drawing the end of a flat hog-hair fitch, or a small thin mottler, across each figure, and slightly softening with the badger-hair softener. The figure is broken up a little with fine lines across it in parts, such as may be seen in the real wood; but previous to wiping out the figure, streaks of light should be wiped out and softened on one side of the panel or across the stiles, in imitation of the reflective lights seen in oak. The color should also be partially wiped off the rails or stiles at their junction; this tends to define the joint. The color is now let to dry hard, when it will be ready for over-combing—that is, combing or graining over the figure (hence its name), and this will have to be done somewhat differently to the ordinary combing. As thus: The color is rubbed in as before, and combed solely with the gutta-percha combs, but these are specially cut for the purpose; they are best about 2 in. wide. The first must be cut with teeth about three-sixteenths of an inch in width, the next one-eighth, and the third about one-sixteenth. The broad-toothed comb is first used, and must be drawn down the panel, with a wavy motion, in short or long curls; either will answer our purpose now. The next size of comb is then drawn straight down—the straighter the better. This has the effect of breaking the wavy combing into short and long straight bits, similar to the pores or grain of the real wood. Both the first and second combing may be varied by holding the comb in a slanting direction, and may be fine or coarse, according to the width of the combs used; now take a soft rag folded, and with this partially clear off the grain which runs over the figure, leaving only a sufficient quantity crossing the light or figure, to be just distinguished, exactly as it appears upon the figure in real oak. The grain is also wiped off in parts on the plain spaces between the figure, in order to break it up and take away any formality. If this method be well and probably done, a thoroughly deceptive imitation may be produced; and except this end be kept in view, no really good work will result.

KNOTS AND SPLICES.

[See Engraving on First Page.]

1. Turn used in making up ropes.

2. End tapered for the purpose of passing it readily through a loop. To make this, we unlay the rope for the necessary length, reducing a rope diminishing in diameter towards the end, which is finished by interlacing the ends without cutting them, as it would weaken the work; it is lastly "whipped" with small twine.

3. Tapered end, covered with interlaced cordage for the purpose of making it stronger. This is done with very small twine attached at one end to the small eye, and at the other to the strands of the rope, thus making a strong "webbing" around the end.

4. Double turn used for making rope.

5. Eye splice. The strands of the cable are brought back over themselves, and interlaced with their original turns, as in a splice.

6. Tie for the end of a four-strand rope.

7. The same completed; the strands are tied together, forming loops, laying one over the other.

8. Commencement for making the end by interlacing the strands.

9. Interlacing complete, but not fastened.

10 and 11. Shell in two views used in No. 65, showing the disposition of it at the throat. This joining is advantageous, as it does not strain the cords, and it prevents them from cutting each other; so that the rings pass one into the other and are joined outside the intermediate shell.

12. Interlacing in two directions.

13. Mode of finishing the end by several turns of the twine continued over the cable.

14. Interlacing commenced, in one direction.

15. Interlacing finished, the ends being worked under the strands, as in a splice.

16. Pigtail commenced.

17. Interlacing fastened.

18. Pigtail with the strands taut.

19. Dead eye, shown in two views.

20. Pigtail finished. We pass the ends of the strands, one under the other, in the same way as if we were making a pudding splice: thus bringing it in a line with the rope, to which it is seized fast, and the ends cut off.

21. Scull pigtail; instead of holding the ends by a tie, we interlace them again, as in No. 16, the one under the other.

22. Pigtail, or "lark's nest." We make this to the "pennant" of a cable, which has several strands, by taking the requisite number of turns over the pudding, in such a manner that the strands shall lay under each other. This "pigtail" forms a knot at the end of the rope. It thus draws together two ropes, as shown in No. 32, forming a "shroud" knot. In these two pigtails, the strands are crossed before finishing the ends, so that the button, a, is made with the strands, a, and b, with those of the rope, b.

23. Slip clinch to sailors' knot.

24. Slip clinch, secured.

25. Ordinary knot upon a double rope.

26. Bowline knot for a man to sit in at his work.

27. Called a "short splice," as it is not of great length, and besides, can be made quickly.

30. Long splice. This extends from a to b. We unlay the strands of each of the ropes we intend to join, for about half the length that the splice will be, putting each strand of the one between two strands of the other.

31. Simple fastening on a rope.

32. A "shroud" knot.

33. The ends of the rope are prepared for making the splice (No. 29) in the same manner as for the "shroud" knot in No. 32. When the strands are untwisted, we put the ends of two cords together as close as possible, and place the ends of the one between the strands of the other, above and below