ELEGANT AND INGENIOUS ARTS, ETC.
_Water-Colors--Potichomanie--Grecian Painting--Diaphanic
Feather Flowers--Sea-Weeds--Botanical
Specimens--Leaves--Plants--Fungi--Transferring--Etching--Staining
--Leather-work--Games, etc._
1390. _Home Pursuits, etc._--See Part III., page 151.
1391. _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.
1392. 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.
WATER-COLORS USED IN DRAWING.
1393. _Indian Ink._--The best is stamped with Chinese characters,
breaks with a glossy fracture, and feels smooth when rubbed on the
plate.
1394. _Hair Pencils_ are made of camel's-hair; if they come to a
point, when moistened, without splitting, they are good.
1395. _Drawing Paper._--That made without any wire marks, and called
wove paper, is the best; it is made of various sizes and thicknesses.
1396. _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.
DIRECTIONS FOR MIXED COLORS.
1397. _Ash Color._--Ceruse white, Keating's black and white, shaded
with cherry-stone black.
1398. _Bay._--Lake and flake white, shaded with carmine; bistre and
vermilion shaded with black.
1399. _Changeable Silk._--Red lead and masticot water, shaded with
sap-green and verdigris.
1400. _Another._--Lake and yellow, shaded with lake and Prussian blue.
1401. _Cloud Color._--Light masticot, or lake and white, shaded with
blue verditer.
1402. _Another._--Constant white and Indian ink, and a little
vermilion.
1403. _Another._--White, with a little lake and blue verditer, make a
good cloud color for that part next the horizon.
1404. _Crimson._--Lake and white, with a little vermilion, shaded
with lake and carmine.
1405. _Flame Color._--Vermilion and orpiment, heightened with white.
1406. _Another._--Gamboge, shaded with minium and red lead.
1407. _Flesh Color._--Ceruse, red lead, and lake, for a swarthy
complexion, and yellow ochre.
1408. _Another._--Constant white and a little carmine, shaded with
Spanish liquorice washed with carmine.
1409. _French Green._--Light pink and Dutch bice, shaded with green
pink.
1410. _Glass Grey._--Ceruse, with a little blue of any kind.
1411. _Hair Color._--Musticot, ochre, umber, ceruse, and cherry-stone
black.
1412. _Lead Color._--Indigo and white.
1413. _Light Blue._--Blue bice, heightened with flake white.
1414. _Another._--Blue verditer, and white of any sort, well ground.
1415. _Light Green._--Pink, smalt, and white.
1416. _Another._--Blue verditer and gamboge.
1417. _Another._--Gamboge and verdigris. This is chiefly used for the
ground colors of trees, fields, &c.
1418. _Lion Tawny._--Red lead and masticot, shaded with umber.
1419. _Murrey._--Lake and white lead.
1420. _Orange._--Red lead and a little masticot, shaded with umber.
1421. _Orange Tawny._--Lake, light pink, a little masticot, shaded
with gall-stone and lake.
1422. _Pearl Color._--Carmine, a little white, shaded with lake.
1423. _Popinjay Green._--Green and masticot; or pink and a little
indigo, shaded with indigo.
1424. _Purple._--Indigo, Spanish brown, and white; or blue bice, red
and white lead; or blue bice and lake.
1425. _Russet._--Cherry-stone black and white.
1426. _Scarlet._--Red lead and lake, with or without vermilion.
1427. _Sea Green._--Bice, pink and white, shaded with pink.
1428. _Sky Color._--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.
1429. _Sky Color for Drapery._--Blue bice and ceruse, or ultramarine
and white, shaded with indigo.
1430. _Straw Color._--Masticot and a very little lake, shaded with
Dutch pink.
1431. _Yellow Color._--Indigo, white, and lake; or fine Dutch bice
and lake, shaded with indigo; or litmus smalt and bice, the latter
predominant.
