wood-finishes-msg - 2/13/08 Period and SCA wood finishes. Stains. Applied finishes. NOTE: See also the files: wood-msg, painting-msg, glues-msg, polishing-msg, wood-bending-msg, wood-utensils-msg, woodworking-msg, beeswax-msg. ************************************************************************ NOTICE - This file is a collection of various messages having a common theme that I have collected from my reading of the various computer networks. Some messages date back to 1989, some may be as recent as yesterday. This file is part of a collection of files called Stefan's Florilegium. These files are available on the Internet at: http://www.florilegium.org I have done a limited amount of editing. Messages having to do with separate topics were sometimes split into different files and sometimes extraneous information was removed. For instance, the message IDs were removed to save space and remove clutter. The comments made in these messages are not necessarily my viewpoints. I make no claims as to the accuracy of the information given by the individual authors. Please respect the time and efforts of those who have written these messages. The copyright status of these messages is unclear at this time. If information is published from these messages, please give credit to the originator(s). Thank you, Mark S. Harris AKA: THLord Stefan li Rous Stefan at florilegium.org ************************************************************************ From: flieg at garnet.berkeley.EDU (Flieg Hollander) Newsgroups: rec.org.sca Subject: Pavilion/tent poles Date: 20 Dec 1994 12:48:01 -0500 Frederick of Holland here -=- Folo said: >>For finishing poles, I would suggest a good paint (not a stain) >>and then linseed oil (boiled; unboiled never dries) and pumice >>rubbed in. Take a look at various paints on the market for >>historical homes: they try to match early American paint colors, >>which are probably going to be the nearest you can get to >>earlier period paints as well (if this is an incorrect assumption, >>I hope someone who knows will post additional information). It >>appears that paint was more commonly used than stains because >>the folks of the time were trying to hide, not accent, the cheap >>woods they often used. As Master Malcom MacPherson (Laurel -- specialty:furniture) reminded us in a recent class, the "cheap wood" was _oak_, and weather-proofing oak is far less necessary than it is for other woods. The most period form of sealing is apparently no sealing at all. That being said, few of us can afford oak pavilion poles, and sealing fir that is going to be out in the weather is only sound practice. I use tung oil, which is a modern concoction, but totally innocuous in that it just looks like the wood has been darkened slightly by age. Boiled linseed oil is good, too. Both of these should be renewed periodically. On the more permanent side, varnishes are period and so are lacquers. Both are getting harder and harder to find, due to the concern over solvents. >>However, personally, I just assume that I'm gonna replace poles >>--gradually, not all at the same time--over the course of a few >>years. Yep. I'm lucky. I have a mill not three miles from here which stocks 1 1/2" rod (thicker than clothes rod) in all the fashionable lengths (up to 15') at a reasonable price per foot ( <$1 ). And they let me pick out the ones with the straightest grain when I tell them I'm using it for a "tent pole". * * * Frederick of Holland, MSCA, OP, etc. *** *** *** flieg at garnet.berkeley.edu _|___|___|_ |===========| (((Flieg Hollander, Chem. Dept., U.C. Berkeley))) From: jklessig at slip.net Newsgroups: rec.org.sca Subject: Re: Period Wood Stains Date: Thu, 05 Jun 1997 06:10:20 GMT bronwynmgn at aol.com (Bronwynmgn) wrote: >ua923 at freenet.Victoria.BC.CA (Mark Shier) writes: >> Your best bet for a period wood stain that is food safe and alcohol >> resistant is walnut oil. Theophilus (11C) uses it for oiling bone carvings. >> It is a traditionjal frnch wood finish. >> I am using walnut oil to finish a batch of Sutton Hoo style beakers. >> Wood finishes are a problem for reenactors- there is very little known from >> period. >Are there any period finishes to waterproof the wood somewhat? My lord >and I are looking at making some camp furniture out of oak and would like >to finish it in as period a manner as possible. Would oak need a >waterproof finish, or only softer woods such as pine? I would guess that >one alternative might be beeswax well rubbed in, but it's only a guess. >Bronwyn The walnut oil finish will water proof wood to some extent (depending on how many coats you apply) walnut oil (which should be pure, with aout antioxident additives or preservatives) is a "drying" oil. What this means is that it reacts (slowly) with the oxygen in air to form a polomerized film. Tung oil, and linseed oil are also drying oils, and may work faster. Oak in particular can be a problem, it is a porous wood (red oak is so bad that it will not hold water) To seal it well you have to fill these pores with finish, which takes for ever. As for bees wax, I use it when I am turning goblets or bowls on the lathe. But the method I use for applying it (using the friction caused by the lathe turning to melt the wax into the wood, smells great) will not work for furniture. Chandra From: rnewmyer at epix.net (Robert Newmyer) Newsgroups: rec.org.sca Subject: Re: Period Wood Stains Date: Thu, 5 Jun 1997 11:30:17 -0400 Organization: R. Newmyer Consulting We have been using Danish oil finishes on our rope bed, trestle table, chairs and pavilion poles. The finish on the trestle table held up well at last PENNSIC. We've used the Danish oil on pine, poplar and alder. Especially liked the "English Oak" finish on our rope bed. Danish oil is another drying oil finish. Does anyone know the ingredients used? I believe Danish oil is based on linseed or tung oil, which had it's origin in a nut found in China (May not be period) BTW, you can buy walnut oil in supermarkets in the salad oil section. Griffith From: j klessig <jklessig at slip.net> Newsgroups: rec.org.sca Subject: Re: Period Wood Stains Date: Fri, 06 Jun 1997 08:53:51 -0700 Robert Newmyer wrote: > We have been using Danish oil finishes on our rope bed, trestle table, > chairs and pavilion poles. The finish on the trestle table held up well > at last PENNSIC. We've used the Danish oil on pine, poplar and alder. > Especially liked the "English Oak" finish on our rope bed. Danish oil is > another drying oil finish. Does anyone know the ingredients used? I > believe Danish oil is based on linseed or tung oil, which had it's origin > in a nut found in China (May not be period) > > BTW, you can buy walnut oil in supermarkets in the salad oil section. I believe modern (like watco) danish oils are a mixture of tung like oils and disolved polymer resins. I would not use walnut oil from the supermarket unless you are sure it has NO preservatives. The preservatives prevent the precise reaction you want for a finish. "organic" or health food stores are more likely to have pure oil. Linseed oil (flax seed) is quite period. Tung oil I do not know From: Dan Bollinger at Clay Critters <danr at critters.mdn.com> Newsgroups: rec.org.sca Subject: Re: Period Wood Stains Date: Fri, 06 Jun 1997 15:04:03 -0700 Robert Newmyer wrote: > We've used the Danish oil on pine, poplar and alder. > Especially liked the "English Oak" finish on our rope bed. Danish oil is > another drying oil finish. Does anyone know the ingredients used? I > believe Danish oil is based on linseed or tung oil, which had it's origin These types of finishes are half-oil and half-varnish, it has dryers added. Varnishes do appear early, I don't know when. An earlier hard finish is shellac. "French Polishing" is done with shellac and oil mixture. As someone else said, beeswax is very old. Probably into antiquity. An interesting and possible early stain for oak is "fuming." Place the oak in