Another class of single-operation stains and varnishes consists of varnish that has been col ored with aniline dyes. These have the advan tage of being uniform in color, since there is no pigment to settle out; but as all aniline colors are more or less fugitive, it is likely that these new varnish stains would fade more or less on exposure to strong light. Their greatest dis advantage is that they dry so quickly that it is difficult to avoid showing laps when used on broad surfaces like door panels. In the case of any stain-and-varnish combination the flaking or cracking of the varnish from any cause leaves the bare wood exposed, while in the case of a proper stain the surface of the wood remains colored, even though the varnish should peel from it.
Architects, as a rule, were not much in favor of stains of the class just mentioned, as their use was the cloak for a sham—the masquerad ing of a cheap material under the guise of a more expensive. Besides, the widely different char acter of the grain of the hardwoods imitated from that of the soft woods that were stained, immediately proclaimed the deception to every one with any knowledge of the different woods.
For a time, natural finish was largely used. The natural color of white pine or whitewood, however, did not harmonize with the prevailing decorative colorings; and the colors of oak, ash, and the other hardwoods seemed to need more or less modification to fit in with the modern decorative fabrics and wall papers. The color ings of the burlaps, denims, and other fabric hangings in rich hues, demanded stronger and richer colors than the hardwoods afforded; and yet the beautiful markings of the grain made some form of varnish finish preferable to painted or enameled woodwork.
The furniture manufacturers led the way, and some of them conceived the idea of staining oak or ash in shades of green or brown, in dull blues, or even in bright red tones. This was the origin of such stains as forest green, sealing wax red, tobacco brown, mission oak, Flemish oak, golden oak, sixteenth century oak, and other colorings whose names meant nothing originally except that they were invented for advertising purposes. Now, however, they have
come to be recognized as definite colors or effects. They are not all produced by oil and pigment stains, but these particular tones are obtained by various methods.
Objections to Oil and Pigment Stains. The greatest objection to oil and pigment stains is that the color is not carried deeply into the grain of the wood, but lies upon the surface. If the wood is dented or marred, its original color shows in marked contrast to the finished por tions. Another decided objection is that as the wood begins to darken naturally by age, the pig ment in the stain causes the wood to have a cloudy or muddy appearance. In other words, the clear, rich tone of the finish is lost. The ad vantage of an oil stain is its ease of application, and the fact that it does not raise the grain or fiber of the wood, and hence no subsequent sand papering is required.
Water and Alcohol Stains. The next class of stains to be considered are the water and the spirit or alcohol stains. These are made by mix ing or dissolving lakes or vegetable coloring matters or aniline colors or dyes in water or alcohol. Many of these stains are decoctions from natural woods, roots, etc., such as logwood, Brazil wood, sandalwood, campeachy wood, dragon's blood, tobacco, and numerous other substances of vegetable origin. The aniline col ors give greater variety of coloring, but are not so permanent as the vegetable colors. These water and spirit stains possess the great advan tage of penetrating deeply into the fiber of the wood and of practically dyeing it, so that sur face bruises will not show marks. They also produce clearer tones than the oil stains, and do not become cloudy or muddy. They cannot be used to any advantage on white pine, white wood (poplar), cypress, or other woods of a soft or spongy nature, since on these woods they cannot be applied to produce an even color tone; but on hardwoods, such as oak, cherry, ma hogany, and the like, they produce far more beautiful effects than can be obtained by the use of oil stains. The greatest objection to the use of water or spirit stains is that they raise the grain of the wood, requiring subsequent sandpapering before the first varnish coat is applied. In order to prevent raising the grain of the wood when using water or spirit stains, some wood finishers add a certain proportion of glycerine or castor oil; but these must be used with the greatest care, since they leave a greasy surface to which varnish coats do not adhere well.