fusible compound, the connecting surfaces of metals are firmly secured
to each other, but, for many practical purposes, it is advisable to
have the fusing point of the metal and solder as near each other as
possible, which, in the majority of cases, preserves a union more
lasting, and the joint less distinguishable, in consequence of the
similarity of the metal and solder in color, which age does not
destroy, and this is not the case with solders the fusible points of
which are very low. The metal to be soldered together must have an
affinity for the solder, otherwise the union will be imperfect; and
the solder should likewise act upon the metal, partly by this affinity
or chemical attraction, and partly by cohesive force, to unite the
connections soundly and firmly together. Solders should therefore be
prepared suitable to the work in hand, if a good and lasting job is to
be made. It should always be borne in mind that the higher the fusing
point of the gold alloy—and this can be made to vary considerably, even
with any specified quality—the harder solder must be used, for, in the
case of a more fusible mixture of gold, the latter would melt before
the solder and cause the work to be destroyed. A very good formula for
the first, or ordinary, 22-carat alloy is this:
dwts. grs.
Fine gold 1 0
Fine silver 0 3
Fine copper 0 2
────────
1 5
This mixture will answer all the many purposes of the jobber; for
soldering high quality gold wares that come for repairs, particularly
wedding rings, it will be found admirably suited. If an easier solder
is wanted, and such is very often the case with jobbing jewelers,
especially where several solderings have to be accomplished, it is
as well to have at hand a solder which will not disturb the previous
soldering places, for if this is not prevented a very simple job is
made very difficult, and a lot of time and patience wholly wasted. To
guard against a thing of this kind the following solder may be employed
on the top of the previous one:
dwts. grs.
Fine gold 1 0
Fine silver 0 3
Yellow brass 0 2
────────
1 5
This solder is of the same value as the previous one, but its melting
point is lower, and it will be found useful for many purposes that can
be turned to good account in a jobbing jeweler’s business.
«JEWELERS’ ALLOYS:»
See also Alloys and Solders.
«18-Carat Gold for Rings.»—Gold coin, 19 1/2 grains; pure copper, 3
grains; pure silver, 1 1/2 grains.
«Cheap Gold, 12 Carat.»—Gold coin, 25 grains; pure copper, 13 1/2
grains; pure silver, 7 1/3 grains.
«Very Cheap 4-Carat Gold.»—Copper, 18 parts; gold, 4 parts; silver, 2
parts.
«Imitations of Gold.»—I.—Platina, 4 pennyweights; pure copper,
2 1/4 pennyweights; sheet zinc, 1 pennyweight; block tin, 1 3/4
pennyweights; pure lead, 1 1/2 pennyweight. If this should be found
too hard or brittle for practical use, remelting the composition with a
little sal ammoniac will generally render it malleable as desired.
II.—Platina, 2 parts; silver, 1 part; copper, 3 parts. These
compositions, when properly prepared, so nearly resemble pure gold that
it is very difficult to {434} distinguish them therefrom. A little
powdered charcoal, mixed with metals while melting, will be found of
service.
«Best Oreide of Gold.»—Pure copper, 4 ounces; sheet zinc, 1 3/4
ounces; magnesia, 5/8 ounce; sal ammoniac, 11/32 ounce; quicklime,
9/32 ounce; cream tartar, 7/8 ounce. First melt the copper at as
low a temperature as it will melt; then add the zinc, and afterwards
the other articles in powder, in the order named. Use a charcoal fire
to melt these metals.
«Bushing Alloy for Pivot Holes, etc.»—Gold coin, 3 pennyweights;
silver, 1 pennyweight, 20 grains; copper, 3 pennyweights, 20 grains;
palladium, 1 pennyweight. The best composition known for the purpose
named.
«Gold Solder for 14- to 16-Carat Work.»—Gold coin, 1 pennyweight; pure
silver, 9 grains; pure copper, 6 grains; brass, 3 grains.
«Darker Solder.»—Gold coin, 1 pennyweight; pure copper, 8 grains; pure
silver, 5 grains; brass, 2 grains. Melt together in charcoal fire.
«Solder for Gold.»—Gold, 6 pennyweights; silver, 1 pennyweight; copper,
2 pennyweights.
«Soft Gold Solder.»—Gold, 4 parts; silver, 1 part; copper, 1 part.
«Solders for Silver» (for the use of jewelers).—Fine silver, 19
pennyweights; copper, 1 pennyweight; sheet brass, 10 pennyweights.
«White Solder for Silver.»—Silver, 1 ounce; tin, 1 ounce.
