Whiting 4 pounds
Litharge 2 pounds
Sulphate of zinc 2 pounds
Sugar of lead 2 pounds
Boiled linseed oil 5 pounds
Plaster of Paris 1/2 pound
II.—Whiting 16 pounds
Barytes 16 pounds
White lead 3 pounds
Boiled linseed oil 3/4 gallon
«PAINTS FOR GOLD AND GILDING:»
«Gold Paints.»—The formulas of the various gold paints on the market
are carefully guarded trade secrets. Essentially they consist of a
bronze powder mixed with a varnish. The best bronze powder for the
purpose is what is known in the trade as “French flake,” a deep gold
bronze. This bronze, as seen under the microscope, consists of tiny
flakes or spangles of the bronze metal. As each minute flake forms a
facet for the reflection of color, the paint made with it is much more
brilliant than that prepared from finely powdered bronze.
For making gold paint like the so-called “washable gold enamel” that is
sold by the manufacturers at the present time, it is necessary to mix
a celluloid varnish with the French flake bronze powder. This varnish
is made by dissolving transparent celluloid in amyl acetate in the
proportion of about 5 per cent of celluloid.
Transparent celluloid, finely shredded 1 ounce
Acetone, sufficient quantity.
Amyl acetate to make 20 ounces.
Digest the celluloid in the acetone until dissolved and add the amyl
acetate. From 1 to 4 ounces of flake bronze is to be mixed with this
quantity of varnish. For silver paint or “aluminum enamel,” flake
aluminum bronze powder should be used in place of the gold. The
celluloid varnish incloses the bronze particles in an impervious
coating, air-tight and water-tight. As it contains nothing that will
act upon the bronze, the latter retains its luster for a long period,
until the varnished surface becomes worn or abraded and the bronze thus
exposed to atmospheric action.
All of the “gold” or, more properly, gilt furniture that is sold so
cheaply by the furniture and department stores is gilded with a paint
of this kind, and for that reason such furniture can be offered at a
moderate price. The finish is surprisingly durable, and in color and
luster is a very close imitation of real gold-leaf work. This paint
is also used on picture frames of cheap and medium grades, taking
the place of gold leaf or the lacquered silver leaf formerly used
on articles of the better grades; it is also substituted for “Dutch
metal,” or imitation gold leaf, on the cheapest class of work.
A cheaper gold paint is made by using an inexpensive varnish composed
of gutta percha, gum dammar, or some other varnish gum, dissolved in
benzole, or in a mixture of benzole and benzine. The paints made with a
celluloid-amyl-acetate varnish give off a strong banana-like odor when
applied, and may be readily recognized by this characteristic.
The impalpably powdered bronzes are called “lining” bronzes. They are
chiefly used for striping or lining by carriage painters; in bronzing
gas fixtures and metal work; in fresco and other interior decoration,
and in printing; the use of a very fine powder in inks or paints admits
of the drawing or printing of very delicate lines.
Lining bronze is also used on picture frames or other plastic
ornamental work. Mixed with a thin weak glue sizing it is applied over
“burnishing clay,” and when dry is polished with agate burnishers.
The object thus treated, after receiving a finishing coat of a thin
transparent varnish, imitates very closely in appearance a piece of
finely cast antique bronze. To add still more to this effect the
burnishing clay is colored the greenish black that is seen in the deep
parts of real antique bronzes, and the bronze powder, mixed with size,
is applied only to the most prominent parts or “high lights” of the
ornament. {493}
Since the discovery of the celluloid-amyl-acetate varnish, or
bronze liquid, and its preservative properties on bronze powders,
manufacturers have discontinued the use of liquids containing oils,
turpentine, or gums, since their constituents corrode the bronze metal,
causing the paint finally to turn black.
«Gilding in Size.»—The old painters and gilders used to prepare the
gold size themselves, but nowadays it is usually bought ready made,
barring the white of egg additional. The best and most reliable,
and especially suited for fine work, is undoubtedly the red French
gold size. It is cleaned, as far as possible, of all impurities, and
powdered. For 246 grains take 1 white of egg; put it into a glass,
taking care to exclude the yolk entirely—otherwise the burnish will
show black spots. Beat the white of egg to a froth with a long,
well-cleaned bristle brush; add the froth to the size and grind finely
together, which is soon done. When grinding, a little water and red
size, if necessary, may be added (use only water for thinning). After
being ground, the size is forced through a very fine hair sieve into
a perfectly clean vessel, and covered up well, for immediate or
subsequent use.
