CHAPTER XI.

MAHOGANY.

This wood was a great favorite with the grainers of the last generation, and it is at present coming back to old-time popularity. The old Honduras "feathered" mahogany is rarely seen except in old furniture, and this kind of graining is seldom called for nowadays. The modern mahogany is more straight-grained, and is generally much lighter in color, but the furniture manufacturers do not hesitate to stain the wood to any depth of color, and thus they set the pattern which the grainer must follow as regards the color. It is represented in both oil and water color, or by being partly done both ways, as in the case of walnut. The colors used are burnt sienna, burnt umber and Vandyke brown, with crimson lake for overgraining on particularly bright work. The tools used are the same as those for walnut. No better way to imitate it will be found than first to stipple it with a thin wash of Vandyke brown in beer, much the same as for walnut, but using the flat side of the stippler or blender more than the tip, as the pores of the wood are generally longer than those of walnut. After the stippling is dry rub in the oil color, which is composed of about three-fourths burnt sienna to one-fourth burnt umber, or a little Vandyke brown may be added to the color. The dark veins are put in with the sash tool dipped in a little clear Vandyke brown, which should be mixed in a separate vessel and thinned mostly with driers, as Vandyke brown is a very slow drier. The work is then gone over with a soft cotton rag, and the color is removed where the lighter grains are to appear; the rag is also used to soften the edges of the darker streaks and to blend them into the lighter grains. The lights and shadows are made, and the whole is then lightly blended crosswise. The bristle overgrainer of the fitch tool is used to put in the finer grains, or this may be done when the oil color is dry. This is the manner in which the modern straight mahogany is most frequently imitated, but it can wholly be done in water color, using the sponge for the same purpose as the rag is used in oil.

The "feather" mahogany is best represented in water color. The centre of the feather is darkened with Vandyke brown, and the mottler or sponge is used to make the darker curves which radiate from the centre of the "feather;" then with a thin piece of stick or a piece of cardboard make the bright blaze marks that are usually seen through the centre of the feather. A small mottler or cut tool may be used for this purpose. The markings radiate from the centre outward in a curved line and across the darker veins; allow this to dry, and then lightly overgrain to bring out the effect, touching up the parts that are to appear very dark. After this is dry the hand should lightly be passed over the work to remove any surplus color, as one coat of varnish sometimes fails to lay out on water-color work where the graining-color has freely been used. This applies to walnut and rosewood in distemper as well as to mahogany. The wood is sometimes represented in oil without first stippling, but it never looks so well. Of course the stippling may be done after the work is dry, but it makes a better appearance if done before the rubbing with oil. If it is desired to overgrain, the work, if done in oil, should be shaded in distemper, and _vice versâ_. For depth and brightness, add crimson lake with a little Vandyke brown.