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Types of Wood Finishes

• Is available in oil-based, water-based and gel formulations.
• The two major types of wood stains are semi-transparent and solid-color , where the essential difference between the two is that semi-transparent stains impart color, but the texture and the natural grain of the wood continues to show through; while on solid-color stains, the texture still shows through, but not the grain itself.
• Interior stains, used for furniture and woodwork, come in either pigmented or dye categories. Both can have oil, synthetic or water bases. Pigmented stains color the wood with the same type of pigments used in paint. They range in color from almost clear to semi-transparent. They are easy to apply—usually brushed on or wiped on with a rag, then wiped off enough to control the depth of the stain. They leave no brush or lap marks if applied properly.
• Exterior stain is used primarily on wood siding and shingles, decks, outdoor structures and furniture. It is also available in latex and oil-based formulas. Oil-based stains penetrate the wood, and they erode with weathering. Latex stains do not typically fade as rapidly.
• Stains may or may not protect the wood; check manufacturers’ labels. An oil or polyurethane finish can be mixed with the stain, so the do-it-yourselfer can complete the staining and finishing job in one step.
• Wood stain pens will hide minor scratches, nicks and chips on furniture and wood.  

Varnish 

• Is a blend of oils and resins that coat the surface of wood to give it a transparent, protective coating, allowing the beauty of the wood to show through.
• It can leave a gloss, semi-gloss or satin finish, depending on its formulation.
• Varnishes fall into three groups, divided by their base: alkyd, latex or phenolic.
• Phenolic varnishes of modified phenolic oils deliver the best durability, especially in exterior uses. They absorb ultraviolet light and neutralize oxidation. However, they also tend to yellow faster than other varnishes.
• Alkyd varnishes offer flexibility and hardness in both interior and exterior uses, but in exterior use they oxidize more quickly. However, they do not yellow as much as phenolics.
• Latex varnishes offer the advantages of oil-based coatings and the cleanup convenience of a water based coating. The acrylic coatings take from 30 to 90 minutes to dry and do not yellow the wood. Some acrylic-based varnishes are even durable enough for use on floors; check manufacturers’ recommendations.
• Varnishes are also typically mixed with a Tung oil or linseed oil.  

Polyurethane 

• Comes in water-based and oil-based formulations.
• Recommended for interior use on floors and many times wood furniture because of its excellent protection.
• Polyurethane stains are better used for interior applications for water-resistance and hard use, but customers may object to the plastic appearance they produce. Alkyds offer a more natural-looking gloss for furniture and indoor architectural trim and doors.
• It is generally not recommended for outdoor use because it will yellow and crack when exposed to ultraviolet light—unless ultraviolet light absorbers are added  

Shellac  

• Provides a fast, hard-drying, durable finish for furniture, woodwork, hardwood floors and other wood-finishing applications.
• It also functions as a sealer and stain-killer on drywall, cured plaster and new wood. Shellac is widely compatible with other coatings, and it can be applied over old shellac, varnish or lacquer finishes that are adhering well.
• Most shellac is sold in a 3-lb. cut, the consistency recommended for most uses. The 3-lb. cut can be thinned to a 1-lb. cut for applications such as wood sealer before staining by thinning one quart of shellac with three pints of alcohol.
• For applications where water spotting may be a problem, shellacked surfaces can be protected with paste wax or varnish.
• Shellac may be applied with a brush, foam brush or from a can. When brushing to flow on the shellac from a full brush—with minimum brushing—and not to re-brush areas, since the alcohol-based solvent of shellac dries quickly.
• Cleans up with ammonia and warm water  

Wood Preservatives-Waterproof Compounds 

• Water repellents minimize water damage on pressure-treated and untreated wood. Some also contain a mildewcide to control mold and mildew. Use water repellent formulated for immediate application to pressure-treated wood to avoid premature cracking, splitting, splintering and warping. Periodic re-applications help prevent water damage as wood ages.
• Wood preservatives by themselves provide no protection against moisture or water. Water repellency must be formulated into the product. Mildewcides are also frequently formulated into preservatives.
• Water-borne, water-repellent preservatives for wood offer lower environmental hazards and convenient water cleanup. They provide an alternative to conventional solvent-based, water-repellent preservatives while retaining effectiveness, rapid drying qualities and excellent paint ability.
• Wood toners are water repellents that add color to highlight wood grain. Although toners are not to be used as if they are stains, adding color to a water repellent gives wood the benefit of ultraviolet light protection.
• Most toners on the market are designed for use on pressure-treated wood. Some repellents contain ingredients that cause water to bead.
• Specialty waterproof compounds include a multi-surface formula that can be used on brick and concrete, an aerosol version that works well for small exterior projects, a fence protector, leather and fabric protector and a sport waterproof specially designed for use on outdoor fabric and sporting equipment.
• Preservatives should be reapplied periodically  

