The woods which possess a rising grain are well known to polishers; these are the light-coloured woods with a coarse grain, viz., ash, birch, and oak.  This rising of the grain can in a great measure be prevented by passing a damp sponge over the work before commencing the polishing, allowing it to dry, and papering it.  After the rubbing or smoothing-down process is finished, the work should be well dusted; the polishing can then recommence.  The above operation must be again repeated with a rotary motion and gradually increased pressure as the rubber gets dry, and finished by lighter rubbings the way of the grain; this will remove any slight marks that may be occasioned by the circular movements of the rubber.

Working too long on any one part is to be avoided, nor should the rubber be allowed to stick even for an instant, or it will pull the coating of polish off to the bare wood.  The rubber should be covered with a clean part of the rag as soon as a shiny appearance becomes apparent upon it, or at each time of damping, and less oil should be used towards the end of the operation, so as to gradually clear it all off from the surface.  Rubber marks can be removed by rubbing in a direction the reverse of the marks with a half-dry rubber and increased pressure.  When the work has received a sufficient body, in finishing the drying of the last rubber, ply it briskly the way of the grain to produce a clean dry surface for the spiriting-off.

The following is the method usually employed on fine carved or turned work when finished in the best style.  In the first place it is embodied with polish, using a small rubber for the operation, after which it should have one coat of shellac (two parts by weight of shellac to one of spirits) applied with a brush, and when dry it should be carefully smoothed down with flour paper, the utmost caution being observed in dealing with the sharp edges, or the carving will be spoiled.  Then it is embodied with polish again, and one coat of glaze applied with the greatest care.  A few hours should be allowed to harden, and then finished off with a rubber slightly damped with thin polish.  This is an expensive method, but it will pay in appearance for all the time bestowed.

For the best class of cabinet and pianoforte work in amboyna or burr-walnut it is advisable not to use linseed-oil on the sole of the rubber when polishing, but the best hog’s lard; the reason for this is that these veneers being so extremely thin and porous the oil will quickly penetrate through to the groundwork, softening the glue, and causing the veneers to rise in a number of small blisters.  Of course, this is not always the case, but the use of lard instead of oil will be found a good preventative.  Lard is also used on the above class of work when it is desirable to preserve the colour of the wood in its natural state.