«Silver Solder for Plated Metal.»—Fine silver, 1 ounce; brass, 10
pennyweights.
«Solders for Gold.»—I.—Silver, 7 parts; copper, 1 part; with borax.
II.—Gold, 2 parts; silver, 1 part; copper, 1 part.
III.—Gold, 3 parts; silver, 3 parts; copper, 1 part; zinc, 1/2 part.
«For Silver.»—Silver, 2 parts; brass, 1 part; with borax; or, silver, 4
parts; brass, 3 parts; zinc, 1/18 part; with borax.
«Gold Solders» (see also Solders).—I.—Copper, 24.24 parts; silver,
27.57 parts; gold, 48.19 parts.
II.—Enamel Solder.—Copper, 25 parts; silver, 7.07 parts; gold, 67.93
parts.
III.—Copper, 26.55 parts; zinc, 6.25 parts; silver, 31.25 parts; gold,
36 parts.
IV.—Enamel Solder.—Silver, 19.57 parts; gold, 80.43 parts.
«Solder for 22-Carat Gold.»—Gold of 22 carats, 1 pennyweight; silver, 2
grains; copper, 1 grain.
«For 18-Carat Gold.»—Gold of 18 carats, 1 pennyweight; silver, 2
grains; copper, 1 grain.
«For Cheaper Gold.»—I.—Gold, 1 pennyweight; silver, 10 grains; copper,
8 grains.
II.—Fine gold, 1 pennyweight; silver, 1 pennyweight; copper, 1
pennyweight.
«Silver Solders» (see also Solders).—I. (Hard.)—Copper, 30 parts; zinc,
12.85 parts; silver, 57.15 parts.
II.—Copper, 23.33 parts; zinc, 10 parts; silver, 66.67 parts.
III.—Copper, 26.66 parts; zinc, 10 parts; silver, 63.34 parts.
IV. (Soft.)—Copper, 14.75 parts; zinc, 8.50 parts; silver, 77.05 parts.
V.—Copper, 22.34 parts; zinc, 10.48 parts; silver, 67.18 parts.
VI.—Tin, 63 parts; lead, 37 parts.
«FOR SILVERSMITHS:»
I.—Sterling Silver.—Fine silver, 11 ounces, 2 pennyweights; fine
copper, 18 pennyweights.
II.—Equal to Sterling.—Fine silver, 1 ounce; fine copper, 1
pennyweight, 12 grains.
III.—Fine silver, 1 ounce; fine copper, 5 pennyweights.
IV.—Common Silver for Chains.—Fine silver, 6 pennyweights; fine copper,
4 pennyweights.
V.—Solder.—Fine silver, 16 pennyweights; fine copper, 12 grains; pin
brass, 3 pennyweights, 12 grains.
VI.—Alloy for Plating.—Fine silver, 1 ounce; fine copper, 10
pennyweights.
VII.—Silver Solder.—Fine silver, 1 ounce; pin brass, 10 pennyweights;
pure spelter, 2 pennyweights.
VIII.—Copper Solder for Plating.—Fine silver, 10 pennyweights; fine
copper, 10 pennyweights.
IX.—Common Silver Solder.—Fine silver, 10 ounces; pin brass, 6 ounces,
12 pennyweights; spelter, 12 pennyweights.
X.—Silver Solder for Enameling.—Fine silver, 14 pennyweights; fine
copper, 8 pennyweights.
XI.—For Filling Signet Rings.—Fine silver, 10 ounces; fine copper, 1
ounce, 16 pennyweights; fine pin brass, 6 ounces, 12 pennyweights;
spelter, 12 pennyweights. {435}
XII.—Silver Solder for Gold Plating.—Fine silver, 1 ounce; fine copper,
5 pennyweights; pin brass, 5 pennyweights.
XIII.—Mercury Solder.—Fine silver, 1 ounce; pin brass, 10 pennyweights;
bar tin, 2 pennyweights.
XIV.—Imitation Silver.—Fine silver, 1 ounce; nickel, 1 ounce, 11
grains; fine copper, 2 ounces, 9 grains.
XV.—Fine silver, 3 ounces; nickel, 1 ounce, 11 pennyweights; fine
copper, 2 ounces, 9 grains; spelter, 10 pennyweights.
XVI.—Fine Silver Solder for Filigree Work.—Fine silver, 4 pennyweights,
6 grains; pin brass, 1 pennyweight.