tight container (I use a garbage bag) into which also sits a shallow pan containing ammonia. The ammonia fumes turn the tannic acid in the oak a very warm, rich brown. Ammonia would have been available from urine as bacteria changed it into ammonia. Green Man Dan From: gerekr at aol.com (Gerekr) Newsgroups: rec.org.sca Subject: Re: Period Wood Stains Date: 6 Jun 1997 22:10:38 GMT I've used beeswax mixed with turpentine. It doesn't smell very nice until the turpentine evaporates, but works well. They were using it in the seventeenth century, but I don't know if it was documented earlier than that. I wouldn't use in for food related objects. Meistari Gerekr From: millsbn at mcmail.cis.McMaster.CA (Bruce Mills) Newsgroups: rec.org.sca Subject: Re: Period Wood Stains Date: 7 Jun 1997 20:54:13 -0400 Organization: McMaster University, Hamilton, Ontario, Canada. Dan Bollinger at Clay Critters <danr at critters.mdn.com> wrote: >An interesting and possible early stain for oak is "fuming." Place the >oak in tight container (I use a garbage bag) into which also sits a >shallow pan containing ammonia. The ammonia fumes turn the tannic acid >in the oak a very warm, rich brown. Ammonia would have been available >from urine as bacteria changed it into ammonia. You can also soak rusty iron in vinegar and apply the resulting solution to oak to turn it black; the iron reacts with the tannin, the same process used to make some inks. Akimoya Ealdormere From: "merlyn" <merlyn at jps.net> Newsgroups: rec.org.sca Subject: Re: Period Wood Stains Date: 10 Jun 1997 19:31:16 GMT Robert Newmyer <rnewmyer at epix.net> wrote: > We have been using Danish oil finishes on our rope bed, trestle table, > chairs and pavilion poles. > BTW, you can buy walnut oil in supermarkets in the salad oil section. > > Griffith > > >ua923 at freenet.Victoria.BC.CA (Mark Shier) writes: > > >> Your best bet for a period wood stain ... > > >is walnut oil. Theophilus (11C) uses it for oiling bone > > >carvings. > > >> Wood finishes are a problem for reenactors- there is very little > > >known from > > >>period. > > > > >Are there any period finishes to waterproof the wood somewhat? > > >Bronwyn > > The walnut oil finish will water proof wood to some extent (depending > > on how many coats you apply) ... > > > > As for bees wax, I use it when I am turning goblets or bowls on the > > lathe. But the method I use for applying it (using the friction caused > > by the lathe turning to melt the wax into the wood, smells great) will > > not work for furniture. > > > > Chandra As a longtime woodworker, including over 20 years as professional carpenter, cabinet maker and general contractor, I have had a lot of reasons to explore period wood finishes. Unfortunately little has survived. Most furniture was simply scraped smooth on completion and put into service. The same is true for early drinking vessels and eating utensils(including trenchers). Waxes were sometimes used on furnishings and utensils for the rich and the nobility, but exact methods of application are virtually unknown. One method commonly supposed to have been used is to "paint" the liquified wax on the object and then scrape off the excess followed by buffing with various types of cloth from coarse to fine. This is extremely tedious and the results are passable. Walnut oil seems to be the only reasonably well documented treatment. Waterproofing is slightly different. While various oils were experimented with, the most common treatment was pitch. It was cheap, plentiful, easy to work with (barring the liklihood of burns) and worked very well. It's primary drawback is that it tends to remain tacky indefinitely and residue rubs off on contact. If you need more information most manufacturers of oil finishes have published material on the history of their products, covering both manufacture and use. Etienne Xavier Bondurant du Blacquemoor "Qvid me anxius sum?" From: ALBAN at delphi.COM Newsgroups: rec.org.sca Subject: waxed wood Date: 5 Jun 1997 23:37:15 -0400 Bronwyn asked: >Are there any period finishes to waterproof the wood somewhat? My >lord and I are looking at making some camp furniture out of oak and >would like to finish it in as period a manner as possible. Would oak >need a waterproof finish, or only softer woods such as pine? I would >guess that one alternative might be beeswax well rubbed in, but it's >only a guess. I've used boiled linseed oil on my tent poles; and the three tables I use to display my wares at Pennsic are also, if I remember correctly, thoroughly coated with linseed oil. The tables have lasted through, umm, about 4 Pennsics, so far, and the tent poles through seven or eight, no problem, and none of the tables or poles have needed to be re- rubbed. Admittedly, they're also not out in the rain: close, but not actually out. Since (again, if I remember correctly) linseed oil is made from flax, and since flax was known in period, I believe linseed oil is also period. Two things to remember: you'll need at least two coats if you're going to use it on untreated wood. And you will notice a faint smell of linseed oil for a long time; my tables still have a faint whiff of it, several years after having it applied. (It's not a bad smell or anything; it's just a smell.) I've heard good things about beeswax-as-waterproofing, but haven't tried it myself. Wax has other uses, too - candles, flux for casting metal printing type, lubrication for a whole mess of things, coating (I think) for vegetable and fruit canning, sealing wine bottles . . . . Be very, very careful, though: when you apply the oil to the wood, look out for splinters. One of the tent poles bit back, I wound up with a couple of inches of splinter in a finger, *poof* infection crept in, and I spent three days in the hospital, on IV antibiotics, thanks to an incredibly huge swelling on that finger. - and all this, despite the fact that I'd applied bandages and over-the-counter antibiotics to the wound. Anyone else have a blooded tent? <grin> Alban Date: Fri, 28 Nov 1997 13:02:19 -0600 From: Sinclair <jeffdp at earthlink.net> To: sca-arts at raven.cc.ukans.edu Subject: Not just leater Put several rusty iron nails >in vinegar for around two weeks. When you brush it on leather you get a nice >grey or black based on how strong the solution is. The color only bleeds >slightly in water. The down side is that this dying method will cause wool >and silk fibers to degenerate faster. > >Noemi The recipe of rusty metal and vinger is also used in woodworking! If you put this solution on wood with a high tannic acid concentration, such as oak, you will also obtain shades of grey to black. The pores will be darker. If you want to make a wood, such as maple, grey, just 'paint' it with tea, let it dry, and then put the solution on it. (This is called Liquid Nightmare, by the way, and if you spray drops around you may learn where the name comes from... Sinclair Subject: Re: Period Woodworking (+Reference) Date: Mon, 31 Aug 1998 21:51:27 -0700 From: Tim Bray/Catherine Keegan <keegan at ix.netcom.com> To: sca-arts at raven.cc.ukans.edu Colin briefly jumping in: Period sanding techniques: None, because sanding does not appear to have been done in the Middle Ages. The process of dressing wood with a plane yields a very smooth surface (smoother, in fact, than sandpaper will give you), particularly if the plane is very sharp and well-tuned. I have personally inspected a fair amount of woodwork from the 14th to 16th centuries and "chatter-marks," left by a plane that was slightly dull or out of tune, are typically evident, particularly on the "back" sides of an object. The visible surfaces in "front" were most probably finished by scraping with a sharp edge where necessary. This technique is still used today by traditional woodworkers. Sandpaper itself is no earlier than the 19th century. Period finishing techniques: The most common finish was probably none at all. Ordinary objects, such