The raw stuff of the red size is bolus, which is dug in France and
Armenia in excellent quality. Besides the red size there are yellow,
white (pipe clay), blue, and gray (alumina), which are used for certain
purposes, to enumerate which here would lead too far.
For burnish gold, always take yellow size for ground work. Dip a
finely ground bristle brush in the gold size prepared for use; fill
a well-cleaned glass (holding 1 pint) half full of water, and add
the size contained in the brush, also about 4 to 5 spoonfuls of pure
alcohol. It is advisable not to take too much size; the liquid, when
applied, must hardly have a yellow tint. When this is dry soon after,
commence applying the size, for which a hair pencil is used. The
essentials are to paint evenly and not too thickly, so that the tone
remains uniform. Apply three coats of size.
When the size is laid on correctly and has become dry, brush the whole
with a special brush, or rub with a flannel rag, so as to obtain the
highest possible luster. The size must not stand too long; otherwise no
gloss can be developed. After brushing, coat the work with weak glue
water and wrap it up in tissue paper if the gilding is not to be done
at once.
The strictest cleanliness is essential, as the red gold size is very
sensitive. The parts where the size has been applied must not be
touched with the hand, else grease spots will ensue, which will make
a flawless gloss in gilding impossible. The least relaxation of the
necessary attention may spoil the whole job, so that everything has to
be ground off again.
The necessary tools for the application of gold leaf are: Hair pencils
of various sizes, tip, cushion, and gilding knife, as with oil-gilding.
Take pure alcohol or grain brandy, and dilute with two-thirds water.
When ready to apply the gold leaf, dip a hair pencil of suitable size
into the fluid, but do not have it full enough that the alcohol will
run on the size ground. Moisten a portion of the ground surface as
large as the gold leaf, which is laid on immediately after. Proceed in
the same manner, first moistening, then applying the ready-cut gold
leaf. The latter must not be pressed on, but merely laid down lightly,
one leaf a little over the edge of the previous one, without using up
too much gold. Technical practice in gold-leaf gilding is presupposed;
through this alone can any skill be acquired, reading being of no avail.
The leaf of gold being applied, all dust must be swept off by means
of a light, fine hair pencil (but never against the overlapping
edges), and the burnishing is commenced. For this purpose there are
special agate tools of the shape of a horn. Flint stone, blood stone,
and wolf’s teeth are sometimes, but gradually more seldom, employed.
Burnish till a full, fine luster appears; but very carefully avoid
dents and lines, not to speak of scratches, which would be very hard to
mend.
«Gold Enamel Paints.»—
I.—Pure turps 6 pints
Copal varnish 1 pint
Good gold bronze 6 1/2 pounds
Calcis hydrate (dry-slaked lime) 1/2 ounce
Mix the varnish and turps at a gentle heat, then slake well with the
lime, and settle for a few days, then pour off the clean portion and
mix with the powder.
II.—White hard varnish 1 gallon
Methylated spirit 3/4 gallon
Gold bronze 12 pounds
Finely powdered mica 3 ounces
Mix the varnish and the spirit, reduce the mica to an impalpable
powder, mix with the gold, then add to the liquid. Many bronze powders
contain a goodly {494} proportion of mica, as it imparts brilliancy.
Powdered mother-of-pearl is used also.
«GRAINING WITH PAINT:»
See also Wood.
«Oak Graining.»—Prepare a paint of two-thirds of white lead and
one-third of golden ocher with the requisite amount of boiled linseed
oil and a little drier, and cover the floor twice with this mixture,
which possesses great covering power. When the last coating is dry,
paint the floor with a thinly liquid paint consisting of varnish and
sienna, applying the same in the longitudinal direction of the boards.
Treat a strip about 20 inches wide at a time, and draw at once a broad
paint brush or, in the absence of such, an ordinary brush or goose
feather along the planks through the wet paint, whereupon the floor
will acquire a nicely grained appearance. The paint requires several
days to dry. A subsequent coating of varnish will cause the graining to
stand out still more prominently.
«Birch.»—Imitations of birch are usefully employed for furniture. The
ground should be a light, clean buff, made from white lead, stained
with either yellow ocher or raw sienna in oil. In graining, brush over
the surface with a thin wash of warm brown, making the panel of 2 or
3 broad color shades. Then take a large mottler and mottle the darker
parts into the light, working slantwise, as for maple, but leaving a
broad and stiff mark. While this is still wet soften the panel and
then slightly mottle across the previous work to break it up. When
thoroughly dry, carefully wet the work over with clean water and clean
mottler, and put in darker overgrain with a thin oak overgrainer or
overgrainer in tubes.
