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Young's Demonstrative Translation of Scientific Secrets;
or
A Collection of Above 500 Useful Receipts
on a Variety of Subjects.
Printed by Rowsell & Ellis, Toronto, 1861.
INTRODUCTION
The object of the present work is clearly announced in its title.
It is to collect within a small compass the instructions of
experimental knowledge upon a great variety of subjects which relate
to the present interests of man. It contains above five hundred
genuine and practical receipts, which have been compiled by the
publisher with extreme difficulty and expense. A reference to
the list of subjects which the work contains, will show that the
publisher's researches have been extensive, while a comparison of
the work with others of the same general character evinces patient
labour, and cannot fail to give it pre-eminence. While the track
pursued is not new, it is more thorough, and more easily followed
than that marked out by any previous compiler known to myself. The
work contains not merely the outlines on the subjects to which it
refers, but, what appears to my own mind one of its excellences, the
full and clear explanations of these subjects. To all classes of
people, without exception, the work is of great value. It is fit,
on every account, that the publisher should be encouraged in this
production. The work is worthy the acceptance of all, and one which
every man may prize.
1. ORIENTAL PAINTING
Any bunch of roses or flowers, or anything of the kind that you
admire, take the pattern of by placing them against a light of
window glass, then lay a piece of white paper over them, and through
the latter you will see the roses, &c. Now with a lead pencil take
the pattern of the roses, &c., on the paper; when you have them all
marked, cut then out with a scissors, so that you have a complete
pattern of them. Now take a piece of glass, whatever size your
pattern requires, stick the pattern on it with wafers, then paint
the glass all over, except where the pattern covers, with black
paint, composed of refined lampblack, black enamel, copel varnish
and turpentine, mixed. Now let this dry, then take off your patterns
and paint your roses, flowers, &c., with tube paints, mixed with
demar varnish, so that your roses, &c., may be, in a manner,
transparent. Paint your large roses red, some of the smaller ones
yellow, or any colour to suit your taste. Paint one side of the
leaves a darker shade of green than the other, which will make
the picture appear as though the sun was shining on it. When this
painting is dry, take silver or gold foil, (gold is best,) wrinkle
it up in your hand then nearly straighten it, and cover the back of
the glass all over with it; over the large roses let the wrinkles be
larger, over the small ones smaller, &c.; then lay a piece of stiff
paper, the size of the glass, over the foil, and a piece of very
thin board again over this; have it framed in this manner and it is
completed. You now have one of the richest of paintings, which is
commonly taught at a cost of $5. You may buy all you require for
this painting at the druggist's.
2. TRANSFER PAINTING ON GLASS
This is for transferring any picture plate you please to glass, to
be framed. First give the glass a coat of demar varnish; let it
remain for eight hours, or until dry; at this time have your picture
thoroughly soaked in warm water; then give the glass another coat of
demar varnish, and take the picture out of the water; then let it
and the glass remain for twenty minutes, by which time the water
will be struck in from the face of the picture, after which you will
place the front of the picture on the varnished glass, (avoiding
wrinkles and spots of water,) press it well on until every part is
stuck fast, then carefully rub the paper all away to a mere film;
give the glass then, over this film, another coat of demar varnish,
which will make the film transparent; let it dry; then place the
glass, with the varnished side towards you, between you and
the light, and you will see the outlines of the picture quite
distinctly; you may then paint on the back with tube paints, mixed
with a little demar varnish to assist in drying, to suit your taste.
For instance, if the picture is that of a lady, you may paint the
dress red, the shawl or cape, as it may be, blue, the face flesh
colour, (which colour may be made by mixing a little red with
white,) the bonnet scarlet, the shoes black; if trees, have them
green, &c. All you want for this painting you may also buy at the
druggist's. This painting is very simple and elegant, it is commonly
taught at a cost of $3. Try it, you cannot fail.
3. TRANSFER VARNISH
Take of Canada balsam 3 drachms; gum sandric 3 drachms; spirits of
wine 1/2 pint. Dissolve the balsam and gum in the spirits of wine
and it is ready for use.
4. WHITE SPIRIT VARNISH--THE VERY BEST.
Take of gum sandrack 4 ounces; mastic 1 ounce; Elmi rosin 1/2 ounce;
Venice turpentine 1 ounce; alcohol 15 ounces. Digest in a bottle,
frequently shaking, till the gums are dissolved, and it is ready
for use.
5. TRANSFER PAINTING ON WOOD
By this you may transfer any picture you please from paper to a
cutter back, or any other substance you please. Give the board three
coats of white spirit varnish, receipt No. 4; damp the back of the
print with strong vinegar; give the front a very heavy coat of the
transfer varnish, receipt No. 3; then press it on the board, avoiding
creases; when perfectly dry and fast, rub the paper away; the print
is indelibly fixed; then varnish it over as you would any other
painting. This receipt has been commonly sold for $5.
6. ELECTRO GOLD PLATING--NEW METHOD
Take 100 grams of laminated gold, mixed with 20 grams of
hydrochloric acid; 10 grams of nitric acid; the liquid thus composed
is placed over a moderate fire, and stirred constantly until the
gold passes into the state of chlorine; it is then allowed to cool.
A second liquid is formed by dissolving 60 grams of cyanide of
potassium in 80 grams of distilled waters; the two liquids are
mixed together in a decanter and stirred for 20 minutes, and then
filtered. Finally 100 grams of whiting, dry and sifted, are mixed
with 5 grams of pulverised supertartrate of potass; this new
powder is dissolved in a portion of the above described liquid,
in sufficient quantity to form a paste of the proper consistency
to be spread with a pencil on the article or part to be gilded.
The superabundant powder is then removed by washing and the article
is beautifully gilded with a heavy or light coat, according to the
quantity of paste used. Grams belong to French weights, four grams
are a little more than one drachm.
7. ELECTRO SILVERING--NEW METHOD
10 grams of nitrate of silver are dissolved in 50 grams of distilled
water; then 25 grams of cyanide of potassium in 50 grams of
distilled water; the two liquids are mixed in a decanter, and
stirred for 10 minutes; it is then filtered. Finally, 100 grams of
sifted whiting are mixed with 10 grams of pulverised supertartrate
of potass and one gram of mercury. This powder and dissolving liquid
are used in the same manner as in the above method of gold plating.
These excellent methods of silvering and gilding were discovered in
June 1860, by the great French chemist Baldooshong of Paris France.
It is far superior to any other method ever discovered, and will
eventually take the place of all.
8. ELECTRO GOLD PLATING--USUAL METHOD
Take a $2 50c. piece of gold, and put it into a mixture of 1 ounce
of nitric and 4 ounces of muriatic acids, (glass vessels only are to
be used in this work,) when it is all cut dissolve 1/2 an ounce of
sulphate of potash in one pint of pure rain water, and mix the gold
solution, stirring well; then let stand and the gold will be thrown
down; then pour off the acid fluid, and wash the gold in two or
three waters, or until no acid is tasted by touching the tongue to
the gold. Now dissolve one ounce of cyanuret of potassium in one
pint of pure rain water, to which add the gold, and it is ready to
use. Clear the article to be plated from all dirt and grease with
whiting and a good brush; if there are cracks it may be necessary
to put the article in a solution of caustic potash. At all events
every particle of dirt and grease must be removed; then suspend the
article in the cyanuret of gold solution, with a small strip of zinc
cut about the width of a common knitting needle, hooking the top
over a stick which will reach across the top of the vessel or bottle
holding the solution. If the zinc is too large the deposit will be
made so fast that it will scale off. The slower the plating goes on
the better, and this is arranged by the size if the zinc used. When
not using the plating fluid keep it well corked and it is always
ready to use, bearing in mind that it is poison as arsenic, and
must be put high out of the way of children, and labelled poison,
although you need have no fear using it; yet accidents might arise
if its nature were not known.
9. ELECTRO SILVERING--USUAL METHOD
This is done every way the same as gold plating (using coin) except
that rock salt is used instead of the cyanuret of potassium to
hold the silver in solution for use, and when it is of the proper
strength of salt it has a thick curdy appearance, or you can add
salt until the silver will deposit on the article to be plated,
which is all that is required. No hesitation need be felt in trying
these receipts, as they are obtained from a genuine source, and are
in every day use.
10. GOLD PLATING FLUID
Warm six ounces of pure rain water, and dissolve in it 2 ounces of
cyanide of potassium, then add a 1/4 ounce oxide of gold; the
solution will at first be yellowish, but will soon subside to white;
then half fill a bottle with whiting, fill it up with this solution
and shake it well; you may now take a piece of old cotton, wet it
with the solution, rub it well over brass, copper, &c., and it is
nicely washed with gold.
11. SILVER PLATING FLUID
Dissolve one ounce of nitrate of silver, in crystal, in 12 ounces
of soft water; then dissolve in the water two ounces of cyanuret of
potash; shake the whole together and let it stand until it becomes
clear. Have ready some 1/2 ounce vials, and fill them half full
of whiting, then fill up the bottles and it is ready for use. The
whiting does not increase the coating powder--it only helps to
clear the articles and save the silver fluid by half filling the
bottles. The above quantity of materials will cost about $1.62c.,
so that the fluid will be about 3 cents a bottle. It is used in
the same way as the gold plating fluid.
12. QUICKSILVER PLATING FLUID
Take of quicksilver one ounce, one ounce nitric acid, one ten
cent piece, rain water 1/2 pint to a pint, put the three first
articles into a tumbler together; let them stand until dissolved,
occasionally stirring, then add the water, and it is ready for use.
This is used in the same way as the silver and gold plating fluid.
13. TO GILD STEEL
Pour some of the ethereal solution of gold into a wine-glass,
and dip into it the blade of a new penknife, lancet, razor, &c.,
withdraw the instrument and allow the ether to evaporate, the blade
will then be found to be covered with a beautiful coat of gold; the
blade may be moistened with a clean rag or a small piece of very dry
sponge dipped into the ether, and the same effect will be produced.
14. TO GILD COPPER, BRASS, &c.--BY AN AMALGAM
The gilding of these inferior metals and alloys of them is effected
by the assistance of mercury with which the gold is amalgamated. The
mercury is evaporated while the gold is fixed by the application of
heat, the whole is then burnished of left mat in the whole or in
part, according as required.
15. GILDING GLASS AND PORCELAIN
Dissolve in boiling linseed oil an equal weight either of copal or
amber, and add as much oil of turpentine as will enable you to apply
the compound or size thus formed as thin as possible to the parts of
the glass intended to be gilt; the glass is to be placed in a stove
till it is so warm as almost to burn the fingers when handled. At
this temperature the size becomes adhesive, and a piece of leaf
gold applied in the usual way will immediately stick. Sweep off the
superfluous portions of the leaf, and when quite cold it may be
burnished, taking care to interpose a piece of india paper between
the gold and the burnisher. It sometimes happens when the varnish is
not very good that by repeated washing the gold wears off; on this
account the practice of burning it in is sometimes had recourse to;
for this purpose some gold powder is ground with borax, and in this
state applied to the clean surface of the glass by a camel hair
pencil; when quite dry the glass is put into a stove, heated to
about the temperature of an annealing oven, the gum burns off; and
the borax, by vitrifying, cements the gold with great firmness to
the glass, after which it may be burnished.
The gilding upon porcelain is in like manner fixed by heat and the
use of borax, and this kind of ware, being neither transparent nor
liable to soften, and thus to be injured in its form in a low red
heat, is free from the risk and injury which the finer and more
fusible kinds of glass are apt to sustain from such treatment.
Porcelain and other wares may be platinized, silvered, tinned,
or bronzed, in a similar manner.
16. GILDING THE EDGES OF PAPER
The edges of the leaves of books and letter paper are gilded
whilst in a horizontal position in the bookbinder's press or some
arrangement of the same nature, by first applying a composition
formed of four parts of Armenian-bole and one of candied sugar,
ground together with water to a proper consistence, and laid on by
a brush with the white of an egg. This coating, when nearly dry is
smoothed by the burnisher, it is then slightly moistened by a sponge
dipped in clean water and squeezed in the hand; the gold leaf is now
taken up on a piece of cotton from the leathern cushion and applied
on the moistened surface; when dry it is to be burnished by rubbing
the burnisher over it repeatedly from end to end, taking care not
to wound the surface by the point.
17. PROFESSOR WORTS' AMALGAM FOR SILVERING
This is the only means yet discovered for silvering iron directly,
yet it is not so lasting as some of the other processes. Take
quicksilver and the metal potassium, equal parts by volume, put them
together in a tumbler, and if both metals be good there will be a
brisk ebullition, which continues until an amalgam of the two is
formed, then add as much quicksilver as there is of the amalgam; let
it work till thoroughly mixed, and it is ready for use. This amalgam
you may apply with a cloth to any metal, even iron, though it be a
rusty bar, and you have it neatly silvered over.
