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,
without the risk of their running irregularly, as they would be apt
to do on the slippery glass. The artist draws on the plate, with a
fine pencil all the traces which mark the great outlines and shades
of the figures. This is usually done in black, and afterwards, when
it is dry, the vitrifying colours are laid on by means of larger
hair pencils. The yellow formed with chloride of silver is generally
laid on the back of the glass, for it is apt to run with the other
colours while heating.
The pigments used in painting on glass are principally matallic
oxides and chlorides, and as, in most of these, the colour is not
brought out until after the painting is submitted to heat, it is
necessary to ascertain beforehand if the colours are properly mixed
by painting on slips of glass, and exposing them to heat in a
muffle. The painter is guided by these trial pieces in laying on his
colours. To fire the paintings a furnace with a muffle is used. The
muffles are made of refractory clay.
257. WHITE COATING FOR GOLD VARNISHES
A quart of strong parchment size and half a pint of water are to be
made quite hot, and to these are to be added, (in small portions
from time to time,) two good handsful of common whiting, passed
through a fine sieve; this mixture is to be left to infuse for half
an hour, when it is to be stirred carefully so that the amalgamation
may be perfect. This coating is preferable to any glue or cement for
coating picture frames, &c., on which is to be laid the tin or
silver leaf, to be varnished with gold varnishes or lackers.
258. LEAD COLOURING PAINT
Whiting, 112 lbs...................... $1.12
Blue-black, 5 lbs..................... 0.25
White lead ground in oil, 28 lbs...... 2.24
Road-dirt, 56 lbs..................... 0.10
Lime-water, 5 galls................... 0.05
Residue of the oil, 2-1/4 galls....... 1.25
--------
Weights, 256 lbs....... $5.01
To the above add two galls. of the incorporated oil, and 2 galls. of
the linseed oil to thin it for use, and it will not exceed two cents
and a quarter. The lime-water, whiting, road-dirt, and blue-black,
must be first mixed together, then add the ground lead, first
blending it with 2-1/2 galls. of the prepared fish oil; after
which, thin the whole with 2 galls. of linseed oil and 2 galls.
of incorporated oil, and it will be fit for use. For garden doors,
and other work liable to be in constant use, a little spirits of
turpentine may be added to the paint whilst laying on, which will
have the desired effect.
259. BRIGHT GREEN PAINT
112 lbs. yellow ochre in powder at 5 cts. per lb.... $5.50
168 lbs. road-dust.................................. 0.25
112 lbs. wet blue, at 20 cts. per lb................ 22.40
10 lbs. blue-black, at 5 cts. per lb............... 0.50
6 galls. of lime-water............................ 0.06
4 galls. fish oil, prepared....................... 2.40
7-1/2 galls. incorporated oil..................... 4.28
7-1/2 galls. linseed oil, at 90 cts. per gal...... 6.75
--------
Weights, 592 lbs.............. $42.24
It will be seen that the bright green paint costs but about 7 cts.
per lb., ready to lay on; and the inventor challenges any colour-man
or painter to produce a green equal to it for five times the price.
After painting, the colour left in the pot may be covered with water
to prevent it from sinking, and the brushes, as usual, should be
cleaned with the painting-knife, and kept under water. A brighter
green may be formed by omitting the blue-black. A lighter green may
be had by the addition of 10 lbs. of ground white lead. Observe that
the wet blue must be ground with the incorporated oil, preparatory
to its being mixed with the mass.
260. STONE-COLOURED PAINT
Lime-water, 4 galls................. $0.04
Whiting, 112 lbs.................... 1.12
White lead, ground, 28 lbs.......... 2.24
Road-dust, 56 lbs................... 0.10
Prepared fish oil, 2 galls.......... 1.20
Incorporated oil, 3-1/2 galls....... 2.00
Linseed oil, 3-1/2 galls............ 3.15
--------
Weights, 293 lbs....... $9.85
The above stone-colour fit for use, is not three and a half cents
per pound.
261. BROWN-RED COLOURED PAINT
Lime-water, 8 galls................. $0.08
Spanish brown, 112 lbs.............. 3.36
Road-dust, 224 lbs.................. 0.40
4 galls. of fish oil................ 2.40
4 galls. incorporated oil........... 2.28
4 galls. linseed oil................ 3.60
--------
Weights, 501 lbs....... $12.12
This paint is scarcely two and a half cents per pound. The Spanish
brown must be in powder.
262. A GOOD CHOCOLATE COLOURED PAINT
This is made by the addition of blue black in powder, or lamp-black
to receipt No. 261, till the colour is to the painter's mind; and a
lighter brown may be formed by adding ground white lead. By ground
lead is meant white lead ground in oil.
263. YELLOW PAINT
This is prepared with yellow ochre in powder, to receipt No. 261, in
the same proportion as Spanish brown.
