part with half an ounce of gum mastic, in a bottle by itself; one
part of spirits and half an ounce of gum sandrac in another bottle;
and one part of spirits and half an ounce of the whitest part of gum
benjamin; mix and temper them to your mind; if too thick, add
spirits; if too thin, some mastic; if too soft, some sandrac or
benjamin. When you use it, warm the silvered plate before the fire,
and with a flat camel-hair pencil stroke it over till no white
streaks appear; which will preserve the silvering for many years.
543. VARNISH FOR BALLOONS
Take some linseed oil, rendered drying by boiling it with 2 ozs. of
sugar of lead and 3 ozs. of litharge for every pint of oil till
they are dissolved, which may be in half an hour. Then put 1 lb. of
birdlime and half a pint of the drying oil into an iron or copper
vessel, whose capacity should equal about a gallon, and let it boil
very gently over a slow charcoal fire, till the birdlime ceases to
crackle, which will be in about half or three-quarters of an hour;
then pour upon it 2-1/2 pints more of the drying oil, and let it
boil about an hour longer, stirring it frequently with an iron or
wooden spatula. As the varnish, whilst boiling, and especially when
nearly ready, swells very much, care should be taken to remove,
in those cases, the pot from the fire, and to replace it when the
varnish subsides; otherwise, it will boil over. Whilst the stuff is
boiling, the operator should occasionally examine whether it has
boiled enough , which may be known by observing whether, when rubbed
between two knives, which are then to be separated from one another,
the varnish forms threads between them, as it must then be removed
from the fire. When nearly cool, add about an equal quantity of oil
of turpentine. In using the varnish, the stuff must be stretched,
and the varnish applied lukewarm. In 24 hours it will dry. As the
elastic resin, known by the name of Indian rubber, has been much
extolled for a varnish for balloons, the following method of making
it, as practiced by M. Blanchard, may not prove unacceptable:
dissolve elastic resin cut small in five times its weight of
rectified essential oil of turpentine, by keeping them some days
together. Then pour 1 oz. of this solution in 8 ozs. of drying
linseed oil for a few minutes; strain the solution, and use it warm.
544. TO PREPARE RENNET TO TURN MILK
Take out the stomach of a calf as soon as killed, and scour it
inside and out with salt; after it is cleared of the curd always
found in it, let it drain a few hours, then sew it up with two good
handsful of salt in it, or stretch it well salted on a stick, or
keep it in the salt wet; and when wanted soak it a little in fresh
water, and repeat the same when again required.
545. TO MAKE CHEESE
Put the milk into a large tub, warming a part till it is of a degree
of heat quite equal to new; if too hot the cheese will be tough. Put
in as much rennet as will turn it, and cover it over; let it stand
till completely turned, then strike the curd down several times with
the skimming-dish, and let it separate, still covering it. There are
two modes of breaking the curd, and there will be a difference in
the taste of the cheese according as either is observed: one is, to
gather it with the hands very gently towards the side of the tub,
letting the whey pass through the fingers till it is cleared, and
ladling it off as it collects; the other is, to get the whey from it
by early breaking the curd; the last method deprives it of many of
its oily particles, and is therefore less proper. Put the vat on a
ladder over the tub, and fill it with curd by the skimmer; press the
curd close with your hand, and add more as it sinks, and it must be
finally left two inches above the edge. Before the vat is filled,
the cheese-cloth must be laid at the bottom, and when full, draw
smoothly over on all sides. These are two modes of salting cheese;
one by mixing it in the curd while in the tub, after the whey is
out, and the other by putting it into the vat and crumbling the curd
all to pieces with it, after the first squeezing with the hands has
dried it. The first method appears best on some accounts, but not on
all, and therefore the custom of the country must direct. Put a
board under and over the vat, and place it in the press; in two
hours turn it out and put a fresh cheese-cloth; press it again for
eight or ten hours; then salt it all over, and turn it again in the
vat, and let it stand in the press fourteen or sixteen hours,
observing to put the cheese last made undermost. Before putting them
the last time into the vat, pare the edges if they do not look
smooth. The vat should have holes at the sides and at bottom, to let
all the whey pass through; put on clean boards, and change and scald
them.
546. TO PRESERVE CHEESE SOUND
Wash in a warm whey, when you have any, wipe it once a month, and
keep it on a rack. If you want to ripen it, a damp cellar will bring
it forward. When a whole cheese is cut, the larger quantity should
be spread with butter inside, and the outside wiped to preserve it.
