181 
GROUP VIIL—WOOD INDUSTRY. 
SECTION I.—CARPENTERS’ AND CABINET WORK; VENEERS 
CUT, TURNED, CHISEL, AND CARVED WORK. 
Note on Inlaid Work. 
This work, according to Framjee Heerjeebhoy and 
other craftsmen of the trade, was imported into 
Bombay from Persia through Scinde, and it seems 
from inquiries made by Dr. Birdwood on a pre- 
vious occasion, that they all agree in naming Shiraz 
as the place from which it emanated. Three Mool- 
tanees, Devidas and Vulleeram, brothers, and Per- 
shotum Heeralal, were the first, it would seem, 
who settled about a hundred years ago in Scinde, 
where Kuntaree or Soortee people acquired the art 
under them, and came to Bombay about sixty years 
ago, from whence they spread to Surat, Baroda, 
and other places. The trade now is merely imita 
tive, new geometrical combinations are seldom 
thought of, the workers Content themselves with 
simply eopying the forms which were imported 
from Persia. Manoredas, Nundlal, Lalchund, Tha- 
wurdas, Ruttonjee, Pranvulubh, and Narrondas are 
said to have been the first who introduoed the work 
into Bombay. A number of Parsees and Soortees 
have since been educated by them. Dr. Birdwood 
gives a list of fifty shops now carrying on the 
business in Bombay, giving employment to about a 
hundred and twenty people. 
This work is composed of the following mate- 
rials :—Ivory, which is always white; Samber Horn 
(Sawursing) which is always green; the colour is 
produeed by steeping it in verdigris dissolved in 
lemon juice, toddy, or vinegar. 
Sandal-wood used in its natural colour. 
Ebony, on account of its colour. 
Pattung—Sappan-wood—according to Dr. Bird 
wood “the wood of Csesalpinia Sappan.” This 
wood is of a rieh burnt sienna colour, and seems to 
have been unknown to the Persian workers, as ver- 
milion is substituted for it. 
Mineral—Tin (the Persians use brass instead), in 
imitation of silver. This is generally purchased 
round, and passed through a roller known by the 
name of Rät, the lower wheel of which is cut in 
several places, forming more or less acute angles, 
the upper wheel being smooth ; the tin issues from 
it in a triangulär shape. This and all the other 
materi ds partake of the shape of the square, the 
rhombus, the isosceles equilateral and right angle 
triangles. Segmental forms are sometimes given 
to the ivory, sandal-wood, and ebony filling in 
ground, so as to admit of circular designs. The 
tin employed is sometimes round, when used as a 
border, and is then known as “ Ekdani,” which 
means one line, and forms a succession of round 
dots. The sandal-wood is never introduced in bor- 
ders, but is employed in the larger patterns; the 
materials are glued together into various geometrical 
forms, consisting of circles, hexagons, the square, 
the rhombus, and the triangle; the glue usually 
used in preference to all others is Ahmedabad glue, 
which is considered by native workers stronger than 
any manufactured in the country or imported from 
Europe. It is dissolved in brandy or spirits of wine. 
The length of the pieces glued together is generally 
two feet, and these are sawn off in sections with 
delicate saws in widths varying between the 15th 
and 20th part of an inch. These are glued on to 
sandal-wood about a quarter of an inch thick, the 
latter is fastened on to black-wood (Sissoo), teak- 
wood (Saag), or deal (Deodar). Not unfrequently 
the whole box is made of Sandal-wood, but this adds 
materially to the expense. Some of the designs are 
known under the names of— 
Mhotee Kutkee-no-gool—A design of compara- 
tively large hexagons. The prefix Kutkee is applied 
to the work when sandal-wood and ebony are intro 
duced. 
Adhee Dhar-no-gool-—The rhombus. 
Tun Dhar-no-gool—The triangle. 
Chorus-gool—The square or matting pattem. 
Gool—Round. 
Poro Hansio, Jafran Marapeck, Sankro Hansio, 
Lehero,Jeri, Ekdani, and Baelmootana are names 
applied to borders. 
A cheap white wood known as “ Dooblo ” has been 
tried as a Substitute for ivory, but its use has been 
discontinued, as it does not answer; it is however 
still used in the Ceylon inlaid woodwork. 
Madras Committee. 
Rosewood box. Inlaid with other woods. From 
Mysore. 
Book slide, paper weight, and paper cutter. Ivory 
and sandal-wood. From Vizagapatam. 
Necklaces (2). Sandal-wood beads. From Madras. 
Glove boxes (3). Carved sandal-wood. From 
Canara. 
Card-cases (2), and book covers (1 pair). Carved 
sandal-wood. From Shemoga, Mysore. 
Pith models of temples (2). From Trichinopoly. 
Shola pith figures (6). From the pith of iEschyno- 
mene aspera. From Tanjore. 
Messrs. Deschamps and Co., Madras. 
Inlaid table top. Showing the various woods used 
in cabinetwork in Madras. 
Sevararniah. Carved cocoa-nut, mounted on silver. 
From Ganjam. 
Major Buckle, R.A., Madras. 
Writing paper case, made of an elephant’s foot. 
Bombay Committee. 
Collection of ivory inlaid work, consisting of:— 
Card cases. Card trays. 
Paper-cutters. Paper weights. 
Money boxes, glove boxes, and wafer boxes.