This one comes straight from the book "How to Restore and Repair Practically Everything" by Lorraine Johnson. English, Italian, and French Lacquers English Lacquer Mix five volumes lampblack with one and one half volumes burnt umber japan, one-half volume japan drier, one half volume clear gloss varnish, and mineral spirits for thinning. Apply four or five coats and smooth when dry with fine wet-and-dry abrasive paper and a non-detergent soap solution. Dry with a soft cloth and apply a final coat of the of the following formula, heated to room temperature (70f or 21c): three-quarters volume raw umber japan, one-quarter volume lampblack japan, two volumes asphaltum, one volume spar varnish, one volume mineral thinner, one quarter volume japan drier. After 48 hours, rub with a mild abrasive such as rottenstone or pumice powder and oil, and allow another 24 hours before smoothing with fine wet-and-dry paper and pure soap solution. Protect with one coat of shellac mixed with an equal volume of denatured alcohol (methylated spirits). Italian lacquer This lacquered effect resembles the Italian method of the eighteen century. It was usually applied over a gesso layer, which concealed poor workmanship or the bad quality of the wood or plaster beneath. It is a lengthy process, only worth undertaking for extensive damage. 1. Begin by soaking two or three rabbit skin glue sheets overnight in 14 fl oz./420 ml water. Dissolve gently over heat by standing pan in another, larger, pan of boiling water, to obtain a size which is applied with a stiff bristle brush and left overnight to dry. Make a casein mixture by stirring 6 oz/170 g of kaolin powder into 1 qt/1 liter white casein past, then add 2 1/2 oz/70 g casein emulsion, 3 drops of pine oil, 1/4 tsp/1.25 ml ox gall, 1/4 tsp/1.25 ml fungicide (crushed in 1/2 tsp/2.5 ml water) and 12 fl oz/36 0ml water. 2. Strain through a nylon stocking into a glass jar, forcing it through the mesh with the aid of a stiff brush. The mixture should have the consistency of double cream. Coat the object with an even coat film of the mixture. 3. After one hour, apply a second coat, brushing the other way. Altogether, apply five coats in this manner, sanding gently after every other coat with finest abrasive paper. Sand again after final coat. 4. Dissolve white aniline powder in hot water. If light tones are required, add cold water. 5. Next, rub the aniline solution over the casein base, using a fine-grained natural sponge, and wipe off instantly with an absorbent cloth. When dry, after two hours, coat the piece with thinned white shellac, diluted fifty-fifty with denatured alcohol. Apply five coats in all allowing each coat to dry overnight before rubbing with the finest steel wool. When the last coat of shellac is thoroughly dry, apply two coats of gloss varnish and rub down the top coat with rottenstone and lemon oil. If desired, a tinted lacquer can be applied over this finish. French Lacquer (Vernis Martin) This is a modern approximation of the Martin Brothers famous seventeenth-century formula: Apply five coats of thinned japan pigment of middle value, allowing 24 hours between applications. Sand every second coat lightly with fine wet-and-dry abrasive paper and a non-detergent soapy solution. Seal with shellac solution thinned fifty-fifty with denatured alcohol (methylated spirits) using a soft shellac brush. When dry, rub with fine steel wool. 1. Then apply a glazing medium, tinted with 1/2 oz/14 g japan in a shade a little darker then the base coat, using a brush or fine-grained natural sponge. Leave to dry for one week. Next apply a coat of thinned clear varnish. (See bottom for notes on Glazing) 2. Leave to dry for 24 hours and apply second coat, splattering, when tacky with metallic powders, or for authenticity, gold leaf, crushed to fine particles. Cut a cardboard tube diagonally at one end and cover the other with fine cheese cloth, fixed with a rubber band, to act as a sieve. 3. With a folder paper funnel, tip the particles into the tube and then scatter them lightly over the tacky varnish by gently tapping the tube. When dry, smooth very lightly with finest wet-and-dry abrasive paper and soapy water. Apply several additional coats of varnish, smoothing each one, until the desired translucency is achieved. Notes: Glazing 1. The glaze itself can be shiny or matte, and more or less transparent, according to the amount of white pigment it contains. It can be purchased as a thick golden liquid or white cream, or can be made as directed below. Either way, when applied it should appear transparent, unless tinted. To make a glazing liquid, mix one part linseed oil, one part turpentine, one part drier and optionally, one part whiting. This may be thinned with white spirits, bearing in mind that the thinner the glaze, the faster it will set. 2. Purchased or home-made glaze is tinted with universal strainers or artists' oil paints. Squeeze a blob of desired shade into a dish or pan, add a drop of white spirit to dissolve it, then add a cupful of the thinned glazing liquid. Stir well and test on a piece of white cardboard. If a softer shade is desired, thin with more glazing liquid. 3. To apply glaze, take a small amount on the end of a large paintbrush and smooth it lightly over the entire surface. The effect should be "liney" or striated; if the result is undesirable, rub off with a rag saturated with white spirit. However, if the soft dragged textured is pleasing, leave it to dry for two days, then protect with proper coating. Keep in mind I do take request. Regards, Tim Sweet Member NAWCC/BHI Timekeepr2@aol.com M.O.S.T. Watch and Clock Co. Web site: http://www.cyberportal.net/watches/timhome.html