|
Muzzle Blasts Online
April/May 2000 |
|
Muzzle Blasts Online is a digital only publication that is published exclusively by muzzleblasts.com.
|
by Eric Kettenburg
Examination of surviving arms dating to
the 17th and 18th centuries will often reveal that assorted finishing methods
were employed and the archetypical oil/wax finish was only one among many.
Unfortunately, most arms of this period that have survived the trek into
the present day no longer possess their original appearance. In part, this
is due to extremely hard usage during their active lifetime, and to the
refinishing philosophy prevalent earlier in our own century. In all actuality,
it is probable that various types of varnishes were much more likely
to have originally seen hard service: they offer increased protection of
the stock and faster build-up, while at the same time maintaining the ease
of application that makes oil so appealing. I have used several types of
traditional varnishes on my own arms with excellent results, the formulae
having been gleaned from period texts (see bibliography) and through analysis
of antiques that appear to have withstood the ages with their finish intact.
Before proceeding, it is imperative to
note that varnish making often involves the use of heat in conjunction
with extremely flammable substances. It is my belief that at no time
should an open flame be utilized as a direct heat source. Using a small
woodstove is preferable, and if a forge or other open flame must be used
out of necessity, I recommend that an large iron plate should be suspended
above the flame either from a tripod or on a framework; the radiant heat
of this plate will be used rather than the flame itself. Clothing that
can quickly be removed is also preferable, and a fire extinguisher should
most certainly be present. Most important of all, however, is the use of
a "varnish-pot" or sand bath.
After addressing the making of a sand bath,
it is logical for me to proceed to a description of the type of varnish
that is most often created therein: namely, the oil-varnish. This type
of varnish uses boiled linseed oil (sometimes cut with turpentine) as a
fluid medium and yields a product of moderate drying time that is extremely
tough and durable. Keep in mind that modern "boiled" linseed oil is not
the same oil that was available to 18th-century gunstockers;
but it is possible to modify it for our purposes. I believe the primary
differences are these: (1) lead-based dryers (although extremely effective)
are no longer used; (2) the dryers which are currently used are
not cooked into the oil, but rather added to it as prepared liquids; and
(3) the modern product is not exposed to heat and thickened, or prematurely
oxidized, to the degree that the traditional version was. The essential
practical differences between the traditional product and its modern counterpart
are drying time and durability, and I believe that there is enough of a
differential (especially for varnish making usage) to warrant the modification
of the oil. Therefore, before proceeding to the actual making of an oil-varnish,
it is first necessary to ensure that we are recreating the process using
the proper oil! To create this "double-boiled" linseed oil, as I like to
call it, it is necessary to make use of the previously described sand bath.
Now, I have found it to be extremely difficult to reach any type of consensus
regarding the traditional process involved in the making of boiled linseed
oil, as everyone I have spoken to regarding the procedure seems to have
their own opinion as to what is correct or most effective. Likewise, my
research has uncovered only a large quantity of contradicting opinions
and very little help. The method I will describe is the end result of combining
my own "experimental archaeology" with various historical and modern references,
and it does seem to yield the desired results.
After filling the inner container about
two-thirds full, slowly bring the oil therein to a gentle boil. It is now
necessary to add lead carbonate (i.e., "White Lead") which historically
was used (when uncooked) as a translucent, white pigment in oil paintings.
When this chemical is cooked into boiling linseed oil, however, it acts
as a superb drying agent. However, please keep in mind the numerous hazards
involved in handling this chemical: avoid skin contact and inhalation of
any dust or vapor, and at all costs keep it far removed from pregnant women
and children. The lead should be pre-dissolved before being added directly
to the oil, the dissolution being accomplished by mixing one teaspoon or
less of the carbonate with a few ounces of vinegar, which is then slowly
stirred into the oil as it nears the boiling point. Because linseed oil
alone is not particularly water-resistant, the vinegar will readily amalgamate
with the oil, but will eventually be driven back out of the oil
as a vapor during the boiling process. Constantly stir the oil as the lead
solution is being added (a bit at a time), for it will most certainly begin
to bubble and froth; after the drier has been completely mixed into the
oil and it appears to have stopped foaming, skim any residues off the surface.