«Maple.»—Sixty pounds white lead; 1 ounce deep vermilion; 1 ounce lemon
chrome.
«Ash.»—Sixty pounds white lead; 1 ounce deep vermilion; 1 ounce lemon
chrome.
«Medium Oak.»—Sixty pounds white lead; 2 pounds French ocher; 1 ounce
burnt umber.
«Light Oak.»—Sixty pounds white lead; 1 ounce lemon chrome; 1/2 pound
French ocher.
«Dark Oak.»—Sixty pounds white lead; 10 pounds burnt umber; 1 1/2
pounds medium Venetian red.
«Satin Wood.»—Sixty pounds white lead; 1 ounce deep vermilion; 1 1/2
pounds lemon chrome.
«Pollard Oak.»—Seventy-five pounds white lead; 20 pounds French ocher;
3 pounds burnt umber; 2 1/2 pounds medium Venetian red.
«Pitch Pine.»—Sixty pounds white lead; 1/4 pound French ocher; 1/2
pound medium Venetian red.
«Knotted Oak.»—Sixty pounds white lead; 9 pounds French ocher; 3 1/2
pounds burnt umber.
«Italian Walnut.»—Sixty pounds white lead; 6 pounds French ocher;
1 1/2 pounds burnt umber; 1 1/4 pounds medium Venetian red.
«Rosewood.»—Nine and one-half pounds burnt umber; 40 pounds medium
Venetian red; 10 pounds orange chrome.
«Dark Mahogany.»—Nine and one-half pounds burnt umber; 40 pounds medium
Venetian red; 10 pounds orange chrome.
«Light Mahogany.»—Sixty pounds white lead; 3 pounds burnt umber; 10
pounds medium Venetian red.
«American Walnut.»—Thirty pounds white lead; 9 pounds French ocher; 4
pounds burnt umber; 1 pound medium Venetian red.
«LUMINOUS PAINTS.»
The illuminating power of the phosphorescent masses obtained by heating
strontium thiosulphate or barium thiosulphate is considerably increased
by the addition, before heating, of small quantities of the nitrates
of uranium, bismuth, or thorium. Added to calcium thiosulphate, these
nitrates do not heighten the luminosity or phosphorescence. The product
from strontium thiosulphate is more luminous than that of the barium
compound. Among the best luminous paints are the following:
I.—Lennord’s.—One hundred parts, by weight, of strontium carbonate;
100 parts, by weight, of sulphur; 0.5 parts, by weight, of potassium
chloride; 0.5 parts, by weight, of sodium chloride; 0.4 parts,
by weight, of manganese chloride. The materials are heated for
three-quarters of an hour to one hour, to about 2,372° F. The product
gives a violet light.
II.—Mourel’s.—One hundred parts, by weight, of strontium carbonate; 30
parts, by weight, of sulphur; 2 parts, by weight, of sodium carbonate;
0.5 parts, by weight, of sodium chloride; 0.2 parts, by weight, of
manganese sulphate. The method of treatment is the same as in the
first, the phosphorescence deep yellow. {495}
III.—Vanino’s.—Sixty parts, by weight, of strontium thiosulphate;
12 parts, by weight, of a 0.5 per cent acidified alcoholic solution
of bismuth nitrate; 6 parts, by weight, of a 0.5 per cent alcoholic
solution of uranium nitrate. The materials are mixed, dried, brought
gradually to a temperature of 2,372° F., and heated for about an hour.
The phosphorescence is emerald green.
IV.—Balmain’s.—Twenty parts, by weight, of calcium oxide (burnt lime),
free from iron; 6 parts, by weight, of sulphur; 2 parts, by weight,
of starch; 1 part, by weight, of a 0.5 per cent solution of bismuth
nitrate; 0.15 parts, by weight, of potassium chloride; 0.15 parts, by
weight, of sodium chloride. The materials are mixed, dried, and heated
to 1,300° C. (2,372° F.). The product gives a violet light.
To make these phosphorescent substances effective, they are exposed
for a time to direct sunlight; or a mercury lamp may be used. Powerful
incandescent gas light also does well, but requires more time.