Bismuth Solder.—Bismuth, 3 ounces; lead, 3 ounces, 18 pennyweights;
tin, 5 ounces, 6 pennyweights.
«BRASS:»
I.—Yellow Brass for Turning.—(Common article.)—Copper, 20 pounds; zinc,
10 pounds; lead, 4 ounces.
II.—Copper, 32 pounds; zinc, 10 pounds; lead, 1 pound.
III.—Red Brass Free, for Turning.—Copper, 100 pounds; zinc, 50 pounds;
lead, 10 pounds; antimony, 44 ounces.
IV.—Best Red Brass for Fine Castings.—Copper, 24 pounds; zinc, 5
pounds; bismuth, 1 ounce.
V.—Red Tombac.—Copper, 10 pounds; zinc, 1 pound.
VI.—Tombac.—Copper, 16 pounds; tin, 1 pound; zinc, 1 pound.
VII.—Brass for Heavy Castings.—Copper, 6 to 7 parts; tin, 1 part; zinc,
1 part.
VIII.—Malleable Brass.—Copper, 70.10 parts; zinc, 29.90 parts.
IX.—Superior Malleable Brass.—Copper, 60 parts; zinc, 40 parts.
X.—Brass.—Copper, 73 parts; zinc, 27 parts.
XI.—Copper, 65 parts; zinc, 35 parts.
XII.—Copper, 70 parts; zinc, 30 parts.
XIII.—German Brass.—Copper, 1 pound; zinc, 1 pound.
XIV.—Watchmakers’ Brass.—Copper, 1 part; zinc, 2 parts.
XV.—Brass for Wire.—Copper, 34 parts; calamine, 56 parts.
XVI.—Brass for Tubes.—Copper, 2 parts; zinc, 1 part.
XVII.—Brass for Heavy Work.—Copper, 100 parts; tin, 15 parts; zinc, 15
parts.
XVIII.—Copper, 112 parts; tin, 13 parts; zinc, 1 part.
XIX.—Tombac or Red Brass.—Copper, 8 parts; zinc, 1 part.
XX.—Brass.—Copper, 3 parts; melt, then add zinc, 1 part.
XXI.—Buttonmakers’ Fine Brass.—Brass, 8 parts; zinc, 5 parts.
XXII.—Buttonmakers’ Common Brass.—Button brass, 6 parts; tin, 1 part;
lead, 1 part. Mix.
XXIII.—Mallet’s Brass.—Copper, 25.4 parts; zinc, 74.6 parts. Used to
preserve iron from oxidizing.
XXIV.—Best Brass for Clocks.—Rose copper, 85 parts; zinc, 14 parts;
lead, 1 part.
«GOLD ALLOYS:»
See also Gold Alloys, under Alloys.
Gold of 22 carats fine being so little used is intentionally omitted.
I.—Gold of 18 Carats, Yellow Tint.—Gold, 15 pennyweights; silver, 2
pennyweights, 18 grains; copper, 2 pennyweights, 6 grains.
II.—Gold of 18 Carats, Red Tint.—Gold, 15 pennyweights; silver, 1
pennyweight, 18 grains; copper, 3 pennyweights, 6 grains.
III.—Spring Gold of 16 Carats.—Gold, 1 ounce, 16 pennyweights; silver,
6 pennyweights; copper, 12 pennyweights. This when drawn or rolled very
hard makes springs little inferior to steel.
IV.—Jewelers’ Fine Gold, Yellow Tint, 16 Carats Nearly.—Gold, 1 ounce;
silver, 7 pennyweights; copper, 5 pennyweights.
V.—Gold of Red Tint, 16 Carats.—Gold, 1 ounce; silver, 2 pennyweights;
copper, 8 pennyweights.
Sterling Gold Alloys.—I.—Fine gold, 18 pennyweights, 12 grains; fine
silver, 1 pennyweight; fine copper, 12 grains.
II.—Dry Colored Gold Alloys, 17 Carat.—Fine gold, 15 pennyweights;
fine silver, 1 pennyweight, 10 grains; fine copper, 4 pennyweights, 17
grains.
III.—18 Carat.—Fine gold, 1 ounce; fine silver, 4 pennyweights, 10
grains; fine copper, 2 pennyweights, 5 grains.
IV.—18 Carat.—Fine gold, 15 pennyweights; fine silver, 2 pennyweights,
4 grains; fine copper, 2 pennyweights, 19 grains.
V.—18 Carat.—Fine gold, 18 pennyweights; fine silver, 2 pennyweights,
18 {436} grains; fine copper, 3 pennyweights, 18 grains.
