﻿438 
  

  

  AMERICAN 
  HOMES 
  AND 
  GARDENS 
  

  

  November, 
  1907 
  

  

  organ 
  manufacturers 
  have 
  become 
  large 
  users 
  of 
  the 
  spruce 
  

   cut 
  from 
  the 
  forests 
  of 
  the 
  State 
  of 
  Washington. 
  It 
  is 
  

   probably 
  as 
  free 
  from 
  checks, 
  sap, 
  knots, 
  and 
  flaws 
  as 
  any 
  

   wood 
  found, 
  and 
  if 
  properly 
  dried 
  it 
  does 
  not 
  swell 
  or 
  shrink 
  

   to 
  any 
  great 
  extent. 
  Neither 
  hemlock 
  or 
  spruce 
  have 
  ever 
  

   stood 
  high 
  in 
  the 
  opinion 
  of 
  architects 
  for 
  interior 
  finish 
  

   owing 
  to 
  their 
  lack 
  of 
  grain 
  and 
  individual 
  expressiveness. 
  

   In 
  this 
  respect 
  the 
  two 
  woods 
  stand 
  with 
  white 
  pine. 
  But 
  in 
  

   our 
  modern 
  developments 
  of 
  stains 
  and 
  paints 
  it 
  is 
  possible 
  

   to 
  secure 
  results 
  in 
  interior 
  finish 
  that 
  are 
  independent 
  of 
  the 
  

   grain 
  of 
  the 
  wood. 
  The 
  chief 
  thing 
  is 
  to 
  secure 
  a 
  wood 
  that 
  

   is 
  durable, 
  free 
  from 
  defects, 
  and 
  which 
  will 
  not 
  crack 
  and 
  

   warp. 
  Then 
  if 
  stains 
  can 
  produce 
  good 
  effects 
  the 
  result 
  is 
  

   highly 
  satisfactory. 
  

  

  This 
  is 
  largely 
  the 
  case 
  with 
  spruce 
  and 
  hemlock. 
  They 
  

   are 
  woods 
  that 
  require 
  stains 
  to 
  bring 
  out 
  their 
  best 
  qualities. 
  

   It 
  holds 
  true 
  of 
  nearly 
  all 
  of 
  our 
  soft 
  woods, 
  and 
  as 
  we 
  must 
  

   adopt 
  these 
  woods 
  more 
  and 
  more 
  in 
  interior 
  finish 
  a 
  word 
  

   about 
  the 
  modern 
  methods 
  of 
  treating 
  them 
  with 
  stains 
  is 
  

   important. 
  

  

  Stains 
  of 
  all 
  shades 
  and 
  colors 
  are 
  obtainable 
  to-day, 
  and 
  

   they 
  are 
  made 
  to 
  imitate 
  different 
  woods 
  so 
  well 
  that 
  they 
  

   deceive 
  all 
  except 
  an 
  expert. 
  Furniture 
  and 
  cabinet 
  makers 
  

   are 
  the 
  best 
  workers 
  in 
  stains 
  and 
  varnishes, 
  and 
  they 
  produce 
  

   effects 
  which 
  have 
  been 
  considered 
  almost 
  impossible 
  in 
  house- 
  

   hold 
  trim. 
  The 
  reason 
  for 
  this 
  is 
  that 
  an 
  article 
  of 
  furniture 
  

   is 
  treated 
  to 
  what 
  is 
  called 
  "the 
  fuming 
  process" 
  in 
  a 
  room 
  

   by 
  itself. 
  The 
  wood 
  is 
  exposed 
  to 
  the 
  fumes 
  of 
  ammonia, 
  

   acids, 
  nitrate 
  of 
  silver 
  and 
  other 
  chemicals. 
  In 
  this 
  way 
  

   effects 
  in 
  staining 
  are 
  obtained 
  that 
  seem 
  well 
  nigh 
  impossible 
  

   in 
  the 
  trim 
  of 
  a 
  house. 
  A 
  greater 
  variety 
  of 
  beautiful 
  shades 
  

   can 
  be 
  obtained 
  with 
  stains 
  in 
  the 
  hands 
  of 
  a 
  piano 
  maker 
  

   than 
  nature 
  can 
  imitate 
  in 
  the 
  natural 
  woods. 
  Even 
  plain 
  

   water 
  stains 
  made 
  from 
  various 
  chemicals 
  can 
  be 
  used 
  in 
  this 
  

   process 
  with 
  good 
  effect, 
  and 
  the 
  acid 
  fumes 
  tend 
  to 
  fix 
  them 
  

   in 
  durable 
  colors. 
  