as furniture, that were used on a daily basis would rapidly acquire a "patina" from handling. This handling would also damage other finishes that could have been used, such as wax; a wax finish has surprisingly little resistance to moisture and will wear off very quickly, making it not worth the trouble (and expense, in the MA) to apply. Exceptions: Highly valued objects that were not intended to be handled frequently were finished with the most expensive and therefore desirable material available - paint. To our modern aesthetic, shaped as it is by the Arts & Crafts Movement etc, it seems almost sacrilegious to paint over a beautifully figured oak panel; yet that would have been the first choice of a medieval artisan working in the "high-end" of the market. Remember, these people would have been surrounded by wooden objects, and the "natural" appearance of wood that we prize so highly would have seemed "common" and vulgar to the upper classes. Instead of "finishing," think of "decorating." The ultimate "high-end" finish can perhaps be found in tiny remnants on such objects as the Coronation Throne of England. The original finish, in addition to polychrome paint (including white lead with red lettering), included a gold foil surface on the back that was decorated by punching to create the image of a king (possibly Edward I). At a later but still medieval date, the throne was partially covered over by a sort of lustrous glazing. My references do not tell me what this glazing was made from, but it sounds sort of like coloured varnish. Varnish made from linseed oil was known at least as early as the mid-15th century, and possibly earlier; Cennini mentions how to make it. This was the base for the oil paint invented (some say) by Hubert VanEyck. It was almost certainly used to glaze over paintings on wood panels, and therefore seems likely to have been used on decorative objects as well. During the ReNAYsance (I pronounce it the way Blackadder did), of course, this esthetic underwent considerable change and high-end wooden objects, often inlaid with contrasting colors of wood, were finished with clear varnish. Again, this varnish was based on linseed oil, prepared by a low-temperature cooking process that partially polymerizes the oil. Modern linseed oil will produce a very acceptable imitation finish; do not use it on eating utensils, as it contains toxic metals to improve the curing process. Hope this helps! There is not, alas, a single good reference book available for period woodworking techniques. There are several books that touch on the subject, but none that are comprehensive. Most of the above information is distilled from snippets describing objets d'art in museums, museum catalogs, and archaeological references. There is one reference that may contain more information, but I haven't been able to locate a copy: "Furniture in England, France, and the Netherlands, 1200-1500" by Penelope Eames. If anyone has seen this, let me know what it's like and where you found it! Colin de Bray From: Tim Bray/Catherine Keegan <keegan at ix.netcom.com> Mon, 31 Aug 1998 22:22:02 -0700 >>* Period finishing techniques (Medieval varnish?!). > >I've spent a fair bit of time searching for primary references to furniture >finishing but have found very little. A few secondary sources discuss it, >but wih the usual warnings about trusting someone else's conclusions. > >In John Gloag's "A Social History of Furniture Design," the author asserts >that medieval furniture was rubbed with beeswax, or a combination of >beeswax and turpentine. The primary decoration and preservative for >furniture was painting, with annual repainting, particularly in the sooty >environment of medieval houses. The practice of staining wood was not >popularized until the 19th century. Hmmm... SOME furniture or objects may have been rubbed with beeswax, but I strongly doubt that it was a common practice, for reasons stated in other posts. Painting, yes, but I haven't seen the references to back up the claim of "annual repainting." The medieval houses that were sooty, i.e. open-hearth hall houses, probably had very little painted decoration in them. Painted walls and ceilings appear to have become much more common after the 14th century, about the time chimneys became common in upper-class dwellings. The medieval wall-paintings that I have seen did not exhibit any obvious signs of having been repeatedly re-applied. Stained wood is mostly a 19th century Arts & Crafts esthetic, although Renaissance woodworkers did stain wood to create contrasting effects, especially for inlays. >In V.J. Taylor's "Period Furniture Projects," the author asserts that >linseed oil for finishing appeared in the early 16th century. Shellac >(also called "spirit varnish" or "lac"), made from the secretions of lac >insects from India and Thailand, was known in the Middle Ages, but did not >appear commonly until the 1650s when it began to be imported in quantity. Actually linseed oil varnish can be reliably assigned to the 15th c. >Spirit Varnish should not be confused with the general term "varnish," >which seems to have various meanings prior to 1600. In the 17th century, >"polish" and "varnish" seem to have been used interchangeably. > >In Cennini's "Il Libro dell' Arte," a 15th century "craftsman's handbook," >he talks extensively about using varnish, but this appears to be in >connection with paintings and frescoes. Unfortunately, he does not provide >a recipe for varnish (at least not in my translation), so it isn't clear >exactly what he's referring to. Though he discusses using both linseed oil >and "varnish" for waterproofing walls, I have not found any evidence for >its use on wooden furniture (except possibly as an undercoat before >painting). Bingo. I though Cennini gave a vague description of the process for "boiling" linseed oil, but maybe I am mistaken. Linseed oil varnish was used to prepare the "ground" and was also used to seal the surface of gesso, which come to think of it should be included in this discussion since it was used to decorate the surfaces of wooden objects from about the 13th c. >In Alberti's 15th century "On the Art of Building in 10 Books," he mentions >preserving wood by smearing it with oil or pitch, and sealing some types of >fir with oil so that it will hold water. He also recommends curing certain >types of wood in sea water. By the way, this is an excellent source to see >what period attitudes were towards different species of wood, and why they >used some types over others. Contrary to popular myth, not everything was >oak. Especially not in Italy! >The earliest primary reference I have found that specifically addresses >applying a finish (as opposed ot a preservative) to wood is Sir Hugh Plat's >1594 book "The Jewel House of Art and Nature," where he recommends using >linseed oil and walnut rinds to finish new wood to match old. I have also >read undocumented claims that iron (nails) in an acid such as vinegar was >used to stain wood to a dull grey. Sir Hugh was probably a nostalgia buff, possibly even a medievalist? >My own conclusion is that if you want something approximating a period >furniture finish, you can: >Leave it raw (probably the most common, but not the mark of "fine furniture"). >Paint it (which I usually can't bring myself to do, even when I should). >Use linseed oil, beeswax, turpentine, or some combination of the three. The first two are certainly period and will give you the most authentic appearance. The last can be used to give you a sort of "antique" look, like perhaps a 15th century piece owned by a 16th century gentleman. ............... >We have something of a problem in the SCA in that we are used to bare wood, (Not painted, at any rate) which in period was rare indeed. But some furniture was not painted. Actually, it's the other way around. Look at MS illuminations, and the backgrounds of paintings; most of the wooden objects are "wood-coloured" i.e. not