18. FOR COPPERING IRON
This is the latest method, and that now in use. To a solution of
sulphate of copper, add a solution of ferrocyanide of pottasium, so
long as a precipitate continues to be formed. This is allowed to
settle, and the clear liquor being decanted the vessel is filled
with water, and when the precipitate settles the liquor is again
decanted, and continue to repeat these washings until the sulphate
of potash is washed quite out; this is known by adding a little
chloride of barium to a small quantity of the washings, and when
there is no white precipitate formed by the test, the precipitate is
sufficiently washed. A solution of cyanide of potassium is now added
to this precipitate until it is dissolved, during which process the
solution becomes warm by the chemical re-action which takes place.
The solution is filtered, and allowed to repose all night. If
the solution of cyanide of potassium that is used is strong, the
greater portion of the ferrocyanide of potassium crystalises in the
solution, and may be collected and preserved for use again. If the
solution of cyanide of potassium used to dissolve the precipitate is
dilute, it will be necessary to condense the liquor by evaporation
to obtain the yellow prussiate in crystals. The remaining solution
is the coppering solution; should it not be convenient to separate
the yellow prussiate by crystallization, the presence of that salt
in the solution does not deteriorate it nor interfere with its power
of depositing copper.
19. PECULIARITIES IN WORKING CYANIDE OF COPPER SOLUTION
The true composition of the salts thus formed by copper and cyanide
of potassium has not yet been determined, but their relations to
the battery and electrolyzation are peculiar. The solution must
be worked at a heat not less than from 150 to 200 degrees Farenheit
(that is not quite as hot a boiling water, which is 212 degrees
Farenheit.) All other solutions we have tried follow the laws, that
if the electricity is so strong as to cause gas to be evolved at
the electrode, the metal will be deposited in a sandy or powdered
state, but the solution of cyanide of copper and potassium is an
exception to these laws, as there is no reguline deposit obtained
unless gas is freely evolved from the surface of the article upon
which the deposit is taking place. As this solution is used hot, a
considerable evaporation takes place, which requires that additions
be made to the solution from time to time. If water alone be used
for this purpose it will precipitate a great quantity of the
copper as a white powder, but this is prevented by dissolving a
little cyanide of potassium in the water at the rate of 4 ounces
to the gallon. The vessels used in factories for this solution are
generally of copper, which are heated over a flue or in a sand-bath,
the vessel itself serving as the positive electrode of the battery;
but any vessel will suit if a copper electrode is employed when the
vessel is not of copper.
20. PREPARATION OF IRON FOR COATING WITH COPPER
When it is required to cover an iron article with copper, it is
first steeped in hot caustic potash or soda to remove any grease or
oil. Being washed from that it is placed for a short time in diluted
sulphuric acid, consisting of about one part acid to 16 parts of
water, which removes any oxide that may exist. It is then washed in
water and scoured with sand till the surface is perfectly clean,
and finally attached to the battery and immersed in the cyanide
solution. All this must be done with despatch so as to prevent the
iron combining with oxygen. An immersion of five minutes duration in
the cyanide solution is sufficient to deposit upon the iron a film
of copper, but it is necessary to the complete protection of the
iron that it should have a considerably thick coating, and as the
cyanide process is expensive, it is preferable when the iron has
received a film of copper by the cyanide solution, to take it out,
wash it in water, and attach to it a simple cell or weak battery,
and put it into a solution of sulphate of copper. If there is any
part not sufficiently covered with copper by the cyanide solution,
the sulphate will make these parts of a dark colour, which a touch
of the finger will remove. When such is the case, the article must
be taken out, scoured, and put again into the cyanide solution till
perfectly covered. A little practice will render this very easy. The
sulphate solution for covering iron should be prepared by adding
it by degrees a little caustic potash, so long as the precipitate
formed is re-dissolved. This neutralizes a great portion of the
sulphuric acid, and thus the iron is not so readily acted upon.
When the iron is thus coppered, proceed to silver it in the manner
recommended for silvering according to receipt No. 9; or if you want
to put a very heavy coating of silver on it, make use of a strong
battery.
21. SOLDERING FLUID
For mending articles of tin, iron, zinc, copper, and almost all
other metals. Take 2 fl. ounces of muriatic acid, add zinc till
bubbles cease to rise, add 1/2 a teaspoonful of sal-ammoniac and 2
ounces of water. Damp the part you wish to solder with this fluid,
lay on a small piece of lead, and with a piece of hot iron or
soldering iron solder the part.
22. SOLDER FOR TIN
Take of pewter 4 parts, tin 1 part, bismuth 1 part; melt them
together. Resin is used with this solder.
23. COLD METHOD OF SILVERING IRON WITH SILVER-PLATE
Polish the iron toy wish to silver, then damp it over with soldering
fluid (receipt No. 21) When this is done give it a coat of No. 22
solder. This is done by laying a piece of cold solder on the iron,
and spreading it over with a heated soldering iron, when by this
means you get the iron nicely plated with solder, then lay on
your silver-plate evenly, and gently rub it over with the heated
soldering iron, and it will become firmly united with the solder as
the solder is with the iron, so that you have the iron beautifully
plated with silver with very little cost or trouble.
24. HOT METHOD OF SILVERING IRON WITH SILVER-PLATE
First polish the iron you wish to silver, wet it well over
with No. 21 soldering fluid; then having procured that kind of
silver-plate which is tin on one side and silver on the other, place
it evenly on, with the tined side next to the iron, then place it
on the fire until the silver-plate melts down, then at once take it
from the fire, and it will be firmly attached to the iron, and will
be excellent plate; yet No. 23, the cold method, is to be preferred
in most cases.
25. SILVERING LOOKING-GLASSES WITH QUICKSILVER
Take a piece of marble or some other substance very smooth, true,
and level, lay on this the glass you wish to silver, then make a
ridge of putty on the marble against the edge of the glass all round
it, so that you can pour quicksilver on the glass until it is all
covered over, and will be prevented from running off by the ridge
of putty; an inch or two, or three outside this ridge make another
of putty; then cover the quicksilver on the glass all over with
tin-foil, and press it firmly but cautiously against the glass until
you have squeezed out all the quicksilver you can. While you press
this, you may remove part of the first ridge of putty to give the
quicksilver a chance of escape. When it is well pressed against
the glass there will be an amalgam formed of the tin-foil and the
quicksilver that is left, which will firmly adhere to the glass. By
this means you have a very beautiful and cheap looking-glass; the
quicksilver that escapes, being saved by the second ridge of putty,
may be used again.
26. SILVERING LOOKING-GLASSES WITH PURE SILVER
Prepare a mixture of 3 grains of ammonia, 60 grains of nitrate of
silver, 90 minims of spirits of wine, 90 minims of water; when the
nitrate of silver is dissolved, filter the liquid and add a small
quantity of sugar (15 grains) dissolved in 1-1/2 oz. of water, and 1
1/2 oz. of spirits of wine. Put the glass into this mixture, having
one side covered with varnish, gum, or some substance to prevent the
silver being attached to it. Let it remain for a few days and you
have a most elegant looking-glass, yet it is far more costly than
the quicksilver.
27. PATENT BURNING FLUID
To 1 gallon of 95 per cent. alcohol, add 1 quart of camphene oil;
mix and shake well, and if transparent it is fit for use, if not,
add sufficient alcohol, shaking it well, to bring it to the natural
colour of the alcohol. It may be coloured to suit the fancy by
adding a little tincture of golden seal, or any other colouring
drug. This receipt has been sold for $10.
28. BURNING FLUID
Take 4 quarts alcohol, and 1 quart spirits of turpentine; mix well
together, and it is ready for use.
29. NON-EXPLOSIVE BURNING FLUID
Take 1 gallon 44 proof alcohol, 1 quart camphene, 3 oz. of alum
pulverized, 1/2 oz. camphor gum, 65 drops cuicuma; mix all together
and let it stand 12 hours, and it is ready for use.
30. VINEGAR IN THREE DAYS WITHOUT DRUGS
Take 2 barrels and saw one of them in two in the centre, and put
one-half on the top, and the other at the bottom of the whole
barrel, (or you may use three whole barrels if you like.) The middle
barrel is to be filled with maple, beech, of baswood shavings, which
are to be planed from the edge of boards only two or three feet
long, which allows the shavings to roll, and prevents them from
packing tight, and also allows air to circulate through them, which
is admitted through a number of inch holes, which are to be made
near the bottom of the barrel and just above the faucet, which lets
the vinegar run into the tub below. The top tub has its bottom
pierced with small bit holes, having several threads of twine
hanging in them to conduct the vinegar evenly over the top of the
shavings in the middle of the barrel. Air must be permitted to pass
out between the top tub and barrel, which comes in at the holes in
the bottom. The shavings which fill the barrel must be soaked three
or four days in good vinegar before they are put in. When thus
arranged, for every gallon of water use 1/2 lb. of sugar; (that
you get from molasses barrels does vary well.) If you wish to make
vinegar from whiskey, put in 4 gallons of water to 1 gallon of
whiskey; and if from cider, put in one-third water, and fill the
top tub with this fluid, putting 1 pint good yeast to each barrel
making; and have the holes with threads or twine so arranged that
it will run through every twelve hours; and dip or pump up with a
wooden pump every night or morning, and three days will make good
substantial vinegar, which will keep and also improve by age. Some
use only 1 gallon of whiskey to 7 gallons of water. This accounts
for so much poor vinegar. Make good vinegar, it will pay you. If a
few gallons of water is made boiling hot so as to warm the whole of
a gentle warmth, it will make faster than if used cold. This must
be done in cool weather, and the room also should be kept warm. For
families, small kegs will do, but for manufacturers large casks are
best. Many make vinegar by just putting fluid into the barrels of
shavings, soaked as directed above, and do not let it run through,
but let it stand in the shavings till sour; but it does not work
fast enough for manufacturers. It will do where only a small amount
is needed, keeping the same strength of fluid as for the other plan,
which is best. Two or three years ago, this receipt was sold for
from $50 to $150. If vinegar is made from whiskey, it will have
a more beautiful colour if 5 or 6 lbs. of sugar is put into each
barrel, of course keeping the same proportions of water as though
only one kind was used. The shavings will last the whole season.
31. CUBA HONEY
Good brown sugar 11 lbs., water 1 quart, old bee honey in the comb
2 lbs., cream tartar 50 grains, gum arabic 1 oz., oil of peppermint
5 drops, oil of rose 2 drops, mix and boil two or three minutes and
remove from the fire, have ready strained one quart of water, in
which a table-spoonful of pulverized slippery elm bark has stood
sufficiently long to make it ropy and thick life honey, mix this
into the kettle with egg well beat up, skim well in a few minutes,
and when a little cool, add two pounds of nice strained bees' honey,
and then strain the whole, and you will have not only an article
which looks and tastes like honey, but which possesses all its
medicinal properties. It has been shipped in large quantities under
the name of Cuba honey. It will keep fresh and nice for any length
of time if properly covered.
32. EXCELLENT HONEY
Take 5 lbs. of good common sugar, two pounds of water, gradually
bring to a boil, skimming well, when cool, add 1 lb. bees' honey,
and 4 drops of peppermint. If you desire a better article use white
sugar and 1/2 lb. less water, and one half pound more honey.
33. GUNPOWDER
Take pulverized saltpetre, moisten it, and subject it to the action
of a slow fire until completely dried and granulated, of this take
75 parts, purified sugar 12 and a-half parts, moisten and grind
together till completely blended, which will require several hours,
pulverize on heaters till dried.
34. EXCELLENT MATCHES
The ends of the tapers or wood should be very dry, and then dipped
in hot melted sulphur and laid aside to dry; then take 4 parts of
glue, dissolve it and while hot add one part of phosphorus, and stir
in a few spoonsful of fine whiting to bring to the proper thickness.
This preparation should be kept hot by being suspended over a lamp,
while dipping the wood or tapers. Colour the mixture by adding a
little vermillion, lamp black or prussian blue; be careful not to
ignite the compound while dipping.
35. FIRE AND WATER-PROOF CEMENT
To half a pint of milk add half a pint of vinegar to curdle it; then
separate the curd from the whey, and mix the whey with 4 or 5 eggs;
beating the whole well together; when it is well mixed, add a little
quick-lime through a sieve, until it has acquired the consistence of
a thick paste. This is a prime article for cementing marble, in or
out of the weather. It is excellent for broken vessels, &c.
36. FRENCH CHEMICAL SOAP
Take 5 lbs. castile soap, cut fine, 1 pint alcohol, 1 pint soft
water, 2 ounces aquafortis (if for black cloth 1/2 ounce of
lampblack,) 2 ounces saltpetre, 3 ounces potash, 1 ounce camphor,
4 ounces cinnamon in powder. Fist dissolve the soap, potash, and
saltpetre by boiling, then add all the other articles, and continue
to stir until it cools, then pour it into a box, let it stand 24
hours, and cut it into cakes. It is used for taking grease, stains,
and paints from cloth, wood, &c. This receipt has frequently sold
for $10.