1432. _Water._--Blue and white, shaded with blue, and heightened with
white.
1433. _Another._--Blue verdigris, shaded with indigo, and heightened
with white.
1434. _To prevent Colors from Cracking._--Boil two ounces of the best
and clearest glue, with one pint of clear water, and a half an ounce
of alum, till dissolved. With this temper those colors intended for
the sky.
1435. _To make a Solution of Gum._--Dissolve an ounce of white gum
arabic, and half an ounce 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.
1436. _To keep Flies from the Work._--Having prepared the gum water
for the colors, add a little coloquintida.
1437. _To prepare Alum Water._--Take four ounces of alum, and a pint
of spring water; boil it till the alum is thoroughly dissolved, and
then filter it through blotting-paper.
1438. _To use Alum Water._--Before laying on the colors, 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 colors, and give them additional lustre.
1439. _To make Lime Water._--Put unslaked 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.
TO PREPARE WASH COLORS FOR MAPS.
1440. _Blue._--Dilute Saxon blue with water; or to the solution of
litmus add distilled vinegar.
1441. _Green._--Dissolve verdigris in distilled water and add gum
arabic.
1442. Or, dissolve sap-green in water and add gum.
1443. _Red._--Steep Brazil dust in vinegar, with alum. Or, dissolve
litmus in water and add spirit of wine.
1444. Or, steep cochineal in water, strain, and add gum.
1445. _Yellow._--Dissolve gamboge in water; or French berries steeped
in water the liquor strained, and gum arabic added.
TO MIX WATER-COLORS FOR ANIMALS.
1446. _Horses, Black._--Black lightly laid on, shaded with Keating's
black and bistre, heightened with masticot.
1447. _Horses, Chestnut Brown._--Red ochre and black mixed together,
shaded with black, heightened with red ochre and white.
1448. _Horses, Gray._--Black and white mixed, shaded with black,
white, and bistre; heightened with pure water.
1449. _Lions._--Color much in the same manner as horses, adding lake
in the ground color.
1450. _Bears._--Brown ochre, red ochre, and black, mixed; shaded with
bistre and ivory black.
1451. _Wolves._--Spanish liquorice and black, shaded with black.
1452. _Asses._--Black and white mixed; or, add a little brown ochre,
shaded with black.
1453. _Elephants._--Black, white, and Spanish liquorice, mixed;
shaded with black and bistre; the inner part of the nose, vermilion
and white, shaded with black.
1454. _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.
FRUIT IN WATER COLORS.
1455. _Apples._--Thin masticot mixed with verdigris, shaded with
brown ochre.
1456. _Cherries._--Vermilion and lake, shaded with carmine,
heightened with vermilion and white.
1457. _Grapes, Blue._--Dark purple shaded with blue; the bloom, bice.
1458. _Grapes, White._--Verdigris and masticot mixed, shaded with
thin verdigris heightened with masticot and white.
1459. _Peaches._--Thin masticot shaded with brown ochre; the bloom,
lake heightened with white.
1460. _Pears._--Masticot deepened and mellowed with brown ochre.
1461. _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.
TO PAINT FLOWERS.
1462. _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.
1463. _Leaves._--Sap green, shaded with indigo and French berries;
the stalk brown.
1464. _Honeysuckles._--Inside of the petals, white shaded with
sap-green, or gamboge and bistre.
1465. The _insides_ are to be shown by curling the leaves back at the
ends, or by splitting them.
1466. The _outsides_, a thin wash of carmine and lake mixed, shaded
with carmine--indigo for the darkest shades.
1467. _Stalks._--Sap-green and carmine.
1468. _Leaves._--Sap-green, shaded with indigo and French berries.
1469. _Roses._--A light tint of pure carmine, over which another
equally light of Peruvian blue; proceed with the darker shades of
carmine of the best sort.
1470. In the darkest part of the flower add a little indigo to give
a roundness. If the _seeds_ are seen lay on gamboge, shaded with
gall-stone.