Lacquer 

• Is available in clear or colored formulations and has a fast-drying finish.
• Be advised to work fast with lacquers. Also suggest a 50/50 mixture of lacquer and lacquer thinner (each preferably made by the same manufacturer).
• Lacquers should be applied only to new wood or over previously lacquered surfaces. They cannot be used over old paint or varnish; the solvents will lift old finishes.
• Lacquers are available in clear or colors. They are usually difficult to apply by brush. However, some manufacturers do offer specially formulated versions that apply more easily with a brush.
• Lacquer thinners are required to clean tools  

Oil Finish  

• Common types include Danish oil, Tung oil or Swedish oil.
• Provides coloring and protection in one step. However, oil finishes do not stand up to alcohol or water the way polyurethane does, so they are not recommended for high-traffic, abuse-prone applications.
• Oils make nice, low-luster finish for furniture and other fine pieces. Waxing can provide water resistance with these finishes.
• Lemon oil can be used to replenish fine wood with its natural oils while protecting the finish. It is best to use products that contain no beeswax or silicones that could cause a buildup or darken the wood.
• Timber oil is a wood finish designed to penetrate exotic hardwoods such as mahogany and teak. This specialty wood finish helps preserve the hardwood and maintain its natural appearance.
• Available in several shades, timber oil is a combination of Tung oil, linseed oil and long-oil alkyds. In general, teak should be treated with oil-based formulas. Since teak is denser than many other common woods, wood protector should be applied with a brush or by rubbing it in with a cotton cloth.  

Wood Hardener 

• Formulated to strengthen and reinforce decayed or rotting wood.
• Is a liquid consolidating agent that seeps deep into soft, deteriorated wood fibers, and then hardens it to restore strength and some structural integrity.
• Depending on the strength required, the formula can be water-based, solvent-based or two-part epoxy  

Grain Filler 

• Fills the open grain and pores on hardwoods like oak, ash and mahogany.
• Designed to achieve a flat surface on work surface before top coating with a clear finish.  

Paste Wax 

• Protects and adds luster to any stained or finished wood surface.
• Many formulations contain carnauba for enhanced durability.
• Commonly used on hardwood floors and fine wood furniture and even marble surfaces.
• Dries quickly and doesn’t cause surface to become slippery.  

Wood Conditioner-Sealer 

• Is used on softwoods to help tame wild grain patterns and to even up stain absorbency.
• The sealer penetrates the wood, which allows a more even color appearance and grain pattern  

Linseed Oil 

• Pure preservative available in boiled and raw formulations.
• Boiled linseed oil has driers added to promote faster drying than raw linseed oil.
• Offers superior penetration into wood surfaces and provides good UV protection.
• Also improves the flow and gloss of exterior oil-based paint.
• A classic finish for natural wood to seal and protect it  

Wood Finishes Safety Tips 

• Always wear safety goggles and protective gloves, and make sure there is adequate ventilation where you are working when using wood finishing products.
• Lacquers should be handled with extreme caution. Fumes are noxious—especially dangerous to the user in a closed room. In addition, fire and explosion hazards are much greater than with ordinary paints and varnishes.
• Never pour leftover wood finishing chemicals down the drain or on the ground. They should be disposed of according to local regulations. You might even consider donating them to a local craft group or other organization that might make good use of the product.
• Rags used to apply wood finishing products should be disposed of properly to avoid spontaneous combustion. Always soak rags used to apply or clean up wood finishing products in water, and they store them in a sealed metal container before disposing of them according to local regulations.
• Always read the label carefully for wood finishing products and use the product specifically how the manufacturer states.
• Never work in an area where there is the possibility of sparks or where an open flame is present.
• Always seal containers properly after each use then store products where they can’t be reached by children.