37. BLACK INK WITHOUT SEDIMENT
This ink is not injured by frost--is a beautiful article, and only
costs 5 cents. per gallon, and is sold for from $1 to $3. Take 1 lb.
logwood, 1 gallon soft water, simmer in an iron vessel for one hour,
then dissolve in a little hot water 24 grains bychromate of potash,
and 12 grains prussiate of potash, and stir into the liquid while
over the fire, then take it off and strain it through fine cloth.
This ink is a jet black flows freely from the pen and will stand the
test of oexylic acid.
38. INDELIBLE INK
1 inch of the stick of the nitrate of silver dissolved in a little
water, and stirred into each gallon of the above, makes first rate
indelible ink for cloth. Judge what indelible ink costs.
39. INDELIBLE INK
Nitrate of silver 1-1/2 oz., dissolved in liquor ammonia fortisine
5-1/2 oz., orchil for colouring 3/4 oz., gum mucilage 12 oz., mix
the two latter, then mix them with the two former, and it is ready
to use.
40. WRITING FLUID OR BLACK COPYING INK
Take two gallons of rain water and put into it gum arabic 1/4 lb.,
brown sugar 1/4 lb., clean copperas 1/4 lb., powdered nut galls 3/4
lb., mix and shake occasionally for ten days and strain. If needed
sooner, let it stand in an iron kettle until the strength is
obtained. This ink can be depended on for deeds or records, which
you may want someone to read hundreds of years to come. Oexylic acid
1/4 oz., was formerly put in, but as it destroys the steel pens, and
does just as well without it--it is now never used.
41. BEST INK POWDER
This is formed of the dry ingredients for ink, powdered and mixed.
Take powdered galls one pound, powdered green vitriol half a pound,
powdered gum 4 ounces, mix all together, put it up into 2 ounce
packages, each of which will make a pint if ink.
42. BEST RED INK
Take of best carmine (nakarot) 2 grains, rain water 1/2 ounce, water
of ammonia 20 drops, add a little gum arabic, and it is in a few
minutes ready for use.
43. YELLOW INK
Dissolve alum in saffron water to whatever shade of yellow you
please. It makes a beautiful ink.
44. BLUE INK
Take Prussian blue, and oexylic acid, in equal parts, powder finely,
and add soft water to bring it to a soft paste, and let it stand for
a few days, then add soft water to the desired shade of colour; add
a little gum arabic to prevent spreading.
45. GOLDEN INK
Take some white gum arabic, reduce it to an impalpable powder in a
brass mortar, dissolve it in strong brandy, and add a little common
water to render it more liquid, provide some gold in a shell, which
must be detached in order to reduce it to a powder, when this is
done moisten it with the gum solution, and stir the whole with a
small hair brush, or your finger, then leave it for a night that
the gold may be better dissolved. If the composition becomes dry
during the night, dilute it with more gum water in which a little
saffron has been infused, but take care that the gold solution be
sufficiently liquid to flow freely in a pen; when the writing is
dry polish it with a dry tooth.
46. WHITE INK FOR WRITING ON BLACK PAPER
Having carefully washed some egg shells remove the internal skin and
grind them on a piece of porphyry, then put the powder in a small
vessel of pure water, and when it has settled at the bottom, draw
off the water and dry the powder in the sun. This powder must be
preserved in a bottle; when you want to use it put a small quantity
of gum ammoniac into distilled vinegar, and leave it to dissolve
during the night, next morning the solution will appear exceedingly
white, and if you then strain it through a piece of linen cloth, and
add to it the powder of egg shells in sufficient quantity, you will
obtain a very white ink.
47. SECRET INK FOR YOUNG LADIES AND GENTS
Take a drachm of clean rain water, put into it, in a clean vial, 10
or 12 drops of pure, clean sulphuric acid, and it is ready for use;
write with this using a clean quill pen on letter paper, and when
dry you can see no mark at all, then hold it to a strong heat and
the writing becomes as black as jet. If you want to write to a young
lady or gentleman, as the case may be, and fearing that the letter
might be opened before she or he gets it, write with common black
ink something of no importance, then between the lines write what
you want to say with the secret ink. The person to whom you are
writing must understand the scheme so that she or he may hold it
to the heat and thereby make the writing visible.
48. CIDER WITHOUT APPLES
To each gallon of cold water put 1 lb. common sugar, 1/2 ounce of
tartaric acid, one tablespoonful of yeast, shake well, make in an
evening and it will be fit for use next day. I make in a keg a few
gallons at a time, leaving a few quarts to make into next time, not
using yeast again until the keg needs rinsing. If it gets a little
sour, make a little more into it or put as much water with it as
there is cider and put it with the vinegar. If it is desired to
bottle this cider by manufacturers of small drinks, you will proceed
as follows: put in a barrel 5 gallons of hot water, 30 lbs. of brown
sugar, 3/4 lb. of tartaric acid, 25 gallons of cold water, 3 pints
of hop or brewer's yeast, work into paste with 3/4 lb. of flower,
and one pint water will be required in making this paste; put all
together in a barrel which it will fill and let it work 24 hours,
the yeast running out at the bung all the time by putting in a
little occasionally to keep it full; then bottle, putting in two
or three broken raisins to each bottle, and it will nearly equal
champagne.
49. SPRUCE OR AROMATIC BEER
Take 3 gallons of water, 2-1/2 pints molasses, 3 eggs well beaten,
1 gill yeast, put into two quarts of the water boiling hot, put in
50 drops of any oil you wish the flavour of, or mix one ounce each,
oil sarsafras, spruce, and wintergreen; then use the 50 drops. For
ginger flavour take 2 ounces ginger root bruised and a few hops, and
boil for 30 minutes in one gallon of the water, strain and mix all;
let it stand 2 hours and bottle, using yeast, of course, as before.
50. LEMON BEER
To make 20 gallons, boil 6 ounces of ginger root bruised, 1/4 lb.
cream-tartar for 20 or 30 minutes in 2 or 3 gallons of water; this
will be strained into 13 lbs. of coffer sugar on which you have put
1 oz. oil of lemon and six good lemons all squeezed up together,
having warm water enough to make the whole 20 gallons, just so you
can hold your hand in it without burning, or some 70 degrees of
heat; put in 1-1/2 pint hops or brewer's yeast worked into paste as
for cider, with 5 or 6 oz. of flower; let it work over night, then
strain and bottle for use. This will keep a number of days.
51. PHILADELPHIA BEER
Take 30 gallons of water, brown sugar 20 lbs., ginger root bruised
1/4 lb., cream tartar 1-1/4 lb., carbonate of soda 3 ounces, oil of
lemon 1 teaspoonful, put in a little alcohol, the white of 10 eggs
well beaten, hops 2 ounces, yeast one quart. The ginger root and
hops should be boiled for 20 or 30 minutes in enough of the water to
make all milk warm; then strain into the rest, and the yeast added
and allowed to work itself clear as the cider and bottled.
52. SILVER TOP DRINK
Take of water 3 quarts, white sugar 4 lbs., oil of lemons one
teaspoonful, white of 5 eggs, beaten with one teaspoonful of flour;
boil to form syrum, then divide into equal parts, and to one add 3
ounces of tartaric acid, and to the other part 4 oz. of carbonate
of soda, then take two thirds of a glass of water, and put in a
spoonful of each of the syrups, more or less, according to the size
of the glass.
53. DIRECTIONS FOR MAKING SODA DRINKS
In getting up any of the soda drinks which are spoken of hereafter
it will be preferable to put about 4 oz. of carbonate (sometimes
called supercarbonate) of soda into one pint of water, and shake
when you wish to make a glass of soda, and pour from this into the
glass until if foams well instead of using dry soda as directed.
54. IMPERIAL CREAM NECTAR
Part 1st.--Take 1 gallon water, 6 lbs. loaf sugar, 6 ounces tartaric
acid, gum arabic 1 oz.
Part 2nd.--Take 4 teaspoonsful of flour, the whites of four eggs beat
finely together, then add 1/2 pint of water. Heat the first part until it
is blood warm, then put in the second, boil 3 minutes and it is done.
Directions.--To 3 tablespoonfuls of the syrup in a glass half or two
thirds full of water add one third of a teaspoonful of carbonate of soda
made fine, stir well, and drink at your leisure.
55. A SUPERIOR GINGER BEER
Take of sugar 10 lbs., lemon juice 9 oz., honey 1/2 lb., bruised
ginger root 11 oz., water 9 galls., yeast 3 pints, boil the ginger
in the water until the strength is all extracted, which you may tell
be tasting the root, then pour it into a tub, throwing the roots
away, let it stand until nearly luke warm, then put in all the rest
of the ingredients, stir well until all dissolved, cover it over
with a cloth, and if it be in the evening, let it remain until next
morning, then strain through cloth, and bottle it, and in a short
time it will be fit for use. Some use less sugar, and some less
lemon juice, to make it with less expense; but it is not so elegant
a drink as this.
56. GINGER POP No. 1
Take of water 5-1/2 galls., ginger root bruised 3/4 lb., tartaric
acid 1/2 oz., white sugar 2-1/4 lbs., the whites of 3 eggs well
beat, a small teaspoonful of oil of lemon, yeast 1 gill; boil the
root for 30 minutes in 1 gallon of the water, strain off, and put
the oil in while hot, mix all well, make over night, in the morning
skim, and bottle, keeping out sediment.
57. GINGER POP No. 2
Take best white Jamaica ginger root bruised 2 oz., water 6 quarts,
boil 20 minutes and strain, then add cream tartar 1 oz., white sugar
1 lb.; put on the fire, then stir until all the sugar is dissolved;
then put into an earthen jar, now put in tartaric acid 1/4 oz., and
the rind of 1 lemon, let it stand until 70 degrees of Fahrenheit,
or until you can bear your hand in it with comfort, then add two
tablespoonsful of yeast, stir well, bottle for use, and tie the
corks; make a few days before it is wanted for use.
58. YEAST
Take a good single handful of hops, and boil for 20 minutes in 3
pints of water, then strain, and stir in a teacupful of flour, a
tablespoonful of sugar, and a teaspoonful of salt; when a little
cool put in 1 gill of brewer's yeast, and after four or five hours
cover up, and stand in a cool place for use; make again from this
unless you let it get sour.
59. SODA SYRUPS
Take of loaf or crushed sugar 8 lbs., pure water 1 gall., gum arabic
1 oz., mix in a brass or copper kettle, boil until the gum is
dissolved, then skim and strain through white flannel, after which
add tartaric acid 5-1/2 oz., dissolved in hot water. To flavour use
extract of lemon, orange, rose, sarsaparilla, strawberry, &c., 1/2
oz., or to your taste. If you use the juice of lemon, add 1-1/2
lbs., of sugar to a pint; you do not need any tartaric acid with it;
now use 2 or 3 tablespoonsful of syrup to 3/4 of a tumbler of water,
and 1/3 teaspoonsful of supercarbonate of soda made fine, stir well
and be ready to drink; the gum arabic, however, holds the carbonic
acid so it will not fly off so readily as common soda. For soda
fountains, 1 oz., of supercarbonate of soda is used to 1 gallon of
water. for charged fountains no acids are needed in the syrups.
60. MINERAL WATER
Epsom salts 1 oz., cream tartar 1/2 oz., tartaric acid 1/4 oz., loaf
sugar 1 lb., oil of birch 20 drops; put 1 quart boiling water on all
these articles, and add 3 quarts of cold water to 2 tablespoonsful
of yeast; let it work 2 hours and then bottle.
61. IMPROVED ENGLISH STRONG BEER
If you have malt use it, if not, take 1 peck of barley, and put it
into a stove oven, and steam the moisture from them, grind coarsely,
and pour into them 3-1/2 gallons of water, at 170 or 172 degrees.
(If you use malt it does not need quite so much water, as it does
not absorb so much as the other. The tub should have a false bottom
with many gimblet holes to keep back the grain.) Stir them well and
let stand 3 hours and draw off, put on 7 gallons more water at 180
or 182 degrees, stir well, let stand 2 hours and draw off, then put
1 gallon or 2 of cold water, stir well and draw off; you should have
about 5 or 6 gallons; mix 6 lbs., coarse brown sugar in equal amount
of water, add 4 oz. of good hops, boil for 1-1/2 hour; you should
have from 8 to 10 gallons when boiled; when cooled to 80 degrees,
put in a teacupful of good yeast and let it work 18 hours covered
with a sack. Use sound iron-hooped kegs, or porter bottles, bung or
cork tight, and in two weeks it will be good sound beer, nearly
equal in strength to London porter, or good ale, and will keep a
long time.
62. SANGAREE
Take wine, ale, or porter, 1/3, and 2/3 water, hot, or cold,
according to the season of the year, loaf sugar to the taste with
nutmeg.