1471. _Leaves._--Upper side, sap-green, shaded with indigo and French
berries mixed; under-side, white indigo and sap green mixed, shaded
with the same.
1472. _Stalks._--Sap-green and carmine, shaded with indigo.
1473. _Rose-buds._--A pale wash of carmine, shaded with a stronger
wash of the same.
1474. _Stalks_ and _leaves_, sap green with a slight wash of carmine.
BIRDS IN WATER-COLORS.
1475. _Eagles._--Black and brown, shaded with indigo; feathers
heightened by brown ochre and white; beak and claws saffron, shaded
with bistre; eyes vermilion, heightened with masticot or saffron,
shaded with vermilion.
1476. _Geese._--Ceruse shaded with black; legs, black; bill, red.
1477. _Owls._--Ochre mixed with white, in different shades; legs,
yellow ochre.
1478. _Pheasants._--White and black mixed; legs, Dutch pink, shaded
with black.
1479. _Swans._--White shaded with black; the legs and bills black;
eyes yellow; a ball in the midst.
1480. _Turkeys._--Back, black and white mixed, shaded off to a white
underneath; sprinkled and shaded with black.
LANDSCAPES IN WATER-COLORS.
1481. Sketch the outlines faintly with a black-lead pencil. Then
color.
1482. _Colors._--The most useful are: lake, burnt ochre, gamboge,
indigo, light red, sepia, Prussian blue, sienna, and burnt umber.
1483. _The gray color_ is made of burnt umber, indigo, and lake; each
rubbed separately in a saucer, and then so mixed in a fourth saucer
as to produce the exact color--a warm gray. This is thinned for the
light tints, as sky and distances.
Deeper is to be used for the shadows and near parts, softening with
water till the exact effect is produced.
1484. _Buildings_ are sometimes tinted with a mixture of lake and
gamboge. Burnt ochre is also used. The shadows have an excess of lake.
1485. _Breadths of Light_ are obtained by destroying the scattered
lights with grays.
1486. _Clouds_ are produced by a thin mixture of indigo and lake.
They should be tinted with sepia. The lower or horizontal clouds are
tinged with ultramarine.
1487. _Figures_ are touched with lake and indigo.
1488. _Force_ is acquired by adding sepia to indigo, in the cold
parts, and sepia with lake to the glowing parts.
1489. _Grass_ is washed with a mixture of burnt sienna, indigo, and
gamboge; that in shadow has more indigo. Grass and bushes may be
brought out by a tint of gamboge; distances may be heightened by lake.
1490. _Hills, retiring._--Tint the whole with weak blue; then the
nearer ones with indigo and lake; add a little gamboge to the next,
keeping one subordinate to the other; the most distant being lost in
the aerial tints.
1491. _Land, distant._--Ultramarine and lake. Ground near is tinted
with ochre.
1492. _Road and Paths._--A mixture of lake, burnt umber, and burnt
sienna. It may be tinted with ochre.
1493. _Smoke._--Lake and indigo.
1494. _Trees, distant._--Ultramarine, with a wash of indigo,
gamboge, and burnt sienna, tinted with gray. The middle distance
trees have a thin wash of burnt sienna and gamboge. Nearer trees a
wash of burnt sienna, indigo, and gamboge. In the shadows more indigo
is used.
1495. _Opposing masses of trees_ are tinted with sepia and indigo.
1496. _Windows._--Indigo and burnt umber.
POTICHOMANIE.
1497. This elegant accomplishment, which has become so extremely
popular and fashionable, promises not only to supercede altogether
many of those meretricious accomplishments which have hitherto
absorbed the attention of our fair countrywomen, but to rank among
the fine arts.
1498. _Advantages of this Art._--It possesses many advantages: and
the process is simple and easily acquired.