Wood Stains Finishes and There Affects  

Another way to classify finishes is by the way they "set up." Lacquer and shellac set up purely by drying; they do not change chemically. The solvent for either one will dissolve the finish. If possible use lacquer thinner as a stripper on pieces finished in lacquer; it's easier, less hazardous, and more economical. Both of these finishes are also anhydrous, which simply means they will absorb water. These white water marks generally can be removed fairly easily. Other finishes change chemically when they dry. Paint, when dry, cannot be restored to a useable liquid; neither can polyurethane or varnish.

The lacquer commonly used in commercial finishes these days is more often than not catalyzed lacquer. What this means is a catalytic agent is added to the lacquer to make it dry into a more durable finish. Catalytic lacquers come in two varieties, pre and post. Pre catalyzed lacquers have the catalytic agent added to the lacquer at the factory. The catalytic action begins when the material is opened (exposed to air). Post catalyzed lacquers have the catalytic agent shipped in a separate container, for addition to the lacquer at the job site. The working time (usable life) of either of these is normally no more than 48 hours, sometimes less, depending on the manufacturer. Pre catalyzed lacquers are normally used by large manufacturers who can be assured of using up an open container before it's time is up. Post catalyzed lacquers are used by many refinishing shops because it allows them to mix up what they need at the time without wasting the rest, and at the same time getting a finish superior to ordinary nitrocellulose lacquer.

Your choice of finish when redoing a piece is determined by a number of factors; use, appearance, and value being the foremost considerations. You wouldn't want to use shellac on a dining room table top it is too fragile to hold up. If you have a piece with a nice grain and a natural wood color, you probably wouldn't want to paint it. There are hundreds of variations you can use when finishing a piece of furniture. Consider what's important to you - durability, beauty, ease of maintenance, etc., in selecting the finish you use. Here then are the more common finishes available to the home owner, with their attributes and faults.

Lacquer - Clear finish best suited for showing off wood grain.

• Positives: Available in a variety of sheens, from flat to high gloss. Easily applied with brush or aerosol. Dries quickly (with a brush, you have to work fast.) Most retail brands require no substrate sealer. Damaged finishes can usually be repaired without stripping.
• Negatives: Easily scratched and susceptible to water damage. Lacquer is the finish used on 99% of all commercially manufactured furniture with a clear finish.

Varnish - A clear finish.

• Positives: Much more durable than lacquer. Slow drying (allows more time to work). Most minor damage can be repaired without stripping.
• Negatives: Slow drying time allows dust motes to settle in finish. Tendency for beginners to 'over-brush' when applying the finish, resulting in brush marks in the dried finish. Although you can handle a varnished piece the next day, varnish hasn't cured completely until about a month later.

Polyurethane - A clear finish.

• Positives: More durable than either varnish or lacquer, and easier to apply than varnish.
• Negatives: Improperly applied finish usually must be stripped, unlike lacquer or varnish which can many times be "worked on" without stripping. Extremely difficult to repair scratches and chips - repair is not for the amateur. Sometimes difficult to strip.

Shellac - A clear finish rarely used as such today except in restoring period furniture.

• Positives: Brilliant shine.
• Negatives: Highly susceptible to damage from almost any liquid, including alcohol (mixed drinks will cut right through it), fruit juices (ditto), even water will damage it if left to stand. Shellac is used primarily today as a sealer and under coat. It can be used under lacquer or varnish, as well as some polyurethane.

Latex Paint

• Positives: Easy to apply, easy to clean up. Suggested for any painted furniture where extreme wear or abuse is not a factor.
• Negatives: Sometimes difficult to clean a piece entirely when stripping. Repairing chips and scratches on older pieces may present a color match problem. On raw wood a primer is necessary.

Oil Based Paint

• Positives: Extremely durable. Suggested for children's furniture and any other application where severe abuse may be expected.
• Negatives: Same as latex paint with the addition of a somewhat messier cleanup.

Tung/Danish Oil

• Positives: Inexpensive, easy to apply, durable, water-resistant.
• Negatives: A smooth finish takes a good number of coats. Slow drying.

There are other choices in addition to these, of course. Just remember the main considerations: use, durability, esthetic appeal, ease of application. 

