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