To keep those in daily use moist, let a clean cloth be wrung out
from cold water, and wrapt round them when carried from the table.
547. TO MAKE CREAM CHEESE
Put 5 quarts of strippings, that is, the last of the milking, into
a pan, with 2 spoonsful of rennet. When the curd is come, strike it
down two or three times with the skimming-dish, just to break it;
let it stand two hours, then spread a cheese-cloth on a sieve, put
the curd on it, and let the whey drain; break the curd a little with
your hand, and put it into a vat with a 2 lb weight upon it; let
it stand twelve hours, take it out, and bind a fillet round; turn
every day till dry, from one board to another, cover them with
nettles or clean dock leaves, and put between two pewter-plates to
ripen. If the weather be warm, it will be ready in three weeks.
548. ELEGANT AND INGENIOUS ARTS, &c.
Accomplishments.--These are very desirable for the household,
because the inmates are made happier by refined and ingenious arts
and pursuits, and are fitted to improve the taste of others.
Children and young persons, of both sexes, should learn as many of
these arts as they possibly can without neglecting duties. Pleasant
modes of employing leisure hours save people from many temptations,
and add much to the happiness of life.
549. GRECIAN PAINTING
Grecian painting is the art of imitating oil paintings. This truly
beautiful imitation, if well done, is so perfect that none save
connoisseurs can discern, at sight, the difference.
Engravings best suited to this style of painting are mezzotint or
aquatint, though fine lithographs are used.
Rule First.--Procure a frame one inch longer than the engraved part
of the print. Second.--Cut the engraving the size of the frame, then
make a stiff paste, and spread thickly on the frame. Third.--Place
the engraving face down and sponge it gently with water; then press
the frame firmly and evenly down on; leave it till entirely dry (not
by the fire) and it will become even and tight.
To make the Grecian Varnish.--Take one part turpentine, two parts
alcohol, (90 proof,) three parts balsam of fir, and mix.
To use the Varnish.--Pour sufficient spirits of turpentine on the
back of the picture to moisten it well, then put on the varnish and
rub it THOROUGHLY with a stiff brush, and continue to apply it until
the picture is perfectly transparent.
Spots.--Leave the picture for twenty-four hours, after which if
white spots appear, showing that the varnish has not been effectual,
repeat the process. Sometimes it has to be done several times.
Drying.--Place the picture, face downward, where it will be free
from dust, and leave it three or four days.
Paints.--These are put on the back of the engraving.
Eyes.--For blue eyes, permanent blue and white; for hazel eyes,
yellow ochre and vandyke brown.
Flesh Tints.--Flake white, with a very little vermillion and Naples
yellow.
Foliages.--Chrome yellow and Prussian blue, with any of the browns.
Sky.--Clouds touched in with white; the rest permanent blue and
white.
Water.--The light parts with white, the rest the same as the sky.
If a bright scene, and with trees, of a greenish brown.
Hair and Eyebrows.--Yellow ochre and vandyke brown, or raw sienna.
Backgrounds.--The most agreeable tint is a greenish brown.
White Background.--Flake and silver white.
Buff Background.--Naples yellow.
Orange Background.--Chrome yellow, with vermillion.
Blue Background.--Flake white and Prussian blue.
Gray Background.--White, Prussian blue, and vermillion.
Pink Background.--White and vermillion.
Crimson Background.--Vermillion and white, with carmine.
Green Background.--Chrome yellow and Prussian blue.
Paints for the front of the picture.--Drying oil must be used with
all the colours on the front.
Shading for the flesh on the front.--Carmine and vandyke brown laid
on lightly, and the edges touched off with the finger.
Cheeks.--Carmine; soften the edges carefully.
Lips.--Carmine, with a touch of vermilion.
Hair and Eyebrows.--Yellow lake and vandyke brown.
Draperies.--These are always painted on the back, and shaded on the
front with vandyke brown.
Backgrounds.--If plain, glaze with yellow lake.
Foliages.--Yellow lake and vandyke brown.
General Directions.--First.--Lay the paint thickly on the back, and
be careful to cover every part, but not to go over the edges.
Second.--When the painting is finished let it dry four days, and
then cover the front with a coat of mastic varnish.
Materials required are a palette, palette-knife, flat varnish
brush, three sizes of bristle brushes, three sizes of table brushes,
drying oil, mastic varnish, spirits of turpentine, Grecian varnish.