When this has been accomplished, the oil may froth a bit more and should
be a deep chestnut red in color. At this point, it can be removed from
heat if the familiar consistency of oil is desired; or conversely, if you
continue to boil the oil slowly, you will essentially begin to thicken
and prematurely oxidize it (similar to "stand oil"). This will both darken
the color and further cut down the total drying time. Once cooled, allow
it to stand in a covered container for a day or two, and then strain through
a cheesecloth; it can then serve either as a straight oil, or can be used
to make a traditional oil-varnish. You may find, however, that the lead
dryers are so effective that the oil will begin to gel within the container
after a relatively short period of time. Not to worry! Traditionally, this
oil was kept in plain iron pots and actually allowed to solidify: when
the oil is to be used (either alone or modified as a varnish), it is traditional
practice to render it very fluid once more by re-heating before application
so as to ensure deep penetration into the wood.
Having covered the basic processes involved
in the making of oil-varnishes, I'll proceed to describe a formula for
the making of a very durable late-17th century varnish that was used throughout
the 18th century and well into the 19th century. At the time it was considered
to be a cheap and simple finish that was noted in period sources as being
particularly well suited for usage on items exposed to the weather, and
it has a beautiful dark amber color that complements many of the traditional
stains used on maple, cherry, and walnut. It falls into the category of
what were once called "plain brown varnishes," which are occasionally found
in early trade inventories as well as in probate inventories of gunsmiths
and other woodworking craftsmen. In short, it is a superb long-oil varnish
for use on virtually any type of American colonial firearm that is as easy
to use as oil alone and as easy to repair as well.
A slightly different type of oil-varnish
was also used quite often. It involved the use of high temperatures - around
350 degrees F - to actually liquefy the resins themselves, at which point
boiling oil at an equally high temperature was slowly poured into the resins
and thoroughly mixed. The "Genuine Receipt For Making The Famous Vernis
Martin," first published in 1776, details a fixed-oil varnish similar to
what I am describing. At first it may seem ridiculously complicated, but
it illustrates quite well the difficulty and dangers inherent in this process.
Apparently various copal or amber resins were frequently used, and the
resulting varnish was well respected as being both beautiful and overwhelmingly
durable. The chosen resin is melted in either a pot or in the sand-bath,
and the oil is heated concurrently in a separate pot. High heat is used
to melt the resins until fluid, at which point the boiling oil is very
slowly added to them. It is imperative that both resins and oil be maintained
at a very high heat both before and during the mixing process, and that
they be constantly stirred. I've had luck making copal-based varnishes
as described above, although I'm not really sure whether or not there is
enough of an advantage over the "Common Brown Oil-Varnish" previously listed
to warrant the extra effort. Due to the somewhat tricky and laborious processes
involved when dealing with this type of varnish, I believe that most early
American gunmakers would have been more likely to purchase rather than
manufacture it themselves.
Another type of finish that was very occasionally
(and arguably!) utilized within the gunstocking trade is the spirit-varnish,
named for its use of alcohol and/or turpentine as the fluid medium. A spirit-varnish
is very quick to dry, therefore allowing the application of several coats
in the course of one day. Typically, spirit-varnishes tend to possess a
higher gloss than oil-varnishes; however, most finishes of this type are
not nearly as weather resistant as an oil-based finish and will of course
break down under continuous exposure to solvents. Much of this information
(concerning spirit-varnishes) is included for the purpose of education
only, as I personally would much prefer to use an oil-varnish on an arm
that is to be frequently used in order to guarantee durability. It may
have been acceptable to 18th-century customers to face some cracking or
crazing of the finish after a few years of hard use, but our modern minds
certainly gall at the idea!
A sand bath can be employed in the making
of a spirit-varnish in order to speed things up a bit, although the utmost
caution must be exercised here. It is absolutely crucial that the fluid
not be heated much beyond the boiling point. Also, some spirit varnishes
are much more durable than others, so it is very important to ensure that
one is used that will provide a good degree of protection when considering
the hard usage typical to a firearm. It would not be advisable to choose
a varnish made from what might be considered an extremely high-gloss, "hard"
resin, for in the absence of an oil base to provide elasticity, the flexing
of the underlying wood surface caused by repeated exposure of the firearm
to changes in temperature and humidity would very soon force the overlying
varnish to "give" by forming a myriad of tiny cracks covering the surface
of the piece. This would be most undesirable, although it is typical of
many antiques.