VI.—19 Carat.—Fine gold, 1 ounce; fine silver, 2 pennyweights, 6
grains; fine copper, 3 pennyweights, 12 grains.
VII.—20 Carat.—Fine gold, 1 ounce; fine silver, 2 pennyweights; fine
copper, 2 pennyweights, 4 grains.
VIII.—22 Carat.—Fine gold, 18 pennyweights; fine silver, 12 grains;
fine copper, 1 pennyweight, 3 grains.
IX.—Gold Solder for the Foregoing Alloys.—Take of the alloyed gold you
are using, 1 pennyweight; fine silver, 6 grains.
X.—Alloy for Dry Colored Rings.—Fine gold, 1 ounce; fine silver, 4
pennyweights, 6 grains; fine copper, 4 pennyweights, 6 grains.
XI.—Solder.—Scrap gold, 2 ounces; fine silver, 3 pennyweights; fine
copper, 3 pennyweights.
XII.—Dry Colored Scrap Reduced to 35s. Gold.—Colored scrap, 1 ounce, 9
pennyweights, 12 grains; fine silver, 2 pennyweights; fine copper, 17
pennyweights, 12 grains; spelter, 4 pennyweights.
«To Quickly Remove a Ring from a Swollen Finger.»—If the ring is of
gold, pull the folds of the swollen muscles apart, so that it can be
seen, then drop on it a little absolute alcohol and place the finger in
a bowl of metallic mercury. In a very few minutes the ring will snap
apart. If the ring is of brass, scrape the surface slightly, or put on
a few drops of a solution of oxalic acid, or even strong vinegar, let
remain in contact for a moment or two, then put into the mercury, and
the result will be as before.
«Soldering a Jeweled Ring.»—In order to prevent the bursting of the
jewels of a ring while the latter is being soldered, cut a juicy potato
into halves and make a hollow in both portions in which the part of
the ring having jewels may fit exactly. Wrap the jeweled portion in
soft paper, place it in the hollow, and bind up the closed potato with
binding wire. Now solder with easy-flowing gold solder, the potato
being held in the hand. Another method is to fill a small crucible with
wet sand, bury the jeweled portion in the sand, and solder in the usual
way.
JEWELRY, TO CLEAN: See Cleaning Preparations and Methods.
«Kalsomine»
Sodium carbonate 8 parts
Linseed oil 32 parts
Hot water 8 parts
White glue 12 parts
Whiting 160 parts
Dissolve the sodium carbonate in the hot water, add the oil and
saponify by heating and agitation. Cover the glue, broken into small
pieces, with cold water and let soak overnight. In the morning pour
the whole on a stout piece of stuff and let the residual water drain
off, getting rid of as much as possible by slightly twisting the cloth.
Throw the swelled glue into a capsule, put on the water bath, and heat
gently until it is melted. Add the saponified oil and mix well; remove
from the bath, and stir in the whiting, a little at a time, adding hot
water as it becomes necessary. When the whiting is all stirred in,
continue adding hot water, until a liquid is obtained that flows freely
from the kalsomining brush.
The addition of a little soluble blue to the mixture increases the
intensity of the white.
«Sizing Walls for Kalsomine.»—A size to coat over “hot walls” for the
reception of the kalsomine is made by using shellac, 1 part; sal soda,
1/2 part. Put these ingredients in 1/2 gallon of water and dissolve
by steady heat. Another size is made of glue size prepared in the usual
way, and alum. To 1/2 pound of white glue add 3/4 pound of alum,
dissolving the alum in hot water before adding it to the glue size.
KARATS, TO FIND NUMBER OF: See Jewelers’ Formulas.
KERAMICS: See Ceramics.
KERIT: See Rubber.
KEROCLEAN: See Cleaning Preparations and Methods.
«KEROSENE DEODORIZER:»
See also Benzine, Oils, and Petroleum.