63. GINGER WINE
Put 1 oz. good ginger root bruised in 1 quart of 95 per cent.
alcohol, let it stand 9 days, and strain, add 4 quarts of water, and
1 lb. of white sugar, dissolved in hot water, 1 pint port wine to
this quantity, for what you retail at your own bar makes it far
better; colour with tincture of saunders to suit; drink freely of
this hot on going to bed, when you have a bad cold, and in the
morning you will bless ginger wine.
64. HOP BEER
Take of hops 6 oz., molasses 5 quarts, boil the hops in water till
the strength is out, strain them into a 30 gallon barrel, add the
molasses and a teacupful of yeast, and fill up with water, shake it
well and leave the bung out until fermented, which will be in about
24 hours; bung up, and it will be fit for use in about 3 days. A
most excellent summer drink, smaller quantities in proportion.
65. USQUEBAUGH OR IRISH WHISKEY
Best brandy 1 gallon, stoned raisins 1 lb., cinnamon, cloves,
nutmeg, and cardamom, each 1 oz., crushed in a mortar, saffron 1/2
oz., or the rind of 1 Seville orange, and a little sugar candy;
shake these well, and it is ready for use in 14 days.
66. ICE CREAM
Add a little rich sweet cream, and 1/2 lb. of loaf sugar to each
quart of cream or milk; if you cannot get cream the best imitation
is to boil a soft custard; 6 eggs to each quart of milk, (eggs well
beaten); or another way, boil a quart of milk, and stir into it,
while boiling, a tablespoonful of arrow-root, wet with cold milk,
then cool stir in the yolk of one egg, to give a rich colour; five
minutes boiling is enough for either plan; put the sugar in after
they cool, keep the same proportions for any amount desired. The
juice of strawberries, or raspberries, give a beautiful colour and
flavour to ice creams; or about 1/2 oz. of the essence or extracts
to a gallon, or to suit the taste. Have your ice well broken, add
1 quart of salt to a bucket of ice, then place in this the vessel
containing your cream, and about one half hour's constant stirring
and occasional scraping down and beating together will freeze it.
67. CHICAGO ICE CREAM
Irish moss soaked in warm water about an hour, and rinsed well to
clear it of a certain foreign taste, then steep it in milk, keeping
it just at the point of boiling or simmering for an hour, or until a
rich yellow colour is given to the milk, without cream or eggs; 1 or
1-1/2 oz. of moss is enough for a gallon of cream, and this will do
to steep twice. Sweeten and flavour as other cream.
68. CREAM SODA
Loaf sugar 10 lb., water 3 gills, mix, and warm gradually, so as
not to burn, good rich cream 2 quarts, extract vanilla 1-1/2 oz.,
extract nutmeg 1/4 oz., and tartaric acid 4 oz.; just bring to
a boiling heat; for if you cook it any length of time it will
crystallize. Use 4 or 5 spoonsful of this syrup instead of 3, as
in other syrups; put 1/3 teaspoonful of soda to a glass, if used
without fountain. For charged fountains no acid is used.
69. LEMON SYRUP
Take of the juice of lemons one pint, white sugar one and a half
pound, and a little of the peel. Mix and boil a few minutes, strain,
and when a little cool, bottle, and cork, for use.
70. ORANGE AND RASPBERRY SYRUPS
Take of the juice of either, as the case may be, one pint; white
sugar one and a half pound. If it be orange a little of the peel;
tartaric acid 4 oz. Mix and boil a few minutes; strain, and when a
little cool, bottle and cork for use. When to be drank, mix three
or four tablespoonsful of syrup with three quarters of a glass of
water, and add a teaspoonful of soda. If water be added to the syrup
it will not keep well.
71. PURE WINE
Take three pounds of nice raisins free of stems, cut each one in two
or three pieces, put them into a stone jug with one gallon pure soft
water, let them stand two weeks uncovered, shaking occasionally (put
in a warm place in winter,) strain through three or four thicknesses
of woollen, or filter; colour with burned sugar; bottle and cork for
use. For saloon purposes, add one pint of good brandy. The more
raisins the better the wine, not exceeding 5 lbs.
72. PURE WINE VINEGAR
This is made by putting the same quantity of water on the above
raisins, after the wine is poured off, as at first for making wine,
and standing the same length of time, in the same way.
73. PORT WINE
Take 42 gallons of worked cider, 12 gallons of good port wine,
3 gallons good brandy, 6 gallons pure spirits. Mix together.
Elder-berries and sloes, or fruit of the black hawes, make a fine
purple colour for wines.
74. CHAMPAGNE WINE
Take of good cider (crab-apple cider is best) seven gallons, best
fourth proof brandy one quart, genuine champagne wine five quarts,
milk one gill, bitartrate of potash 2 oz. Mix and let it stand a
short time; bottle while fermenting. This makes an excellent
imitation of champagne with age.
75. CURRANT AND OTHER FRUIT WINES
For currant, cherry, raspberry, elderberry, strawberry, whortleberry,
and wild grape wines, any one can be used alone, or in combination
of several of the different kinds; to make a variety of flavours, or
suit persons who have some and not the other kinds of fruits, to
every gallon of expressed juice, add 2 galls. of soft water, put in
6 or 8 lbs. of brown sugar, and 1-1/2 oz. of cream of tartar, have
them dissolved; put 1 quart of brandy to every 6 galls. Some prefer
it without brandy. After fermentation, take 4 oz. isinglass,
dissolved in a pint of the wine, put to each barrel, and it will
refine and clear it; then it must be drawn off into clear casks, or
bottled, which is far the best. Give these wines age and they are
most delicious.
76. DINNER WINE OR ENGLISH PATENT WINE
From garden rhubarb, which will not lend to intemperance. An
agreeable and healthy wine is very frequently made from the
expressed juice of the garden rhubarb. To each gallon of juice add
1 gallon of soft water, in which 7 lbs. of brown sugar have been
dissolved; fill a keg or barrel with this proportion, leaving the
bung out, and keep it filled with sweetened water as it works off
until clear. Any other vegetable extract may be added, if this
flavour is not liked. Then bung down, or bottle, as you desire.
These stalks will furnish about 3/4 their weight in juice; fine and
settle with isinglass, as in the fruit wines. This has been patented
in England.
77. VARIOUS WINES
Take 28 gallons of clarified cider; 1 gallon good brandy, 1 lb.
crude tartar, (this is what is deposited by grape wines) 5 gallons
of any wine you wish to represent, 1 pint of sweet milk to settle
it; draw off in 24 or 36 hours after thoroughly mixing.
78. BLACKBERRY AND STRAWBERRY WINES
These are made by taking the above wine when made with port wine;
and for every 10 gallons, form 4 to 6 quarts of the fresh fruit,
bruised and strained, are added, and let it stand till the flavour
is extracted; more or less may be used to suit the tastes of
different persons. In bottling any of those wines 3 or four broken
raisins put into each bottle will add to their richness and flavour.
79. FRENCH BRANDY
Take of pure spirit 1 gallon, best French brandy, or any kind you
wish to imitate, even Otard, 1 quart; loaf sugar 2 oz., sweet
spirits of nitre 1/2 oz., a few drops of tincture of catechu, or oak
bark, to roughen the taste if desired; colour to suit your taste,
and bottle.
80. BRANDY FROM OIL COGNAC
Take of pure spirits 10 gallons, New England rum 2 quarts, or
Jamaica rum 1 quart, and oil cognac from 30 to 40 drops, put in half
a pint of alcohol, colour with tincture of kino, or burned sugar,
which is generally preferred. Mix well and bottle.
81. PALE BRANDY
This is made as the French brandy, using pale instead of the French,
and using 1 oz. of tincture of kino for colour, only for 5 gallons.
82. CHERRY BRANDY
To every 10 gallons of brandy add 3 quarts of wild black cherries,
stones and all bruised, and crushed sugar 2 lbs. Let it stand until
the strength and flavour is obtained, and draw from it as wanted for
use. Never attempt to use oil of bitter almonds for this purpose,
instead of the cherries, for it is a most deadly poison.
83. BLACKBERRY BRANDY
Take of brandy 10 gallons, nice rich blackberries mashed from 4 to 6
quarts, according to the degree of flavour you wish. Mix and add a
little sugar to overcome the acidity of the berries, according to
their ripeness will the amount vary from one to 4 oz. to each
gallon.
84. STRAWBERRY BRANDY
This is made as the above, using very nice ripe strawberries, and
only about half the quantity of sugar.
[There are no entries for receipts 85, 86 and 87 in the original.]
88. HOLLAND GIN
Take of pure spirits 1 gallon, best Holland gin, schnapps, or any
kind desired, 1 quart, oil of juniper 2 scruples, oil of anise 1/4
oz.; mix all well together.
89. COLOURING
Take of white sugar 1 lb., put it into an earthen kettle, moisten
a little, let boil, and burn red, black and thick, remove from the
fire and put in a little hot water to keep it from hardening as
it cools. Use this to colour any liquors, needing colour, to your
taste, or as near the colour of the liquor you imitate as you can.
Tincture of kino is a good colour, and is made by dissolving 1 oz.
of kino in a pint of alcohol. For a cherry red use tincture of
saffron; for light amber to deep brown use sugar colouring; for
brandy colour, sugar; for red use beet root or saunders; for port
wine colour use extract of rhatany.
90. TO KEEP SWEET AND SWEETEN SOUR CIDER
To keep cider sweet take a keg, put several holes in the bottom of
it, and a piece of woollen cloth at the bottom, then fill with pure
sand closely packed, then pass your cider through this, and put up
in clean barrels that have had a piece of cotton or linen cloth 2 by
6 inches, dipped in sulphur, and burned in them, then keep in a cool
place and add 1/2 lb. of white mustard seed to each barrel. If cider
is souring, about 1 quart of hickory ashes, (or a little more of
other hard wood ashes), stirred into each barrel, will sweeten and
clarify it, nearly equal to rectifying; but if it is not rectified
it must be racked off to get clear of pomace, for while this is in
it, it will remain sour. Oil or whiskey barrels are best to put up
cider in, or 1/2 pint of sweet oil, or a gallon of whiskey, or both
may be added to a barrel with decidedly good effects. Isinglass 4
oz. to each barrel helps to clarify and settle cider that is not
going to be rectified.
91. SCHRUB
Take of lemon juice 1 pint, white sugar 2 pints, rum 3 pints, water
4 pints; mix and colour ready for use.
92. STOUGHTON BITTERS
Take of gentian 4 oz., orange peel 4 oz., columbo 4 oz., chamomile
flowers 4 oz., quassia 4 oz., burned sugar 1 lb., whiskey 2-1/2
galls., water 2-1/2 galls,; mix and let stand one week, then bottle
the clear liquor.
93. TO IMPROVE THE FLAVOUR OF NEW WHISKEY
Take of whiskey 1 gall., add tea 4 oz., allspice 4 oz., caraway seed
4 oz., cinnamon 2 oz., shake occasionally for a week and use one
pint to a barrel. Keep this mixture in a jug.
94. CHERRY BOUNCE OR BRANDY
Take 10 galls. of good whiskey, put into it from 4 to 6 quarts of
wild black cherries with the stones broken, common almonds shelled
1 lb., white sugar 1-1/2 lb., cinnamon 1/2 oz., nutmeg 1/2 oz., all
bruised. Let stand 12 or 13 days and draw off; this, with the
addition of 2 galls. of brandy, make very nice cherry brandy.
95. MONONGAHALE
Take of good common whiskey 36 gall., dried peaches 2 quarts,
rye, burned and ground as coffee, 1 quart, cinnamon, cloves, and
allspice, bruised, of each 1 oz., loaf sugar 5 lbs., sweet spirits
of nitre 2 oz., put all these articles into 4 galls. of pure
spirits, and shake every day for a week, then draw off through a
woollen cloth, and add the whole to the 36 galls. of whiskey.
96. RYE WHISKEY
Take of dried peaches 1/2 a peck, put them into a pan in a stove,
scorch a little, not to burn however, then bruise, and place in
a woollen (pointed) bag, and leach good common whiskey over them
twice, having the barrel up so as to hang the bag under the faucet
and draw slowly over them; this is for a barrel. Add 10 or 12 drops
of aqua ammonia to each barrel, after leaching through the peaches;
with age this is nearly, if not quite, equal to whiskey made from
rye.
97. STOMACH BITTERS
Take of gentian root 6 oz., orange peel 10 oz., cinnamon 1 oz.,
anise seed 2 oz., coriander seed 2 oz., cardamom seed 1/2 oz.,
Peruvian bark, unground, 2 oz., bruise all the articles and add
of gum kino 1 oz., and put them into 2 quarts of alcohol, and two
quarts of pure spirits or good whiskey; shake occasionally for 10
or 12 days, and strain or filter through several thicknesses of
woollen. Half a pint of this may be added to a gallon of whiskey,
more or less, as desired, and you have an article as good, or
better, and more healthy than that for which you will pay three
times as much; or you may use it the same as stoughton, to which
it is preferred.
