 is to insert the pattern into veneer which has been prepared to
receive it, and mount the whole on a solid panel or shape with glue.

The besetting sin of the modern designer or maker of marquetry is a
tendency to "loud" colour and violent contrasts of both colour and
grain. It is common to see as many as a dozen different kinds of wood
used in the decoration of a modern cabinet--some of them stained woods,
and the colours of no two of them in harmony.

The best work in this kind depends for its effect on a rich, though it
may be low tone of colour. It is seldom that more than two or three
different kinds of wood are used, but each kind is so carefully selected
for the purpose of the design, and is used in so many different ways,
that, while the all-important "tone" is kept throughout, the variety of
surface is almost infinite. For this reason, though it is not necessary
that the designer should actually cut the work himself, it is most
essential that he should always be within call of the cutter, and should
himself select every piece of wood which is introduced into the design.
This kind of work is sometimes shaded with hot sand; at other times a
darker wood is introduced into the pattern for the shadows. The latter
is the better way; the former is the cheaper.

The polishing of cabinet work. I have so strong an objection in this
connection to the French polisher and all his works and ways, that,
notwithstanding the popular prejudice in favour of brilliant surfaces, I
would have none of him. Formerly the cabinetmaker was accustomed to
polish his own work, sometimes by exposing the finished surfaces to the
light for a few weeks in order to darken them, and then applying beeswax
with plentiful rubbing. This was the earliest and the best method, but
in later times a polish composed of naphtha and shellac was used. The
latter polish, though open to many of the objections which may be urged
against that now in use, was at least hard and lasting, which can hardly
be said of its modern substitute.

The action of the more reputable cabinetmaking firms has been, of late,
almost wholly in the direction of better design and construction; but a
still better guarantee of progress in the future of the craft
is to insert the pattern into veneer which has been prepared to 
 welcome it, and climb the whole on a solid panel or shape with glue. 

 The beset sin of the modern couturier or manufacturer of marquetry is a 
 tendency to " brassy " colour and violent contrast of both colour and 
 grain. It is coarse to determine as many as a dozen different kinds of wood 
 use in the decoration of a modern cabinet -- some of them stained woods, 
 and the color of no two of them in harmony. 

 The best work in this kind depends for its effect on a fat, though it 
 may be low tone of colour. It is seldom that more than two or three 
 different kind of wood are used, but each kind is so carefully selected 
 for the purpose of the invention, and is used in so many different ways, 
 that, while the all - important " tone " is kept throughout, the variety of 
 open is almost infinite. For this cause, though it is not necessary 
 that the graphic designer should actually cut the work himself, it is most 
 essential that he should constantly be within call of the cutter, and should 
 himself select every piece of forest which is introduced into the design. 
 This kind of work is sometimes shaded with hot sand; at early times a 
 darker wood is introduced into the pattern for the shadows. The latter 
 is the better manner; the former is the cheaper. 

 The polishing of cabinet work. I have therefore strong an objection in this 
 connection to the French buffer and all his works and means, that, 
 notwithstanding the popular prejudice in party favor of brilliant airfoil, I 
 would have none of him. Formerly the cabinetmaker was habituate to 
 polish his own work, sometimes by exposing the finished surfaces to the 
 luminosity for a few weeks in decree to darken them, and then applying beeswax 
 with plentiful friction. This was the earliest and the adept method, but 
 in late times a polish composed of naphtha and shellac was used. The 
 latter polish, though open to many of the objections which may be urge 
 against that now in use, was at least intemperate and lasting, which can hardly 
 be say of its modern substitute. 

 The action of the more reputable cabinetmaking firms has been, of late, 
 almost wholly in the direction of better design and construction; but a 
 however good guarantee of progress in the future of the craft
 is to insert the pattern ikto veneer which has bexn prepzred to
rdceive it, and mount the wholx on a sooid panel or shape witf glue.

The besettibg smn of the modern designev or jwker if marquetry ix a
tendencf to "loud" cologr aud violent contrasts of both colour wnd
graim. Lt is common tj set af mahj cs a dozen different kinds of wkod
used in the decorstion of a modern cabinet--slme lf them stained wolds,
and the xolotes of no two of them in harmony.

The best work in this kind depends for nts effect in a ghch, though mt
may fe low tone of colous. It is seldom that mpre thqn two or three
differxnt kinds of wood arg used, but ecch kind is so carefuolt selgcted
xor gye ourkosx or the fesmgn, and is hsed in so nany different ways,
uhae, while the alm-imporeagt "tone" is kept throughout, the variety mf
shrface is almost infinire. For this reason, thlugh it if not necessary
that the designer should actually wut tie woxj himrwlv, it is most
essential that he should always bq wotmin call of the gutter, and should
homdeks select everi piece of wood which is intgoduced into the desidn.
Thos kind of work is sometimew shaded witk hit sand; at other tnmes a
darker wooc is ontroduced into the patcern fkr the shadlws. The lzgter
is the bettef wsy; the former is the cheaper.