Various processes have been recommended for masking the odor of
kerosene such as the addition of various essential {437} oils,
artificial oil of mirbane, etc., but none of them seems entirely
satisfactory. The addition of amyl acetate in the proportion of 10
grams to the liter (1 per cent) has also been suggested, several
experimenters reporting very successful results therefrom. Some years
ago Beringer proposed a process for removing sulphur compounds from
benzine, which would presumably be equally applicable to kerosene. This
process is as follows:
Potassium permanganate 1 ounce
Sulphuric acid 1/2 pint
Water 3 1/2 pints
Mix the acid and water, and when the mixture has become cold pour it
into a 2-gallon bottle. Add the permanganate and agitate until it is
dissolved. Then add benzine, 1 gallon, and thoroughly agitate. Allow
the liquids to remain in contact for 24 hours, frequently agitating
the mixture. Separate the benzine and wash in a similar bottle with a
mixture of
Potassium permanganate 1/4 ounce
Caustic soda 1/2 ounce
Water 2 pints
Agitate the mixture frequently during several hours; then separate
the benzine and wash it thoroughly with water. On agitating the
benzine with the acid permanganate solution an emulsion-like mixture
is produced, which separates in a few seconds, the permanganate slowly
subsiding and showing considerable reduction. In the above process
it is quite probable that the time specified (24 hours) is greatly
in excess of what is necessary, as the reduction takes place almost
entirely in a very short time. It has also been suggested that if
the process were adopted on a manufacturing scale, with mechanical
agitation, the time could be reduced to an hour or two.
KEROSENE-CLEANING COMPOUNDS: See Cleaning Preparations, under
Miscellaneous Methods.
KEROSENE EMULSIONS: See Petroleum.
KETCHUP (ADULTERATED), TESTS FOR: See Foods.
KHAKI COLORS: See Dyes.
KID: See Leather.
KISSINGEN SALTS: See Salts (Effervescent).
KISSINGEN WATER: See Waters.
KNIFE-SHARPENING PASTES: See Razor Pastes.
KNOCKENPLOMBE: See Adhesives.
KNOTS: See Paint.
KOLA CORDIAL: See Wines and Liquors.
«KOUMISS SUBSTITUTE:»
See also Beverages.
To prepare a substitute for koumiss from cow’s milk: Dissolve 1/2
ounce grape sugar in 3 fluid ounces water. Mix 18 grains well washed
and pressed beer yeast with 2 fluid ounces of cow’s milk. Mix the two
liquids in a champagne bottle, fill with milk, stopper securely, and
keep for 3 to 4 days at a temperature not exceeding 50° F., shaking
frequently. The preparation does not keep longer than 4 to 5 days.
KÜMMEL: See Wines and Liquors.
KWASS: See Beverages.
LABEL PASTES, GLUES, AND MUCILAGES: See Adhesives.
LABEL VARNISHES: See Varnishes.
LACE LEATHER: See Leather.
LACE, TO CLEAN GOLD AND SILVER: See Cleaning Preparations and Methods.
LACES, WASHING AND COLORING OF: See Laundry Preparations.
«Lacquers»
(See also Enamels, Glazes, Paints, Varnishes, and Waterproofing.)
«LAC AND THE ART OF LACQUERING.»
The art of lacquering includes various steps, which are divulged as
little as possible. Without them nothing but a varnish of good quality
would be realized. Thus in Tonkin, where the abundant {438} production
is the object of an important trade with the Chinese, it is so used
only for varnishing, while in China the same product from the same
sources contributes to most artistic applications.
When the Annamites propose to lacquer an object, a box, for example,
they first stop up the holes and crevices, covering all the
imperfections with a coating of diluted lac, by means of a flat, close,
short brush. Then they cover the whole with a thick coating of lac and
white clay. This clay, oily to the touch, is found at the bottom of
certain lakes in Tonkin; it is dried, pulverized, and sifted with a
piece of fine silk before being embodied with the lac. This operation
is designed to conceal the inequalities of the wood and produce a
uniform surface which, when completely dry, is rendered smooth with
pumice stone.
If the object has portions cut or sunk the clayey mixture is not
applied, for it would make the details clammy, but in its place a
single, uniform layer of pure lac.
In any case, after the pumicing, a third coating, now pure lac, is
passed over the piece, which at this time has a mouse-gray color. This
layer, known under the name of _sou lot_, colors the piece a brilliant
black. As the lac possesses the remarkable property of not drying
in dry air, the object is left in a damp place. When perfectly dried
the piece is varnished, and the desired color imparted by a single
operation. If the metallic applications are excepted, the lac is
colored only black, brown, or red.
The following formulas are in use:
Black.—One part of turpentine is warmed for 20 minutes beyond the
fusing point; then poured into 3 parts of lac; at the same time _pheu
deu_ (copperas) is added. The mixture is stirred for at least a day,
sometimes more, by means of a large paddle.
Maroon.—This is prepared by a process similar to the preceding,
replacing half of the copperas by an equal quantity of China vermilion.