American Furniture Periods

American Furniture Periods

· Colonial and Jacobean: 1620 – 1720

· Queen Anne: 1720 – 1750

· Chippendale: 1750 – 1780

Federal period

· Hepplewhite: 1780 – 1800

· Sheraton: 1790 – 1810

· Classical: 1810 – 1820

Quick Tips on Period Antique Furniture

• Period antique furniture was made from the mid to late 1600s through the first part of the 19th century.
• The Goddard Townsend family of Newport, Rhode Island produced some of the most renowned and valuable pieces made during this period.
• There are many periods of antique furniture, which overlap. Each subsequent period influenced the style of its successors. The major periods can be broken down into Colonial and Federal, however.
• The Colonial period dates from around 1620 to 1780 and includes Jacobean, Queen Anne and Chippendale styles. The Federal period extends from 1780 through 1820 and incorporates Hepplewhite, Sheraton and Classical styles.

Antique Furniture - English Periods and Styles

English furniture styles developed in ways broadly in line with those of mainland Europe, but were interpreted in a distinctive fashion. There were also many regional variations within the British Isles a term that once encompassed England, Wiles, Scotland and Ireland.  In England itself, regional accents are marked by the differences between North Country chairs and those of the West Country Salisbury and Norway were noted centers of production at an early date. 

Wales retained the dresser and the press cupboard as status symbols long after they had ceased to be fashionable in England, and further distinctions are to be drawn between those of North and South Wales. In late-18thC Scotland, Edinburgh was producing sophisticated furniture, some of it with distinctive differences from that of London. In the mid-18th century, Irish furniture was so extravagant in its use of richly carved mahogany - especially for side tables on cabriole legs - that a whole class is described as 'Irish Chippendale'. If you are an American you will find it useful to understand the broad relationships between British and mainland European styles, and of course vice-versa.

Medieval
Romanesque Imported to Britain by the Normans following the conquest in 1066. Rounded arches - a typical Romanesque feature - occur on chests as late as the 17C., but the few examples still in existence which date from earlier than 1300 are simply constructed and mostly carved with roundels bearing little relation to Romanesque architecture. Gothic About 1300 to 1550. The change from Romanesque was gradual. Paneled construction from dates from about 1480, the panels were often carved with linen-fold. The coronation chair at Westminster Abbey has a back with a pointed arches made in 1296 by Master Walter of Durham, it was the first English piece firmly attributable to a named maker. The Gothic style was revived in the mid-late C and again in Regency and Vigorian times. 

Elizabethan
Renaissance when Elizabeth' came to the throne in 1558, most furniture was functional and plain. After 1570, a version of Renaissance style owing more to France and the Netherlands than to Italy found expression in fat turnings surmounted by Ionic capitals, solid inlay, carved caryatids, strap work, split baluster turnings. 

Jacobean
Reign of James I, (1603-25) but also used to cover that of Charles I (1625-49). Geometric moldings, split balusters, bobbin-turnings; popular until about 1720. 

Restoration
Known as Carolean, in reference to Charles II, restored to the throne in 1660. Also covers the reign of James II, 1685-9. Dominant style is baroque but more Franco-Dutch than Italian. Twist legs, carved scrolls, caned seats and veneering. Skilled French workers sought refuge in Britain when Louis XIV of France ceased to protect Protestants, 1685. 

William and Mary
More foreign craftsmen (Dutch and French) I arrived in Britain following the accession of William of Orange and his wife Mary, the daughter of James II, in 1689. Fine cabinetmaking, walnut and ebony veneers and floral. Legs are turned to trumpet shapes or scrolled and scroll develops into cabriole leg by the end of William's reign in 1702. 

Queen Anne
During her reign, 1702- 14, the cabriole leg donated; surfaces were veneered with walnut, but Marquetry became less evident. English craftsmen, having acquired foreign skills, adapted these to their own style. 

Early Georgian
George I and early years of George II until about 1730 mainly a continuation of the Queen Anne style, but rather heavier. Claw-and-ball feet became the fashionable termination of the cabriole leg. Architect William Kent designed Italianate baroque furniture as a dramatic contrast to cool Palladian interiors. 

Mid Georgian
George I, 1730-60 and the first year's of George III. Mahogany replaced walnut as the fashionable wood. In 1754, Chippendale's designs appear Ribbon-back chairs, ornate gilt mirrors and console tables expressed the English interpretation of rococo. Some designs loosely followed French (Lou is XV) fashions. Gothic style revived. 

Late Georgian
The George III period lasted from 1765 to I 1800, but the term is sometimes extended back to 1730. First the neo-classical style led by Adam - vertical lines, ovals, circles, columns, urns, disciplined carving, gilding and painting related to the Louis XVI style. Those of Sheraton 1791-4, providing a domestic, middle-class version of neo-classicism. 