painted. Paint was expensive and specialized, therefore was applied to highlight the more expensive objects. Bare wood was so common that it was "vulgar," that's why the richer classes painted their stuff! >> I sometimes use linseed/turpentine mix. But to get a good finish requires multiple applications, and works fairly poorly for table tops. Some people don't like the smell, as it redolent. Beeswax is particurly good for turned things. I have not found any period finish that is easy to apply and that holds up well. Most of the formulas I have found are 18/19th centuary. There's a reason for that... Note that beeswax was also very expensive in period, and as it makes a very poor finish, was unlikely to have been widely used on furniture. Colin de Bray From: Tom Rettie <tom at his.com> Mon, 31 Aug 1998 22:27:47 -0500 At 6:31 PM -0300 8/31/98, Gren Fredbosson wrote: >I'd like to know about the following: >* Period sanding techniques; Good my lord, None that I've found, at least comparable to modern sanding. But a sharp plane and/or a scraper will give you a more period effect. >* Period finishing techniques (Medieval varnish?!). I've spent a fair bit of time searching for primary references to furniture finishing but have found very little. A few secondary sources discuss it, but wih the usual warnings about trusting someone else's conclusions. In John Gloag's "A Social History of Furniture Design," the author asserts that medieval furniture was rubbed with beeswax, or a combination of beeswax and turpentine. The primary decoration and preservative for furniture was painting, with annual repainting, particularly in the sooty environment of medieval houses. The practice of staining wood was not popularized until the 19th century. In V.J. Taylor's "Period Furniture Projects," the author asserts that linseed oil for finishing appeared in the early 16th century. Shellac (also called "spirit varnish" or "lac"), made from the secretions of lac insects from India and Thailand, was known in the Middle Ages, but did not appear commonly until the 1650s when it began to be imported in quantity. Spirit Varnish should not be confused with the general term "varnish," which seems to have various meanings prior to 1600. In the 17th century, "polish" and "varnish" seem to have been used interchangeably. In Cennini's "Il Libro dell' Arte," a 15th century "craftsman's handbook," he talks extensively about using varnish, but this appears to be in connection with paintings and frescoes. Unfortunately, he does not provide a recipe for varnish (at least not in my translation), so it isn't clear exactly what he's referring to. Though he discusses using both linseed oil and "varnish" for waterproofing walls, I have not found any evidence for its use on wooden furniture (except possibly as an undercoat before painting). In Alberti's 15th century "On the Art of Building in 10 Books," he mentions preserving wood by smearing it with oil or pitch, and sealing some types of fir with oil so that it will hold water. He also recommends curing certain types of wood in sea water. By the way, this is an excellent source to see what period attitudes were towards different species of wood, and why they used some types over others. Contrary to popular myth, not everything was oak. The earliest primary reference I have found that specifically addresses applying a finish (as opposed ot a preservative) to wood is Sir Hugh Plat's 1594 book "The Jewel House of Art and Nature," where he recommends using linseed oil and walnut rinds to finish new wood to match old. I have also read undocumented claims that iron (nails) in an acid such as vinegar was used to stain wood to a dull grey. My own conclusion is that if you want something approximating a period furniture finish, you can: Leave it raw (probably the most common, but not the mark of "fine furniture"). Paint it (which I usually can't bring myself to do, even when I should). Use linseed oil, beeswax, turpentine, or some combination of the three. Findlaech mac Alasdair Date: Wed, 08 Sep 1999 21:59:06 -0400 From: Carol Thomas <scbooks at neca.com> To: sca-arts at raven.cc.ukans.edu Subject: Re: Woodwork question >What sort of woodburning might one find in period? My guess is >that is was more of a "branding" sort of thing rather than what is >modernly considered "wood burning," but I could be wildly wrong. >Can anyone direct me to good sources of period wood >working/decorating/protecting? I didn't keep a reference for this, but I read somewhere that blackwork-style geometric patterns were found burned onto the rafters of one Tudor or Elizabethan house, as decoration. The author believed it had been done with a hot fireplace poker. Maybe an embroiderer who ran out of silk and got really, really bored? Carllein Date: Thu, 09 Sep 1999 22:44:05 -0400 From: "Peter B. Steiner" <petersdiner at yahoo.com> To: sca-arts at raven.cc.ukans.edu Subject: Re: Woodworking Question > Medieval "varnishing" isn't what we think of varnish today (the hard, shiny > lac-based stuff). Lac comes from the Far East and didn't come into common use > until the Far East trade developed. Medieval "varnish" probably referred to > linseed or other types of oil (walnut?) that will oxidize to a hard finish, > beeswax, or other preparations such as those used by artists to prepare wood > panels for painting. In some references, "varnish" seems to have been used > synonymously with "polish." > Fin Lac resin was known in Period...though as you surmise it was probably not in common use for furniture. Many other resins were known and widely used however....among them Colophony (the sort of pine rosin which violinists apply to their bows), Amber, and Mastic. The latter remains one of the most durable, flexible varnishes known. Mastic is, to this day, the preferred varnish for below-waterline use on wooden boats. It is far superior to both Dammar and the synthetic alternatives for use as an oil-painting varnish. Unfortunately, the bush that produces Mastic grows only on a single island (Chios) in the Mediterranean....and it is now prohibitively expensive. 100g (3.5 ounces) of dry Mastic resin costs $22.50 through the only art-supply house I know of which still carries it. Quality surrenders to the Dollar (Ducat?) once again. -Peter- Date: Fri, 10 Sep 1999 14:29:48 EDT From: <DianaFiona at aol.com> To: sca-arts at raven.cc.ukans.edu Subject: Re: Woodworking Question petersdiner at yahoo.com writes: << Amber, and Mastic. The latter remains one of the most durable, flexible varnishes known. Mastic is, to this day, the preferred varnish for below-waterline use on wooden boats. It is far superior to both Dammar and the synthetic alternatives for use as an oil-painting varnish. Unfortunately, the bush that produces Mastic grows only on a single island (Chios) in the Mediterranean....and it is now prohibitively expensive. 