98. PEPPERMINT CORDIAL
Take of good whiskey 10 galls., water 10 galls., white sugar 10
lbs., oil of peppermint 1 oz., flour 1 oz., burned sugar 1/2 lb. to
colour, alcohol 1 pint; put the oil of peppermint in the alcohol,
then with this work the flour well, add the burned sugar, work
again, and mix all the ingredients together; let them stand a week
and they are ready for use. If you wish a different flavour from
that of oil of peppermint use any other oil of which you desire
the flavour.
99. ST. CROIX RUM
Take of pure spirits 28 galls., of pure St. Croix run 3 galls.,
sal-ammonia (cut in alcohol) 1 OZ., sweet spirits of nitre 6 ozs.,
mix all together and let stand for 24 hours, occasionally shaking,
and it is ready for use.
100. LEMONADE
Take of fresh lemon juice 4 oz., fresh lemon peel 1/2 oz., white
sugar 4 oz., boiling water 3 pints; mix all together; let them stand
till cool, and then strain off for use; if you wish you can cool at
once with ice. Where this is used as a cooling drink in fevers a
little sweet spirits of nitre may be added.
101. A BRILLIANT WHITEWASH
This bears a gloss like ivory, and will not rub off. Take of clean
unslacked lime 5 or 6 quarts, slack with hot water in a tub, cover
to keep in the steam; when ready, pass it through a fine sieve, and
add 1/4 lb. of whiting, 1 lb. of good sugar pulverized, and 3 pints
of rice flour, first made into a thin paste; boil this mixture
well, then dissolve 1 lb. of clean glue in water, and add it to the
mixture, and apply while warm with a whitewash brush, except when
particular neatness is required you may then use a paint brush; in
both cases put it on warm. You may add colouring matter to give it
any shade you please.
102. CHANGING VARNISHES
Varnishes of this description are call changing because, when
applied to metals such as copper, brass, or tin or silver foil, they
give them a more agreeable colour; indeed, the common metals, when
coated with them acquired a lustre approaching to that of the
precious metals, and hence these varnishes are much employed in
manufacturing imitations of gold and silver. Put four ounces of the
best gum gamboge into 32 ozs. of spirits of turpentine, 4 ozs. of
dragon's blood into the same quantity of spirits of turpentine as
the gamboge, and 1 oz. of anatto into 8 ozs. of the same spirits.
The three mixtures being made in different vessels, they should then
be kept for about a fortnight in a warm place, and as much exposed
to the sun a possible; at the end of that time they will be fit for
use; and you can procure any tints you wish by making a composition
from them, with such proportions of each liquor as practice and the
nature of the colour you are desirous of obtaining will point out.
Changing varnishes may likewise be employed, with very good effect,
for furniture, such as picture frames, &c.--See Lackers.
103. GOLD LACKER OR VARNISH
In using the changing varnish or any of these lackers, for picture
frames for instance, lay them over with tin or silver leaf, by means
of plaster of Paris glue, or cement of some kind, that the foil may
be perfectly adherent to the wood, then apply your varnish; apply as
many coats as may suit your taste, and if it be the gold lacker you
use it has the appearance of being laid with gold leaf, and if the
pale brass lacker, of being laid with brass, &c., and if you use
the changing varnish you may make it just what colour you wish, by
mixing the three materials in different proportions. For making gold
lacker, put into a clean 4 gallon tin 1 lb. ground turmeric, 1-1/2
oz. powdered gamboge, 3-1/2 lbs. powdered gum sandrack, 3/4 lb.
shellac, and 2 galls. spirits of wine; after being dissolved and
strained add 1 pint of turpentine varnish, receipt No. 112, well
mixed, and it is ready for use.
104. RED SPIRIT LACKER
Take 2 galls. spirits of wine, 1 lb. dragon's blood, 3 lbs. Spanish
annatto, 3-1/2 lbs. gum sandrack, 2 pints turpentine. Made exactly
as the gold lacker.
105. PALE BRASS LACKER
Take 2 galls. spirits of wine, 3 ozs. cape aloes, cut small, 1 lb.
fine pale shellac, 1 oz. gamboge, cut small, no turpentine. Varnish
made exactly as before, but observe, that those who make lackers
frequently want some paler and some darker and sometimes inclining
more to the particular tint of certain of the component ingredients;
therefore if a 4 oz. vial of a strong solution of each ingredient be
prepared, a lacker of any tint can be prepared at any time as by
changing varnish.
106. DEMAR VARNISH
This is a fine clear varnish, being harder and less coloured than
mastic, while it is as soluble, and may be had at one-tenth the
price. Put 6 oz. of gum demar in a bottle with 10 ozs. of spirits of
turpentine, and put into another bottle 6 ozs. of gum demar, with
16 ozs. alcohol, when they are dissolved put them together, and you
have an excellent cheap varnish which dries quickly and is very
clear.
107. COPAL VARNISH
Take 1 oz. of copal, and 1/2 oz. of shellac, powder them well and
put them into a bottle or jar containing 1 quart of spirits of wine;
place the mixture in a warm place and shake it occasionally, till
you see that the gums are completely dissolved, and when strained
the varnish is fit for use.
108. WHITE HARD VARNISH
Take 1 lb. of mastic, 4 oz. of gum anima; and 5 lbs. of gum
sandrack, put them all together to dissolve, into a vessel
containing 2 oz. of rectified spirits of wine, which should be kept
in a warm place and frequently shaken till all the gums are quite
dissolved; then strain the mixture through a lawn sieve, and it will
be fit for use.
109. CRYSTAL VARNISH
Procure a bottle of Canada balsam, which can be had at any
druggist's; draw out he cork and set the bottle of balsam at a
little distance from the fire, turning it round several times, until
the heat has thinned it; then have something that will hold as much
as double the quantity of balsam; carry the balsam from the fire,
and, while fluid mix it with the same quantity of good turpentine,
and shake them together until they are well incorporated. In a few
days the varnish is fit for use, particularly if it is poured into a
half gallon glass or stone bottle, and kept in a gentle warmth. This
varnish is used for maps, prints, charts, drawings, paper,
ornaments, &c.
110. BLACK VARNISH FOR OLD STRAW OR CHIP HATS
Take a 1/2 oz. of the best black sealing wax, pound it well, and put
it into a 4 oz. vial, containing 2 ozs. of rectified spirits of
wine; place it in a sand-bath or near a moderate fire till the wax
is dissolved, then lay it on warm, with a fine soft hairbrush,
before a fire or in the sun. It gives a good stiffness to old straw
hats, and a beautiful gloss equal to new. It likewise resists wet.
111. VARNISH FOR VIOLINS &c.
Take 1 gallon of rectified spirits of wine, 12 ozs. of mastic, and
1 pint of turpentine varnish; put them altogether in a tin can, and
keep it in a very warm place, shaking it occasionally till it is
perfectly dissolved; then strain it, and it is fit for use. If you
find it necessary, you may dilute it with turpentine varnish. This
varnish is also very useful for furniture of plumtree, mahogany, or
rosewood.
112. TURPENTINE VARNISH
Take 5 lbs. of clear good resin, pound it well, and put it into 1
gallon of oil of turpentine; boil the mixture over a stove till the
resin is perfectly dissolved, and when cool, it will be fit for use.
113. IRON WORK BLACK OR BLACK VARNISH FOR IRON
Put 48 lbs. asphaltum into an iron pot, and boil for four hours;
during the first two hours, introduce 7 lbs. litharge, 3 lbs. dried
copperas, and 10 gallons boiled oil; add 1/8 lb. run of dark gum,
with 2 gallons hot oil; after pouring the oil and gum, continue the
boiling two hours, or until it will roll into hard pills like Japan;
when cool, thin it off with three gallons of turpentine, or until it
is of proper consistence. This varnish is intended principally for
the iron work of coaches and other carriages.
114. VARNISH FOR HARNESS
Take 1/2 lb. of india rubber, 1 gallon of spirits of turpentine;
dissolve enough to make it into a jelly by keeping it almost new
milk warm; then take equal quantities of good linseed oil, (in a hot
state,) and the above mixture, incorporate them well on a slow fire,
and it is fit for use.
115. QUICK DRYING HARNESS BLACKING VARNISH
Break 1/2 cake (which is about 1 ounce) of white wax into an earthen
pan, and just cover it with oil of turpentine; place a board over
the pan to keep out the air; let it stand for 24 hours or until
formed into a paste; then in another pan, mix 1 lb. of best ivory
black with neatsfoot oil, until it assumes a thick consistency; then
mix the contents of both pans together. It may be reduced with
spirits of turpentine. Bottle, and it is fit for use.
116. OIL PASTE BLACKING
Take oil vitriol, 2 ozs., tanners oil, 5 ozs., ivory black, 2 lbs.,
molasses, 5 ozs; mix the oil and vitriol together, let it stand a
day, then add the ivory black, the molasses, and the white of an
egg; mix well, and it is ready for use.
117. WATER PROOF OIL OR PASTE BLACKING
Take 1 pint of camphene, and put into it all the india rubber it
will dissolve, 1 pint currier's oil, 7 lbs. tallow, and 2 ozs. of
lampblack; mix thoroughly by heat. This is a nice thing for old
harness and carriage tops, as well as for boots and shoes.
118. BEST VARNISH BLACKING EXTANT
Take of alcohol, 1 gallon; white turpentine, 1-1/2 lbs.; gum shellac
1-1/2 lbs.; venice turpentine, 1 gill; let these stand in a jug in
the sun, or by a stove, until the gums are dissolved; then add sweet
oil, 1 gill; lampblack, 2 oz., and you have a varnish that will not
crack when the harness is twisted like the old shellac varnish. It
is good also for boots and shoes, looking well, and turns water.
119. ASPHALTUM OR WALNUT STAIN
Take of asphaltum, 2 lbs.; boiled linseed oil, 1/2 pint; spirits of
turpentine, 1 gallon; mix the two first in an iron pot, boil slowly
until the asphaltum is melted, then take it some distance from the
fire, cool a little, and add the turpentine (avoiding ignition)
before it cools too much, and it is finished.
120. POLISH FOR OLD FURNITURE
Take 1 pint best spirits of wine, 1 pint raw linseed oil, 1 pint
spirits of turpentine; mix all three together, and shake well
before use. Apply with a rubber of cotton wool covered with a piece
of clean old white cotton cloth. Apply slightly and you will be
astonished at the effect. Old furniture that is scratched, soiled,
or stained, if the wood is not torn up, being polished with this,
has the appearance of new.
121. OIL TO MAKE THE HAIR GROW AND CURL
Take of olive oil 1/2 a pint, oils of rosemary and origanum, of each
1/8 of an oz. Mix well and apply rather freely.
122. BEST SHAVING SOAP
Take 4-1/2 lbs. white bar soap, 1 quart rain water, 1 gill of beef's
gall, and 1 gill spirits of turpentine; cut the soap thin, and boil
five minutes, stir while boiling, and colour with 1/2 oz. of
vermillion; scent with oil of rose or almonds. 10 cents worth will
positively make $6 worth of soap.
123. NEW YORK BARBERS' STAR HAIR OIL
Take of castor oil, 6-1/2 pints; alcohol, 1-1/2 pint; citronella and
lavender oils, of each 2 ozs.; mix and shake well, and it is ready
for use.
124. ROWLAND'S MACASSAR HAIR OIL
Take of sweet oil, 8 ozs.; cantharides and oil of lemon, of each 60
drops; alkanet sufficient to colour it.
125. ROSE HAIR OIL
Take 1 quart olive oil, 2-1/2 ozs. alcohol, 1-1/2 ozs. rose oil;
after this tie 1 oz. of chipped alkanet root in 3 or 4 little muslin
bags, and let them lie in the oil until a pretty red is manifested,
then change them to other oil. do not press them.
126. BEAR'S OIL
Take of good sweet lard oil, 1 quart; bergamot, 1 ounce; mix well
together.
127. OX MARROW FOR THE HAIR
Take of ox marrow, 4 ozs.; white wax, 1 oz.; nice fresh lard, 6 ozs;
mix and melt; when cool, add 1-1/2 ozs. oil of bergamot, and mix well.
128. COLOGNE
Take oils of rosemary and lemon, of each, 1/4 oz.; oils of bergamot
and lavender, of each, 1/8 oz.; oil of cinnamon, 8 drops; oils of
cloves and rose, of each 15 drops; best alcohol, 2 quarts; mix and
shake 2 or 3 times a day for a week. This will be better if
deoderized, or cologne alcohol is used.
129. HARD SOAP
Take of soft soap, 12 lbs.; (that made of olive oil is best,) common
salt, 9 lbs.; mix and boil for 2 hours, run it into bars, or as you
want it, and you will have 7-1/2 lbs. of soap. Add a little resin
when you melt it over. Scent with fragrant oil if you wish to do so.
130. BAR SOAP
Take of lime water 1 teacupful, spirits of turpentine 2
teaspoonsful, resin 1/2 lb., sal. soda 1-1/2 lbs., of bar shop soap
4 lbs.; melt and boil all together to a proper consistency, then
pour into moulds.