1499. It is an exceedingly pleasing and interesting employment,
requiring no previous knowledge of drawing, yet affording abundant
space for the exercise of the most exquisite taste.
1500. The time employed is richly repaid; the results produced are
of actual value; articles of ornament and domestic utility being
produced, in perfect imitation of the most beautiful Chinese and
Japanese porcelain, of Sèvres and Dresden china, and of every form
that is usual in the productions of the Ceramic Art.
1501. It furnishes an inexhaustible and inexpensive source for the
production of useful and elegant presents, which will be carefully
preserved as tokens of friendship, and as proofs of the taste and
talent of the giver.
1502. _Articles necessary in the Art of Potichomanie._--Glass vases
(_Potiches en verre_,) of shapes suitable to the different orders of
Chinese, Japanese, Etruscan, and French porcelain, Alumettes, &c.;
cups, plates, &c., &c., of Sèvres and Dresden design.
1503. Sheets of colored drawings or prints, characteristic
representations of the designs or decorations suitable to every kind
of porcelain and china.
1504. A bottle of liquid gum, and three or four hog-hair brushes.
1505. A bottle of varnish, and very fine pointed scissors for cutting
out.
1506. An assortment of colors for the foundation, in bottles.
1507. A packet of gold powder, and a glass vessel for diluting the
colors.
1508. _Directions._--We will suppose the object selected for
imitation to be a Chinese vase.
1509. After providing yourself with a plain glass vase, of the proper
shape, you take your sheets of colored prints on which are depicted
subjects characteristic of that peculiar style.
1510. From these sheets you can select a great variety of designs, of
the most varied character, on the arrangement and grouping of which
you can exercise your own taste.
1511. After you have fully decided upon the arrangement of your
drawings, cut them out accurately with a pair of scissors, then apply
some liquid gum carefully over the colored side of the drawings, and
stick them on the inside of the vase, according to your own previous
arrangement--pressing them down till they adhere closely, without any
bubbles of air appearing between the glass and the drawings.
1512. When the drawings have had sufficient time to dry, take a fine
brush and cover every part of them (without touching the glass) with
a coat of parchment size or liquid gum, which prevents the oil color
(which is next applied) from sinking into or becoming absorbed by the
paper.
1513. When the interior of the vase is perfectly dry, and any
particles of gum size that may have been left on the glass have been
removed, your vase is ready for the final and most important process.
1514. You have now to tint the whole of the vase with a proper color
to give it the appearance of porcelain; for up to this time, you will
recollect, it is but a glass vase, with a few colored prints stuck
thereon.
1515. Select from your stock of prepared colors, in bottles, the tint
most appropriate to the kind of china you are imitating (as we are
now supposed to be making a Chinese vase, it will be of a greenish
hue), mix fully sufficient color in a glass vessel, then pour the
whole into the vase.
1516. Take now your vase in both hands, and turn it round continually
in the same direction, until the color is equally spread over the
whole of the interior: when this is satisfactorily accomplished, pour
back the remainder. If the prepared color is too thick, add a little
varnish to the mixture before applying it.
1517. If preferred, the color may be laid on with a soft brush.
Should the vase be intended to hold water, the interior must be well
varnished after the above operations, or lined with zinc or tin foil.
1518. If the Potichomanist wishes to decorate the mouth of his vase
with a gold border, he can do so by mixing some gold powder in a
few drops of the essence of lavender and some varnish, applying
it on the vase with a fine brush; or he can purchase gold bands,
already prepared for application, in varied sheets, suitable to the
Potichomanie designs.
1519. Potichomanists have found the art capable of greater results
than the mere imitation of porcelain vases, by the introduction of
glass panels (previously decorated with beautiful flowers on a white
ground) into drawing-room doors, and also into walls which, being
panel papered, offer opportunities of introducing centre pieces of
the same character as the doors; elegant chess and work-tables,
folding and cheval-screens, panels for cabinets, chiffoniers and
book-cases, slabs for pier and console-tables, glove-boxes, covers
for books, music, albums, &c.