264. BLACK PAINT
This is also prepared in the same proportion, as in receipt No. 261,
using lamp-black or blue-black, instead of Spanish brown.
265. WHITE PAINT
Slack a peck of nice, clean, fresh lime in a covered vessel, with
water which is boiling hot; when well slacked, strain it well, then
add to it 1-1/2 lbs. of finely ground rice; let the rice be boiled
to a thin paste, and stirred in while very hot; 1/2 peck of common
salt, well dissolved in warm water; 1/2 lb. of clean glue, dissolved
in water; and 1/4 lb. of whiting; when well mixed, add 5 gallons
of very hot water, then stir well, and let stand a few days well
covered. Pit it on hot, and it will stand the weather as well as
a good deal of white lead. You may colour this paint to suit your
taste, using and stirring in well Spanish brown for a red pink
colour. Take common clay finely powdered, and mixed well with
Spanish brown for a reddish stone-colour. For yellow colour use
yellow ochre if you please, but chrome yellow makes a richer colour
and less does. You may make the colours dark or light according to
the quantity of colouring matter used.
266. COMPOUND COLOURED PAINTS
The various colours that may be obtained by the mixture of other
colours, are innumerable. I only propose here to give the best
and simplest modes of preparing those which are required for use.
Compound colours, formed by the union of only two colours, are
called by painters virgin tints. The smaller the number of colours
of which any compound colour is composed, the purer and the richer
it will be. They are prepared as follows:
267. LIGHT GREY
This is made by mixing white lead with lamp-black, using more or
less of each material, as you wish to obtain a darker or lighter
colour.
268. BUFF COLOUR
This is made from yellow ochre and white lead.
269. SILVER OR PEARL GREY
Mix white lead, indigo, and a very light portion of black,
regulating the quantities by the shade you wish to obtain.
270. FLAXEN GREY
This is obtained by a mixture of white lead and Prussian blue, with
a small quantity of lake.
271. BRICK COLOUR
This is prepared by mixing yellow ochre, and red lead, with a little
white lead.
272. OAK WOOD COLOUR
Mix together three-fourths white lead, and one-fourth part umber and
yellow ochre; the proportions of the last two ingredients being
determined by the required tints.
273. WALNUT TREE COLOUR
Two-thirds white lead, and one-third red ochre, yellow ochre, and
umber, mixed according to the shade sought. If veining is required,
use different shades of the same mixture, and for the deepest
places, black.
274. JONQUIL
Mix together yellow, pink, and white lead. This colour is only
proper for distemper.
275. LEMON YELLOW
Mix together realgar and orpiment; some object to this mixture on
account of the poisonous nature of the ingredients. The same colour
can be obtained by mixing yellow-pink with Naples yellow; but it is
then only fit for distemper.
276. ORANGE COLOUR
For this colour mix red lead and yellow ochre.
277. VIOLET COLOUR
Make, by mixing vermillion, or red lead, with black or blue, and a
small portion of white: vermillion is far preferable to red lead,
in mixing this colour.
278. PURPLE
Made by mixing dark-red with violet-colour.
279. CARNATION
Mix together lake colour and white.
280. GOLD COLOUR
This is procured by mixing massicot, or Naples yellow, with a small
quantity of realgar, and a very little Spanish white.
281. OLIVE COLOUR
This may be obtained by various mixtures: black and a little
blue, mixed with yellow; yellow-pink, with a little verdigris
and lamp-black; or ochre and a small quantity of white, will
also produce a kind of olive colour. For distemper, indigo and
yellow-pink, mixed with white lead or Spanish white, must be
used. If veined, it should be done with umber.
282. LEAD COLOUR
Mix together indigo and white lead or whiting.
283. CHESTNUT COLOUR
Mix red-ochre and black, for a dark-chestnut. To make it lighter,
employ a mixture of yellow-ochre.
284. LIGHT TIMBER COLOUR
For this colour mix together spruce-ochre, white and a little umber.
285. FLESH COLOUR
Mix lake, white-lead, and a little vermilion.
286. LIGHT WILLOW GREEN
This is made by mixing white with verdigris.
287. STONE COLOUR
Mix white with a little spruce-ochre.
288. DARK LEAD COLOUR
Mix black and white with a little indigo.
289. FAWN COLOUR
Mix white lead, stone-ochre, and a little vermilion.
290. CHOCOLATE COLOUR
Mix lamp-black and Spanish brown. On account of the fatness of the
lamp-black, mix some litharge and red lead.
291. PORTLAND STONE COLOUR
Mix umber, yellow ochre, and white lead. The variety of shades of
brown that may be obtained, are nearly as numerous as those of
green.
