202 Sloan's Architectural Review and Builders' Journal. [Sept, ent stains and opaque pigments, upon black papier mache. Yet, in both these instances, the results please, as exhibit- ing agreeable color effects, passably pic- torial, from very simple means, handled, it may be, whimsically, or wilfully. Frescoing will give us any tone and any effect of light and shade, that can be desired ; but, along with the constant variation and surprise, in the surface of wood-hangings, we may also, by using lighter or darker woods, of the same variety, obtain the projection, or the recession, of panels and mouldings ; and this, not being expected from the ma- terial, enhances the pleasure of behold- ing. For instance, if we suppose, all in the same woods, a square or oblong, depressed panel, formed by a simple straight-lined angle from the rails : for this, four different gradations would be required. The highest would be that portion — side and bottom — of the an- gled pieces, or mouldings, which received the full light, taken to be at 45 degrees in the two directions, namely : towards and across the panel, placed directly in front of the eye. The next in depth would be the advanced portion, or the rails. The recess of the panel itself would be still deeper ; and considerably darker than the last would be the top and side of the plain angled moulding in shadow. If it is now remembered that there are many different kinds of wood, each with its variations of the same general color, all will readily see, that the only practical limits to such demi-pictorial effects, in flat wood pan- eling, are the comparative invention and skill of the operators. Then the workmen have — and sometimes take — the option of stains of different kinds, single, or repeated in application, to vary the tone of the particular wood em- ployed, or to shape that portion supposed to be away from the light. Bead-mould- ings of wood, either oiled, varnished, lacquered, or gilt, and polished mould- ings of brass, or other metal, are attach- ed for effect. Finally, the juxtaposition of entirely different woods, may be used to extend the almost infinite variety of combinations, for use. Thus we may give dark panels to light rails, different toned mouldings from either ; and so on indefinitely. The Wood-Hangings admit of much bolder effects in relief. Grecian and Ro- man columns and pediments, Byzan- tine and Gothic arcades, and clustered columns, groined ceilings, Moorish arches and lone or twin spiral pillars, with Moresques and Arabesques are all at the command of the adept. In the same degree, that ordinaiy ven- eers exceed solid wood in beauty of surface, the wood-hangings surpass such veneers in variety, translucencj', and brilliancy. The new mode of cutting these paper veneers — as from their extra thinness, we venture to call them — is calculated to bring out, not only eveiy conceivable diversity of grain, but many small points, that even those most conversant with woods, in their application to ornament, could not imagine, until after a personal inspection. Then, if the fancy, not con- tent with the interminable variations of nature, demands a step beyond her — or, perhaps, in sober verity, a little short — the lighter woods can be permanently dyed of any color designated. In dye- ing, however, the lighter portions of the grain become dark and the darker light. The machinery of the mill, engaged in preparing the wood-hangings, is of such complete adaptability, that every kind of wood can be cut, either with knives, or with saws, according to the wood, or the intent, from one-sixtieth down to one-hundred-and-fiftieth part of an inch in thickness — or query, thinness ? — the usual thickness is from T ^ to T £„- part of an inch. The wood is either sliced, in the usual new method of cutting ven- eers, or it is cut around the log. An old fashioned veneer shows the outside or sap, of the tree, on the outer edges of the veneer, and the heart, or solid wood, in its central line. As said above,