1520. The most common cause of failure is, that the drawings inside
are not thoroughly pressed down.
GRECIAN PAINTING.
1521. _Grecian Painting_ is the art of imitating _oil_ paintings.
1522. This truly beautiful imitation, if well done, is so perfect
that none save connoisseurs can discern, at sight, the difference.
1523. _Engravings_ best suited to this style of painting are
mezzotint or aquatint, though fine lithographs are used.
1524. _Rule First._--Procure a frame one inch longer than the
engraved part of the print.
1525. _Second._--Cut the engraving the size of the frame, then make a
stiff paste, and spread it thickly on the frame.
1526. _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.
1527. _To make the Grecian Varnish._--Take one part turpentine, two
parts alcohol (90 proof), three parts balsam of fir, and mix.
1528. _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.
1529. _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.
1530. _Drying._--Place the picture, face downward, where it will be
free from dust, and leave it three or four days.
1531. _Paints._--These are put on the back of the engraving.
1532. _Eyes._--For blue eyes, permanent blue and white; for hazel
eyes, yellow ochre and Van Dyke brown.
1533. _Flesh Tints._--Flake white, with a very little vermilion and
Naples yellow.
1534. _Foliages._--Chrome yellow and Prussian blue, with any of the
browns.
1535. _Sky._--Clouds touched in with white; the rest permanent blue
and white.
1536. _Water._--The light parts with white, the rest the same as the
sky. If a bright scene, and with trees, of a greenish brown.
1537. _Hair and Eyebrows._--Yellow ochre and Van Dyke brown, or raw
sienna.
1538. _Backgrounds._--The most agreeable tint is a greenish brown.
1539. _White Background._--Flake and silver white.
1540. _Buff Background._--Naples yellow.
1541. _Orange Background._--Chrome yellow, with vermilion.
1542. _Blue Background._--Flake white and Prussian blue.
1543. _Gray Background._--White, Prussian blue, and vermilion.
1544. _Pink Background._--White and vermilion.
1545. _Crimson Background._--Vermilion and white, with carmine.
1546. _Green Background._--Chrome yellow and Prussian blue.
1547. _Paints for the Front of the Picture._--Drying oil must be used
with all the colors on the front.
1548. _Shading for the Flesh on the Front._--Carmine and Van Dyke
brown laid on lightly, and the edges touched off with the finger.
1549. _Cheeks._--Carmine; soften the edges carefully.
1550. _Lips._--Carmine, with a touch of vermilion.
1551. _Hair and Eyebrows._--Yellow lake and Van Dyke brown.
1552. _Draperies._--These are always painted on the back, and shaded
on the front with Van Dyke brown.
1553. _Backgrounds._--If plain, glaze with yellow lake.
1554. _Foliages._--Yellow lake and Van Dyke brown.
1555. _General Directions._--_First_--Lay the paint thickly on the
back, and be careful to cover every part, but not to go over the
edges.
1556. _Second_--When the painting is finished let it dry four days,
and then cover the front with a coat of mastic varnish.
1557. _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.
1558. _Colors used_ are oil colors in tubes. Those generally needed
are silver white, Naples yellow, yellow ochre, brilliant yellow,
vermilion, Prussian blue, raw sienna, ivory black, carmine, yellow
lake, Van Dyke brown.
1559. _If economy_ is an object, some of the above-mentioned
materials can be dispensed with.
DIAPHANIE.
1560. This is a beautiful, useful, and inexpensive art, easily
acquired, and producing imitations of the richest and rarest stained
glass; and also of making blinds, screens, skylights, Chinese
lanterns, &c., in every variety of color and design.
1561. In decorating his house, an American 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?
1562. The reason is obvious. The magnificent historical old stained
glass might be envied, but could not be brought within the compass of
ordinary means. Recent improvements in printing in colors led the way
to this beautiful invention, by which economy is combined with the
most perfect results.