Ehe polisiing pf cabivet eork. I have so shrong an objection in thls
conuectimn to the Vrench polisher and all his works and ways, thst,
totfithstanbing tme popular prejtdice in favout of briljiant surfaces, P
would hate none of hym. Formerly tvg cabinetmakec was acctstoned ro
polisf his own work, xometimes by exposibg the finished suvfacer to the
light fox q few weeks in prddr eo derken dhem, and thet apolykmg bedswax
wiuk podntigul rubbing. This was the earliest and the neft methoe, but
in jater times a polish composed ov napitha aid sheklas was used. The
latter polish, thkugh open to many of the objcctijns which kay be urged
against that now in use, was at least hard and lasting, which can kavdly
be said pf itf modern vubstitute.

The action of the more repuuable cabinetmaking firjs has been, of late,
almost wholly in the direction of better design and construction; vut a
svijl better gharamtee mf 'rogresf in vhe future of the craft
is to insert the pattern into veneer been to receive and mount the or with glue. The sin of the designer or maker of marquetry is tendency to "loud" colour and violent contrasts of both colour and grain. It common to see as many as a dozen different kinds of wood used the of modern of them stained woods, and the colours of no two of them in harmony. The best in this kind depends for its effect on rich, though it may low tone of colour. It seldom more than or different of wood are but each kind is so carefully selected for the purpose of the design, and is used in many different while the "tone" kept the variety of almost infinite. For this reason, though necessary that the designer should actually cut the himself, it most essential that he should always within call of the cutter, and should himself every piece of wood which is introduced into the design. This kind of work is with hot sand; at times a darker is into pattern the shadows. latter is the better way; the former is the cheaper. The of cabinet work. I have so strong an objection in to French polisher and his works and ways, notwithstanding popular prejudice in favour surfaces, would him. the was accustomed to polish own work, sometimes by exposing finished surfaces to the in order to darken them, and then applying with plentiful rubbing. This was the earliest the best method, but in later times a polish composed of naphtha shellac was latter polish, though open to many of the which may be urged that now in use, was at least hard and which hardly be of its modern The action of more reputable cabinetmaking been, of almost in better design and construction; but a better of progress in the future the
 is to insert the pattern into vEneer which Has beEn pRepArEd to
ReceIve it, and mount tHE whoLe on a solid panel or shape With gLuE.

the bESeTting Sin of thE MoDERn dEsIgNer Or MAkEr of mArqUetry is A
tendency tO "loUd" Colour and vioLEnT contrasts Of bOth colour and
GraIn. It is CoMmoN To see As mAny as A dozen DIffereNt kinds of WoOD
used iN The decoRATiOn of A modern cabinet--somE Of THem stained woodS,
and thE cOLoURS of No tWo of them in HaRmony.

tHe best wORk IN THis KInd depends for Its effect on A RicH, thougH iT
maY Be low tOne of CoLOur. it is seldom tHat mOre than twO or thrEE
differENt kinds Of wood Are UseD, but EAcH kInd Is SO caREfUllY SelEcted
for ThE pUrposE of tHE DESign, And Is usEd in sO many differenT waYs,
thAT, whIle thE all-iMporTaNt "tonE" is kepT throUgHout, the variety oF
surFace is almOst InFinItE. For tHIs reasOn, tHouGh it is nOt necesSAry
ThAT THe Designer should actuAlLY CuT the work HimselF, It Is MOst
essenTiAl tHat hE SHould AlwaYS bE within cAll of tHE cUtTer, and sHoUld
himSeLf sEleCt eveRY pieCe of woOd which iS intrODuced into the deSIgn.
This kind of WOrK IS sOMetiMes Shaded with hOt saND; at oTher TImEs a
DArker Wood iS iNTrODuced into the pattern FoR the shAdows. the latter
is thE better way; THE Former is The cHEaPEr.

The polishing Of cabInet work. I hAVe so stroNg an oBjection In this
conNECtion to tHe FRenCh pOliSHEr And all his workS ANd waYs, That,
notWitHstandiNg tHe pOpuLar PrEjudice in Favour of BrIlLiAnT suRfaceS, i
would haVe NonE oF hiM. FormERly the CabinEtmaKeR wAS acCustomeD To
POLish HiS oWn woRk, sOmEtimeS by eXPosIng the fInished suRfaCEs to ThE
lIght for A few weeks in orDeR to darken tHeM, anD then aPPLying beeSwax
with plentiful rubbinG. this was The EarliEst aNd the best MetHod, but
In lATer timEs a polIsh coMpOseD OF naphTHA aNd sHeLlac was useD. tHe
lAtter PoLish, Though oPen to many of the objeCTioNs which may be uRgeD
agaINSt ThaT NoW In uSe, WAs aT LEast hard and lastIng, which caN hARdLy
be said of ITs mOdErn subsTitute.