131. CARVER'S POLISH
In a pint of spirits of wine dissolve 2 oz. of seed lac, and 2 oz.
of resin. The principal use of this polish is for the carved parts
of cabinet work, such as standards, pillars, claws, &c. It should be
laid on warm, and it will be still better; but all moisture and
dampness should be carefully avoided.
132. FRENCH POLISH
Take 1 oz. of shellac, 1/4 oz. of gum-arabic, and 1/4 oz. of gum
copal; bruise them well, and sift them through a piece of muslin,
then put them along with a pint of spirits of win into a closely
corked vessel, place it in a very warm situation, and shake it
frequently every day till the gums are dissolved, then strain
through a piece of muslin, and keep it corked for use.
133. WATER-PROOF POLISH
Put 2 ozs. of gum benjamin, 1/4 oz. of gum sandrac, and 1/4 oz. of
gum anima, into a pint of spirits of wine, in a closely stopped
bottle, place the bottle either in a sand bath, or in hot water,
till the gums are dissolved, then strain off the mixture, shake it
up with a 1/4 of a gill of the best clear poppy oil, and put by for
use.
134. FINISHING POLISH
Put 2 drachms of shellac, and 2 drachms of gum benjamin, into 1/2
pint of the very best rectified spirits of wine, in a bottle
closely corked; keep the bottle in a warm place, and shake it
frequently till the gums are dissolved, when cold shake up with it
2 teaspoonsful of the best clear poppy oil, and it will be fit for
use. This polish may be applied with great advantage after any
of those mentioned in the foregoing receipts have been used. It
removes the defects existing in them, increasing their lustre and
durability, and gives the surface a most brilliant appearance.
135. COMPOSITION USED IN WELDING CAST STEEL
Take of borax, 10 parts; sal-ammoniac, 1 part; grind or pound them
roughly together, then fuse them in a metal pot over a close fire,
taking care to continue the heat until all spume has disappeared
from the surface, when the liquid appears clear, the composition is
ready to be poured out to cool and concrete; afterward being ground
to a fine powder. To use this composition, the steel to be welded is
raised to a heat, which may be expressed by bright yellow, it is
then dipped among the welding powder, and again placed in the fire
until it attains the same degree of heat as before, it is then ready
to be placed under the hammer.
136. COMPOSITION USED IN WELDING CAST IRON
Take good clear white course sand, 3 parts; refined solton, 1 part;
fosterine, 1 part; rock salt 1 part; borax, 1 part; mix all
together. Take 2 pieces of cast iron, heat them in a moderate
charcoal fire, occasionally taking them out while heating, and
dipping them into the composition, until they are of a proper heat
to weld, then at once lay them on the anvil, and gently hammer them
together, and if done carefully by one who understands welding iron,
you will have them nicely welded together. One man prefers heating
the metal, then cooling it in the water of common beans, and heating
it again for welding.
137. CAST IRON CEMENT
Take of clean borings or turning of cast iron, 16 parts; of
sal-ammoniac, 2 parts; and flour of sulphur, 1 part; mix them well
together on a mortar, and keep them dry. When required for use,
take 1 part of the mixture, and 20 parts of clean borings, mix
thoroughly, and add a sufficient quantity of water. Note.--A little
grindstone added improves the cement.
138. CASE HARDENING
This is the conversion of the surface of wrought iron into steel,
for the purpose of adapting it to receive a polish, or to bear
friction, &c. The best method in the world of effecting this is by
heating the iron to cherry red in a close vessel, in contact with
carbonacious material, and then plunging it into cold water. Bones,
leather, hoofs, and horns of animals, are best for this purpose,
after having been burnt or roasted, so that they can be pulverized.
Soot is very frequently used; it answers, but not so well.
139. TO SOFTEN IRON OR STEEL
Either of the following simple methods will make iron or steel as
soft as lead: 1. Anoint it all over with tallow, temper it in a
gentle charcoal fire, and let it cool of itself. 2. Take a little
clay, cover your iron with it, temper in a charcoal fire. 3. When
the iron or steel is red hot, strew hellebore on it. 4. Quench the
iron or steel in the juice, or water, of common beans.
140. SOLDER FOR LEAD
Melt 1 part of block tin, and when in a state of fusion, add 2 parts
of lead; if a small quantity of this, when melted, is poured upon
the table, there will, if it be good, arise little bright stars upon
it. Resin should be used with this solder.
141. SOLDER FOR TIN
Take 4 parts of pewter, 1 of tin, and 1 of bismuth, melt them
together, and run them into thin slips. Resin is also employed in
using this solder.
142. SOLDER FOR IRON
The best solder for iron is good tough brass, with a little borax.
143. SOLDER FOR COPPER
Take of brass, 6 parts; zinc, 1 part; tin, 1 part; melt all
together, mix well, and pour out to cool.
144. SOLDER FOR STEEL JOINTS
Silver, 19 parts; copper, 1 part; brass, 2 parts; melt all together.
145. HARD SOLDER
Fuse together 2 parts of copper, and 1 of zinc.
146. SOLDER FOR SILVER
Fuse together 5 parts of silver, and 1 part of brass.
147. GOLD SOLDER No. 1
Take of gold, 4 parts; silver, 3 parts; copper 1 part; and zinc,
1 part.
148. GOLD SOLDER No. 2
Take of gold, 3 parts; silver, 3 parts; copper, 1 part; zinc,
1/2 part.
149. GOLD SOLDER No. 3
Take of gold, 2 parts; silver, 3 parts; copper, 1 part; and zinc 1/2
a part.
The gold, silver, and copper must be fused in a crucible before the
zinc is added, or else you cannot keep them in the vessel while
heating. When all are completely fused, they must be well stirred,
and run into bars. Solder No. 1 is for gold 16 carats and upwards;
No. 2 is for that 14 carats fine; and No. 3 for lower qualities. If
more zinc is added, it will fuse at a lower heat, but the colour is
not so good.
150. MOCK GOLD
Fuse together 16 parts of copper, 7 of platinum, and 1 of zinc. When
steel is alloyed with 1/500 part of platinum, or with 1/500 part of
silver, it is rendered much harder, more malleable, and better
adapted for all kinds of cutting instruments. Note.--In making
alloys, care must be taken to have the more infusible metals melted
first, and afterwards add the others.
151. BRITANNIA METAL
Take 4 parts of brass, and 4 parts of tin; when fused add 4 parts of
metallic bismuth, and 4 parts of metallic antimony. This composition
is added at discretion to metallic tin, according to the quality you
wish to make.
152. BLANCHED COPPER
Melt together 8 parts of copper and a half part of arsenic.
153. COMMON PEWTER
Melt together 4 parts of tin and 1 part of lead.
154. BEST PEWTER
Melt together 100 parts of tin and 17 of antimony.
155. A METAL THAT EXPANDS IN COOLING
Melt together 9 parts of lead, 2 of antimony and one of bismuth. This
metal is very useful in filling small defects in iron castings, &c.
156. QUEEN'S METAL
Melt together 9 parts of tin, 1 of antimony, 1 of bismuth, and 1
of lead.
157. IMITATION PLATINUM
This metal, or alloy, very closely resembles platinum. Melt together
8 parts of brass and 5 parts of zinc.
158. CHINESE WHITE COPPER
Melt together 40.4 parts of copper, 31.6 parts of nickel, 25.4 of
zinc, and 2.6 of iron.
159. MANHEIM GOLD
Melt together 3 parts copper, 1 of zinc, and a little tin.
160. TOMBACK, OR RED BRASS
Melt together 8 parts of copper, and 1 part of zinc.
161. IMITATION GOLD
Take of platina 8 parts, of silver 4 parts, copper 12 parts, melt
all together.
162. IMITATION SILVER
Take of block tin 100 parts, metallic antimony 8 parts, bismuth 1
part, and 4 parts of copper; melt all together.
163. TRUE IMITATION OF GOLD
Dr. Harmsteadt's imitation of gold, which is stated not only to
resemble gold in colour, but also in specific gravity and ductility,
consists of 16 parts of platinum, 7 parts of copper, and 1 of zinc,
put in a crucible, covered with charcoal powder, and melted into a
mass.
164. TRUE IMITATION OF SILVER
Imitation of pure silver, so perfect in its resemblance that no
chemist living can tell it from pure virgin silver. It was obtained
from a German chemist now dead; he used it for unlawful purposes to
the amount of thousands, and yet the metal is so perfect that he was
never discovered. It is all melted together in a crucible, here it
is: 1/4 oz. of copper, 2 oz. of brass, 3 oz. of pure silver, 1 oz.
of bismuth, 2 ozs. of saltpetre, 2 ozs. of common salt, 1 oz. of
arsenic, and 1 oz. of potash.
165. MOULDS AND DIES
Take copper, zinc, and silver, in equal proportions, and melt them
together, and mould into the forms you desire, and bring the same
to a nearly white heat; now lay on the thing that you would take the
impression of, and press it with sufficient force, and you will find
that you have a perfect and beautiful impression. All of the above
metals should be melted under a coat of powdered charcoal.
166. TO SOFTEN HORN
To 1 lb. of wood ashes, add 2 lbs. of quicklime; put them into a
quart of water, let the whole boil till reduced to one third, then
dip a feather in, and if, on drawing it out, the plume should come
off, it is a proof that it is boiled enough, if not, let it boil a
little longer; when it is settled filter it off, and in the liquor
thus strained put in shavings of horn; let them soak for three days,
and, first anointing your hands with oil, work the horn into a mass,
and print or mould it into any shape you please.
167. TO MAKE MOULDS OF HORN
If you wish to take the impression of any coin, medal, &c.,
previously anoint it with oil, then lay the horn shavings over it in
its softened state; when dry the impression will be sunk into the
horn, and this will serve as a mould to reproduce, either by plaster
of Paris, putty and glue, or isinglass and ground egg shells, the
exact resemblance of the coin or medal.
168. TO CASE FIGURES IN IMITATION OF IVORY
Make isinglass and strong brandy into a paste, with powder of egg
shells, very finely ground; you may give it what colour you please,
but cast it warm into your mould, which you previously oil over;
leave the figure in the mould till dry, and you will find, on taking
it out, that it bears a very strong resemblance to ivory.
169. TRUE GOLD POWDER
Put some gold leaf, with a little honey or thick gum water,
(whenever I speak of gum I mean gum arabic,) into an earthen mortar,
and pound the mixture till the gold is reduced to very small
particles; then wash out the honey or gum repeatedly with warm
water, and the gold will be left behind in a state of powder, which,
when dried, is fit for use.
170. TRUE GOLD POWDER
Another, and perhaps better method of preparing gold powder is to
heat a prepared amalgam of gold in a clean open crucible, (an
amalgam of any metal is formed by a mixture of quicksilver with
that metal) continuing a very strong heat till all the mercury has
evaporated, stirring the amalgam all the while with a glass rod;
when the mercury has entirely left the gold, grind the remainder in
a Wedgewood's mortar, with a little water, and when dried it will be
fit for use. The subliming the mercury is, however, a process
injurious to the health.
171. COLOUR HEIGHTENING COMPOSITIONS
For yellow gold, dissolve in water 6 ozs. of saltpetre, 2 ozs. of
copperas, 1 oz. of white vitriol, and 1 oz. of alum. If wanted
redder, add a small portion of blue vitriol.
172. FOR GREEN GOLD
Dissolve in water a mixture consisting of 1-1/2 oz. of saltpetre;
vitriol and sal-ammoniac, 1-1/4 oz. of each, and 1 oz. verdigris.
173. FOR RED GOLD
Take 1-1/2 oz. of red ochre in fine powder, the same quantity of
calcined verdigris, 1/2 oz. of calcined borax, and 4 oz. of melted
yellow wax; the verdigris must be calcined, or else, by the heat
applied in melting the wax, the vinegar becomes so concentrated as
to corrode the surface, and make it appear speckled. These last
three are colours for heightening compositions.
174. MOSAIC GOLD
Mosaic gold, or aurum mosaicum, is used for inferior articles. It
is prepared in the following manner: 1 lb. of tin is melted in a
crucible, and 1/2 lb. of purified quicksilver added to it; when this
mixture is cold, it is reduced to powder, and ground with 1/2 lb.
of sal-ammoniac, and 7 ozs. of flower of sulphur, till the whole
is thoroughly mixed; they are then calcined in a mattrass, and the
sublimation of the other ingredients leaves the tin converted into
the aurum mosaicum, which is found at the bottom of the glass, like
a mass of bright flakey gold powder. Should any black or discoloured
particles appear, they must be removed. The sal-ammoniac used
here must be very white and clear, and the mercury quite pure and
unadulterated. When a shade of deeper red is required, it can easily
be obtained by grinding a very small quantity of red lead along with
the above materials.