Frequently, mention is made in the aforementioned
sources of what was at the time called "Violin varnish," a generic term
that apparently was applied to many different formulations and likely was
used as a descriptive title to indicate the color of the varnish. This
also is sometimes found in shop inventories of various woodworking tradesmen,
and modern tradition, for better or worse, holds that some rifles made
in Pennsylvania's Lehigh Valley/Bucks County area were originally coated
with this type of varnish. Examination of surviving original arms that
appear to retain their 18th-century finish would apparently offer some
credence to this theory. Historically, Violin varnish by definition was
tinted a reddish-amber color, and while there are numerous extant formulas
for the making of such a finish, only a small handful of these would be
of the type suitable for use on firearms. The two types I will describe
offer a fair degree of durability while allowing very quick build-up of
the desired finish, and are especially suitable for use on arms where incised
carving and/or very low relief carving is the norm: once again, quite typical
of the Lehigh Valley and Bucks County schools of gunsmithing. The following
formulations have (like the oil-varnish recipes above) been adapted from
several different period sources and have worked extremely well for me.
They are not overly "hard" finishes in that they make use of turpentine
and/or soft resins to provide a good deal of flexibility, and application
over a traditional aqua-fortis stain on figured maple will yield an extremely
beautiful, distinctive appearance.
1/2 pint alcohol
While this may seem to be somewhat complicated,
it is in practice not overwhelmingly so. If natural pigments are unavailable,
it certainly is possible to use alcohol-soluble aniline dyes to obtain
practically any color that you want. This is certainly not a historically
accurate practice, and I have no idea how the addition of anilines affects
the overall quality of the varnish. I have strong doubts as to the durability
and color-fastness of aniline dyes; however, I think that the subject at
least warrants mention if only to serve as a mild warning: better to stick
to traditional dyes when dealing with traditional varnishes!
After the stock has been stained, the first
two or three applications of this varnish (often used in a much-thinned
state) can be quickly applied to the stock with either a rag or brush;
do not allow an excess to build up, and when complete coverage has been
attained, set the stock aside to dry. I would recommend allowing the first
coats to dry for at least for four to six hours apiece. Following these
initial applications, a decent "rubber" needs to be made and used properly.
Basically, this is a two-piece cotton or linen pad constructed in the following
manner: an piece of cloth about ten inches square is folded or wadded to
form a small pad roughly three inches across. This wad is considerably
dampened with the varnish, and is then wrapped in a second piece of cloth
of the same size. The wrapping is designed so that the bulk of the material
can be grasped in the palm while one or two fingers will exert pressure
upon a smooth portion that will be in contact with the stock. Pressure
is exerted upon the wad in order to force varnish through the outer layer
in a smooth and controlled manner, and sweeping, circular motions are used
to apply the varnish to the stock in very thin layers. Keep the pad moving
at all times and try not to repeatedly go over the same areas; these "gloss-coats"
will very quickly dry and successive coatings will build up a lustrous
polish. As with the oil-varnish previously mentioned, the assembled gun
can then be maintained with a beeswax/neatsfoot oil/tallow mix.
Another traditional finish that warrants
mention here and that falls under the classification of a Violin varnish
is based on the use of Seedlac. Seedlac is cut to various degrees, much
as shellac is; however, it is much more resistant to wear and tear (especially
moisture!), while maintaining a beautiful dark-red coloration.
This varnish is applied in exactly the
same manner as the previously described spirit-varnish. I don't believe
that either of the two has any real advantage over the other, although
I've found that the addition of an ounce or two of soft copal resin will
help to increase the long-term durability of this product. Judging from
the numerous extant formulae based upon the use of seedlac, it was quite
common to fortify it with the addition of one resin or another. Both of
these Violin varnishes will approximate a four- to five-pound cut; this
is essentially a heavy-bodied (or high resin/solvent ratio) mix, and if
thinning is desired, then it is certainly acceptable to do so. Usually,
the first few coats are thinned down and heavily applied for the dual purposes
of acting as a sealer and filling the grain, while subsequent applications
make use of the thicker cut much more sparingly. Also, traditional woodworking
practice relies heavily upon the use of either shellac or seedlac as a
sealer under various types of other varnishes, both oil-based and spirit-based.