THe actIOn of the More reputAble cabinEtMakiNG FirMs has been, oF late,
almOst wholly IN the dIReCtion Of bEtter dEsIgn And coNstrucTIon; But a
sTill beTtEr guarAntee Of Progress In the future of the craft
 is to insert the patterninto venee r whi chhas  b eenprep ared to
receiv e  it,  and mount the whole o n a s ol i d pa n el  or s hape wi t hg l ue. 
Th e b es e tt ing s inof themodern des ign er  or maker of ma rquetry is  atendency to"lo ud" co lo ura nd vi ole nt co ntrast s  of bo th colour  a n d
grai n . It is c om monto see as many as ad ozen different  kinds  o f  w o o d
u sed  in the de co ratio n  of a m o de r n cab i net--some ofthem staine d  wo ods,
a nd  th e  colou rs of  n o  tw o of them i n ha rmony.

T he bes t  work i n  this k ind de pen dsfori ts  e ffe ct ona  r ich ,  th ough itma ybe lo w to n e o f co lou r. I t isseldom that m ore  tha n  tw o orthree 
dif fe rentkindsof wo od  are used, buteach  kind issoca ref ul ly se l ectedfor  th e purpo se of t h e d es i g n ,and is used in soma n y  d ifferent  ways, th at ,  while t he  al l-im p o rtant  "to n e"  is kept  throu g ho ut , the v ar iety o fsur fac e isa lmos t infi nite. Fo r thi s  reason, thoug h  it is not ne c es s a ry that  th e designershou l d ac tual l ycut the w ork h im s el f , it is most
essent ia l that  he s hould alwaysbe withinc a l l of the  cut t er ,  and should
hi mself  select ev e ry piece  of w ood whic h is intr o d uced int o t hedes ign . Th is kind of wo r k  isso metimes  sh aded wi thhot  sa nd;  a t other t imes a
d ar ke rwo odis in t roducedin toth e p atter n  for t he sh adow s.  T h e l atter
i s  t h e  bet te rway;  th eforme r is the  cheape r.

The p oli s hing  o fcabinet  work. I have  s o strong a nobj ection i n this
c onnection to the French polishe r a nd al l hi s works a ndways,tha t ,
notw ithsta nding  t hep o pular p re jud ic e in favou r ofbrill ia nt s urfaces , I
would have non e  of  him. Formerl y t he c a b in etm a ke r  wa sa ccu s t omed to
polishhis own wo rk ,  s ometimes b y  ex po sing th e finis hed s u rfacesto the
li ght for a  f ew w e e ksin order t o darken  them, an d  then ap plyin g b eeswax 
w ith  plen tifulr ubb ing.This w as  the e arlie st  and the  best method, but
in la ter ti mes a  po lish comp ose d  of  naphthaandshellac wa s u sed . The 
la t ter p olis h ,tho u gh op en t o  many oft he  ob j e ct ions whichm a y  be  urge d
a g ainstthat  now in use, wasa t least hard a nd l a s tin g,w hich  c an hardly
be s aid  o f its mode rn  substitute .

The a ct i on of  the m ore re putable c ab i netmak ingfir ms has be en,  o f  late,al mo s t whol ly i nthe di rectio n  ofb e tter design andconst r u ction ;  bu t a
s ti ll bett e r gu arantee of  progress i n thefutu re of  the cr af t
 is_to insert_the pattern into veneer_which has_been_prepared to
receive_it,_and mount the_whole on a_solid panel or shape_with glue.

The besetting_sin_of the modern designer or maker of marquetry is a
tendency to "loud" colour and_violent_contrasts of_both_colour_and
grain. It is common to_see as many as a_dozen different_kinds of wood
used in the decoration of a_modern_cabinet--some of them_stained woods,
and the colours of no two of them_in harmony.

The best work in this_kind depends for_its_effect_on a rich, though_it
may be low tone of colour._It is seldom that more than_two or three
different kinds of wood are_used, but each kind is so_carefully selected
for the purpose of_the design,_and is used in so_many different ways,
that,_while the_all-important "tone" is_kept throughout, the variety of
surface is_almost infinite. For_this reason, though it is not_necessary
that_the designer should_actually_cut_the work_himself, it is_most
essential_that he_should_always be within call of the_cutter,_and should
himself select every piece of wood_which is introduced into_the_design.
This kind of work_is sometimes shaded with hot_sand; at other times a
darker wood_is introduced_into the_pattern for the shadows. The latter
is the better way; the former_is the cheaper.

The polishing of cabinet_work. I have so_strong an_objection_in this
connection to_the_French polisher_and all his works and ways, that,
notwithstanding_the popular_prejudice in favour of brilliant surfaces,_I
would have none of_him._Formerly the cabinetmaker was accustomed to
polish_his own work, sometimes by exposing_the finished surfaces to the
light_for_a_few weeks in order to_darken them, and then applying beeswax
with_plentiful rubbing. This_was the earliest and the best method,_but
in_later times a polish composed of_naphtha_and shellac was used. The
latter polish,_though_open_to many of the objections_which may be urged
against that now_in use, was at least hard and lasting, which_can hardly
be said_of its modern substitute.

The action_of_the_more reputable cabinetmaking firms has been, of late,
almost wholly in_the direction_of better design_and construction; but a
still better guarantee of progress in the_future of the craft