. The following Tales are also published separately. price js. AND WADDLES. M. by Henry Kirke.D. price is. Ward. Wind^&c. cloth neat. Clouds. Two Illustrations. THROUGH LIFE AND BEYOND.S.L THE WEATHER GLASS. by Mrs. R... cloth. M. Raingauge.. cloth elegant. Bemrose & Sons. price 6d. and Derby. Tyas. AND LITTLE BLUE-COAT BOY.. 4s. Two Tales in One Vol. F. Royal r6mo. price 5s. AND PAUL FENTON. Royal i6mo. price 3s. A Tale for Parents and Children. cloth neat. 6d. Two Illustrations. C. London. F. 6d. Orlebar. F.A. Royal i6mo. in 1811. Marshall Ward. or the Forest of the Peak.C. F.D. B. piice is. Fancy Paper Covers. Ward. F. F.. A Tale of the Stocking-loom and OF THE Lace Frame.M. . price is. price is. LL. LL. by Mrs. In Crown 8vo. Royal By Rev.. Designed to record the Natural Phenomena presented by the Barometer. cloth r. Ward. cloth neat. By Mrs.FRANK BENNET. By Rev. Concise descriptions of the Barometer. cloth neat. Foolscap 8vo..M. CLAUDE SPENCER.. By Mrs. THE VAGABOND. F. F.. each . Four Illustrations. price is. GERTY ROSS. M.S. Two Tales in One Vol. Ward.. and Paul Fenton. Paternoster Row. Four Tales in One Vol. : — Claudk Spencer Gerty Ross and Waddles Beyond. Little Blue-Coat Boy Through Life and THURSTAN MEVERELL A . WADDLES. Royal i6mo. by Mrs. 21. cloth neat. in .. COMPANION TO THE WEATHER GLASS. M. price 6d. Price 6d. Romance.

Head-Master Second Edition. Compiled by H. Alto. Communion Office. Single THE CHOIR HAND-BOOK. London. each. for Treble Bemrose & Sons. Paper covers. Large Type. Figures are used instead of numerals. Adlington. In this Collection will be found the old Standard Tunes of our own Country. Price is. . &c. Adlington. Tenor and Bass in one Book. 3s. Sizes and Prices on application. containing 300 Single and with Glorias. Double Chants handy size. by W. of St. Creeds. for Chanting.s Middle Class School. Treble. that the necessity of continually turning backward and forward is obviated. Single Voice Parts. price 4d. The used. Germany. one Book. and divided into bars corresponding with the bars of or is. Alto. as in Lent. The in Services. and wherever any pages require to be passed over. not one unacquainted them. Kyries. 6d. THE CHOIR CHANT BOOK. Treble. THE CANTICLES. A useful and Alto Manual in Elementary Training and Choir Practice. with other directions. are printed again. H. . and specimens from the Chorale Books of . Price IS. Bemrose. and Tables of Contents. Being a selection of 21 1 Psalm and Hymn Tunes. At the end of each day's Psalms. 6d. is. 2d. THE CHORALE BOOK. Organ Score. 2S. By George Sutherland. Lichfield Pointing. rendered more agreeable to those already conversant with it. per dozen. render the Book of Common Prayer perfectly simple. and Bass. Fcp. Third Edition. Derby. A MANUAL OF THE THEORY OF MUSIC. . Cloth neat. are placed where they are The Collects where repeated. the Services can thus be Jollimed with ease by those with and the use Book is The Morning and Evening Proper Days appear Services are totally distinct. Tenor. 8vo. Chant Music. Organizing Master of the " Lichfield Diocesan Association for the Improvement of Church Music. but the whole are printed in the order which they are read . The Book is paged throughout. to suit the metres of the most popular Hymn Books. 21. lod. The Psalms for in full in their proper order. Price is. with their Psalms." Cloth. cloth. and a selection of Chants coupled for the Te Deum. Litany. General Prayers and Thanksgivings. 6d. in large type and . each.The arranged AS SAID EDITION of the BOOK OF COMMON PRAYER. New and greatly enlarged Edition. and such is the arrangement. and Bass. and Derby. Andrew'. of the Arrangement of this Edition of the Book of Common Prayer removes all difficulty in following the word of which or of the Rubrics is altered or omitted. Paper cover Voice Parts. Collects. . and arranged by W. a reference is given by which the reader may at once pass on to the part next to be used. 6d. Paternoster Row. with some of the best of more modem date. with the NEW TABLE OF LESSONS. Tenor.

4. P/TERNOSTER \m. 5. Wiooii-BmmB Veneers in lengths for ^arqu^trjj. k DEi[BY. 3. prices:— 12. . at One Shilling each. & SONS. 13.BEMROSE 21. 10. at Plates „ 2. aqwrfrg Any of aittr §«ljl-li[0rk J^signs. 8. 7. 9. II. at the following I. 6. the Manual of Buhl-work and Marquetry can be had ready for fastening down on the material to the Designs in be cut. Sixpence each. LONDON. New Designs are continually being brought out.

. 2/6 each. . octagon Letter Rack . Fancy Woods and Mirrors of every KIND are supplied TO ORDER. by 5i by 8 by Do.. New Designs are being continually brought out. four different designs. cording to and may be ordered through any Bookseller a complete : List of them will be for- warded on application. Do. —Many qf these Designs are also suitable for Wood Carvers. monogram Hand-Mirror Frame Card Tray.B. Floral 6 by 6 12 7 . DESCRIPTION. and i/. 6d. Scroll. ready for fastening to the gd. . N. Monogram Designs. Special Designs made to order. of Book Slide Ditto Bracket Ditto Table Easel or Bookrest Table Mat or Panel for End Foliage Do. wood. at 3d. 6d.. designs Floral & Book or Album Foliage 6 by 6 12 by 9 Paper and Envelope Box end Ditto Ditto ditto ditto lid Foliage 7by6J 6} by II II by si front Do.each. A fill great variety of full size Designs for use^ and ornamental articles for Wood Carving and Fret-work can be had. Do.List of Fret-work Designs. Carbonic Paper for Multiplying Designs. Floral 9 8i by loj i\ by 5I 13 window box Bracket Blotting Fuchsia Foliage 9iby 8i 14 Case side with Foliage . Do. Speclai. 4 Blotting side diff. acsize. per sheet.Scroll Card Tray.


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