I have often used this particular seedlac formulation for this purpose
with good results. It also helps to add a bit more amber coloration to
the underlying wood stain, and that certainly does enhance the overall
appearance of the stock.
The beeswax/neatsfoot oil/tallow mix which
I recommend to use as maintenance on the finished gun is made by heating
pure beeswax (no turpentine or solvents!), tallow and neatsfoot oil together
(in the sand bath) and allowing to solidify to a thick grease. The ratio
depends upon the season: more oil in winter to keep fluid, less in summer
to avoid runniness. This can also be used as a patch grease or leather
conditioner, and for other purposes, so it is a good all-purpose mix to
keep on hand. Mink oil can also be substituted for neatsfoot oil if desired
and may offer increased weather resistance. The real advantage to using
this mix as maintenance/protection of the completed arm is its ability
to protect both wood and metal surfaces without leaving any sticky discoloration
on the metal.
Beginning with the birth of European varnish
making in the late 16th century, each tradesman incorporated his own notions
of what would comprise the "perfect" varnish, and consequently there now
exist formulae beyond count, each striving to outdo or improve upon the
other. The three varnishes I have chosen to use and describe are merely
a drop in the proverbial bucket, but they are simple, cheap, and very effective
in the context of historical gunsmithing. There are obviously many other
modern finishes that can be used for the protection of gunstocks, and of
course they were developed primarily for the purpose of improving on the
old, traditional varnishes. However, if you choose to follow the faded
footsteps of tradesman who spent their lives laboring to marry function
with the beauty of the gunmaker's art, I believe there can be no more fitting
tribute than to utilize all the work methods of their trade, mundane
though they may have seemed to the original practitioners.
Sources of Materials.
Williamsburg Art Materials Gamblin Artists
Colors Co.
Recommended Reading
The following titles are books dealing
with early American armsmaking and are a good source of estate inventories,
accounts and probate lists for those who do not have access to the original
records or compilations. The titles listed are only a drop in the bucket
however they are easily available and are quite informative.
Gill, Harold B. The Gunsmith in Colonial
Virginia. Charlottesville: University of Virginia Press, 1974.
About the Author
Eric Kettenburg is an accomplished maker
of rifles and fowlers.
Eric Kettenburg
Sidebar
Notes on Terminology Used
Gum Mastic, Mastic Tears: a somewhat
clear resin of good flexibility which is exported from the Mediterranean-area
(primarily Greece in the 20th century). Used in oil and spirit-varnishes,
it is soluble in either medium.
Copal: nearly fifty types of copal
resins are known, all with similarities but extracted from many different
varieties of trees and even sometimes found in fossilized form (hardest).
Exported from Africa, South America, the Far East, Manila, New Zealand
etc. Soft copals were apparently quite common in the 18th and early 19th
centuries.
Gum Benzoin: a very dark resin exported
from Southern Asia. Somewhat soft and pliable (when incorporated into oil-varnishes),
it has been used at least since the late 17th century. Apparently both
oil and alcohol soluble.
Seedlac: a hard, amber-colored secretion
of the "Lac-bug" before being heated and refined into shellac. Dissolved
in alcohol, it is possessive an infinitely greater wear and weather-resistance
than the various grades of shellac. Frequently used.
Dragon's Blood: a red resin obtained
from various species of Palms grown in Africa. It is alcohol-soluble and
has historically used to tint varnishes.
Turpentine: common gum or sap distilled
from various conifers. The American hardware store-variety can be used,
or if one wishes to spend more money the artist's grade Venice Turpentine
can also serve!
|
The Powder Keg Rifle Works |
|||||||||||||||||||||
Dixie Gun Works |
||||||||||||||||||||||
|
muzzleblasts.com Classified Advertisements 
|
||||||||||||||||||||||
Advertise in MBO |
||||||||||||||||||||||
National Muzzle Loading Rifle Association |
||||||||||||||||||||||
Black Powder Journal E-Zine |
||||||||||||||||||||||
Kustom Castings |
||||||||||||||||||||||
Advertise in MBO |
||||||||||||||||||||||
Copyright © 2000, muzzleblasts.com