Feldspar 40 parts
Paris white 28 parts
Flint 4 parts
V.—Feldspar 16 parts
China clay 4 parts
Stone 4 parts
Oxide of zinc 2 parts
Plaster of Paris 1 part
VI.—Feldspar 10 parts
Stone 5 parts
Flint 2 parts
Plaster 1/2 part
The following glaze is excellent for bricks in the biscuit and pottery,
which require an easy firing:
«White.»—
White lead 20 parts
Stone 9 parts
Flint 9 parts
Borax 4 parts
Oxide of zinc 2 parts
Feldspar 3 parts
These materials should be procured finely ground, and after being
thoroughly mixed should be placed in a fire-clay crucible, and be
fired for 5 or 6 hours, sharply, or until the material runs down into
a liquid, then with a pair of iron tongs draw the crucible from the
kiln and pour the liquid into a bucket of cold water, grind the flux
to an extremely fine powder, and spread a coating upon the plate to be
enameled, previously brushing a little gum thereon. The plate must then
be fired until a sufficient heat is attained to run or fuse the powder.
«POTTERY BODIES AND GLAZES:»
«Ordinary.»—
I.—China clay 2 1/2 parts
Stone 1 1/2 parts
Bone 3 parts
II.—China clay 5 parts
Stone 2 1/2 parts
Bone 7 parts
Barytes 3 parts
III.—Chain clay 5 parts
Stone 3 parts
Flint 1/4 part
Barytes 8 parts
«Superior.»—
I.—China clay 35 parts
Cornwall stone 23 parts
Bone 40 parts
Flint 2 parts {168}
II.—China clay 35 parts
Cornwall stone 8 parts
Bone 50 parts
Flint 3 parts
Blue clay 4 parts
III.—China clay 8 parts
Cornwall stone 40 parts
Bone 29 parts
Flint 5 parts
Blue clay 18 parts
IV.—China clay 32 parts
Cornwall stone 23 parts
Bone 34 parts
Flint 6 parts
Blue clay 5 parts
V.—China clay 7 parts
Stone 40 parts
Bone 28 parts
Flint 5 parts
Blue clay 20 parts
«Finest China Bodies.»—
I.—China clay 20 parts
Bone 60 parts
Feldspar 20 parts
II.—China clay 30 parts
Bone 40 parts
Feldspar 30 parts
III.—China clay 25 parts
Stone 10 parts
Bone 45 parts
Feldspar 20 parts
IV.—China clay 30 parts
Stone 15 parts
Bone 35 parts
Feldspar 20 parts
«Earthenware Bodies.»—
I.—Ball clay 13 parts
China clay 9 1/2 parts
Flint 5 1/2 parts
Cornwall stone 4 parts
II.—Ball clay 12 1/2 parts
China clay 8 parts
Flint 5 1/2 parts
Cornwall stone 2 1/2 parts
One pint of cobalt stain to 1 ton of glaze.
III.—Ball clay 13 1/4 parts
China clay 11 parts
Flint 4 parts
Cornwall stone 5 parts
Feldspar 4 parts
Stain as required.
IV.—Ball clay 18 1/2 parts
China clay 13 1/2 parts
Flint 8 1/2 parts
Stone 4 parts
Blue stain, 2 pints to ton.
V.—Ball clay 15 parts
China clay 12 parts
Flint 6 parts
Stone 4 parts
Feldspar 4 parts
Blue stain, 2 pints to ton.
VI. (Parian).—
Stone 11 parts
Feldspar 10 parts
China clay 8 parts
«COLORED BODIES:»
«Ivory Body.»—
Ball clay 22 parts
China 5 1/2 parts
Flint 5 parts
Stone 3 1/2 parts
«Dark Drab Body.»—
Cane marl 30 parts
Ball clay 10 parts
Cornwall stone 7 parts
Feldspar 4 parts
«Black Body.»—
Ball clay 120 parts
Ocher 120 parts
Manganese 35 parts
Cobalt carbonate 2 parts
Grind the three last mentioned ingredients first.