100g (3.5 ounces) of dry Mastic resin costs $22.50 through the only art-supply house I know of which still carries it. Quality surrenders to the Dollar (Ducat?) once again. -Peter- >> Hummmm, for what it's worth, mastic is also used as a seasoning in Middle Eastern cooking, and can be found in small quantities in places that sell that sort of ethnic food. Might be easier to find, if you only wanted a bit to experiment with...... Ldy Diana Date: Fri, 10 Sep 1999 18:03:06 -0500 From: Tom Rettie <tom at his.com> To: sca-arts at raven.cc.ukans.edu Subject: Re: Woodworking Question >Lac resin was known in Period...though as you surmise it was probably not >in common use for furniture. Many other resins were known and widely used >however....among them Colophony (the sort of pine rosin which violinists >apply to their >bows), Amber, and Mastic. The latter remains one of the >most durable, flexible varnishes known. Good Peter et al, Thanks for the info. The best source I've found in period on preparation is Cennini's book, but I'm a little baffled by what he means by varnish. He provides a recipe for preparing linseed oil, but clearly in his context varnish is something different. I assume that as a painter, he would be using varnish as a treatment for a painted or gilded surface, while the actual wood panel would be prepared with gesso or something similar. It's possible my copy is abridged, because he says he gives a recipe for varnish, but I can't find it. I think I need to hang out with the painters for a while.... Unfortunately, there's blessed little in the way of period documentation on how furniture surfaces were finished, and very few original surfaces survive. It was not uncommon in cities for the carving and painting of furniture to be done by specialists, so it may be reasonable to assume that the process for painting wooden furniture was similar as for painting on wooden panels, in which case Cennini and others provide some insight. But if you didn't paint it? I did find an Elizabethan fix-it manual that explained how to use linseed oil and walnut rinds to stain new wood to match old wood when doing repairs. Unfortunately, it's in the Folger Library and getting access is really, really difficult. There are also some references to preserving timbers by using oil or pitch (though pitch would be a bit unpleasant for a chair). My working finish is linseed oil and beeswax (I'm not a painter, though I should learn). It's easy to obtain and really simple to apply. I did peruse a copy of Dan Diehl's new book on medieval furniture and saw that he's now advocating using olive oil. Does olive oil harden? I'd think that it would go rancid. Unfortunately, as usual he doesn't document his sources. Anyone ever hear of olive oil used for surfaces outside the kitchen? Fortunately for us late-period types, fabric was a very popular decorating motif -- when in doubt, throw a cloth over it. Fin Date: Fri, 10 Sep 1999 21:42:19 -0400 From: "Peter B. Steiner" <petersdiner at yahoo.com> To: sca-arts at raven.cc.ukans.edu Subject: Re: Woodworking Question I suspect that in Period the word "varnish" was used interchangeably with the word "finish", both as a noun and as a verb. (In addition to which there were complications imposed by differing languages, masters attempting to keep trade secrets from one another, difficulty in obtaining some of the ingredients used in particular varnishes, and ambiguity in the meaning of the names of particular ingredients.) The oil painter meant one thing by "varnish", the woodworker originally meant quite another..... The woodworker can make use of some finishes which would damage (or have little effect on) an oil painter's work. (Application of -any sort- of finish or varnish can cause irreversible damage to some types of painting.....a fact driven home by hundreds of destructive "restorations" and "preservations" of paintings which were attempted by 18th and 19th Century curators. Varnish containing oil, wax and/or resin has no legitimate use on paintings done in historical water-based media.) (That statement may or may not be accurate in regards to Acrylics and Alkyd paints......I simply don't know enough about either of those media to offer an opinion.) Oil alone is a good working finish for some furniture. It would never harden to any great degree...but it would protect against moisture; and it would soak deeply enough into porous wood that no residue would be left on the surface. (Obviously as a woodworker you already know these things.....Danish Oil is probably the best contemporary example of this type of finish.) Oil is also employed in traditional woodworking as a lubricant during the application of abrasives (pumic and rottenstone.) The oil remains in the wood as a finish even after the abrasive has been removed. Obviously none of these things (oil penetrating the surface...abrasives changing the completed surface) would be desireable in the process of protecting any painting. Varnish, as the term is applied to oil painting, is not intended to penetrate the surface. For that reason oil painters' varnishes always contain resin dissolved in some volatile compound such as rectified spirits of turpentine or alcohol or some other similar substance which will completely evaporate - leaving only the resin behind. Also, preferably, it should be possible to remove a varnish used on an oil painting without damaging the surface of the paint. This is because all resins, even the very best, yellow over time - and need to be replaced. Shall we complicate matters further? Glair (beaten egg white) can be used to "varnish" some paintings. Resin-based varnishes eventually came to be used on furniture.....and because of their durability(?) or convenience (?) or ease of application (?) we now use them on wood almost to the exclusion of oil-only finishes. The yellowing of the resin, which is such a problem on oil paintings, is often desireable on a resin-varnished wood surface. I've raised a lot more questions than I've answered. Sorry. <grin> I'll check my copy of "Il Libro 'Dell Arte" tonight to see if it contains a copy of Cennini's varnish recipe. Something tells me that a full exploration of this subject has a great deal to teach us! This one is going to be fun! :-) -Peter Gwer Rychen- Barony of The Rhyderrich Hael Aethelmearc Date: Sun, 12 Sep 1999 12:58:40 -0500 From: Tom Rettie <tom at his.com> To: sca-arts at raven.cc.ukans.edu Subject: Re: Woodworking Question >I have another, related woodworking question: could I create a simple >finish to a wood piece by rubbing the wood with beeswax? I have a >drawing of my device on a wood block, nd I was going to paint it, but I'm >reluctant to slap shiny finish over it all - it seems "shiny and unreal." > Would simple beeswax be acceptable? Good Caro, If you're talking about unpainted wood, then beeswax is probably appropriate. A traditional mixture (though one I've not been able to document to period) is beeswax and mineral spirits (or turpentine). Warm the wax gently until it is soft. REMOVE FROM THE HEAT SOURCE. Add mineral spirits in small quantities until the whole mixture is the consistency of soft butter. Some variations on this also add linseed oil. I did a six-board chest a while back with a pure beeswax finish (applying warm wax with lots and lots of rubbing). It's a nice effect, but the finish will show water spots easily (easily fixed with a little touchup). The mixture with mineral spirits is easier to apply and penetrates better. You can also use turpentine, but I'm told that real turpentine is more likely to contain pine resins that may give you a less pleasant finish. I can give you a relevant quote from Gloag, John. A Social History of Furniture Design, from B.C. 1300 to A.D. 1960. Bonanza Books, New York, 1966. LOC 66-20207. Gloag is a relatively good source on general furniture history, but I take some of his claims with a grain of salt, as he doesn't provide sources for his conclusions. For example on page 22: "When the oak chests and chairs, cupboards and bedsteads illustrated in this book were new, they shone like gold, for they were polished with beeswax, which warmed and deepened their naturally light hue." Now this may well be true, but he doesn't say how he knows that new furniture was finished in beeswax, so you have to make your own judgement. So far I haven't found period references that indicate beeswax, but I'm still looking. If you're looking for a finish to put over a painted surface, you probably don't want beeswax (see the recent discussion on varnishes and resins -- that's more what you're looking for). Fin Date: Sun, 12 Sep 1999 16:01:36 EDT From: <Rese913654 at aol.com> To: sca-arts at raven.cc.ukans.edu Subject: Re: Woodworking Question Another excellent and period finish is linseed oil. IL Danach the Woodcarver Bordermarch Date: Thu, 16 Sep 1999 21:00:23 -0400 From: Carol Thomas <scbooks at neca.com> To: sca-arts at raven.cc.ukans.edu Subject: Re: Was it something I said? > There seem to be many people in this group who are knowledgeable about how > wood was worked. Being new, I am wondering where to start regarding wood > staining. Would someone recommend references about stains? > > Ivar Nielsen But I read something today in a new book, _Medieval Furniture_. "Much of the furniture produced during the Middle Ages was ornately painted in bright colors with designs and figures; the concept of a clear finish of the type applied to most furniture today was completely unknown. The beauty of natural wood, however, was appreciated." He goes on to talk about sanding and oiling. So the reason that you didn't have an answer on medieval stains may be that they are mostly modern. He does mention a stain for oak only, saying that it is a period recipe. "Submerge well rusted iron in equal parts water and vinegar. ...iron..better than steel.. In one to two months the vinegar and water solution will absorb...