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.

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.

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.