if we take a coarse or broad-toothed gutta-percha comb, and commence at the top of a panel, with the comb, placed at its full width: if drawn down in this position it will leave a grain of the same width as the width of the teeth: but if we start with the full width, and gradually turn the comb or slightly incline it to one side--that is to say, on its edge, we thereby graduate the grain from coarse to fine at pleasure, and by holding the comb at a certain inclination we may actually make very fine the coarse comb. A very important point is the formation of the joints in the wood, as much of the effect of otherwise good work is lost in consequence of neglect in this respect. In looking at a real oak door, the joints of the stiles and rails are clearly and sharply defined, not by any defect of workmanship, but by the difference in the run of the grain, the stiles being perpendicular, and the rails horizontal. The rails being cut sharp off by the stiles, show a perfectly straight line. The light also acts differently upon the two, simply because the grain or fibre of the wood is exposed to its influence under different aspects. This also tends to produce a difference in the depth of the color of rails and stiles, and panels also. It will be evident that no imitations can be considered really good except they include these seemingly unimportant points. It is a common practice for grainers to imitate a broad piece of heart or sap of oak, upon the back rail of almost every door they do, and many of them are not even content with that, but daub the stiles over from top to bottom with it also. There is nothing so vulgar or in such bad taste. It should only be done upon those parts of the work on which it would appear on a real oak door, namely, on the edges of the doors and on mouldings. There is a vulgar pretentiousness about what we may call the sappy style of work which is very undesirable. The figures cross the grain more or less abruptly and of course are of different shapes, sizes, and forms, a knowledge of which can only be acquired by study of the real wood. The figure may be wiped out with a piece of soft rag, held tight over the thumb nail. This should have two or three folds over the nail, the superfluous rag being held by the other hand to prevent it hanging down and smearing the grain; and every time a figure is wiped, the rag should be moved slightly, so that the same part of the rag will not be used twice, thus insuring clean work. It will often happen that the thumb-nail will get broken, or is too weak to stand the work; in these cases, or, in fact, in any case, a good substitute or artificial thumb-nail may be made of gutta-percha, thus: A piece of thin sheet gutta-percha is put into warm water, and, while soft, is wrapped around the end of the thumb up to the first joint. It is then pressed with the hand, so as to fit and take the shape of the thumb and nail. This cannot be done at one