292. TO IMITATE MAHOGANY
Let the first coat of painting be white lead, the second orange, and
the last burned umber or sienna; imitating the veins according to
your taste and practice.
293. TO IMITATE WAINSCOAT
Let the first coat be white, the second half white and half
yellow-ochre, and the third yellow-ochre only. Shadow with umber or
sienna.
294. TO IMITATE SATIN WOOD
Take white for your first coating, light blue for the second, and
dark blue or dark green for the third.
295. TURNER'S PATENT YELLOW PAINT
When sea-salt is made into a paste with litharge, it is decomposed,
its acid unites with the litharge, and the soda is set free. Hence
Turner's patent process for decomposing sea-salt, which consists in
mixing two parts of the former with one of the latter, moistening
and leaving them together for about twenty-four hours. The product
is then washed, filtered, and evaporated, by which soda is obtained.
A white substance is now left undissolved; it is a compound of
muriatic acid and lead, which, when heated, changes its colour, and
forms Turner's yellow; a very beautiful colour, much in use among
coach-painters.
296. TO PAINT IN IMITATION OF BLACK WALNUT
Wash the surface of the wood with weak alum-water, after being well
sand-papered; then go over it with linseed oil, coloured with murat
amber and red lead. It is better to have this colour rather light,
and renew the application; when this has sufficiently dried, go over
the surface with a strong sizing of transparent glue, and then use
two castors of copal varnish. Any good grained pine will bear a very
close resemblance to walnut, and the surface will be nearly as hard.
NOTE
For mixing the foregoing paints it is impossible to lay down any
particular rule as to quantity, as each person mixes them of a
shade to suit his own taste. They are mixed with oil and a little
turpentine, and sometimes a little japan is added to assist in
drying. When they are not mixed in this way the particular mode
is mentioned.
297. RULES FOR MAKING PICKLES
Select the best vinegar, for on this will depend the quality of your
pickles; use glass bottles or stone jars for your pickles, never use
earthenware glazed; use wooden knives and forks in making; leave the
jars three-fourths full of the articles to be pickled; then fill the
jar or bottle with vinegar. If you add alum at all let it be very
little; look your pickles over occasionally and remove any that may
not be doing well. Small cucumbers, beans, green plums, tomatoes,
onions, and radish pods, may be used for assorted pickles; one red
pepper for forty or fifty cucumbers is sufficient; if the vinegar on
pickles becomes white or weak, take it out and scald and skim it,
then return it to the pickles.
298. ASPARAGUS PICKLED
Cut and wash the heads of the largest asparagus; place them in cold
water for two hours; scald carefully in salt and water, then lay on
a cloth until cool; make a pickle of salt and vinegar and boil it;
to one gallon of pickles put a quarter of an ounce of mace, two
nutmegs, a quarter of an ounce of whole pepper, and pour your pickle
hot over them, cover tight with a cloth, and let stand a week, then
boil the pickle, and let stand a week again, and boil again, when
cold, cover closely.
299. BEANS AND FRENCH BEANS PICKLED
Lay them in salt and water for nine days; then add a little vinegar
and boil them in the liquor; when they become green strain them,
wipe them dry, and put the beans into the jar; boil some vinegar,
ginger, mace, pepper, cloves, and mustard seed, all bruised, and
while hot pour it on the beans; cover them close when cold.
300. TO PICKLE RED CABBAGE
Take the quarter of a purple head of cabbage, cut out the stalk,
then slice it down endways, put them on a drying sieve, sprinkle
each layer of cabbage with salt, which let lay and drain for two or
three days, then put into a jar, boil some vinegar with spice tied
up in a muslin bag, cut a beet root of good colour into slices; the
branches of cauliflower cut off after it has lain in salt will look
and be of a beautiful red; put it into a stone jar and pour boiling
vinegar over it.
301. TO PICKLE CUCUMBERS
Lay them upon dishes, sprinkle salt over them, let them lie a week,
drain then off, and put them into stone jars, pour boiling vinegar
over them, place them near fire, cover them well with vine leaves,
and if not a good green pour off the vinegar and boil it again;
cover them with fresh vine leaves and continue doing so until they
are a good colour; as, to make a better green, you must use a mettle
stew pan or brass kettles, which are very poisonous; use wooden
spoons with holes to dish all pickles, keeping them always well
covered and free from air.
302. TO PICKLE ONIONS
Peel the onions till they look white, boil some strong salt and
water and pour it over them; let them stand in this twenty-four
hours; keep the vessel closely covered to retain the steam; after
this wipe the onions quite dry, and when they are cold pour boiling
vinegar, with ginger and white pepper over them; the vinegar must
cover the onions.
303. TO PICKLE MUSHROOMS
These are pickled in salt water and brandy, but they are of little
advantage.
304. RAILROAD SYSTEM OF HORSE TRAINING