Early Victorian
Furniture made in 1830-50 was still neoclassical, but heavier than Regency; some affinity with Charles X (French Restoration). Paralleled with this are the Gothic revival led by Pugin and the rococo revival by commercial manufacturers making balloon-back chairs, asymmetrical chaises lounges on cabriole legs.  Increasing use of machines. 

Mid Victorian
The Great Exhibition at Crystal Palace, 1851, brought Continental exhibitors to London, stimulating an eclectic taste for revivals of almost all historic styles, and imitated in poorer quality, mass-produced furniture. Mass dining and bedroom suites; but parlor pieces more elegant, with some sofas and chairs fringed and deep-buttoned in Napoleon III style. There were serious attempts at reviving medieval craftsmanship by reformers, such as Morris. Burgess, Talbert. Godwin who experimented with Japanese concepts. 

Late Victorian
Heavy Victorian styles persisted until about 1910, along with reproductions of English, French and Italian historic types, but the Arts and Crafts Movement, led by Mackintosh, Ash bee, Baillie Scott and Voysey introduced new ideas in sympathy with some aspects of European art nouveau, to which are often married commercial products that are partly an offshoot of the Edwardian revival of Sheraton styles in mahogany with inlaid decoration. 

Modernist and Art Deco
The period between the two world wars, started by genuine desire for greater simplicity and honest, economically made furniture of the type produced by Heal and Russell, but in competition with mass-produced junk on the one hand and finely made but expensive products on the other. The term Art Deco - like most stylistic labels - was unknown at the time the furniture was being made. It derives from the 1925 Arts Decoratifs exhibition in Paris, and only came to be applied to the style in the 1960s.

Furniture Terminology

Cornice: Molding that crowns or runs along the top of a cabinet.

Credenza: A sideboard or buffet. In office furniture, a horizontal filing cabinet often placed decoratively behind a desk.

Cut-and-loop carpet: Subtly multicolored and informal; achieves its sculptural pattern with varied-level pile of uncut low loops and sheared top loops. The texture and variegated color helps disguise soil and traffic wear.

Dado: Paneling or other decorative treatment fixed on the lower half of the wall.

Daybed: A seating piece that also can serve as a bed.

Dentil Molding: Rectangular, tooth-like blocks spaced at equal intervals along a cornice molding. Found in 18th century architecture and design.

Dhurrie: A traditional woven carpet from India of cotton or silk noted for soft colors and varied designs.

Directoire: Furniture designed during the era of the French Revolution, it bridges the more formal Louis XVI and the more restrained Empire style.

Documentary pattern: Wallpaper or fabric pattern printed with a historical design based on an original sample or "document".

Drop Front: The hinged front of an upright desk which drops down to provide a writing surface.

Drop Leaf: A dining or occasional table with hinged leaves that can be lowered when not in use.

Dustboard (Dust Panel): A board placed between drawers in a chest or dresser to eliminate dust.

Duncan Phyfe: A furniture style popular in the American Federal period, characterized by feet with a graceful outward curve on both tables and sofas. Seating pieces often have lyre-shaped backs, rolled top rails and arms.

Early American: American furniture design of the late 17th and early 18th centuries, adapted from such heavy European styles as Jacobean or William and Mary. The look is characterized by straight lines and minimal decoration. Tables are gate leg and trestle styles, chairs include ladder and slat backs. The style merged into what is now called Colonial, featuring Queen Anne and Chippendale design.

Eclectic: Decorating style harmoniously combining furniture and accessories of various styles and periods.

Egg and Dart: A classic design of alternating oval and dart shapes, applied to cornices.

Empire: A design style inspired by the Napoleonic Empire, it includes heavy looking designs, classical design elements and combines straight lines and curves, as in sleigh beds.

Escutcheon: The shaped metal fitting behind a drawer pull or surrounding a keyhole.

Étagère: A freestanding open cabinet with shelves for displaying accessories.

Faux: A simulation of something else. Faux marble, for example, is a marble-like surface painted onto walls, furniture or other surfaces.

Federal: The design period following the American Revolution and running roughly through the 1820s. Federal style incorporates the neo-classic influences of Hepplewhite and Sheraton including straight and delicate lines, tapered legs, inlay and contrasting veneers.

Fiddle back: A back splat in the shape of a violin or fiddle seen on Queen Anne chairs.