175. DUTCH OR GERMAN GOLD
A gilding powder is sometimes made from Dutch gold, which is sold in
books at a very low price. This is treated in the same way as the
real gold leaf in making the true gold powder. It is necessary, when
this inferior powder is used, to cover the gilding with a coat of
clear varnish, otherwise it soon loses its metallic appearance. The
same remark applies, though to a less degree, to Mosaic gilding.
176. COPPER POWDER
This is prepared by dissolving filings or slips of copper with
nitrous acid in a receiver. When the acid is saturated, the slips
are to be removed; or, if filings be employed, the solution is to be
poured off from what remains undissolved; small bars are then put
in, which will precipitate the copper from the saturated acid, in
a powder of the peculiar appearance and colour of copper, and the
liquid being poured from the powder, this is to be washed clean of
the crystals by repeated levigations.
177. COMMON SIZE
The size used by painters for most sorts of common work is prepared
by boiling in water pieces of parchment, and of the skins of
animals and fins of fish, and evaporating the solution to a proper
consistency. It only differs, however, from a solution of glue
containing fewer foreign ingredients, and in not being so strong.
178. DR. JOHN'S VARNISH FOR PLASTER OF PARIS CASTS
Take of white soap and white wax, each half an ounce, of water two
pints; boil them together for a short time in a clean vessel. This
varnish is to be applied when cold, by means of a soft brush. It
does not sink in, it readily dries, and its effect may be heightened
by lightly using a silk pocket handkerchief.
179. GENERAL DIRECTIONS FOR BRONZING
This art is nothing but a species of painting, but far from being of
the most delicate kind. The principal ingredients made use of in it
are the true gold powder, the German gold, the aurum mosaicum, and
copper powder, (all above described.) The choice of these powders
is, of course, to be determined by the degree of brilliancy you wish
to obtain. The powder is mixed with strong gum water or isinglass,
and laid on with a brush or pencil; and when not so dry as to have
still a certain clamminess, a piece of soft leather wrapped round
the finger, is dipped in the powder and rubbed over the work; when
the work has been all covered with the bronze, it must be left to
dry, and any loose powder then cleared away by a hair pencil.
180. BRONZING IN WOOD
This may be effected by a process somewhat differing from the above,
Prussian blue, patent yellow, raw amber, lamp-black, and pipe clay
are ground separately with water on a stone, and as much of them as
will make a good colour put into a small vessel three-fourths full
of size. This mixture is found to succeed best on using about half
as much more pipe clay as of any of the other ingredients. The wood
being previously cleaned and smoothed, and coated with a mixture of
clean size and lamp-black, receives a new coating with the above
compound twice successively, having allowed the first to dry.
Afterwards the bronze powder is to be laid on with a pencil, and the
whole burnished or cleaned anew, observing to repair the parts which
may be injured by this operation; next, the work must be coated over
with a thin lather of castile soap, which will take off the glare of
the burnishing, and afterwards be carefully rubbed with a woollen
cloth. The superfluous powder may be rubbed off when dry.
181. IN BRONZING IRON
The subject should be heated to a greater degree than the hand can
bear; and German gold, mixed with a small quantity of spirit of wine
varnish, spread over it with a pencil; should the iron be already
polished, you must heat it well and moisten it with a linen rag
dipped in vinegar.
182. BRONZING CASTS OF PLASTER OF PARIS
There is a method of bronzing casts of plaster of Paris analogous to
that which we have above given for bronzing wood, but it is not in
much repute. Such figures may be beautifully varnished by means of
Dr. John's varnish, receipt No. 178. Casts of plaster of Paris may be
made by receipt No. 167.
183. SHELL-LAC VARNISH
Dissolve in an iron kettle, one part of pearl-ash in about 8 parts
of water; add one part of shell-lac, and heat the whole to
ebullition. When the lac is dissolved, cool the solution, and
impregnate it with chlorine, till the lac is all precipitated.
The precipitate is white, but its colour deepens by washing and
consolidation; dissolved in alcohol, lac bleached by the above
process yields a varnish which is as free from colour as any copal
varnish.
184. CHLORINE FOR SHELL-LAC VARNISH
This may be formed by mixing intimately eight parts of common salt,
and three parts of the black oxide of manganese in powder; put this
mixture into a retort, then pour four parts of sulphuric acid,
diluted with an equal weight of water, and afterwards allowed to
cool upon the salt and manganese; the gas will then be immediately
liberated, and the operation may be quickened by a moderate heat. A
tube leading from the mouth of the retort must be passed into the
resinous solution, where the gas will be absorbed, and the lac
precipitated.
185. SHELL-LAC VARNISHES OF VARIOUS COLOURS
These may be made by using ant colour in fine powder with the
varnish, in the following manner: rub up the colour with a little
alcohol or spirits of turpentine till it becomes perfectly smooth,
then put it into the cup with the varnish. Shell-lac varnish is the
best spirit varnish we have, and may be made any colour by the above
process.
186. GOLD OIL-COLOUR, OR SIZE
The English method of preparing the colour in size, which serves as
the ground on which the gold is laid, is, to grind together some red
oxide of lead with the thickest drying oil that can be procured, the
older the better. To make it work freely, it is mixed, before being
used, with a little oil of turpentine, till it is brought to a
proper consistence. The above four receipts are used in japanning.
187. JAPANNING
If it be woodwork you are about to japan, it must be prepared with
size, and some coarse material mixed with it to fill up and harden
the grain of the wood, (such as may best suit the colour to be laid
on,) which must be rubbed smooth with glass paper when dry. In cases
of accident, it is seldom necessary to resize the damaged places,
unless they are considerable.
188. GRINDING COLOURS IN JAPANNING
Be very careful in japanning, to grind your colours smooth in
spirits of turpentine, then add a small quantity of turpentine and
spirit varnish, lay it carefully on with a camel hair brush, and
varnish it with brown or white varnish, according to the colour.
189. COLOURS REQUIRED IN JAPANNING
Flake white, red lead, vermillion, lake, Prussian blue, patent
yellow, orpiment, orchres, verditers, vandyke brown, umber,
lamp-black, and siennas raw and burnt. With these you may match
almost any colour in general use in japanning. For a black japan, it
will be found sufficient to mix a little gold-size with lamp-black;
this will bear a good gloss, without requiring to be varnished
afterwards.
190. TO PREPARE A FINE TORTOISE-SHELL JAPAN
Take 1 gallon of good linseed oil, and 1/2 lb. of umber; boil them
together till the oil becomes very brown and thick, then strain it
through a coarse cloth, and set it again to boil; in which state it
must be continued till it acquires a consistence resembling that of
pitch; it will then be fit for use.
191. DIRECTIONS FOR USING TORTOISE-SHELL JAPAN
Having thus prepared the varnish or japan, clean well the substance
which is to be japanned; then lay vermillion, tempered with
shell-lac varnish, or with drying oil, very thinly diluted with
oil of turpentine, on the places intended to imitate the more
transparent parts of the tortoise-shell; when the vermillion is
dry, brush the whole over with black varnish, tempered to a due
consistence with the oil of turpentine. When set and firm, put the
work into a stove, where it may undergo a very strong heat, which
must be continued a considerable time; if even three weeks or a
month it will be the better. This tortoise-shell ground it not less
valuable for its great hardness, and enduring to be made hotter
than boiling water without damage, than for the superior beauty and
brilliancy of its appearance.
192. TO MAKE CLOTH, SILK &c., WATER-PROOF
Mix equal quantities of alum and acetate of lead, and dissolve the
mixture in 1-1/2 gallons of boiling water. When the solution has
cooled, remove the supernatent liquid from the sediment, which
consists of sulphate of lead, and is ready for use. Any article
of dress, when well saturated in this liquid, and allowed to dry
slowly, bears the action of boiling water, and does not permit it
to pass through, although steam and air penetrate if freely.
193. CROCKERY CEMENT
Dissolve 1 oz. of common salt in 1 quart of water, bring to a boil,
and put in 1-1/4 lbs. gum shell-lac; when it shall have dissolved,
pour into cold water, and work like wax; make into small sticks.
This will make crockery as firm as a rock. Directions: Warm the
stick, apply it to the broken edges, then heat the edges, place them
together and hold for a minute, and they are firm.
194. A CEMENT FOR CHINA, GLASS-WARE, &c.
Take a thick mucilage of gum arabic, and stir into it plaster of
Paris to form a thick paste, apply to the edges with a brush, and
press firmly together and confine them two or three days, and you
will be astonished at their firmness.
195. ANGLER'S SECRET
The juice of loveage or smellage mixed with any kind of bait, or a
few drops of the oil of rhodium; India cockle, also, is sometimes
mixed with flour dough, and sprinkled on the surface of still water.
This intoxicates the fish, and makes him turn up on the top of the
water, when he is taken and put in a tub of fresh water until he
revives, when all is right; he may be eaten without fear; but this
will destroy many fish.
196. MORELLA WINE
Take the juice of morella or tame cherries, and to each quart put 3
quarts of water, and 4 lbs. of coarse brown sugar; let them ferment,
and skim until worked clear; then draw off, avoiding the sediment at
the bottom, bung up, or bottle, which is best for all wines, letting
the bottles lie always on the side, either for wines or beers.
197. HAIR DYE
No. 1 Crystalised nitrate of silver, 1 drachm; soft water, 1 oz.
No. 2 Sulphide (sulphuret is the same) of potassium, 1 drachm; soft
water, 1 oz.; wash the beard or hair with soap to remove oil, dry
with a towel a little then apply No. 1, and directly after it No. 2,
for a few minutes, alternately, using different tooth brushes for
each No. Clear days are best on which to apply it. As soon as
dry, wash out well with soap. Keep it from shirt bosoms and face,
especially No. 1, as it will make the face sore as well as colour
it. If you do get it on the skin, cyanide (cyanuret is the same) of
potassium, 1 drachm, to 2 ozs. of water, will take it off. This last
is poison, however, and should not touch sore places, nor be left
where children may get at it.
198. TALLOW CANDLES IN IMITATION OF WAX
Purify melted mutton tallow by throwing in powdered quicklime, then
add 2 parts of wax to 1 of tallow. A most beautiful article of
candle, resembling wax, will be produced by the mixture. Dip the
wicks in lime-water and saltpetre on making.
199. TO STAIN MUSICAL INSTRUMENTS A CRIMSON STAIN
Take of ground Brazil, 1 lb.; water, 3 quarts; cochineal, 1/2 oz.;
boil the Brazil in the water for an hour; then strain, and add the
cochineal; then boil it gently for half-an-hour, when it will be
fit for use. If you wish a scarlet tint, boil an ounce of saffron in
a quart of water, and pass over the work before you stain it. The
article must be very clean, and of firwood, or the best sycamore.
When varnished over this stain it is most elegant.
200. A PURPLE STAIN FOR VIOLINS, &c.
Take of chipped logwood, 1 lb.; of water, 3 quarts; of pearl-ash,
4 ozs.; of indigo, pounded, 2 ozs.; put the logwood in the water,
boil well for an hour, then add the pearl-ash and indigo, and when
dissolved, you will have a beautiful purple.
201. A BLUE STAIN FOR VIOLINS, &c.
Take of oil of vitriol in a glass bottle, 1 lb.; put into it 4 ozs.
of indigo, and precede as directed in dyeing.
202. GREEN STAIN FOR VIOLINS, &c.
Take of strong vinegar, 3 pints; of best verdigris, 4 ozs., ground
fine; of sap green, 1/2 oz.; of indigo, 1/2 oz.; mix all together.
203. GENERAL DIRECTIONS FOR DYEING
The materials should be perfectly clean; soap should be rinsed out
in soft water; the article should be entirely wetted, or it will
spot; light colours should be steeped in brass, tin or earthen;
and, if set at all, should be set with alum. Dark colours should be
boiled in iron, and set with copperas; too much copperas rots the
thread.
204. FOR COLOURING SKY BLUE
Get the blue composition; it may be had at the druggist's, or
clothier's, for a shilling an ounce. If the articles are not white,
the old colours should all be discharged by soap or a strong
solution of tartaric acid, then rinsed; 12 or 16 drops of the
composition, stirred into a quart-bowl of warm water, and strained
if settlings are seen, will dye a great many articles. If you want
a deeper colour, add a few drops more of the composition. If you
wish to colour cotton goods, put in pounded chalk to destroy the
acid, which is very destructive to all cotton; let it stand until
the effervescence subsides, and then it may be safely used for
cotton or silk.
205. FOR LILAC COLOUR
Take a little pinch of archil, and put some boiling-hot water upon
it, add to it a very little lump of pear-lash. Shades may be altered
by pear-lash, common slat, or wine.
206. TO COLOUR BLACK
Logwood and cider, boiled together in iron, water being added for
the evaporation, makes a good durable black. Rusty nails or any bits
of rusty iron, boiled in vinegar, with a small piece of copperas,
will also dye black; so will ink powder, if boiled with vinegar. In
all cases, black must be set with copperas.
207. TO DYE LEMON COLOUR
Peach leaves, bark scraped from the barberry bush, or saffron,
steeped in water, and set with alum, will colour a bright lemon,
drop in a little gum-arabic to make the articles stiff.