1563. A peculiar kind of paper is rendered perfectly transparent,
upon which designs are printed in glass colors (_vitre de couleurs_),
which will not change with the light.
1564. 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.
1565. There is another design, printed in imitation of the half-light
(_abat-jour_); 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 ground.
1566. 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.
1567. _Practical Instructions._--Choose a fine day for the operation,
as the glass should be perfectly dry and unaffected by the humidity
of the atmosphere.
1568. 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 or cloth to keep the glass steady.
1569. 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.
1570. 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 equalize
the moisture.
1571. 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.
1572. Apply the printed side next to the glass without pressure;
endeavor to let your sheet fall perfectly level and smooth on your
glass so that you may avoid leaving creases, which would be fatal.
1573. 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.
1574. 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.
1575. 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:--
1576. 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.
1577. 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, and other stuffs require
to be carefully stretched on a knitting or other suitable frame.
1578. Take great care to allow, _whatever you use_, time to dry
before applying the liqueur diaphane.
1579. 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.
1580. 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.
1581. 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.
1582. 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.
1583. 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.
FEATHER FLOWERS.
1584. The art of making feather flowers, though a very easy and
inexpensive accomplishment, and yielding pretty ornaments for the
mantel-piece or the chiffonier, is but little pursued.
1585. Many persons are under the impression that they can only
be made from the feathers of exotic birds, and that these are
expensive. But the following instructions will dispel this
misconception, and remove the difficulty.
1586. Procure the best white geese or swans' feathers, have them
plucked off the fowl with care not to break the web, free them from
down, except a small quantity on the shaft of the feather.
1587. Having procured two good specimens of the flower you wish to
imitate, carefully pull off the petals of one, and, with a piece of
tissue paper, cut out the shape of each size, taking care to leave
the shaft of the feather at least half an inch longer than the petal
of the flower.
1588. Carefully bend the feather with the thumb and finger to the
proper shape; mind not to break the web.
1589. _To make the Stem and Heart of a Flower._--Take a piece of wire
six inches long: across the top lay a small piece of cotton wool,
turn the wire over it, and wind it round until it is the size of the
heart or centre of the flower you are going to imitate.
1590. If a single flower, cover it with paste or velvet of the proper
color, and round it must be arranged the stamens; these are made of
fine India silk, or feathers may be used for this purpose.
1591. After the petals have been attached, the silk or feather is
dipped into gum, and then into the farina. Place the petals round,
one at a time, and wind them on with Moravian cotton, No. 4; arrange
them as nearly like the flower you have for a copy as possible.
1592. Cut the stems of the feathers even, and then make the calix
of feathers, cut like the pattern or natural flower. For the small
flowers, the calix is made with paste. Cover the stems with paper or
silk the same as the flowers; the paper must be cut in narrow strips,
about a quarter of an inch wide.
1593. _To make the Pastes of the Calix, Hearts, and Buds of
Flowers._--Take common white starch, and mix it with gum water until
it is the substance of thick treacle; color it with the dyes used for
the feathers, and keep it from the air.
1594. _To make the Farina._--Use common ground rice, mixed into a
stiff paste with any dye; dry it before the fire, and when quite
hard, pound it to a fine powder.
1595. The buds, berries, and hearts of some double flowers are made
with cotton wool, wound around wire, moulded to the shape with thumb
and finger.
1596. Smooth it over with gum water, and when dry cover the buds,
berries, or calix with the proper colored pastes; they will require
one or two coats, and may be shaded with a little paint, and then
gummed and left to dry.
1597. Flowers of two or more shades or colors are variegated with
water-colors, mixed with lemon-juice, ultra-marine and chrome for
blue, and gold may also be used in powder, mixed with lemon-juice and
gum water.
1598. The materials required are some good white goose or swan's
feathers; a little fine wire, different sizes; a few skeins of
fine floss silk, some good cotton wool or wadding, a reel of No.