  

  As 
  a 
  rule 
  the 
  old-fashioned 
  oil 
  stains 
  are 
  used 
  on 
  oak 
  or 
  

   ash 
  if 
  only 
  the 
  light 
  effects 
  are 
  desired, 
  but 
  for 
  golden 
  and 
  

   dark 
  oak 
  asphaltum 
  is 
  often 
  used. 
  But, 
  of 
  course, 
  to 
  produce 
  

   fine 
  golden 
  oak 
  effects 
  an 
  expert 
  in 
  colors 
  must 
  be 
  employed. 
  

   Permanganate 
  of 
  potash 
  is 
  used 
  to 
  get 
  the 
  reddish 
  brown 
  

   effects, 
  a 
  solution 
  of 
  sulphate 
  of 
  iron 
  to 
  produce 
  good 
  bluish 
  

   gray, 
  and 
  white 
  flakes 
  of 
  asphaltum 
  for 
  light 
  streaks. 
  To 
  

   imitate 
  golden 
  oak 
  effects 
  on 
  the 
  trim 
  of 
  a 
  house 
  would 
  there- 
  

   fore 
  be 
  effective 
  but 
  somewhat 
  costly, 
  and 
  dependent 
  for 
  its 
  

   success 
  chiefly 
  upon 
  the 
  skill 
  and 
  ability 
  of 
  the 
  workmen. 
  

   Architects 
  who 
  have 
  had 
  certain 
  library 
  rooms 
  finished 
  in 
  

   golden 
  oak 
  have 
  often 
  been 
  disappointed 
  in 
  the 
  results, 
  and 
  

   have 
  later 
  changed 
  the 
  wood 
  to 
  dark 
  or 
  Flemish 
  oak. 
  Ma- 
  

   hogany 
  and 
  cherry 
  effects 
  are 
  sometimes 
  obtained 
  on 
  light- 
  

   woods 
  by 
  washing 
  with 
  lime 
  water, 
  and 
  then 
  removing 
  with 
  

   vinegar 
  or 
  a 
  weak 
  solution 
  of 
  acetic 
  acid. 
  This 
  ages 
  the 
  

   wood 
  very 
  rapidly 
  and 
  produces 
  rich 
  cherry 
  and 
  mahogany 
  

   effects 
  in 
  soft 
  woods, 
  which 
  later, 
  when 
  varnished 
  and 
  rubbed 
  

   down, 
  are 
  quite 
  striking. 
  

  

  Effects 
  in 
  stains 
  can 
  be 
  obtained 
  on 
  light 
  woods 
  often 
  with 
  

   the 
  most 
  simple 
  materials. 
  It 
  is 
  the 
  art 
  of 
  applying 
  them 
  that 
  

   determines 
  their 
  value. 
  For 
  instance 
  a 
  much 
  different 
  effect 
  

   is 
  produced 
  on 
  brightly 
  cleaned 
  fresh 
  wood 
  than 
  upon 
  a 
  sur- 
  

   face 
  that 
  has 
  been 
  allowed 
  to 
  stand 
  a 
  while. 
  The 
  application 
  

   of 
  water 
  to 
  the 
  surface 
  before 
  the 
  stain 
  is 
  applied 
  darkens 
  it 
  

   materially, 
  so 
  that 
  desirable 
  effects 
  are 
  obtained. 
  If 
  you 
  

   wish 
  the 
  effect 
  to 
  be 
  darker 
  in 
  places 
  than 
  in 
  others 
  this 
  can 
  

   be 
  produced 
  by 
  painting 
  the 
  surface 
  with 
  clean 
  water 
  several 
  

  

  times, 
  permitting 
  it 
  to 
  dry 
  in, 
  and 
  then 
  applying 
  the 
  stain 
  

   while 
  still 
  moist. 
  