Colours used are oil colours in tubes. Those generally needed are
silver white, Naples yellow, yellow ochre, brilliant yellow,
vermilion, Prussian blue, raw sienna, ivory black, carmine, yellow
lake, vandyke brown.
If economy is an object, some of the above-mentioned materials can
be dispensed with.
550. DIAPHANIE
This is a beautiful, useful, and inexpensive art, easily acquired,
and producing imitation of the richest and rarest stained glass; and
also of making blinds, screens, skylights, Chinese lanterns, &c.,
in every variety of colour and design. In decorating his house, a
gentleman spends as much money as he can conveniently spare; the
elegancies and refinements of modern taste demand something more
than mere comfort; yet though his walls are hung with pictures, his
drawing-room filled with bijouterie, how is it that the windows of
his hall, his library, his staircase, are neglected? The reason is
obvious. The magnificent historical glass might be envied, but
could not be brought within the compass of ordinary means. Recent
improvements in printing in colours led the way to this beautiful
invention, by which economy is combined with the most perfect
results. A peculiar kind of paper is rendered perfectly transparent,
upon which designs are printed in glass colours, (vitro de
couleurs,) which will not change with the light. The paper is
applied to the glass with a clear white varnish, and when dry, a
preparation is finally applied, which increases the transparency,
and adds tenfold brilliancy to the effect. There is another design,
printed in imitation of the half-light (abatiour;) this is used
principally for a ground, covering the whole surface of the glass,
within which (the necessary spaces having been previously cut out
before it is stuck on the glass,) are placed medallion centres of
Watteau figures, perfectly transparent, which derive increased
brilliancy from the semi-transparency of the surrounding country.
To ascertain the quantity of designs required, measure your glass
carefully, and then calculate how many sheets it will take. The
sheets are arranged so that they can be joined together
continuously, or cut to any size or shape.
Practical Instructions.--Choose a fine day for the operation, as the
glass should be perfectly dry and unaffected by the humidity of the
atmosphere. Of course, if you have a choice, it is more convenient
to work on your glass before it is fixed in the frame. If you are
working on a piece of unattached glass, lay it on a flat table, (a
marble slab is preferable,) over which you must previously lay a
piece of baize of cloth to keep the glass steady. The glass being
thus fixed, clean and polish the side on which you intend to
operate, (in windows this is the inner side,) then with your brush
lay on it very equably a good coat of the prepared varnish; let
this dry for an hour, more or less, according to the dryness of the
atmosphere and the thickness of the coat of varnish. Meantime cut
and trim your designs carefully to fit the glass, (if it is one
entire transparent sheet you will find it little trouble;) then lay
them on a piece of paper, face downwards, and damp the back of them
with a sponge, applied several times, to equalise the moisture.
After this operation, arrange your time so that your designs may now
be finally left to dry for fifteen minutes before application to the
glass, the varnish on which has now become tacky or sticky, and in
a proper state to receive them. Apply the printed side next to the
glass without pressure; endeavour to let your sheet fall perfectly
level and smooth on your glass so that you may avoid leaving
creases, which would be fatal. Take now your palette, lay it flat on
the design, and press out all the air bubbles, commencing in the
centre, and working them out from the sides; an ivory stick will
be found useful in removing creases; you now leave this to dry,
and after twenty-four hours apply a slight coat of the liqueur
diaphane, leaving it another day, when if dry, apply a second coat
of the same kind, which must be left several days: finally, apply a
coat of varnish over all. If these directions are carefully followed,
your glass will never be affected by time or by any variations in
the weather: it will defy hail, rain, frost and dust, and can be
washed the same as any ordinary stained glass, to which, in some
respects, it is even superior. It is impossible to enumerate the
variety of articles to the manufacture of which diaphanie may be
successfully applied as it is not confined to glass, but can be done
on silk, parchment, paper, linen, &c., after they have been made
transparent, which may be accomplished in the following manner:--
stretch your paper, or whatever it may be, on a frame or drawing
board, then apply two successive coats (a day between each,) of
diaphanous liquor, and after leaving it to dry for several days,
cover it with a thin layer of very clear size, and when dry it will
be in a fit state to receive the coat of varnish and the designs.
Silk, linen, or other stuffs, should be more carefully stretched,
and receive a thicker coat of size than paper or parchment; the
latter may be strained on a drawing or any other smooth board, by
damping the sheet, and after pasting the edges, stretching it down
while damp. Silk, linen, or other stuffs require to be carefully
stretched on a knitting or other suitable frame. Take great care to
allow, whatever you use, time to dry before applying the liqueur
diaphane. All kinds of screens, lamp-shades, and glasses, lanterns,
&c., &c., may be made in this way, as heat will produce no effect
upon them. The transparent pictures are successful, because they may
be hung on a window frame or removed at will, and the window blinds
are far superior to any thing of that kind that have yet been seen.