Finial: A carved or shaped decorative detail used to ornament the top of an upright such as a bedpost, in the opening of a broken pediment or topping a lamp. Motifs include flames, urns, pineapples and other vertical motifs.

Four Poster: A bed with posts tall enough to hold a canopy.

French provincial: Rustic versions of formal French furnishings of the 17th and 18th centuries, particularly the Louis XIV and Louis XV styles.

Fretwork: Open or pierced wood carving with an oriental influence, used as a decorative element in Chippendale and Chippendale-style furnishings.

Frieze: Carpet with twisted-fiber pile; it has a plush look but yarns are uncut tight twists are locked in by a heat-set process.

Gallery Rail: A small, slender railing, usually brass, bordering a table or sideboard.

Gate leg table: A type of drop-leaf table with leaves supported by extra legs that swing out like gates.

Georgian: Elegant 18th century design, generally heavier and more ornate than Queen Anne. Features include highly carved cabriole legs, ball and claw feet, ornate carvings and pierced back splats.

Gesso: Gilded or painted bas-relief plaster decoration.

Glazed tile: Clay shaped into a tile, fire-hardened, and then covered with a matte or high-gloss glaze or sealant to make it resist moisture better than regular tile.

Gothic Revival: A style influenced by medieval and Gothic influences popular in the mid-1800s, characterized by lines flowing up to a pointed arch and other Gothic architectural features.

Halogen: Incandescent light source that uses metal halides in compact, highly efficient bulbs, tubes or reflectors; special fixtures are required for their use.

Harvest table: A rectangular table with narrow, hinged drop-leaf sides; a popular colonial design.

Hassock: Oversized upholstered ottoman large enough to be used as seating.

Hepplewhite: Related to the Federal style in the United States, a neo-classic furniture style that followed Chippendale from the late 1700s to roughly 1820. It overlapped with Sheraton style and shares restrained design, tapered legs and classical ornamentation like urns and shields or American carved eagles and stars.

Highboy: A tall chest of drawers, developed in 18th century. Usually composed of a base and a top section with drawers, often topped with a decorative broken pediment crown.

Hitchcock Chair: A black-painted chair with a stenciled design on the backrest, named after its American designer.

Hooked rug: Derives its pattern from yarns or strips of fabric pulled through mesh backing.

Hoop Back Chair: Queen Anne or Hepplewhite chair with a top rail curving directly into the arms.

Huntboard: A type of sideboard used for serving food and drinks after a hunt. Designed to be light and portable so it could be moved outdoors.

Hutch: Enclosed cupboard with shelves resting on a solid base.

Hutch top: A storage unit with shelves, often sitting on a desk or chest.

I.D.S.: Interior Design Society. A professional affiliation for design professionals who have achieved a high level of capability in the design field.

Inlay: Wood ornamentation using exotic woods or ivory, set into the surface of wood furniture.

Intaglio: A design or illustration cut into a surface.

Jabot: Fabric that hangs on either side of a swag or valance.

Jacobean: Early 17th century English furniture with a medieval appearance and dark finish. Furniture from this period can be extremely simple or covered with carvings.

Lacquer: A hard varnish applied in several layers, then polished to a high sheen.

Ladder-back: A country style of chair with a back resembling a ladder.

Lawson: A sofa or chair with a trim, lowered arm accented with a slight roll.

Louis XIV, XV and XVI: Classic French furniture design, roughly from the mid-17th century to the late 18th century. The styles grew progressively simpler and more refined: Louis XIV style is large and ornate; Louis XV is simpler but with curved lines and some ornamentation; Louis XVI has straight lines, geometric shapes and minimal ornamentation.

Love Seat: A smaller, two-seat version of a sofa.

Lowboy: A low or short chest or table with drawers, often on short legs.

Marble: Flooring with very hard surface and elegant appearance; it stains easily and needs regular waxing.

Marquetry: Decorative patterns made of inlays, usually applied on veneered surfaces.

Mission: A heavy, dark-oak style with spare, rectangular lines popular in the early 20th century. The style grew out of the English Arts and Crafts movement and was a reaction to the excesses of Victorian furniture.

Modern: Clean, architectural and streamlined 20th century furniture with roots in the German Bauhaus School of architecture and Scandinavian design.

Modular: Units of furniture that can be stacked or rearranged in different configurations.

