In addition to the liquid fillers already mentioned, there is a putty or powder filling used for cross-grained woods, or such woods as have a deep pore.  This filling is forced into the wood previous to the application of the other finishing compounds, with the use of which it in no way interferes.  On the contrary, it economises the use of the liquid fillers, and, while constituting a part of an oil-finish, is also a finish wholly independent of the other methods mentioned—­that is to say, the same results can be obtained by the use of either one, although the putty or powder filling is attended with greater expense both as to time and material.  The hard filling is generally used on walnut, ash, and all coarse-grained woods.

With regard to oil-finishes, viz., spirit-varnish or oil-varnish, shellac is thought by many to be the best for fine work; but others think differently.  We may say of shellac that it will finish up into any degree of polish, and while it will not retain a French polish long in this climate, it will replenish easier and cheaper than any other finish, and continue to improve under each application.  For a common finish, however, oil preparation is as good as shellac, and even for a fine finish it is only second to shellac, if made of a hard gum.  On common finish, too, the oil will wear better than shellac in stock or on storage, so far as preserving its freshness is concerned.

The cost of oil-finish is governed chiefly by the amount of labour expended on it.  A suite of walnut furniture can be well rubbed with sand-paper in two hours, or even less; while two weeks could be profitably employed in rubbing another suite with pumice and water.

=Black Walnut Finishing.=—­The fashionable finish for black walnut work, particularly chamber sets, is what is known to the trade as the “dead-oil finish.”  It is admired, perhaps, because it has a gloss, rather than a shine of the varnish stamp.  There is no more labour required upon it than upon a bright finish, but the process of manipulation is different, and harder to the fingers.

It should be premised that the walnut work of the day bears upon its surface, to a greater or less extent, raised panels covered with French burl veneer.  And upon this fact largely depends the beauty of the production.  And the endeavour is to so finish the article that there shall be a contrast between the panel and the groundwork on which it is placed.  In other words, the former should be of a light colour, while the latter is of a darker shade.  In that view the palest shellac should be used on the panels, and darker pieces, liver coloured, etc., on the body of the work.  The darker grades of shellac are the cheaper, and will answer for the bulk of the work, but the clearest only for the panels.