«PAINTS FOR METAL SURFACES:»
«Blackening Ornaments of Iron.»—I.—To give iron ornaments a black-brown
to black color, proceed in the following manner: The articles are
treated with corrosives, cleaned of all adhering grease, and placed
in a 10 per cent solution of potassium bichromate, dried in the air,
and finally held over an open, well-glowing, non-sooting fire for 2
minutes. The first coloring is usually black brown, but if this process
is repeated several times, a pure black shade is obtained. Special
attention has to be paid to removing all grease, otherwise the greasy
spots will not be touched by the liquid, and the coloring produced will
become irregular. Benzine is employed for that purpose and the articles
must not be touched with the fingers afterwards.
II.—This process protects the iron from rust for a long time. The
treatment consists in coating the objects very uniformly with a thin
layer of linseed-oil varnish, and burning it off over a charcoal fire.
During the deflagration the draught must be stopped. The varnish will
first go up in smoke with a strong formation of soot, and finally burn
up entirely. The process is repeated, i. e., after one coating is
burned off a new one is applied, until the parts exhibit a uniformly
handsome, deep-black color. Next, wipe off the covering with a dry rag
and heat again, but only moderately. Finally, the articles are taken
from the fire and rubbed with a rag well saturated with linseed-oil
varnish. The black turns completely dull, and forms a real durable
covering for the objects.
«Black for Polished Iron Pieces.»—Apply successive layers of a very
concentrated solution of nitrate of manganese dissolved in alcohol over
a gentle fire and the water bath. The surfaces to be blackened should
be previously heated. By repeating the layers all the tints between
brownish black and bluish black may be obtained.
«Glossy Black for Bicycles, etc.»—
Amber 8 ounces
Linseed oil 4 ounces
Asphaltum 1 1/2 ounces
Rosin 1 1/2 ounces
Oil turpentine 8 ounces
Heat the linseed oil to boiling point, add the amber, asphaltum, and
rosin, and when all melted remove from the fire and gradually add the
turpentine.
«Japan Black.»—The following is a good japan black for metal surfaces:
Take 12 ounces of amber and 2 ounces of asphaltum. Fuse by heat, and
add 1/2 pint boiled oil and 2 ounces of rosin. When cooling add 16
ounces of oil of turpentine.
«Brass and Bronze Protective Paint.»—As a protective covering,
especially for brass and bronze objects, a colorless celluloid solution
is recommended, such as is found in trade under the name of “Zapon” (q.
v.).
«Paint for Copper.»—Dissolve 1 ounce of alum in 1 quart of warm soft
water. When cold add flour to make it about the consistency of cream,
then add 1/2 thimble of rosin and 1/2 ounce of sugar of lead.
«Priming Iron.»—The following, if carefully carried out, gives the
best satisfaction: The first step consists in thoroughly cleaning
the surface of the iron, removing all adhesions in the way of dirt,
rust, etc., before the question of priming is considered. As paint in
this instance is applied more with a view of protecting the iron from
atmospheric influences, rather than for a decorative effect, careful
attention should be devoted for securing a base or surface which is
calculated to produce a thorough and permanent application. A great
deal depends upon the nature of the metal to be painted. Common cast
iron, for instance, possessing a rough exterior, {496} with ordinary
precautions can be more readily painted with the prospect of a
permanent adhesion of the paint, than a planed steel or wrought-iron
surface. With the latter it has been demonstrated that a hard and
elastic paint is needed, while with regard to cast iron, other paints
containing iron oxides are more suitable. For good drying and covering
properties, as well as elasticity, a good boiled oil to which has
been added an adequate proportion of red lead will be found to form
an excellent paint for smooth metal surfaces. The primary object is
to protect the surface of the iron from moisture for the purpose of
avoiding rust. The priming must therefore be carried out so that it
will stick, after which subsequent coats may be added if desired.
It is advisable that articles made of iron should first be coated with
linseed-oil varnish. It dries slowly, hardens, and enables the operator
afterwards to exercise an effective control over the condition of
his material. Iron must be absolutely dry and free from rust when it
is to be painted. It is best to apply next a coating of hot linseed
oil; when dry this should be followed by a priming of pure red lead
in good linseed oil, and the iron should then be painted as desired,
using ground oil paints and leaving an interval of a week between each
coating. Cementing should be done after the red lead priming, but the
last coat must not be given until the whole is thoroughly dry. Bright
oil paints and an upper coating with plenty of oil resist the effects
of heat better than thin coatings; moreover, rust can be detected in
its early stages with the former. Coatings of tar and asphalt (asphalt
dissolved in turpentine) are practicable for underground pipes, but are
not adapted for pipes exposed to the air, as they are quickly spoiled.