«Caledonia Body.»—
Yellow clay 32 parts
China clay 10 parts
Flint 4 parts
«Brown Body.»—
Red clay 50 parts
Common clay 7 1/2 parts
Manganese 1 part
Flint 1 part
«Jasper Body.»—
Cawk clay 10 parts
Blue clay 10 parts
Bone 5 parts
Flint 2 parts
Cobalt 1/4 part
«Stone Body.»—
Stone 48 parts
Blue clay 25 parts
China clay 24 parts
Cobalt 10 parts
«Egyptian Black.»—
Blue clay 235 parts
Calcined ocher 225 parts
Manganese 45 parts
China clay 15 parts
«Ironstone Body.»—
Stone 200 parts
Cornwall clay 150 parts {169}
Blue clay 200 parts
Flint 100 parts
Calx 1 part
«Cream Body.»—
Blue clay 1 1/2 parts
Brown clay 1 1/2 parts
Black clay 1 part
Cornish clay 1 part
Common ball clay 1/4 part
Buff color 1/4 part
«Light Drab.»—
Cane marl 30 parts
Ball clay 24 parts
Feldspar 7 parts
«Sage Body.»—
Cane marl 15 parts
Ball clay 15 parts
China clay 5 parts
Stained with turquoise stain.
«COLORED GLAZES FOR POTTERY:»
«Blue.»—
White glaze 100 parts
Oxide of cobalt 3 parts
Red lead 10 parts
Flowing blue 3 parts
Enamel blue 3 parts
Grind.
«Pink.»—
White glaze 100 parts
Red lead 8 parts
Marone pink U. G. 8 parts
Enamel red 3 parts
Grind.
«Buff.»—
White glaze 100 parts
Red lead 10 parts
Buff color 8 parts
Grind.
«Ivory.»—
White glaze 100 parts
Red lead 8 parts
Enamel amber 8 parts
Yellow underglaze 2 parts
Grind.
«Turquoise.»—
White glaze 100 parts
Red lead 10 parts
Carbonate of soda 5 parts
Enamel blue 4 parts
Malachite, 110 4 parts
Grind.
«Yellow.»—
I.—White glaze 100 parts
Red lead 10 parts
Oxide of uranium 8 parts
Grind.
II.—Dried flint 5 parts
Cornwall stone 15 parts
Litharge 50 parts
Yellow underglaze 4 parts
Grind.
«Green.»—
I.—Oxide of copper 8 parts
Flint of glass 3 parts
Flint 1 part
Red lead 6 parts
Grind, then take:
Of above 1 part
White glaze 6 parts
Or stronger as required.
II.—Red lead 60 parts
Stone 24 parts
Flint 12 parts
Flint glass 12 parts
China clay 3 parts
Calcined oxide of copper 14 parts
Oxide of cobalt 1/4 part
Grind only.
«Green Glaze, Best.»—
III.—Stone 80 parts
Flint 8 parts
Soda crystals 4 parts
Borax 3 1/2 parts
Niter 2 parts
Whiting 2 parts
Oxide of cobalt 1/4 part
Glost fire, then take:
Above frit 60 parts
Red lead 57 parts
Calcined oxide of copper 5 1/4 parts
«Black.»—
Red lead 24 parts
Raddle 4 parts
Manganese 4 parts
Flint 2 parts
Oxide of cobalt 2 parts
Carbonate of cobalt 2 parts
Glost fire.
«WHITE GLAZES:»
«China.»—Frit:
I.—Stone 6 parts
Niter 2 parts
Borax 12 parts
Flint 4 parts
Pearl ash 2 parts
To mill:
Frit 24 parts
Stone 15 1/2 parts
Flint 6 1/2 parts
White lead 31 parts
{170}
II.—Frit:
Stone 24 parts
Borax 53 parts
Lynn sand 40 parts
Feldspar 32 parts
Paris white 16 parts
To mill:
Frit 90 parts
Stone 30 parts
White lead 90 parts
Flint 4 parts
Glass 2 parts
III.—Frit:
Stone 50 parts
Borax 40 parts
Flint 30 parts
Flint glass 30 parts
Pearl barytes 10 parts
To mill:
Frit 160 parts
Red lead 30 parts
Enamel blue 1/2 part
Flint glass 2 parts
IV.—Frit:
Borax 100 parts
China clay 55 parts
Whiting 60 parts
Feldspar 75 parts
To mill:
Frit 200 parts
China clay 16 parts
White clay 3 1/2 parts
Stone 3 parts
Flint 2 parts
V.—Frit:
Stone 40 parts
Flint 25 parts
Niter 10 parts
Borax 20 parts
White lead 10 parts
Flint glass 40 parts
To mill:
Frit 145 parts
Stone 56 parts
Borax 16 parts
Flint 15 parts
Red lead 60 parts
Flint glass 8 parts
«Earthenware.»—Frit:
I.—Flint 108 parts
China clay 45 parts
Paris white 60 parts
Borax 80 parts
Soda crystals 30 parts
To mill:
Frit 270 parts
Flint 20 parts
Paris white 15 parts
Stone 80 parts
White lead 65 parts
II.—Frit:
Flint 62 parts
China clay 30 parts
Paris white 38 parts
Boracic acid 48 parts
Soda crystals 26 parts
To mill:
Frit 230 parts
Stone 160 parts
Flint 60 parts
Lead 120 parts
III.—Frit:
Stone 56 parts
Paris white 55 parts
Flint 60 parts
China clay 20 parts
Borax 120 parts
Soda crystals 15 parts
To mill:
Frit 212 parts
Stone 130 parts
Flint 50 parts
Lead 110 parts
Stain as required.