Red.—The lac, previously stirred for 6 hours, is mixed with hot oil of
_trau_, and the whole is stirred for a day, after which vermilion is
added. The latter should be of good quality, so as to have it brilliant
and unchangeable.
The operation of lacquering is then ended, but there are parts to
be gilded. These are again covered with a mixture of lac and oil of
_trau_. When this layer is dry the metallic leaves are applied, which
are themselves protected by a coating, composed also of lac and oil
of _trau_. All these lac and oil of _trau_ mixtures are carefully
filtered, which the natives effect by pressing the liquid on a double
filtering surface formed of wadding and of a tissue on which it rests.
It can only be applied after several months when the metallic leaf is
of gold. In the case of silver or tin the protecting coat can be laid
on in a few days. It favorably modifies the white tints of these two
metals by communicating a golden color. The hue, at first reddish,
gradually improves and acquires its full brilliancy in a few months.
Little information is procurable concerning the processes employed by
the Chinese. The wood to be lacquered should be absolutely dry. It
receives successive applications, of which the number is not less than
33 for perfect work. When the lac coating attains the thickness of
1/4 of an inch it is ready for the engravers. The Chinese, like the
inhabitants of Tonkin, make use of oil of _trau_ to mix with the lac,
or oil of _aleurites_, and the greatest care is exercised in the drying
of the different layers. The operation is conducted in dim-lighted
rooms specially fitted up for the purpose; the moisture is maintained
to a suitable extent by systematically watering the earth which covers
the walls of this “cold stove.”
«Lacquer for Aluminum.»—Dissolve 100 parts of gum lac in 300 parts of
ammonia, and heat the solution for about 1 hour moderately on the water
bath. After cooling, the mixture is ready for use. The aluminum to be
coated is cleaned in the customary manner. After it has been painted
with the varnish, it is heated in the oven to about 572° F. The coating
and heating may be repeated.
«Lacquer for Brass.»—
Annatto 1/4 ounce
Saffron 1/4 ounce
Turmeric 1 ounce
Seed lac in coarse powder 3 ounces
Alcohol 1 pint
Digest the annatto, saffron, and turmeric in the alcohol for several
days, then strain into a bottle containing the seed lac; cork and shake
until dissolved.
«Lacquer for Bronze.»—I.—The following process yields a protective
varnish for bronze articles and other metallic objects in various
shadings, the lacquer produced excelling in high luster and permanency:
Fill 40 parts of best pale shellac; 12 parts of pulverized Florentine
{439} lake; 30 parts gamboge; and 6 parts of dragon’s blood, likewise
powdered, into a bottle and add 400 parts of spirit. Allow this mixture
to form a solution preferably by heating the flask on the water bath,
to nearly the boiling point of the water, and shaking now and then
until all has dissolved. After the cooling pour off the liquid from
the sediment, if any is present; this liquid constitutes a lacquer of
dark-red color. In a second bottle dissolve in the same manner 24 parts
of gamboge in 400 parts of spirit, which affords a lacquer of golden
yellow color. According to the desired shade, the red lacquer is now
mixed with the yellow one, thus producing any hue required from the
deepest red to a golden tone. If necessary, thin with spirit of wine.
The varnish is applied, as usual, on the somewhat warmed article, a
certain temperature having to be adhered to, which can be ascertained
by trials and is easily regulated by feeling.
II.—The following is equally suitable for boots and leather goods
as for application on iron, stone, glass, paper, cloth, and other
surfaces. The inexperienced should note before making this liquid that
it does not give a yellowish bronze like gold paint, but a darkish
iridescent one, and as it is a pleasing variation in aids to home
decoration, it would doubtless sell well. Some pretty effects are
obtained by using a little phloxine instead of part of the violet
aniline, or phloxine alone will produce a rich reddish bronze, and
a lustrous peacock green is obtained with brilliant aniline green
crystals.
Quantities: Flexile methylated collodion, 1 gallon; pure violet
aniline, 1 pound. Mix, stand away for a few days to allow the aniline
to dissolve and stir frequently, taking care to bung down securely, as
the collodion is a volatile liquid, then strain and bottle off. It is
applied with a brush, dries rapidly, and does not rub off or peal.
«Celluloid Lacquer.»—Dissolve uncolored celluloid in a mixture of
strong alcohol and ether. The celluloid first swells up in the solvent,
and after vigorous shaking, the bottle is allowed to stand quietly for
the undissolved portion to settle, when the clear, supernatant fluid is
poured off. The latter may be immediately used; it yields a colorless
glossy lacquer, or may be colored, as desired, with aniline colors.