tone between red and yellow. The same rules in both cases should be conformed with, and similar tools in applying or laying on are used. In preparing ground-work for rosewood, however, a little rose pink may sometimes be employed advantageously. Of course the egg-shell gloss must be attained after the third ground-work is laid on, in order to receive the whipping-coat properly.

Pores in rosewood being very fine, the whipping should be as fine as possible. The distemper color is made from burnt umber, a very little Vandyke brown, and a small quantity of rose-pink, ground in ale, or vinegar and water, etc., as before mentioned, and applied very thin. The first coat of graining is mixed from Vandyke brown, burnt umber, and ivory-black (though mainly from the former), ground very fine in oil, turpentine, wax, etc., and must stand after being mixed for some six hours before applying. In some cases, where a reddish cast is desired, it will be well to use a trifle more of the rose-pink.

As the grains in rosewood run very irregularly (see illustration), great care must be maintained in combing, it being necessary in most cases to employ extremely coarse and fine combs; and at times it may be absolutely necessary to use a pencil, in bringing up this imitation to perfection, and all of the combing and pencilling must be blended down very softly with a fine badger blender. For the glazing, the same colors may be used, though chiefly Vandyke brown and ivory-black, making the dark places principally from the latter, though, of course, all of these colors are to be made exceedingly thin and as transparent as possible.

Where a particularly rich finish is desired, a good effect will result by giving the work another extremely thin coat of glazing, composed of rose-pink with a little ivory-black, thus sinking and harmonizing the whole work, giving it a rich and very fine appearance. When the work becomes thoroughly hard and dry, it can be finished either in varnish or oil, as heretofore mentioned in the finishing of black walnut.

MAPLE.

Illustrations of MAPLE include Plates 32-34.

This, though a very beautiful wood, is not as commonly used in graining as some others, though a fine effect can be produced by graining panels, etc., in rooms where the principal graining may be black walnut, oak, or rosewood, forming thus a contrast, which, when well executed, presents an extremely fine appearance, and as maple is never used for an outside finish (therefore not being exposed to the weather), it can be grained more successfully in distemper than in oil, and also much more readily, the consequence of which is, we shall speak of it as being grained only in distemper color, though the same colors, used by a skilful hand, in oil, will produce the same beautiful effect.

The ground-work for maple is made from white, tinted with chrome yellow, making the very lightest cream, and the same rules as to mixing, laying on, etc., etc., are applicable to the graining of maple as to the other woods hereinbefore mentioned, viz., walnut, oak, and rosewood.

The graining color is made from raw Sienna and a little raw umber, not far from equal parts, and ground fine in ale, etc., as before laid down for distemper colors. By rubbing the ground-work upon which all distemper colors are laid, with a damp sponge, it will be found to take the color much more readily than when not so rubbed.

The tools necessary for the graining of maple are a badger-hair blender, two or three top, or over-grainers, varying in width; and in running of heart-pieces, pencils must be used. For making the curls in curly maple, there can be nothing better than a raw potato, cut, say two or three inches wide, with a thin, straight edge,