  

  In 
  the 
  application 
  of 
  all 
  the 
  stains 
  on 
  light 
  wood 
  the 
  first 
  

   essential 
  is 
  to 
  clean 
  the 
  wood 
  properly, 
  and 
  either 
  apply 
  the 
  

   stain 
  to 
  a 
  clean 
  dry 
  surface 
  or 
  a 
  clean 
  moist 
  surface. 
  Then 
  

   before 
  it 
  has 
  dried 
  the 
  stain 
  should 
  be 
  wiped 
  off 
  with 
  a 
  

   woolen 
  rag. 
  By 
  wiping 
  off 
  the 
  first 
  coat 
  clear 
  effects 
  are 
  

   obtained 
  which 
  furnish 
  a 
  foundation 
  for 
  the 
  succeeding 
  coats. 
  

   Cloudy, 
  dull 
  effects 
  are 
  produced 
  by 
  too 
  much 
  stain 
  applied 
  

   at 
  first 
  and 
  allowed 
  to 
  dry 
  in 
  too 
  much 
  before 
  being 
  wiped 
  off. 
  

   A 
  good 
  many 
  of 
  the 
  best 
  stainers 
  sandpaper 
  after 
  wiping 
  

   the 
  first 
  coat, 
  allowing 
  the 
  surface 
  to 
  get 
  perfectly 
  dry 
  before 
  

   applying 
  the 
  sandpaper. 
  The 
  chief 
  thing 
  is 
  to 
  produce 
  a 
  

   light, 
  smooth 
  body 
  effect, 
  and 
  then 
  a 
  surface 
  glaze 
  of 
  the 
  

   right 
  colors 
  can 
  be 
  laid 
  over. 
  Combinations 
  of 
  water 
  colors 
  

   and 
  oil 
  colors 
  are 
  used 
  by 
  cabinet 
  makers 
  to 
  secure 
  their 
  best 
  

   effects, 
  and 
  then 
  when 
  protected 
  by 
  a 
  glaze 
  of 
  shellac 
  no 
  

   change 
  can 
  follow- 
  

  

  Variety 
  in 
  interior 
  trim 
  is 
  often 
  desirable, 
  and 
  one 
  finds 
  in 
  

   modern 
  houses 
  halls 
  and 
  vestibules 
  of 
  cypress 
  finish, 
  doors 
  of 
  

   poplar, 
  and 
  sash 
  of 
  windows 
  and 
  stairs 
  of 
  cherry, 
  with 
  treads 
  

   of 
  oak. 
  To 
  secure 
  these 
  effects 
  in 
  stains 
  on 
  light 
  wood 
  is 
  not 
  

   difficult, 
  and 
  if 
  one 
  uses 
  judgment 
  the 
  result 
  is 
  almost 
  as 
  

   good 
  as 
  if 
  the 
  genuine 
  woods 
  were 
  employed 
  for 
  the 
  different 
  

   purposes. 
  The 
  chief 
  difficulty 
  is 
  in 
  getting 
  a 
  painter 
  who 
  

   understands 
  his 
  work 
  sufficiently 
  to 
  produce 
  excellent 
  imita- 
  

   tions. 
  Good 
  men 
  in 
  this 
  line 
  are 
  scarce, 
  and 
  some 
  of 
  them 
  

   demand 
  fancy 
  prices, 
  so 
  that 
  the 
  economy 
  in 
  the 
  cheaper 
  

   wood 
  employed 
  is 
  offset 
  by 
  the 
  cost 
  of 
  treatment. 
  A 
  house 
  

   owner 
  who 
  can 
  mix 
  his 
  own 
  paints 
  or 
  utilize 
  the 
  brush 
  in 
  

   applying 
  stains 
  can 
  often 
  do 
  better 
  than 
  a 
  cheap 
  workman 
  

   with 
  no 
  genuine 
  sense 
  of 
  artistic 
  effects. 
  

