Now the general use of panelling In framed work, initial in so very conspicuous throughout northern Europe at least, has been the result of practical consideration. of economy of conversion, and strength of assemblage of the wood, as well as to Its resistance to atmospheric influences upon Ite dimensions. Thus, in a wall lining of any consider able area, the panel frames are funned with rather thicker material than might theoretically have been required, but the panels themselves are made as much thinner in proportion ; and, on their surface is greater than that of the styles and rails of the framing, an economy of material Is obtained. Moreover, as the direction of the grain of the wood in the various parts of the framing differs in the cases of the rails and panels from that of the styles, the tendency of the respective parts to shrink or to warp is to some extent counteracted. Again, the heading joints of the styles and rails are made with what are called mortice and tenon joints, or those in which a hole of a rectangular form is cut in either the styles or rails, and into it is closely fitted a pro jecting tongue left on the other piece to be assembled, which is sub sequently fixed by the use of glue, wedges, or pins. Before, however, the framing in this supposed case is wedged up, the panel is introduced, and fitted into grooves left in both styles and rails ; and after the whole has been wedged up, a moulding is nailed to them, all round the panel, so as to allow the latter to shrink without exposing the joint. It is a similar motive to the latter which leads to the use of what are called matched and beaded linings V/1W ; for the shrinkage in the width of the planks is in them rendered less apparent by the introduction of the double quirked bead, formed by the bead on the edge of one board and the rebated joint on the other. These remarks apply also to doors; but the introduction of panels in them, and in window shutters, &c., has the additional advantage of rendering the particular articles to which they are applied actually lighter ; whilst at the same time they tend to destroy the unpleasant effect of large, unmeaning, plane surfaces. The introduction of panelled work into strings of staircases seems to be very questionable, either in point of taste or of construction ; and that joiner's work which is manifestly intended to resist violent actions or great weights, should be, and should look as though it were, of the most solid and substantial description.
In the preparation of tanks, cisterns, vats, and other vessels intended to contain water, great attention must be paid to the manner of making the horizontal joints, which are usually formed with grooved and feather tongues, act with white lead instead of glue, and to the lateral stiffness of the sides. The principles which regulate the thickness of such vessels belong to the science of HYDRODYNAMICS.
It is essential to observe that the durability of joiner's work depends upon its being removed from sources of damp, or from confined air, especially when the latter is both warm and damp. The planks which contain any sap-wood are certain to decay with rapidity in such situations ; spruce fir decays more rapidly than pine, or ordinary deal ; all soft woods decay more rapidly than oak; and of oaks, those which are the hardest last the longest in damp positions ; mahogany resists change of hygrometric state better than fir-woods, but not equally well with oak. Joiner's work which has been veneered is not fit to be
exposed to alternations of wet and dryness ; and indeed any glued work will certainly fall to pieces if kept for any time in a damp state, whilst extreme heat is equally prejudicial to it. Perhaps mahogany resists strong light and heat better than any other wood, and it is on this account much used for making shop-fronts, or for external joinery. It is also used for handrails of staircases In preference to all other varieties of wood, because of its markedly small tendency to break into splinters, and this fact may also account to a great extent for its use for tables or counter-tops.
3. It is rather curious that whenever the taste or the fashion of an age has brought the art of wood-carving conspicuously Into notice, the architecture of the period has begun to degenerate into a florid and rather over-ornamented style ; as for instance, about the latter end of the middle ages, the taste of the wood carvers of Westphalia seems in Germany to have led to the elaborate complicated style observable in the Gothic structures of the end of the I5th and beginning of the 16th centuries ; • whilst the elaborate wood sculptures of the Flemish churches of the 17th century were contemporary with the introduction of a still more equivocal taste. How far the art of wood-carving has acted upon, or been reacted upon, by the taste of the age, it would be hard to gay but there certainly would appear to exist some tendency on the part of those who work in a material so easily made to yield to the artist's fancy as wood certainly is, to indulge iu the display of their imagi nation, and of their own manual dexterity ; and this tendency has on some occasions proved to be en overpowering that it becomes almost necessary to recall tho attention of the workers in wood to the necessity for their studying the abstract laws of beauty as applied to art structures. Even in the case of common joiners, there seems to be somewhat of the tendency to transfer to other arts the modes of thought suggested by the practice of their own ; and we consequently find that the architecture known as "carpenter's architecture" is marked by the panelling of all plain surfaces, and an unaccountable introduction of bowie, toruses, and ogees. The laws of taste appli cable to one art, in fact, are rarely applicable to others; and those applicable to joinery are of so narrow and so limited a character as to lead to very ridiculous results If extended beyond their proper sphere.
It seems, indeed, that beyond the mere questions connected with the colour and grain of the woods employed (so far as they influence the style of decoration), the principal laws of taste in the use of joiner's work are that, 1st, no ornaments should be introduced, or no mode of assembling the framing be adopted, which should appear to weaken the strength of the work, or to bring efforts upon it in directions wherein the wood would be the most likely to yield ; 2nd, that no attempts should be made to represent in joiner's work methods of eon struction exclusively applicable to other materials ; 3rd, that the har monic proportions of panels, or other framed joiner's work, be rigor ously observed. All questions of detail must of course be made subservient to the general design; and, in the latter, care should be taken not to bring the works of one set of artisans too strongly into prominence.