Instead of steeping the designs in the transparent liquor at the
time of printing them, which was previously done in order to show
their transparency to the purchaser, but which was practically
objectionable, as the paper in that state was brittle, and devoid
of pliancy, necessitating also the use of a peculiarly difficult
vehicle to manage (varnish) in applying it to the glass, the
manufacturer now prepares his paper differently, in order to allow
the use of parchment size in sticking them on the glass. The
liqueur diaphane, which is finally applied, renders them perfectly
transparent. In this mode of operation, no delay is requisite, the
designs being applied to the glass immediately after laying on the
size, taking care to press out all the air bubbles, for which
purpose a roller will be found indispensable. The designs should be
damped before the size is applied to them. We are of opinion that
this art may be applied to the production of magic-lantern slides,
dissolving views, and dioramic effects; though we are not aware
whether such experiments have been tried.
551. WATER-COLOURS USED IN DRAWING
Indian Ink.--The best is stamped with Chinese characters, breaks
with a glossy fracture, and feels smooth when rubbed on the plate.
Hair Pencils are made of camel's-hair; if they come to a point, when
moistened, without splitting, they are good.
Drawing Paper.--That made without any wire marks, and called wove
paper, is the best; it is made of various sizes and thicknesses.
To make a good white.--Clarify white lead with white-wine vinegar.
After the powder has settled, pour off the vinegar, put the powder
into a glass of water, stir it, and pour the water off while it is
white into another glass; when it is settled, pour off the water,
and an excellent white will be obtained. To this add gum enough to
give it a gloss.
552. DIRECTIONS FOR MIXED COLOURS
Ash Colour.--Ceruse white, Keating's black and white, shaded with
cherry-stone black.
Bay.--Lake and flake white, shaded with carmine; bistre and
vermilion shaded with black.
Changeable Silk.--Red lead and masticot water, shaded with sap-green
and verdigris.
Another.--Lake and yellow, shaded with lake and Prussian blue.
Cloud Colour.--Light masticot, or lake and white, shaded with blue
verditer.
Another.--Constant white and Indian ink, and a little vermilion.
Another.--White, with a little lake and blue verditer, make a good
cloud colour for that part next the horizon.
Crimson.--Lake and white, with a little vermilion, shaded with lake
and carmine.
Flame Colour.--Vermilion and orpiment, heightened with white.
Another.--Gamboge, shaded with minium and red lead.
Flesh Colour.--Ceruse, red lead, and lake, for a swarthy complexion,
and yellow ochre.
Another.--Constant white and a little carmine, shaded with Spanish
liquorice washed with carmine.
French Green.--Light pink and Dutch bice, shaded with green pink.
Glass Grey.--Ceruse, with a little blue of any kind.
Hair Colour.--Masticot, ochre, umber, ceruse, and cherry-stone
black.
Lead Colour.--Indigo and white.
Light Blue.--Blue bice, heightened with flake white.
Another.--Blue verditer, and white of any sort, well ground.
Light Green.--Pink, smalt, and white.
Another.--Blue verditer and gamboge.
Another.--Gamboge and verdigris. This is chiefly used for the ground
colours of trees, fields, &c.
Lion Tawney.--Red lead and masticot, shaded with umber.
Murrey.--Lake and white lead.
Orange.--Red lead and a little masticot, shaded with umber.
Orange Tawney.--Lake, light pink, a little masticot, shaded with
gall-stone and lake.
Pearl Colour.--Carmine, a little white, shaded with lake.
Popinjay Green.--Green and masticot; or pink and a little indigo,
shaded with indigo.
Purple.--Indigo, Spanish brown, and white; or blue bice, red and
white lead; or blue bice and lake.
Russet.--Cherry-stone black and white.
Scarlet.--Red lead and lake, with or without vermilion.
Sea Green.--Bice, pink and white, shaded with pink.
Sky Colour.--Light masticot and white, for the lowest and lightest
parts; second, red ink and white; third, blue bice and white;
fourth, blue bice alone. These are all to be softened into one
another at the edges, so as not to appear harsh.
Sky Colour for Drapery.--Blue bice and ceruse, or ultramarine and
white, shaded with indigo.