4 Moravian cotton, a skein of India silk, the starch and gum for
pastes, and a pair of small sharp scissors, a few sheets of colored
silk paper, and some water-colors, with the following dyes:--
1599. _To Dye Feathers Blue._--Into two pennyworths of oil of
vitriol, mix two pennyworths of the best indigo in powder; let it
stand a day or two; when wanted shake it well, and into a quart of
boiling water put one tablespoonful of the liquid.
1600. Stir it well, put the feathers in, and let them simmer a few
minutes.
1601. _Yellow._--Put a tablespoonful of the best turmeric into a
quart of boiling water; when well mixed, put in the feathers.
1602. More or less of the turmeric will give them different shades,
and a very small quantity of soda will give them an orange hue.
1603. _Green._--Mix the indigo liquor with turmeric, and pour boiling
water over it; let the feathers simmer in the dye until they have
acquired the shade you want them. (See 289.)
1604. _Pink._--Three good pink saucers in a quart of boiling
water, with a small quantity of cream of tartar. If a deep color
is required, use four saucers. Let the feathers remain in the dye
several hours.
1605. _Red._--Into a quart of boiling water dissolve a teaspoonful of
cream of tartar, put in one tablespoonful of prepared cochineal, and
then a few drops of muriate of tin.
1606. This dye is expensive, and scarlet flowers are best made
with the plumage of the red Ibis, which can generally be had of a
bird-fancier or bird-stuffer, who will give directions how it may be
applied.
1607. _Lilac._--About two teaspoonfuls of cudbear, into about a quart
of boiling water; let it simmer a few minutes before you put in the
feathers. A small quantity of cream of tartar turns the color from
lilac to amethyst.
1608. _Black._--Use the same as for cloth.
1609. _Crimson._--Dip in acetate of alumina mordant, then in a
boiling-hot decoction of Brazil wood--and, last of all, pass through
a bath of cudbear.
1610. _Before the feathers_ are dyed they must be put into hot water,
and let them drain before they are put into the dyes.
1611. _After the feathers_ are taken out of the dye, rinse them two
or three times in clear cold water (except the red), which must only
be done once. Then lay them on a tray, over which a cloth has been
spread, before a good fire; when they begin to dry and unfold, draw
each feather gently between your thumb and finger, until it regains
its proper shape.
1612. _The leaves of the flowers_ are made of green feathers, cut
like those of the natural flower, and serrated at the edge with a
very small pair of scissors.
1613. For the calix of a moss-rose the down is left on the feather,
and is a very good representation of the moss on the natural flower.
1614. _To Preserve Sea-Weed._--This is a delicate process, and may be
made like beautiful pictures.
1615. _First Process._--Wash the sea-weed in fresh water, then take
a plate or dish (the larger the better), cut your paper to the size
required, place it on the plate with fresh water, and spread out the
plant with a good sized camel-hair pencil in a natural form. Picking
out with the pin gives the sea-weed an unnatural appearance, and
destroys the characteristic fall of the branches, which should be
carefully avoided.
1616. Then gently raise the paper with the specimen out of the water,
placing it in a slanting position for a few moments, so as to allow
the superabundant water to run off: after which place it in the press.
1617. _The Press._--The press is made with either three pieces
of board or pasteboard. Lay on the first board two sheets of
blotting-paper; on that lay your specimens; place straight and smooth
over them a piece of old muslin, fine cambric, or linen: then some
more blotting-paper, and place another board on the top of that, and
continue in the same way.
1618. _The Finishing._--The blotting-paper and the muslin should be
carefully removed and dried every day, and then replaced: at the same
time, those specimens that are sufficiently dried may be taken away.
Nothing now remains but to write on each the name, date, and locality.
1619. _The Specimens._--You can either gum the specimens in a
scrap-book, or fix them in, as drawings are often fastened, by making
four slits in the page, and inserting each corner.