[color]." Filter and test on a scrap. The color varies. When dry, oil it. Carllein From: "Ld. Fergus de Botha" <cbooth at U.Arizona.EDU> Newsgroups: rec.org.sca Subject: Re: Midieval Varnish Date: Wed, 15 Sep 1999 16:23:47 -0700 Organization: The University of Arizona > There's also all the various oil finishes, which, if not period, would > produce a softer, satiny, non-polyurethane effect. > I would *guess* that the linseed oil finishes are period, but I don't > know for certain. > -- > Cynthia du Pre Argent Me sainted Papa finished a mussle-loader pistol using muck. He would go out in the garage and rub his hands on the cool engine. He would the go to the garden and stick his fingers deep in the mud. He would ask me to hand him the stock and would spend the next few hours telling stories and rubbing his filthy hands all over that piece of unfinished wood. Sweat, spit, more dirt, beer, blood, whatever he could find he would rub into that stock. After a few weeks of this abuse he took a damp cloth and cleaned it off. The pores of the wood stood out in black and it was the most amazing shade of golden brown I had ever seen. The same color of french toast perfectly cooked and fresh out of the pan. When people asked him what he used he said, "Elbow Grease". Ld. Fergus de Botha House Agni Vajra Barony of Tir Ysgithr Kingdom of Atenveldt "For Odin! For Asgard!" --Cookie Monster, 1973 From: "Ken Koll aka Lord Valdis of Gotland" <lvaldis at mail.cvn.net> Newsgroups: rec.org.sca Subject: Re: Midieval Varnish Date: Thu, 16 Sep 1999 01:33:29 -0400 Patriarch wrote: > Stupid question, I know. But I was making a walking stick and I have > yet to ask anyone about this, so I'll ask it here. What did they use in > the middle ages as a sealant/protectant for wood so it wouldn't rot? > I'm thinking the glossy coat of regular modern wood varnish might get me > some scornful gazes. Anybody ever dealt with this? An easy period remedy is linseed oil, peanut oil, lemon oil.....try to think...there are a few more. These can all be bought at Wal Mart. One period method that is easily documented and readily at hand is ear wax, this is from Theophilus On Divers Arts...dont ask me, I just read the book. Linseed oil is also documented in there. Oils are your best bet, they are easily available, inexpensive and on a walking stick you will be doing various applications as it ages, a varnish makes a nasty texture if put on in too many layers over time. Have fun. Lord Valdis of Gotland Date: Thu, 16 Sep 1999 00:15:43 -0500 From: ddfr at best.com (David Friedman) Newsgroups: rec.org.sca Subject: Re: Midieval Varnish "Ken Koll aka Lord Valdis of Gotland" <lvaldis at mail.cvn.net> wrote: > An easy period remedy is linseed oil, peanut oil, lemon oil.....try to > think...there are a few more. These can all be bought at Wal Mart. One > period method that is easily documented and readily at hand is ear wax, this > is from Theophilus On Divers Arts...dont ask me, I just read the book. > Linseed oil is also documented in there. Oils are your best bet, they are > easily available, inexpensive and on a walking stick you will be doing > various applications as it ages, a varnish makes a nasty texture if put on > in too many layers over time. Have fun. Peanuts come from the new world, and peanut oil, as best I recall, was extracted by George Washington Carver quite a long time after our period. David/Cariadoc From: "Esther Heller" <munged at kodak.com> Newsgroups: rec.org.sca Subject: Re: Midieval Varnish Date: Thu, 16 Sep 1999 11:25:25 -0400 Organization: Eastman Kodak Company Patriarch wrote: >Stupid question, I know. But I was making a walking stick and I have >yet to ask anyone about this, so I'll ask it here. What did they use in >the middle ages as a sealant/protectant for wood so it wouldn't rot? >I'm thinking the glossy coat of regular modern wood varnish might get me >some scornful gazes. Anybody ever dealt with this? > >-Scott It isn't clear to me that they used what we would consider varnish for most of period. First of all, varnish does not keep a walking stick from rotting. If it has dried out since being cut from the tree and you keep it in a reasonably dry place most of the time, it won't rot. The things that rot are items like boats and roof shingles and fenceposts, all of which have in common spending a lot of time wet. Secondly I haven't reread Theophilus recently, but IIRC he only knows about _raw_ linseed oil because he comments on how slow it is to dry. I think Cenini know about boiling down linseed oil so that it dries quicker. Be cautious of modern "boiled" linseed oil, it has poisenous metallic dryer in it instead of being "boiled" (for the perennial how do I finish my goblet thread!) You could use beeswax, but I don't know that they did except for possibly really high-end furniture, the stuff was expensive and in demand for candles. Shellac comes from a bug in India, might have been available in later period. For a period walking stick until sometime in the age of exploration I would smooth it with a card scraper and use no finish. The later folks started playing with finishes, but I don't have any serious documentation before 1700-ish (Moxon, first woodworking book in English, Roubou in French and the Encyclopediasts are same or later dates). I would be curious what documentation you have for anything other than a sapling with the branches lopped off? Stuff like walking sticks weren't heirlooms, they were rough and ready and easily burned when you made another one. Otelia eoh at kodak dot com who has made a Windsor chair (~1750) with Michael Dunbar and various other hand tool woodworking pursuits From: "Esther Heller" <munged at kodak.com> Newsgroups: rec.org.sca Subject: Re: Midieval Varnish Date: Thu, 16 Sep 1999 13:24:37 -0400 Organization: Eastman Kodak Company Chris K. Hepburn wrote: >When did they start using melted amber (gasp choke) as a varnish? > >I seem to recall hearing they melted down quanities of it in the 1800's to >finish furniture. Is this a solely Victorian phenomenon? > >Chris, AB If you really want details check the North American woodworking magazines for the past year or so. The varnish was not _just_ melted amber, but copal ("young" amber), kauri (some ancient gum from down under?) and similar were ingredients in older varnish recipes. There was at least one major article in the past year or so but I don't recall where and don't subscribe to all the magazines. If you are curious the place to start is Fine Woodworking on Finishing (a collection of article reprints from the early years of FWW) or anything by George Frank. Some of the FWW articles point you to the late 18th-early 19th original sources, Frank was the end of the later Victorian traditional training. If you are _really_ curious join the oldtools hand woodworking listserv (FAQ at http://www.mcs.net/~brendler/oldtools/OTFAQ.htm ) and ask. They are at least vaguely aware of the SCA, although most of the people who do the serious study are 100+ years OOP for us. Given the earliest