  

  The 
  increasing 
  cost 
  of 
  hardwoods 
  for 
  interior 
  finish 
  must 
  

   in 
  time 
  bring 
  about 
  a 
  better 
  class 
  of 
  stainers 
  and 
  painters 
  who 
  

   can 
  work 
  up 
  light 
  woods 
  into 
  good 
  imitations 
  so 
  that 
  they 
  

   will 
  pass 
  inspection. 
  It 
  is 
  quite 
  evident 
  that 
  imitations 
  can 
  

   be 
  made 
  almost 
  perfect 
  from 
  the 
  examples 
  of 
  this 
  work 
  pro- 
  

   duced 
  in 
  the 
  piano 
  and 
  cabinet 
  trades, 
  but 
  it 
  requires 
  experts 
  

   who 
  know 
  the 
  value 
  of 
  each 
  touch 
  and 
  streak. 
  Cheap 
  stained 
  

   woodwork 
  is 
  no 
  better 
  than 
  a 
  painted 
  surface. 
  Indeed, 
  it 
  is 
  

   not 
  so 
  good, 
  for 
  its 
  imitation 
  stands 
  out 
  so 
  conspicuously 
  

   that 
  all 
  notice 
  it. 
  A 
  painted 
  surface 
  makes 
  no 
  claim 
  to 
  imita- 
  

   tion, 
  and 
  stands 
  for 
  just 
  what 
  it 
  is. 
  Staining 
  is 
  the 
  work 
  of 
  

   an 
  artist 
  in 
  colors 
  and 
  effects, 
  and 
  it 
  has 
  therefore 
  a 
  wide 
  lati- 
  

   tude 
  for 
  improvement. 
  

  

  Georgia 
  pine 
  is 
  the 
  easiest 
  to 
  treat 
  with 
  stains, 
  for 
  no 
  at- 
  

   tempt 
  is 
  made 
  to 
  imitate 
  other 
  woods 
  with 
  it. 
  The 
  idea 
  is 
  

   simply 
  to 
  bring 
  out 
  and 
  intensify 
  certain 
  grain 
  effects 
  in 
  the 
  

   wood. 
  A 
  little 
  oil, 
  dryer, 
  and 
  light 
  brown 
  or 
  yellow 
  colors, 
  

   thinned 
  with 
  benzine, 
  are 
  all 
  that 
  are 
  required, 
  and 
  if 
  applied 
  

   to 
  a 
  dry 
  surface, 
  wiped 
  off 
  after 
  standing 
  a 
  sufficient 
  length 
  

   of 
  time, 
  and 
  then 
  finished 
  with 
  another 
  light 
  coat 
  and 
  

   shellaced, 
  the 
  result 
  is 
  always 
  pleasing, 
  durable, 
  and 
  attrac- 
  

   tive. 
  The 
  great 
  thing 
  to 
  do 
  is 
  to 
  get 
  the 
  desired 
  color 
  with- 
  

   out 
  destroying 
  the 
  beauty 
  of 
  the 
  wood. 
  Good 
  Georgia 
  pine 
  

   is 
  a 
  beautiful 
  wood, 
  and 
  needs 
  no 
  apology 
  or 
  attempt 
  to 
  

   imitate 
  other 
  woods, 
  but 
  proper 
  treatment 
  of 
  it 
  makes 
  a 
  won- 
  

   derful 
  difference. 
  The 
  same 
  wood 
  in 
  the 
  hands 
  of 
  a 
  poor 
  

   workman 
  looks 
  like 
  an 
  inferior 
  imitation 
  and 
  never 
  gives 
  

   satisfaction. 
  A 
  good 
  deal 
  of 
  good 
  pine 
  is 
  thus 
  spoiled 
  to-day 
  

   in 
  the 
  finishing, 
  and 
  probably 
  not 
  a 
  little 
  of 
  the 
  condemnation 
  

   of 
  inferior 
  grades 
  of 
  this 
  lumber 
  is 
  due 
  after 
  all 
  to 
  bad 
  work- 
  

   manship 
  in 
  finishing 
  off 
  the 
  surface 
  of 
  the 
  wood 
  when 
  put 
  

   in 
  the 
  house. 
  

  

  