IV.—Frit:
Stone 100 parts
Flint 44 parts
Paris white 46 parts
Borax 70 parts
Niter 10 parts
To mill:
Frit 200 parts
Stone 60 parts
Lead 80 parts
«Pearl White Glaze.»—Frit:
Flint 50 parts
Stone 100 parts
Paris white 20 parts
Borax 60 parts
Soda crystals 20 parts
To mill:
Frit 178 pounds
Lead 55 pounds
Stain 3 ounces
«Opaque Glaze.»—Frit:
Borax 74 parts
Stone 94 parts
Flint 30 parts
China clay 22 parts
Pearl ash 5 1/2 parts
To mill:
Frit 175 parts
Lead 46 parts {171}
Flint 10 parts
Oxide of tin 12 parts
Flint glass 12 parts
«Glaze for Granite.»—Frit:
I.—Stone 100 parts
Flint 80 parts
China clay 30 parts
Paris white 30 parts
Feldspar 40 parts
Soda crystals 40 parts
Borax 80 parts
To mill:
Frit 360 parts
Flint 50 parts
Stone 50 parts
Lead 80 parts
II.—Frit:
Borax 100 parts
Stone 50 parts
Flint 50 parts
Paris white 40 parts
China clay 20 parts
To mill:
Frit 210 parts
Stone 104 parts
Flint 64 parts
Lead 95 parts
«Raw Glazes.»—White:
I.—White lead 160 parts
Borax 32 parts
Stone 48 parts
Flint 52 parts
Stain with blue and grind.
II.—White lead 80 parts
Litharge 60 parts
Boracic acid 40 parts
Stone 45 parts
Flint 50 parts
Treat as foregoing.
III.—White lead 100 parts
Borax 4 parts
Flint 11 parts
Cornwall stone 50 parts
IV.—Red lead 80 parts
Litharge 60 parts
Tincal 40 parts
Stone 40 parts
Flint 52 parts
«ROCKINGHAM GLAZES.»
I.—Litharge 50 parts
Stone 7 1/2 parts
Red marl 3 parts
Oxide of manganese 5 parts
Red oxide of iron 1 part
II.—White lead 30 parts
Stone 3 parts
Flint 9 parts
Red marl 3 parts
Manganese 5 parts
III.—Red lead 20 parts
Stone 3 parts
Flint 2 parts
China clay 2 parts
Manganese 3 parts
Red oxide of iron 1 part
«Stoneware Bodies.»—
Ball clay 14 parts
China clay 10 parts
Stone 8 parts
Ball clay 8 parts
China clay 5 parts
Flint 3 parts
Stone 4 parts
Ball clay 14 parts
China clay 11 parts
Flint 4 parts
Stone 5 parts
Feldspar 4 parts
Cane marl 16 parts
China clay 10 parts
Stone 9 parts
Flint 5 parts
«Glazes.»—Hard glaze:
Stone 10 parts
Flint 5 parts
Whiting 1 1/2 parts
Red lead 10 parts
Hard glaze:
Feldspar 25 parts
Flint 5 parts
Red lead 15 parts
Plaster 1 part
Softer:
White lead 13 parts
Flint glass 10 parts
Feldspar 18 parts
Stone 3 parts
Whiting 1 1/2 parts
Best:
Feldspar 20 parts
Flint glass 14 parts
White lead 14 parts
Stone 3 parts
Oxide of zinc 3 parts
Whiting 1 1/2 parts
Plaster 1 part
«Rockingham Bodies.»—
Ball clay 20 parts
China clay 13 parts
Flint 7 parts
Stone 1 part
Cane marl 22 parts
China clay 15 parts
Flint 8 parts
Feldspar 1 part {172}
«Glazes.»—
I.—Red lead 60 parts
Stone 8 parts
Red clay 3 parts
Best manganese 5 parts
II.—White lead 60 parts
Feldspar 6 parts
Flint 16 parts
Red clay 6 parts
Manganese 12 parts
III.—Red lead 100 parts
Stone 15 parts
Flint 10 parts
China clay 10 parts
Manganese 40 parts
Crocus martis 2 parts
IV.—Litharge 100 parts
Feldspar 14 parts
China clay 20 parts
Manganese 40 parts
Oxide of iron 2 parts
«Jet.»—Procure some first-class red marl, add water, and, by passing
through a fine lawn, make it into a slip, and dip the ware therein.