how-to book in English is Moxon circa 1700 (haven't gotten far enough to know if he does finishes, he is the standard source for tools) and a lot more furniture in North America is post 1700 most of the study and interest is OOP. But the tools don't change much from 1700 to post US Civil war, and I think a lot of the technique goes back centuries. The Mastermyr find has instantly recognisable drawknives and a scorp, you can only do certain things with those tools..... and there are some _experts_ on how to use the tools on oldtools. Otelia eoh at kodak dot com Date: Thu, 16 Sep 1999 22:28:42 -0500 From: Tom Rettie <tom at his.com> To: sca-arts at raven.cc.ukans.edu Subject: Stains (was Was it something I said?) > There seem to be many people in this group who are knowledgeable > about how wood was worked. Being new, I am wondering where to > start regarding wood staining. Would someone recommend references > about stains? Staining does not appear to have been commonly practiced on wood, but it was on cloth (for hanging, banners, etc.). The trades of Painters and Stainers were allied, and in London they combined in 1502 into the Worshipful Company of Painter-Stainers. The idea of staining wood, esp. to make it appear to be some other type of wood, isn't common in the Middle Ages. When medieval furniture was colored, it was usually painted, either monochrome (all one color) or polychrome (multi-color). For middling-quality furniture, painting may have been used to hide when a mix of different wood types were used. Something like staining appears in the sepia-black ink used for pen and brush work in 16th and 17th centuries, but these are designs, not all-over color. Otherwise, oil finishes appear to have been used (linseed, nut, poppy, etc.). Also beeswax. On some types of wood, oil will have a darkening effect, and will make the grain more pronounced. I commend to you a book by Victor Chinnery called "Oak Furniture, the British Tradition." Don't let the title mislead you, this book includes the most complete scholarly discussions I've found of surface decoration, joinery, wood types, etc., much of it applicable before his primary timeframe of the 16th adn 17th centuries. The notes above are from this book. I have found a recipe in an Elizabethan manual on how to stain new wood so that it will match old wood -- such as when you are fixing a window casing. The recipe uses linseed oil and walnut rinds. Later, Carllein wrote: >"Much of the furniture produced during the Middle Ages was ornately painted >in bright colors with designs and figures; the concept of a clear finish of >the type applied to most furniture today was completely unknown. The >beauty of natural wood, however, was appreciated." He goes on to talk >about sanding and oiling. So the reason that you didn't have an answer on >medieval stains may be that they are mostly modern. Good Carllein, While your conclusion is probably correct, beware of that book as a source. The author makes a lot of unsupported and undocumented claims, and his knowledge of woodworking is, well, less than complete. For example, he makes the claim that "The process of aging and curing wood was unknown...", which is entirely false. There are several period references that discuss how long wood should be seasoned, and surviving contracts that specify that the wood is to be seasoned. It's entirely true that much work was done with unseasoned wood, at least initially, but understanding the seasoning process was vital to building a piece that didn't split or fall apart. Likewise, his discussion of "doweling" seems to completely misunderstand the technique of drawboring (pegging a mortise and tenon joint so that it will stay tight without glue). He also seems to believe that pine and fir are the same thing. Forgive me if I sound particularly critical of this work, but I know that a number of people pointed out technical and historical inaccuracies to the author after the release of his first book, yet they are repeated in the second. You'll find much more accurate and complete information on all of the above in Chinnery's book (which is available through Barnes and Noble, though it isn't cheap). I hope this is of some use to you. Please write me if you have more questions. Fin From: Me at my.desk.com (my name) Newsgroups: rec.org.sca Subject: Re: Midieval Varnish Date: Fri, 17 Sep 1999 08:59:27 GMT Patriarch <jm123 at uswest.net> wrote: >Stupid question, I know. But I was making a walking stick and I have >yet to ask anyone about this, so I'll ask it here. What did they use in >the middle ages as a sealant/protectant for wood so it wouldn't rot? It's not a period method, but will give very good period looking results . . . (mainly promted to share because you wanted some moisture resistance). Scrape your walking stick smooth as possible, like smooth satin. (or sand it to 400 grit, using sandpaper.) Then (here comes the elbow grease part) apply Lin-Speed (r) "oil," which is a mixture of "boiled" linseed oil and varnish. Wipe away *all* traces of dust with a tack rag. Dip two fingers into the Lin-Speed, then start rubbing it into the wood. Spread the liquid as far as you can then begin rubbing it in until your fingers are warm from the friction then dip again and repeat on an ajucent area until the entire walking stick is finished. Set aside and let "dry" for at least a day (and for your fingertips to recover ;). Rub out finish with 000 or 0000 fine steel (finishing) wool. Repet the entire process *at* least* 10 to 15 times or or until satisfied with the depth and look of the finish. I learned this from an old time gunsmith who literally *hated* plastic looking finishes and who did a *lot* of work on *very* expensive antique and antique reproduction firearms. (Some in the $10,000+ price range.) He's departed now so I don't feel bad about sharing his "secret finish." The finish will be water *resistant* but not proof, e.g. water will bead on it but will eventually soak through if left on the surface. To improve the water reisitance, after you've finished your Lin-Speed finish, give it a couple of coats of really rubbed out beeswax. The finish is also not oxygen proof so the color of the wood under the finish will darken and mellow with age very nicely. When finished, the color of the wood will be a couple of shades darker to the amber side and have a wonderful satiny finish that warms to the touch. Note: This works best on dense hardwoods with close grain structure, like walnut. On woods with an open grain, first apply then rub out (with 600 sandpaper or steel finishing wool) a *good* laquer sanding sealer like Behlens. Lin-Speed can be purchased from any *good* sporting goods store or gunsmith. Don't use this on surfaces that will come into contact with food or drink because of accelerants. It's not so differant from a late-period finish using boiled oils, just more water resistant and quicker. As someone else noted, a plain boiled oil finish takes a very long time to polymerize (not dry). Yours in Service to The Kingdom and The Society =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= William of the West Merlands Shire of Cloondara, Kingdom of the West ----------------------- From: "Ellen Anglin" <anglin at mi.verio.com> Newsgroups: rec.org.sca Subject: Re: Midieval Varnish Date: Thu, 16 Sep 1999 13:53:37 -0700 Organization: Verio Chris K. Hepburn <chepburn at calcna.ab.ca> wrote: > When did they start using melted amber (gasp choke) as a varnish? > > I seem to recall hearing they melted down quanities of it in the 1800's to > finish furniture. Is this a solely Victorian phenomenon? > > Chris, AB No need to gasp and choke- Lots of amber powder is produced whenever amber is cut, polished and shaped- not to mention the large quantities of grainy - non-gem quality stuff that surrounds much of the good stuff- all this dross is great for incense or for varnishes, etc. By the by- another period substance used in varnish