Molding: Shaped ornamental strips applied to and projecting from a surface.

Mosaic tile: Ceramic tiles made of natural clay or hard porcelain, glazed or unglazed; mounted on a backing.

Motif: A decorative theme, element or component.

Motion furniture: Reclining chairs or sofas with mechanisms allowing the user to extend their legs and/or lean back.

Neo-classic: Design featuring elegance and simplicity, with motifs borrowed from ancient Greece and Rome. The look was seen throughout the late 18th and 19th centuries and relates to the Empire, Sheraton, Hepplewhite and Federal periods as well as the later Beidermeier style.

Occasional table: A generic term for small pieces like end and coffee tables.

Oriental rug: Hand woven or hand-knotted rugs native to the Middle or Far East. Numerous variations in color and motif are available.

Ottoman: A low upholstered seat used as a footstool.

Parsons table: A simple, squared-off table with legs and apron of equal widths. The name is taken from the Parsons School of Design, where the table was developed during the 1950s.

Parquet: Inlaid geometric patterns of wood; used primarily in flooring.

Patina: The softening effect which age, use and care impart.

Pedestal table: A table supported by a single, center base.

Pediment: An ornamental crest running across the top of tall 18th century piece such as high boy or chests.

Pembroke Table: A drop leaf table with leaves that drop almost to the floor.

Pencil-post Bed: A bed with four slim posts rising six to eight feet. Design is generally simple with straight lines; the beds can be used alone or with a canopy.

Pharmacy lamp: Developed in the 1920s, this adjustable floor lamp has a tent-shaped shade.

Pickled finish: The result of rubbing white paint into previously stained and finished wood.

Piecrust Table: A round occasional table set on a three-legged pedestal base, ornamented with an edging resembling a crimped pie crust.

Pier Glass: A large, window-height mirror suspended above a table.

Piercing: Carved or cutout decorative detail seen in chair splats and other 18th century furniture.

Pilaster: A flattened column-like detail applied to furniture, bookcases, etc. for decorative purposes.

Pleated shade: An accordion-pleated fabric shade that rises and lowers on a pull cord much like a Venetian blind.

Plinth: The base of a chest of column that rests solidly on the floor, as opposed to sitting on legs.

Plush carpet: Luxurious eve with velvety even cut pile; shows footprints and shading easily.

Quarry tile: Glazed or unglazed; made by an extrusion process from natural clay and shale. Usually in squares and often terra-cotta in color.

Queen Anne: A major furniture style of the 18th century, a period rich in innovative design. Graceful and elegant, the style is characterized by curved lines such as cabriole legs, broken scroll pediments and rounded aprons in tables and lowboys.

Rail: The horizontal member running across the top of a chair back.

Rag rug: Sturdy, hand woven cotton rugs.

Recamier: An elegant sofa or chaise popular in the Empire and Victorian eras. Sometimes called fainting couches, Recamier's have a sloping back not much higher than the seat at one end, with the other end rising to meet a high and often rolled, arm.

Reproduction: New furniture that is an authentic copy of an antique.

Restorations: Antiques or collectibles that have been brought back to original condition through reconstruction and/or replacement of missing parts and refinishing.

Return: The element of an L-shaped desk that is perpendicular to the main desk, providing extra working surface.

Rice Carved Posters: Tall, heavy bedposts carved with decorative details such as rice and tobacco plants, symbolic of the wealth of plantation owners in the Carolinas and northern Georgia, where the style originated.

Rococo: Very elaborate European design style, originating in early 18th century France.

Rococo Revival: An especially florid Victorian style popular from the 1850s-70s, best known for elaborately carved rosewood parlor furniture, triple-crested sofas and balloon-backed chairs.

Roll Top Desk: A desk with a curved, slatted panel that rolls down to hide its writing surface.

Roman shade: Flat fabrics shade that fold into neat horizontal pleats when it is raised.

Rush Seat Chair: A rustic French or American chair with seats woven of rushes.

Rustic: Simple style typical of country life.

Saber Leg: A leg with a saber-like curve.

Saxony carpet: Noted for its elegance and array of solid hues. Yarn loops are clipped for a soft, dense pile with well-defined individual tuft tips.

Scale: Refers to the size of objects in relation to one another and the human body; in decorating, good scale is the result of an eye-pleasing relationship between furnishings and other objects and the space they are used in.