When fired use the following:
Glaze.—
Stone 60 parts
Flint 30 parts
Paris white 7 1/2 parts
Red lead 140 parts
One part mazarine blue stain to 10 parts glaze.
Mazarine Blue Stain.—
Oxide of cobalt 10 parts
Paris white 9 parts
Sulphate barytes 1 part
Calcine.
Another Process Body.—
Ball clay 16 parts
China clay 12 parts
Flint clay 9 parts
Stone clay 6 parts
Black stain 7 parts
Glaze.—
Litharge 70 parts
Paris white 3 parts
Flint 12 parts
Stone 30 parts
Black stain 20 parts
Black Stain.—
Chromate of iron 12 parts
Oxide of nickel 2 parts
Oxide of tin 2 parts
Carbonate of cobalt 5 parts
Oxide of manganese 2 parts
Calcine and grind.
Blue Stains.—
I.—Oxide of cobalt 2 1/2 parts
Oxide of zinc 7 1/2 parts
Stone 7 1/2 parts
Fire this very hard.
II.—Zinc 6 pounds
Flint 4 pounds
China clay 4 pounds
Oxide of cobalt 5 ounces
Hard fire.
III.—Whiting 3 3/4 parts
Flint 3 3/4 parts
Oxide of cobalt 2 1/2 parts
Glost fire.
Turquoise Stain.—
Prepared cobalt 1 1/2 parts
Oxide of zinc 6 parts
China clay 6 parts
Carbonate of soda. 1 part
Hard fire.
«MATERIALS:»
«Tin Ash.»—
Old lead 4 parts
Grain tin 2 parts
Melt in an iron ladle, and pour out in water, then spread on a dish,
and calcine in glost oven with plenty of air.
«Oxide of Tin.»—
Granulated tin 5 pounds
Niter 1/2 pound
Put on saucers and fire in glost oven.
«Oxide of Chrome» is made by mixing powdered bichromate of potash with
sulphur as follows:
Potash 6 parts
Flowers of sulphur 1 part
Put in saggar, inside kiln, so that fumes are carried away, and place 4
or 5 pieces of red-hot iron on the top so as to ignite it. Leave about
12 hours, then pound very fine, and put in saggar again. Calcine in
hard place of biscuit oven. Wash this until the water is quite clear,
and dry for use.
«Production of Luster Colors on Porcelain and Glazed Pottery.»—The
luster colors are readily decomposed by acids and atmospheric
influences, because they do not contain, in consequence of the low
baking temperature, enough silicic acid to form resistive compounds.
In order to attain this, G. Alefeld has patented a process according
to which such compounds are added to the luster preparations as
leave behind after the burning an acid which transforms the luster
preparation into more resisting {173} compounds. In this connection
the admixture of such bodies has been found advantageous, as they form
phosphides with the metallic oxides of the lusters after the burning.
These phosphides are especially fitted for the production of saturated
resisting compounds, not only on account of their insolubility in
water, but also on account of their colorings. Similarly titanic,
molybdic, tungstic, and vanadic compounds may be produced. The metallic
phosphates produced by the burning give a luster coating which, as
regards gloss, is not inferior to the non-saturated metallic oxides,
while it materially excels them in power of resistance. Since the
lusters to be applied are used dissolved in essential oils, it is
necessary to make the admixture of phosphoric substance also in a form
soluble in essential oils. For the production of this admixture the
respective chlorides, preeminently phosphoric chloride, are suitable.