is propolis- it dissolves easily in alcohol, and I know it was one of the components used in the varnish on Stradivarius violins. If anyone wants some hive scrapings, drop me a line- I save some of the goop next time I am scraping equipment if anyone wants to experiment. Ellen Greenhand From: "James Fisher" <DamianM*nospam* at pacbell.net> Newsgroups: rec.org.sca Subject: Re: Midieval Varnish Date: Fri, 17 Sep 1999 11:26:05 -0700 For what it's worth I thought I'd share my method for getting a Period looking finish to figured woods. Please note that this method produces a high grain contrast and will artificially darken your wood. Take your project and sand by hand with the grain (when possible) to a 320 grit finish. Get yourself a scraper (I use a small putty knife that has been sharpened and left with a pronounced burr) and scrape the entire project smooth. This has the effect of opening the grain and smoothing off the light 320 grit scratches. Keep a medium stone handy to re-raise the burr occaisionally and stroke only the opposite side of the burr. Keep in mind that this process may take HOURS to accomplish and be very careful not to gouge or cut into your project by using the scraper like a chisel or letting it slip sideways while scraping. The next step invovles the use of a light acidic solution and heat. You can use several different types of Iron oxide bearing solutions for this but I have 2 favorite mixtures. The first is plain Ferric Chloride (you can get this at radio shack, sold as board etchant) diluted 4 parts to 1 with water. The second is plain red wine vinegar boiled with steel wool to reduce volume and left in a glass jar for 4-6 weeks. Let me stress at this point that using gloves and safety glasses is a MUST anytime you work with even a mild acid or base solution and that it is also a good idea not to wear clothing you are too attached to. Also boiling vinegar over an open flame is not advised, use a double boiler on a electric stove. You will also need a hairdryer or heat gun. For smaller items you can brush on the solution lightly and heat to desired darkness (be careful NOT to scortch!) or for larger items you can use a dip tank made from PVC pipe sealed at one end with a pipe cap firmly glued on with PVC cement. The idea here is to use VERY light coats and moderate heat to softly darken the wood evenly. Go just a little bit darker than what your looking for and then lightly rinse with w ater and dry. Let it sit overnight in a dry warm place and then lightly sand with 600 grit. Your looking to take off any raised grain lightly. Finish the piece with many light coats of boiled linseed oil. In between coats, let the finish set and rub smooth with steel wool untill you get the desired depth of finish. A similar method was used by early gunsmiths to finish thier gunstocks of figured maple and walnut. They used AquaFortis and a red hot iron then hand rubbed boiled linseed oil for the same effect. Regards, L.D.M. From: caerleon at tfs.net Newsgroups: rec.org.sca Subject: Re: Midieval Varnish Date: Sat, 18 Sep 1999 03:48:48 GMT I recall from a reading of The Artist's handbook of materials and techniques that by the 16th. C there were a wide variety of varnishes and shellacs available. Many of these had vegetable resins like gum arabic and waxes in a solvent carrier. Ternon Date: Sun, 19 Sep 1999 15:38:13 +0100 Newsgroups: rec.org.sca From: Tom Holt <lemming.co at zetnet.co.uk> Subject: Re: Midieval Varnish The message from A C <CelticWolf at worldnet.att.net> contains these words: > Try Tung oil.......repeated layers. Traditional bowyer Jim Hamm's recipe for "old-time" varnish - "Gather the pitch from pine or cedar trees from where the sap oozes out of a damaged area on the trunk... The pitch is dried until hard, then crushed as fine as possible with a mortar and pestle. Place the powder in a glass container and add enough spirit to cover it... In the old days turpentine was used, and since turpentine is distilled from pine sap, it may be the better choice... The mixture is stirred occasionally over a 24 hour period to dissolve the pitch, then strained through an old T-shirt into another glass container. The resulting varnish is a translucent amber color" (Traditional Bowyers' Bible Vol.1, pp289-90. The TBB isn't just for bowyers; there's loads of cool stuff about making 'period' glue and string, working bone, horn, antler, sinew etc) Date: Tue, 18 Jan 2000 10:20:59 -0500 From: "Pratt, Danette" <pratt at exchange.oucom.ohiou.edu> To: "'sca-arts'" <sca-arts at listproc.cc.ukans.edu> Subject: furniture varnishes http://www.natmus.min.dk/cons/lab/kirkerup/kkrp.pdf This is an address that I thought a few of you out there may be interested. I am not a wood worker but I remember that there was a 'big' discussion of wood varnishes and paint not so long ago. I thought that some of you would be interested in these articles from the National Museum of Denmark. I did not read the articles, so someone will have to review and get back to us! Barbara atte Dragon Date: Tue, 18 Jan 2000 09:16:11 -0800 From: Tim Bray <tbray at mcn.org> To: sca-arts at raven.cc.ukans.edu Subject: Re: furniture varnishes >http://www.natmus.min.dk/cons/lab/kirkerup/kkrp.pdf > >This is an address that I thought a few of you out their may be >interested. Wrong URL - yours points to an article about salt damage in a brick church... The article you referred to is: http://www.natmus.min.dk/cons/furn/varnish/furnvarn.htm >>>> <excerpt>Transparent surface finishes on Danish furniture between 1550 and 1827 Vibe Edinger, Bodil Holstein, Birgitte Larsen Section for furniture restoration, Conservation Department, The National Museum of Denmark </excerpt><<<<<<<< But I will save you the trouble - only a brief summary is available in English, the actual article is in Danish. Here is the summary of findings: >>>> <excerpt>The main conclusions of the article are: Lacquers were mostly made from linseed oil, oil of turpentine and alcohol. A greater variety of varnish compositions is described in the literature but this is not reflected in our analyses. Wax was seldom used as a surface treatment in Denmark in the 17th and 18th centuries. This is clear in both the written sources and in the results of the analyses. Shellac came into common use around 1800, according to both the written sources and the modern analytical results. </excerpt><<<<<<<< The finding about wax is interesting, apparently confirming my suspicion, although the objects they studied are mostly out of our time period. Colin Date: Mon, 02 Oct 2000 12:01:21 -0400 From: rmhowe <MMagnusM at bellsouth.net> Subject: Walnut Husk Stain / Stains and Finishes Book Stains and Finishes: Someone on MedEnc or SCA-Arts was discussing using Walnut hulls this week. More books have defected to the Magnus Library this weekend. :) One mentioned to me... How to use Walnut husks for stain: Use a glass or ceramic container, not metal or plastic as some chemicals can react with them. Walnut husks start out green - let them turn brown. Take one quart of household strength ammonia. Take one cup of walnut husks, shredded is probably better. Put husks in ammonia, let set for several days. Add more husks if darker is wanted. Dilute with water if lighter is wanted. Pour off liquid thru a strainer - cloth or filter. Brush on with a synthetic fiber brush and let dry. Top finish to taste. Wax, oil, etc. Ammonia deepens the color and makes it more permanent. Ammonia itself reacts with tannins in wood and produces a range of brown tones. ............. Recommended Book: Classic Finishing Techniques by Sam Allen, Sterling Pub. Co., Inc. NYC, 1994, ISBN 0806905123 Includes bibliographical discussion of stains and stain books back to 1688. Covers French Polishes, Varnishes, Oils, Waxes, Stains, Chemical Stains and Fumed Finishes, Milk Paint preparation, Shellac, Lac, Natural Dye Stains and Mordants, and equipment. Discusses planing, scraping, usi