Illustrations of CHESTNUT include Plates 39-42.

Is largely used, and, like ash, is a particularly beautiful wood. Becoming so well and favorably known for the various purposes to which it can be applied, grainers should study well its beauties, and in their imitation thereof strive to hold the mirror up to nature. The ground-work of chestnut is produced with the same class of colors as that of ash is, only a little more Vandyke brown should be employed, to produce a more grayish tint than is found in ash.

Though chrome is used in the ground-work of chestnut, we deem it inferior to Rochelle yellow, inasmuch as the latter has a more subdued shade, in nearer conformity to chestnut, than that produced by chrome, the latter giving the work a more sprightly hue than is observable in the wood itself. Chestnut is very porous, or rather it shows a more porous condition than ash itself, and to produce this there should be used a little raw umber, raw Sienna, burnt umber, and Vandyke brown, in nearly equal parts, ground in ale, giving the work a very thin coat, and whipping coarsely, so that when done the pores will show very plainly. For the second, or oil-graining, use the same colors, in the same quantities, ground in oil, turpentine, wax, etc., as before instructed. Grain on much the same principle as in ash, only coarser,—the grains in chestnut running much coarser, but yet with the same regularity as those found either in ash or black walnut. For shading chestnut use a little burnt umber and Vandyke brown (rather more of the former), to which add a small quantity of raw Sienna, grinding them in oil, turpentine, etc. In applying this color have it very thin, as in other grainings, and as chestnut is a plain wood, presenting a great uniformity of color in itself, great care must be taken to avoid any material change in the appearance of the graining by any heavy shades.

This rule, it will be observed, is in this regard dissimilar from that laid down to govern the graining of ash, as the latter presents in nature many heavy and eccentric shades, etc., while in the former there is very little diversity in the shade. The same process of wiping out and darkening the centre is applicable to this wood as that set forth to govern in the cases of walnut and ash, similar combs and tools being used in the work upon each and all; and, like the other woods, chestnut can be finished in oil or varnish, as heretofore noted, and when finished is substantial in appearance and very beautiful.

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