Since the appearance of the Fifth Edition of this work in 1908, it has again been considerably enlarged and revised and the results incorporated in the present Sixth Edition. In the portion relating to staining, the chapter on Brown Stains, which occupy an important position in connection with modern furniture and fittings, has been completely revised and enlarged by the introduction of the new and practically-tested Special-Oak Stains, Anthracene Stains and Genuine-Mahogany Stains, which have been very favorably received.

Because of their lesser importance, the number of staining formulas for bright colors has been diminished, but these have been replaced by staining formulas for new products of greater fastness to light.

All suggestions and experiments since the last edition have been incorporated here. The Sample Card of colors (in the Supplement) has been made to correspond with the new formulas in the book.

The rapid distribution of five preceding editions has demonstrated the earnest patronage accorded me, and I now place this Sixth Edition with the public in full confidence that it will prove an authoritative adviser in all problems pertaining to wood-staining.

WILLIAM ZIMMERMANN.
Barmen, April, 1910.

The Art of Mordanting and Staining

At the great expositions recently held in Dresden, Nuremburg, Reichenburg (Bohemia) and in Berlin, it was demonstrated anew with what importance color is regarded as a factor of modern interior construction. Seldom, if ever before, have there been exhibited such simply-constructed rooms whose effect was obtained al- most exclusively by color scheme.

Undoubtedly color is one of the strongest means of impressing the human mind. Through its agency may be produced an atmosphere of warmth and cheer or a contra effect of cold and repellency; a stately, dignified interior, or walls emanant of festive brightness. It is essentially a predominating force, and being also the cheapest auxiliary means of decoration, its practicability as applied to the dwelling rooms of those moderately circumstanced is highly evident.

Craftsmen, cabinet-makers, decorators, painters, and all whose calling is associated in some measure, great or small, with the use and application of stains and mordants, should be, as a matter of course, thoroughly familiar with the primary essentials of preparation, both of the surface to be stained and of the stain-composition itself, in order to achieve clever results.

The first attempts at staining our domestic uncolored woods a certain designated tone, were made with the object of imitating the magnificent and gorgeously-colored, but expensive, tropical woods; and also of staining the naturally light young wood the prized dark tone peculiar to old wood.

It is only recently that domestic uncolored woods have been stained all conceivable colors not inherent to the natural wood. When this new branch of cabinet-making had its inception a few years ago, and prominent artists and artisans offered their services, they suggested novelties other than the usual brown tones thus far used, with the intention of treating the entire room according to one designated color scheme.

The somewhat crass colors used at first, such as bright green, blue, etc., have, of course, given way to more subdued, intermediary tones, - faint blue-green, greenish- gray, gray-brown, etc.


Advantages of Mordanting Wood as Compared With Body-Colors and Glazing

Among experts and the intelligent public to-day, stained wood is in high favor, and to the art of wood-staining is therefore opened an ever-increasing field of application. The foundation of this method of coloring various objects and constructions of wood depends on that property common to all wood-staining, - of retaining and intensifying the natural texture and marking characteristic of each species.

That this requirement cannot be met by means of the formerly universal method of painting the wood with body colors is very evident, as all body-colors consist of insoluble materials which are applied with the help of proper binders, such as linseed-oil, varnish and turpentine in more or less thick coats. On account of their impermeability to light, as the very name implies, they cover the entire surface of the wood so completely that it is no longer possible to recognize its species.

The artificial graining subsequently executed with stencils and transfer-paper or by free-hand over this coating, does not deceive the eye; for even though an artist's handiwork, it is easily distinguishable from the natural wood grain.

If the coat of varnish subsequently applied to protect the glazing or graining color has been worn off in spots by repeated washing or otherwise, then this layer of color adhering only to the outer surface of the wood is soon worn away and the bare wood shows.

The new technics of wood mordanting, or wood staining, are based on entirely different principles.

The dyes or chemicals used are perfectly soluble in water or other solvents, such as turpentine or alcohol, so that these dyes and chemicals, penetrating with their solvents (water, turpentine, alcohol) up to a certain depth in wood, remain therein when the solvents evaporate, thus according a stained surface.

In many instances of wood-staining, the dye is actually generated (chemically) in the wood fiber and left there by means of the consecutive effect of two proper chemicals, or by the effect of chemicals on the tannic acid already in the wood.

In whatever manner the staining is done, whether by means of solutions of prepared stains, or by means of the reciprocal action of chemicals on each other, there is always an actual staining of the pulp of the wood up to the depth of one-half to three-fourths of a millimeter, to which the mordant solutions actually penetrate within the wood.

On this property of the stain, to penetrate into the pulp of the wood itself and to deposit there the dissolved stain, rests its capacity for sharply intensifying the structure of any kind of wood. The pulp of different kinds of wood is by no means of uniform hardness and density. In particular the annual rings in our domestic evergreens are always harder than the wood in between. But in the harder deciduous woods also, where the difference between the annual rings and the rest of the wood is not so marked, there are always differences in the density of separate parts of one and the same surface.

The penetrating capacity of the staining solutions is favorably or unfavorably influenced by these differences in density and hardness of the separate parts of one surface. In the softer parts of the wood the stain not only penetrates deeper, but greater quantities of it are absorbed than in the harder and denser portions. Hence in the softer parts of the wood there is a much greater amount of color de- posited than in the harder parts, corresponding to the increased assimilation of the stain; and after staining, these appear darker, generally showing a more tinged shading than the harder parts. This is especially characteristic of evergreens, such as firs, pines, pitch-pines, Carolina pines and yellow pines. By the various absorbent qualities of soft and hard parts in the same surface is to be explained the fact that the marking and silver grain of the wood, which are scarcely visible in its natural state, come into prominence after staining with an enhanced beauty due to the tinged shading.

Therefore it will be perceived that the staining of wood not only affords us a desired color effect, but presents unchanged the natural marking characteristic of each species. The process has taken its rank among the foremost arts of the day, and it is hoped to accord within these pages a comprehensive aid to its higher advancement and utmost perfection.


Properties of a Good Wood Stain

Because of the long periods of usage given wood-structures, we require of a stained wood in the first place, resistance to the effect of light and air. But this is not the only essential; there are a large number of chemicals and dyes which are very fast to light, and yet are not fitted for wood-staining.

A wood stain, to fulfil all requirements for use, in addition to its light-proof quality, must be easily and clearly soluble and remain clear in its solution; must penetrate deeply into the pulp of the wood, intensify strongly the natural marking, and when staining large surfaces, be uniform and spotless. Furthermore, its application must be simple, the result certain, and the cost to manufacture be low.