They are mixed with oil of lavender in the ratio of 1 to 5, and the
resulting reaction product is added to the commercial metallic oxide
luster, singly or in conjunction with precious metal preparations
(glossy gold, silver, platinum, etc.) in the approximate proportion
of 5 to 1. Then proceed as usual. Instead of the chlorides, nitrates
and acetates, as well as any readily destructible organic compounds,
may also be employed, which are entered into fusing rosin or rosinous
liquids.
«Metallic Luster on Pottery.»—According to a process patented in
Germany, a mixture is prepared from various natural or artificial
varieties of ocher, to which 25–50 per cent of finely powdered more or
less metalliferous or sulphurous coal is added. The mass treated in
this manner is brought together in saggars with finely divided organic
substances, such as sawdust, shavings, wood-wool, cut straw, etc., and
subjected to feeble red heat. After the heating the material is taken
out. The glazings now exhibit that thin but stable metallic color which
is governed by the substances used. Besides coal, salts and oxides of
silver, cobalt, cadmium, chrome iron, nickel, manganese, copper, or
zinc may be employed. The color-giving layer is removed by washing or
brushing, while the desired color is burned in and remains. In this
manner handsome shades can be produced.
«Metallic Glazes on Enamels.»—The formulas used by the Arabs and their
Italian successors are partly disclosed in manuscripts in the British
and South Kensington Museums; two are given below:
Arab Italian
Copper sulphide 26.87 24.74
Silver sulphide 1.15 1.03
Mercury sulphide — 24.74
Red ocher 71.98 49.49
These were ground with vinegar and applied with the brush to the
already baked enamel. A great variety of iridescent and metallic tones
can be obtained by one or the other, or a mixture of the following
formulas:
I II III IV V VI
Copper carbonate 30 — — 28 — 95
Copper oxalate — — — — 5 —
Copper sulphide — 20 — — — —
Silver carbonate — 3 — 2 1 5
Bismuth subnitrate — 12 — — 10 —
Stannous oxide — — 25 — — —
Red ocher 70 85 55 70 84 —
Silver chloride and yellow ocher may be respectively substituted for
silver carbonate and red ocher. The ingredients, ground with a little
gum tragacanth and water, are applied with a brush to enamels melting
about 1814° F., and are furnaced at 1202° F. in a reducing atmosphere.
After cooling the ferruginous deposit is rubbed off, and the colors
thus brought out.
Sulphur, free or combined, is not necessary, cinnabar has no action,
ocher may be dispensed with, and any organic gummy matter may be
used instead of vinegar, and broom is not needed in the furnace. The
intensity and tone of the iridescence depend on the duration of the
reduction, and the nature of the enamel. Enamels containing a coloring
base—copper, iron, antimony, nickel—especially in presence of tin, give
the best results.
«To Toughen China.»—To toughen china or glass place the new article
in cold water, bring to boil gradually, boil for 4 hours, and leave
standing in the water till cool. Glass or china toughened in this way
will never crack with hot water.
«How to Tell Pottery and Porcelain.»—The following simple test
will serve: Hold the piece up to the light, and if it can be seen
through—that is, if it is translucent—it is porcelain. Pottery is
opaque, and not so hard and white as porcelain. The main differences in
the manufacture of stoneware, earthenware, and porcelain are due to the
ingredients used, to the way they are mixed, and to the degree of heat
to which they are {174} subjected in firing. Most of the old English
wares found in this country are pottery or semichina, although the term
china is commonly applied to them all.
«Cheese»
«Manufacture.»—The process of cheese making is one which is eminently
interesting and scientific, and which, in every gradation, depends
on principles which chemistry has developed and illustrated. When
a vegetable or mineral acid is added to milk, and heat applied, a
coagulum is formed, which, when separated from the liquid portion,
constitutes cheese. Neutral salts, earthy and metallic salts, sugar,
and gum arabic, as well as some other substances, also produce the same
effect; but that which answers the purpose best, and which is almost
exclusively used by dairy farmers, is rennet, or the mucous membrane of
the last stomach of the calf. Alkalies dissolve this curd at a boiling
heat, and acids again precipitate it. The solubility of casein in milk
is occasioned by the presence of the phosphates and other salts of the
alkalies. In fresh milk these substances may be readily detected by the
property it possesses of restoring the color of reddened litmus paper.