208. TO DYE ROYAL PURPLE
Soak logwood chips in soft water until the strength is out, then add
a teaspoonful of alum to a quart of the liquid; if this is not
bright enough, add more alum, rinse and dry. When the dye is
exhausted, it will colour a fine lilac.
209. TO DYE SLATE COLOUR
Tea grounds, boiled in iron vessels, set with copperas, makes a good
slate colour. To produce a light slate colour, boil white maple bark
in clear water, with a little alum. The bark should be boiled in
brass utensils. The goods should be boiled in it, and then hung
where they will drain and dry.
210. TO DYE SCARLET
Dip the cloth in a solution of alkaline or metallic salt, then in
a cochineal dye, and let it remain some time, and it will come out
permanently coloured. Another method: 1/2 lb. of madder, 1/2 oz. of
cream tartar, and 1 oz. of marine acid to 1 lb. of cloth; put it
all together, and bring the dye to a scalding heat; put in your
materials, and they will be coloured in ten minutes. The dye must be
only scalding hot. Rinse your goods in cold water as soon as they
come from the dye.
211. TO COLOUR A BRIGHT MADDER
For 1 lb. of yard or cloth, take 3 ozs. of madder; 3 ozs. of alum;
1 oz. of cream tartar; prepare a brass kettle with two gallons of
water, and bring the liquor to a steady heat, then add your alum and
tartar, and bring it to a boil; put in your cloth, and boil it two
hours; take it out, and rinse it in cold water; empty your kettle,
and fill it with as much water as before; then add your madder; rub
it in fine in the water before your cloth is in. When your dye is
as warm as you can bear your hand in, then put in your cloth, and
let it lie one hour, and keep a steady heat; keep it in motion
constantly, then bring it to a boil fifteen minutes, then air and
rinse it. If your goods are new, use 4 ozs. of madder to a lb.
212. TO COLOUR GREEN
If you wish to colour green, have your cloth as free as possible
from the old colour, clean, and rinsed; and, in the first place,
colour it deep yellow. Fustic, boiled in soft water, makes the
strongest and brightest yellow dye; but saffron, barberry-bush,
peach-leaves, or onion-skins, will answer pretty well. Next take a
bowlful of strong yellow dye, and pour in a great spoonful or more
of the blue composition, stir it up well with a clean stick, and dip
the articles you have already coloured yellow into it, and they
will take a lively grass-green. This is a good plan for old
bombazet-curtains, dessert-cloths, old flannel for desk coverings, &c.
213. TO DYE STRAW COLOUR AND YELLOW
Saffron, steeped in earthen and strained, colours a fine straw
colour. It makes a delicate or deep shade, according to the strength
of the tea. Colouring yellow is described in receipt No. 212. In all
these cases a little bit of alum does no harm, and may help to fix
the colour. Ribbons, gauze handkerchiefs, &c., are coloured well in
this way, especially if they be stiffened by a bit of gum-arabic,
dropped in while the stuff is steeping.
214. TO DYE A DRAB COLOUR
Take plum tree sprouts, and boil them an hour or more; add copperas,
according to the shade you wish your articles to be. White ribbons
take very pretty in this dye.
215. TO DYE PURPLE
Boil an ounce of cochineal in a quart of vinegar. This will afford a
beautiful purple.
216. TO DYE BROWN
Use a teaspoonful of soda to an ounce of cochineal, and a quart of
soft water.
217. TO COLOUR PINK
Boil 1 lb. of cloth an hour in alum water, pound 3/4 of an oz. of
cochineal and mix 1 oz. of cream of tartar; put in a brass kettle,
with water, enough to cover the cloth; when about blood hot, put in
your cloth, stir constantly, and boil about fifteen minutes.
218. TO DYE A COFFEE COLOUR
Use copperas in a madder-dye, instead of madder compound.
219. TO DYE NANKIN COLOUR
The simplest way is to take a pailful of lye, to which put a piece
of copperas half as big as a hen's egg; boil in a copper or tin
kettle.
220. TO MAKE ROSE COLOUR
Balm blossoms, steeped in water, colour a pretty rose colour. This
answers very well for the linings of children's bonnets, for
ribbons, &c.
221. TO DYE STRAW AND CHIP BONNETS BLACK
Boil them in strong logwood liquor 3 or 4 hours, occasionally adding
green copperas, and taking the bonnets out to cool in the air, and
this must be continued for some hours. Let the bonnets remain in the
liquor all night, and the next morning take them out, dry them in
the air, and brush them with a soft brush. Lastly, rub them inside
and out with a sponge moistened with oil, and then send them to be
blocked. Hats are done in the same way.
222. TO DYE WHITE GLOVES A BEAUTIFUL PURPLE
Boil 4 oz. of logwood, and 2 oz. of roche-alum, in 3 pints of soft
water, till half wasted; let it stand to be cold after straining.
If they be old gloves let them be mended; then do them over with a
brush, and when dry repeat it. Twice is sufficient unless the colour
is to be very dark; when dry, rub off the loose dye with a coarse
cloth; beat up the white of an egg, and with a sponge, rub it over
the leather. The dye will stain the hands, but wetting them with
vinegar before they are washed will take it off.
223. TO BLEACH STRAW HATS, &c.
Straw hats and bonnets are bleached by putting them, previously
washed in pure water, in a box with burning sulphur; the fumes which
arise unite with the water on the bonnets, and the sulphurous acid,
thus formed, bleaches them.
224. TO DYE SILKS BLACK
To 8 gallons of water add 4 ozs. of copperas; immerse for 1 hour
and take out and rinse; boil 2 lbs. logwood chips, or 1/2 lb. of
extract; 1/2 lb. of fustic; and for white silks, 1/2 lb. of nicwood;
dissolve 2 lbs. of good bar-soap in a gallon of water; mix all the
liquids together, and then add the soap, having just enough to cover
the silk; stir briskly until a good lather is formed, then immerse
the silk and handle it lively. The dye should be as warm as the hand
will bear; dry quickly and without rinsing. The above is enough for
10 yards or one dress.
225. TO COLOUR YELLOW ON COTTON
Wet 6 lbs. of goods thoroughly; and to the same quantity of water
add 9 oz. of sugar of lead; and to the same quantity of water in
another vessel, add 6 oz. of bichromate of potash; dip the goods
first into the solution of sugar of lead, and next into that of the
potash, and then again into the first; wring out, dry, and
afterwards rinse in cold water.
226. FOR STAINING GLASS--No. 1 FLUX
Minimum, or red lead, 3 parts; white sand, washed, 1 part. This
mixture is melted, by which it is converted into a greenish-yellow
glass.
227. No. 2 FLUX
Of No. 1, 8 parts; fused borax, in powder, 1 part. This mixture
is melted.
228. No. 3 FLUX
Fused borax, 5 parts; calcined flint, 3 parts; pure minium, 1 part.
This mixture is also melted. The above fluxes are used in procuring
the different colours for staining glass.
229. INDIGO BLUE
Oxide of cobalt, 1 part; flux No. 3, 2 parts.
230. TURQUOISE BLUE
Oxide of cobalt, 1 part; oxide of zinc, 3 or 4 parts; flux No. 3, 6
parts; melt and pour out. If it is not sufficiently green, increase
the zinc and flux.
231. AZURE BLUE
Oxide of cobalt, 1 part; oxide of zinc, 2 parts; flux No. 2, 8 parts;
melt them together.
232. DEEP AZURE BLUE
Oxide of cobalt, 1 part; oxide of zinc, 2 parts; flux No. 2, 5 parts.
The beauty of this colour depends on the proportion of flux. As
little as possible is to be used; it must, however, be brilliant.
Sometimes less is used than the proportion indicated.
233. SKY BLUE
Oxide of cobalt, 1 part; oxide of zinc, 2 parts; flux No. 2, 12
parts; pound up, melt, and pour out.
234. EMERALD GREEN
Oxide of copper, 1 part; antimonic acid, 10 parts; flux No. 1, 30
parts; pulverize together, and melt.
235. BLUEISH GREEN
Green oxide of chromium, 1 part; oxide of cobalt, 2 parts;
triturate, and melt at a high heat. The product is a button slightly
melted, from which is removed the portion in contact with the
crucible. This button is pounded up, and three parts of flux No. 3,
for one of the button, are added to it.
236. GRASS GREEN
Green oxide of chromium 1 part, flux No. 3, 3 parts, triturate and
melt.
237. DEEP YELLOW
Antimonic acid 2 parts, subsulphate of iron 1 part, flux No. 1, 10
parts; melt and pour out. The subsulphate of iron may be increased a
little, the proportions of flux vary.
238. JONQUILLE YELLOW FOR FLOWERS
Litharge 18 parts, sand 6 parts. The product of the calcination of
equal parts of lead and tin 2 parts, carbonate of soda 1 part,
antimonic acid 1 part, rub together, or triturate, and melt.
239. WAX YELLOW
Litharge 18 parts, sand 4 parts, oxide of antimony 2 parts, sienna
earth 2 parts; melt. If it is too deep the proportion of sienna
earth may be decreased.
240. ORANGE YELLOW
Chromate of lead 1 part, minium 3 parts.
241. BRICK RED
Yellow No. 240, 12 parts; red oxide of iron, 1 part.
242. DEEP BLOOD RED
Subsulphate of iron, calcined in a muffle until it becomes a
beautiful capucine red, 1 part; flux No. 2, 3 parts; mix without
melting.
243. BROWN YELLOW OCHRE
Yellow ochre No. 244, 10 parts; sienna earth, 1 part; triturate
without melting.
244. DEEP YELLOW OCHRE--CALLED YELLOW BROWN
Subsulphate of iron, 1 part; oxide of zinc, 1 part; flux No. 2, 5
parts; triturate without melting.
245. PURE PURPLE
The purple powder of Cassius mixed while moist with flux No. 3, and
sometimes a little chloride of silver previously melted with flux
No. 3. If the purple, when prepared, does not melt sufficiently easy,
some flux may be added when it is dry.
246. DEEP VIOLET
The purple of Cassius, in place of flux No. 3, flux No. 1 is mixed
with it. Sometimes a little of blue No. 233 is added.
247. FLESH RED
The sulphate of iron, put in a small crucible, and lightly calcined,
produces a suitable red oxide. Those which have the desired tone are
selected. All the flesh reds are made in this way, and vary only in
the degree of heat which they receive.
248. HAIR BROWN
Yellow ochre, No. 244, 15 parts; oxide of cobalt, 1 part; well
triturated and calcined, in order to give the tone to it.
249. LIVER BROWN
Oxide of iron made of a red brown, and mixed with three times its
weight of flux No. 2. A tenth of sienna earth is added to it if it is
not sufficiently deep.
250. WHITE
The white enamel of commerce in cakes.
251. YELLOWISH GREY
Yellow No. 252, 1 part; blue No. 233, 1 part; oxide of zinc, 2 or 3
parts; flux No. 2, 5 parts; sometimes a little black is added,
according to the tone which the mixture produces. The proportions of
the blue and yellow vary.
252. YELLOW FOR BROWNS & GREENS
Antimonic acid, 2 parts; sulphate of iron 1 part; flux No. 1, 9
parts. This colour is melted and sometimes a little Naples Yellow is
added if it is too soft, i.e., melts too easily.
253. BLUEISH GREY FOR MIXTURES
Blue previously made by melting together three parts of flux No. 1,
and one part of the mixture of oxide of cobalt, 8 parts; oxide of
zinc, 1 part; sulphate of iron calcined at a forge heat, 1 part;
flux No. 2, 3 parts; triturate and add a little manganese in order
to render it more grey.
254. GRAYISH BLACK FOR MIXTURES
Yellow ochre, No. 244, 15 parts; oxide of cobalt, 1 part; triturate
and calcine in a crucible until it has the desired tone. A little
oxide of manganese is added in order to make it blacker; sometimes a
little more of oxide of cobalt.
255. DEEP BLACK
Oxide of cobalt, 2 parts; oxide of copper, 2 parts; oxide of
manganese, 1 part; flux No. 1, 6 parts; fused borax, 1/2 part; melt
and add oxide of manganese, 1 part; oxide of copper, 2 parts;
triturate without melting.
256. GENERAL DIRECTIONS
The colours thus prepared after having been rubbed up on a plate of
ground glass with the spirits of turpentine or lavender, thickened
in the air are applied with a hair pencil. Before using them,
however, it is necessary to try them on small pieces of glass, and
expose them to the fire, to ascertain if the desired tone of colour
is produced. The artist must be guided by these proof pieces in
using his colours. The proper glass for receiving these colours
should be uniform, colourless, and difficult of fusion. For this
reason crown glass made with a little alkali or kelp is preferred.
A design must be drawn upon paper and placed beneath the plate of
glass. The upper side of the glass being sponged over with gum-water
affords, when dry, a surface proper for receiving the colours,
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