Straw Colour.--Masticot and a very little lake, shaded with Dutch
pink.
Yellow Colour.--Indigo, white, and lake; or fine Dutch bice and
lake, shaded with Indigo; or litmus smalt and bice, the latter
predominant.
Water.--Blue and white, shaded with blue, and heightened with white.
To prevent Colours from Cracking.--Boil 2 ozs. of the best and
clearest glue, with 1 pint of clear water, and a 1/2 oz. of alum,
till dissolved. With this temper those colours intended for the sky.
To make a Solution of Gum.--Dissolve 1 oz. of white gum arabic, and
a 1/2 oz. of double refined sugar, in a quart of spring water;
strain it through a piece of muslin, and bottle it to keep it free
from dust.
To keep Flies from the Work.--Having prepared the gum water for the
colours, add a little coloquintida.
To prepare Alum Water.--Take 4 ozs. of alum, and 1 pint of spring
water; boil it till the alum is thoroughly dissolved, and then
filter it through blotting-paper.
To use Alum Water.--Before laying on the colours, take some of this
water, hot, and with a sponge wet the back of the paper, which, if
not good, must be wet three or four times, letting the paper dry
each time before wetting it again. This will prevent the sinking of
the colours, and give them additional lustre.
To make Lime Water.--Put unslacked lime in a well-glazed pan; cover
it with pure water, and let it remain for one day. Then strain off
the water. This water will change sap-green into blue.
553. TO PREPARE WASH COLOURS FOR MAPS
Blue.--Dilute Saxon blue with water; or to the solution of litmus
add distilled vinegar.
Green.--Dissolve verdigris in distilled water and add gum arabic. Or,
dissolve sap-green in water and add gum.
Red.--Steep Brazil dust in vinegar, with alum. Or, dissolve litmus
in water and add spirit of wine. Or, steep cochineal in water,
strain, and add gum.
Yellow.--Dissolve gamboge in water; or French berries steeped in
water, the liquor strained, and gum arabic added.
554. TO MIX WATER-COLOURS FOR ANIMALS
Horses, black.--Black lightly laid on, shaded with Keating's black
and bistre, heightened with masticot.
Horses, chestnut brown.--Red ochre and black mixed together, shaded
with black, heightened with red ochre and white.
Horses, grey.--Black and white mixed, shaded with black, white, and
bistre; heightened with pure water.
Lions.--Colour much in the same manner as horses, adding lake in the
ground colour.
Bears.--Brown ochre, red ochre, and black, mixed; shaded with bistre
and ivory black.
Wolves.--Spanish liquorice and black, shaded with black.
Asses.--Black and white mixed; or, add a little brown ochre, shaded
with black.
Elephants.--Black, white, and Spanish liquorice, mixed; shaded with
black and bistre; the inner part of the nose, vermilion and white,
shaded with black.
Monkeys.--Dutch pink and black, heightened with masticot and white:
the face, black and bistre mixed, as also their feet; their bodies,
shaded underneath with black and pink mixed with a little brown
ochre.
555. FRUIT IN WATER-COLOURS
Apples.--Thin masticot mixed with verdigris, shaded with brown ochre.
Cherries.--Vermilion and lake, shaded with carmine, heightened with
vermilion and white.
Grapes, blue.--Dark purple shaded with blue; the bloom, bice.
Grapes, white.--Verdigris and masticot mixed, shaded with thin
verdigris heightened with masticot and white.
Peaches.--Thin masticot shaded with brown ochre; the bloom, lake
heightened with white.
Pears.--Masticot deepened and mellowed with brown ochre.
Strawberries.--White; draw it over with vermilion and lake, shaded
with fine lake, heightened with red lead and masticot mixed, and
then with white; stipple them with white and thin lead.
556. TO PAINT FLOWERS
Anemones.--A thin wash of gamboge shaded with bistre; or carmine and
sap-green blended together. The stripes carmine, shaded with the
same; indigo in the darkest parts, or stipple with it.
Leaves.--Sap-green, shaded with indigo and French berries; the stalk
brown.
Honeysuckles.--Inside of the petals, white shaded with sap-green, or
gamboge and bistre.
The insides are to be shown by curling the leaves back at the ends,
or by splitting them.
The outsides, a thin wash of carmine and lake mixed, shaded with
carmine--indigo for the darkest shades.
Stalks.--Sap-green and carmine.
Leaves.--Sap-green, shaded with indigo and French berries.