The addition of an acid neutralizes the alkali, and so precipitates
the curd in an insoluble state. The philosophy of cheese making is
thus expounded by Liebig:
“The acid indispensable to the coagulation of milk is not added to the
milk in the preparation of cheese, but it is formed in the milk at the
expense of the milk-sugar present. A small quantity of water is left
in contact with a small quantity of a calf’s stomach for a few hours,
or for a night; the water absorbs so minute a portion of the mucous
membrane as to be scarcely ponderable; this is mixed with milk; its
state of transformation is communicated (and this is a most important
circumstance) not to the cheese, but to the milk-sugar, the elements
of which transpose themselves into lactic acid, which neutralizes
the alkalies, and thus causes the separation of the cheese. By means
of litmus paper the process may be followed and observed through all
its stages; the alkaline reaction of the milk ceases as soon as the
coagulation begins. If the cheese is not immediately separated from the
whey, the formation of lactic acid continues, the fluid turns acid, and
the cheese itself passes into a state of decomposition.
“When cheese-curd is kept in a cool place a series of transformation
takes place, in consequence of which it assumes entirely new
properties; it gradually becomes semi-transparent, and more or less
soft, throughout the whole mass; it exhibits a feebly acid reaction,
and develops the characteristic caseous odor. Fresh cheese is very
sparingly soluble in water, but after having been left to itself for
two or three years it becomes (especially if all the fat be previously
removed) almost completely soluble in cold water, forming with it a
solution which, like milk, is coagulated by the addition of the acetic
or any mineral acid. The cheese, which whilst fresh is insoluble,
returns during the maturation, or ripening, as it is called, to a state
similar to that in which it originally existed in the milk. In those
English, Dutch, and Swiss cheeses which are nearly inodorous, and in
the superior kinds of French cheese, the casein of the milk is present
in its unaltered state.
“The odor and flavor of the cheese is due to the decomposition of the
butter; the non-volatile acids, the margaric and oleic acids, and
the volatile butyric acid, capric and caproic acids are liberated in
consequence of the decomposition of glycerine. Butyric acid imparts
to cheese its characteristic caseous odor, and the differences in
its pungency or aromatic flavor depend upon the proportion of free
butyric, capric, and caproic acids present. In the cheese of certain
dairies and districts, valerianic acid has been detected along with the
other acids just referred to. Messrs Jljenjo and Laskowski found this
acid in the cheese of Limbourg, and M. Bolard in that of Roquefort.
“The transition of the insoluble into soluble casein depends upon
the decomposition of the phosphate of lime by the margaric acid of
the butter; margarate of lime is formed, whilst the phosphoric acid
combines with the casein, forming a compound soluble in water.
“The bad smell of inferior kinds of cheese, especially those called
meager or poor cheeses, is caused by certain fetid products containing
sulphur, and which are formed by the decomposition or putrefaction of
the casein. The alteration which the butter undergoes (that is, in
becoming rancid), or which occurs in the milk-sugar still present,
being transmitted to the casein, changes both the composition of the
latter substance and its nutritive qualities.
“The principal conditions for the preparation of the superior kinds
of cheese {175} (other obvious circumstances being of course duly
regarded) are a careful removal of the whey, which holds the milk-sugar
in solution, and a low temperature during the maturation or ripening of
the cheese.”
Cheese differs vastly in quality and flavor according to the method
employed in its manufacture and the richness of the milk of which it
is made. Much depends upon the quantity of cream it contains, and,
consequently, when a superior quality of cheese is desired cream is
frequently added to the curd. This plan is adopted in the manufacture
of Stilton cheese and others of a like description. The addition of
a pound or two of butter to the curd for a middling size cheese also
vastly improves the quality of the product. To insure the richness of
the milk, not only should the cows be properly fed, but certain breeds
chosen. Those of Alderney, Cheddar, Cheshire, etc., have been widely
preferred.
The materials employed in making cheese are milk and rennet. Rennet is
used either fresh or salted and dried; generally in the latter state.
The milk may be of any kind, according to the quality of the cheese
required. Cows’ milk is that generally employed, but occasionally ewes’
milk is used; and sometimes, though more rarely, that from goats.