Secretary: A drop-leaf desk sitting on a base of drawers, usually with cubbyholes and slots for organizing papers and bonnet tops reflecting their 18th century origins.

Serpentine Front: A waving curve on the front of a chest or desk. Serving Table: A long narrow table with drawers for silver, linens, etc.

Settee: A long seat or bench with a back and arms seating two or more people.

Shaker: American religious sect in the 18th and 19th centuries that practiced simple living and fostered a genius for excellent design combining functionality and beauty. Design features include straight, tapered legs, and woven-strap chair seats.

Sheraton: A formal style that developed from Hepplewhite, Sheraton features delicate straight lines, tapered legs and expert veneer and inlay. The period is known for handsome sideboards and neo-classical decorative elements including small urns and fluted columns.

Shield Back: A chair with a back in the shape of shield.

Sideboard: A serving piece with drawers and/or open shelves for displaying plates and silver.

Slat-back: An early American chair form incorporating horizontal slats.

Slate: Natural flooring that resists stain and hold heat well.

Sleigh bed: A 19th-century American adaptation of a popular French Empire design. The sleigh bed has a high, scrolled headboard and footboard resembling the front of a sleigh.

Slipper chair: A low, armless upholstered chair, often with a skirt.

Slip seat: A removable, upholstered chair seat. Splat: A flat, vertical support piece in the middle of an open chair back, often carved or ornamented.

Spattering: A decorative paint technique produced by tapping or flicking a paintbrush loaded with paint onto a plain background.

Sponging: A paint technique involving the application of a layer or layers of opaque or translucent paint colors with a sponge.

Stretcher: A horizontal brace in an H or X shape, often decorative, connecting the legs of a table or chair.

Strip flooring: The most popular wood flooring made of long, narrow tongue-and-groove boards that are end-matched.

Tea Table: A small portable table, frequently used in place of a coffee table. Table top often has raised edges resembling a tray and side pullouts for candles.

Terrazzo: Smooth flooring made of marble or stone chips embedded in a cement binder, then highly polished for a multicolored effect.

Tester: Wooden frame supporting a canopy or draperies at the top of a poster bed.

Ticking: A striped cotton or linen fabric used for mattress covers, slipcovers and curtains.

Tieback: A fastener made of fabric, ribbon or braid that is attached to the sides of a window and is used to hold back curtains or draperies.

Tilt Top: A small table with a hinged top that can stand vertically when not in use.

Tint: A color white has been added to; a pastel.

Torchiere: A floor lamp that directs light upward with a flared shade.

Track lighting: "Cans" with bulbs or spotlights clipped into wall- or ceiling-mounted tracks that contain electrical components.

Transitional: Design that blends influences from various style categories.

Trestle Table: A long, narrow table with two T-shaped uprights that are joined by a single stretcher; usually used in country-style schemes.

Turning: The shaping of legs or trim on a lathe.

Tuxedo: A style of sofa or chair with a square frame created by arm and back rests of equal height.

Upholstery: Fabric-covered sofas and chairs, with most wood construction features hidden under layers of padding and fabric.

Uplight: A light fixture that directs light toward the ceiling; it can be freestanding or mounted on the wall.

Uprights: The outer vertical posts of a chair.

Urethane foam carpet padding: The most popular type of padding, made in a continuous flat sheet; offers both comfort and support.

Valance: An over drapery treatment made of fabric or wood; designed to conceal hardware and fixtures while providing a decorative touch.

Veneer: A thin layer of wood permanently bonded to a thicker core. The most beautiful grain patterns are used for the outermost layer (or face veneer) of furniture piece, greater strength is achieved by bonding woods at right angles to each other.

Victorian: A furniture style popular from the middle to end of the 19th century, named for England's Queen Victoria. Furniture is usually walnut, mahogany and rosewood in dark finishes, often highlighted with elaborate, carved floral designs. Oval chair backs are common, as are marble tops on tables and dressers.

Vitrine: China or curio cabinet with glass doors.

William and Mary: This style, named for the 17th century English King and Queen, came to America in the early 1700s. Innovations included high-backed, upholstered armchairs, highboys and lowboys. Design elements include curved lines, bun or ball feet, Marquetry, inlay and oriental lacquer work.

Windsor chair: A popular 19th century wooden chair with spindle backs shaped in fans, hoops or combs.

Wing chair: A high-backed upholstered lounge chair with wings on either side of the chair back.

Woods and Finishes Glossary