Asphalt varnish, used for coating coal scuttles, fire screens, etc.,
consists of asphalt dissolved in linseed-oil varnish. Iron stoves and
stovepipes are best coated with graphite.
«Galvanized Iron.»—For galvanized iron there has been recommended a
wash consisting simply of dilute hydrochloric acid, which produces
chloride of zinc, that in combination with the oxygen of the air is
said to produce a film upon which oil color takes as good a hold as it
would upon ordinary sheet iron.
Another method which has been tested and found effective is to make a
solution as follows: One ounce of chloride of copper; 1 ounce nitrate
of copper; 1 ounce sal ammoniac, dissolved in 2 quarts of soft water,
to which is added 1 ounce of crude or commercial hydrochloric acid.
This solution should be made in an earthenware dish or pot, or in glass
or stoneware, as tin will precipitate the copper salts and make the
solution imperfect. To large surfaces this solution is applied with
a broad brush, when the surface assumes a deep black color, which in
drying out in from 12 to 24 hours becomes a gray white, upon which
the properly prepared primer will take a permanent grip. On the film
so produced a much thinner paint will cover very much better than
a stouter paint would on the untreated galvanized or ordinary iron
surface. A single trial will convince the craftsman that this treatment
is a method that will give lasting results, provided he tries the same
priming paint on the treated and untreated surface.
«To Paint Wrought Iron with Graphite.»—In order to make wrought iron
look like new mix fine graphite with equal parts of varnish and
turpentine oil, adding a little siccative. Paint the iron parts with
this twice, allowing to dry each time. Especially the second coating
must be perfectly dry before further treatment. The latter consists in
preparing graphite with spirit and applying it very thinly over the
first coat. After the drying or evaporation of the spirit the graphite
last applied is brushed vigorously, whereby a handsome, durable gloss
is produced.
«Paint for Iron Bodies Exposed to Heat.»—Dilute 1 part soda water glass
with 2 parts water and mix intimately with the following pigments:
_White._—White lead or sulphate of barium.
_Yellow._—Chromate of barium, ocher, or uranium yellow.
_Green._—Chromic oxide or ultramarine green.
_Blue._—Ultramarine.
_Brown._—Oxide of cadmium, oxide of manganese or terra di sienna.
_Red._—English red or chrome red.
Bronze powder in a suitable quantity may be added to the mixture, but
not more paint should be prepared than can be used up in a few hours.
The bronze powder may also be strewn on the fresh paint, or applied
with a dry brush, to enhance the gloss. This paint is not affected by
heat, and is inodorous.
«Protective Coating for Bright Iron Articles.»—Zinc white, 30 parts;
{497} lampblack, 2 parts; tallow, 7 parts; vaseline, 1 part; olive oil,
3 parts; varnish, 1 part. Boil together 1/4 hour and add 1/2 part
of benzine and 1/4 part of turpentine, stirring the mass carefully
and boiling for some time. The finished paste-like substance can be
readily removed with a rag without the use of solvents.
«Rust Paints.»—I.—A new rust paint is produced by the following
process: Mix 100 parts dry iron sulphate and 87 parts sodium chlorate
and heat to 1,500° to 1,800° F. The chlorine set free seems to have a
very favorable action on the color of the simultaneously forming iron
oxide. In order to avoid, however, too far-reaching an effect of the
chlorine gas, about 18 pounds of a substance which absorbs the same
mechanically, such as kaolin, ground pumice stone, ocher, etc., are
added to the mixture.
II.—A material known under the names of lardite, steatite,
agalmatolite, pagodite, is excellently adapted as a substitute for
the ordinary metallic protective agent of the pigments and has the
property of protecting iron from rust in an effective manner. In China,
lardite is used for protecting edifices of sandstone, which crumbles
under the action of the atmosphere. Likewise a thin layer of powdered
steatite, applied in the form of paint, has been found valuable there
as a protector against the decay of obelisks, statues, etc. Lardite,
besides, possesses the quality of being exceedingly fine-grained,
which renders this material valuable for use in ship painting. Ground
steatite is one of the finest materials which can be produced, and no
other so quickly and firmly adheres to the fibers of iron and steel.
Furthermore, steatite is lighter than metallic covering agents, and
covers, mixed in paint, a larger surface than zinc white, red lead, or
iron oxide. Steatite as it occurs in Switzerland is used there and in
the Tyrol for stoves, since it is fireproof.