1620. This is by far the best plan, as it admits of their removal,
without injury to the page, at any future period, if it be required
either to insert better specimens, or intermediate species. Some
of the larger Algæ will not adhere to the paper, and consequently
require gumming.
1621. _Another Way._--After well cleaning and pressing, brush the
coarser kinds of Algæ over with spirits of turpentine, in which two
or three small lumps of gum mastic have been dissolved, by shaking in
a warm place; two-thirds of a small phial is the proper proportion,
and this will make the specimens retain a fresh appearance.
BOTANICAL SPECIMENS, LEAF IMPRESSIONS, ETC.
1622. The plants you wish to preserve should be gathered when the
weather is dry, and after placing the ends in water, let them remain
in a cool place till the next day.
1623. When about to be submitted to the process of drying, place each
plant between several sheets of blotting-paper, and iron it with a
large smooth heater, pretty strongly warmed, till all the moisture is
dissipated.
1624. Colors may thus be fixed, which otherwise become pale, or
nearly white.
1625. Some plants require more moderate heat than others, and
herein consists the nicety of the experiment; but I have generally
found, that if the iron be not too hot, and is passed rapidly, yet
carefully, over the surface of the blotting-paper, it answers the
purpose equally well with plants of almost every variety of hue and
thickness.
1626. In compound flowers, with those also of a stubborn and solid
form as the Centaurea, some little art is required in cutting away
the under part, by which means the profile and forms of the flowers
will be more distinctly exhibited.
1627. This is especially necessary, when the method employed by Major
Velley is adopted: viz., to fix the flowers and fructification down
with gum upon the paper previous to ironing, by which means they
become almost incorporated with the surface.
1628. When this very delicate process is attempted, blotting-paper
should be laid under every part excepting the blossoms, in order to
prevent staining the white paper. Great care must be taken to keep
preserved specimens in a dry place.
1629. _Skeleton leaves_ may be made by steeping leaves in rain
water, in an open vessel, exposed to the air and sun. Water must
occasionally be added to compensate loss by evaporation.
1630. The leaves will putrefy, and then their membranes will begin to
open; then lay them on a clean white plate, filled with clean water,
and with gentle touches take off the external membranes, separating
them cautiously near the middle rib. When there is an opening toward
the latter the whole membrane separates easily.
1631. The process requires a great deal of patience, as ample time
must be given for the vegetable tissues to decay, and separate.
1632. _A more Expeditious Method._--A tablespoonful of chlorid of
lime in a liquid state, mixed with a quart of pure spring water.
1633. Leaves or seed-vessels of plants to be soaked in the mixture
for about four hours, then taken out and well washed in a large basin
filled with water, after which they should be left to dry with free
exposure to light and air.
1634. Some of the largest species of forest leaves, or such as have
strong ribs, will require to be left rather more than four hours in
the liquid.
1635. _Dwarf Plants._--Take a cutting of the plant you wish to dwarf,
say a myrtle, for instance, and having set it in a pot, wait until
you are satisfied that it has taken root; then take a cutting from
it, and place it in a miniature flower-pot, taking care to fill it
more than three parts with fine sand, the remainder with mould.
1636. Put it under a glass on the chimney-piece, or in any warm
place, and give it very small quantities of water.
1637. _Preserve Fungi._--Receipt of the celebrated botanist, William
Withering, Esq., by which specimens of fungi may be beautifully
preserved.
1638. Take two ounces of sulphate of copper, or blue vitriol, and
reduce it to powder, and pour upon it a pint of boiling water, and
when cold, add half a pint of spirits of wine; cork it well, and call
it "the pickle."
1639. To eight pints of water add one pint and a-half of spirits of
wine, and call it "the liquor."
1640. Be provided with a number of wide-mouthed bottles of different
sizes, all well fitted with corks. The fungi should be left on the
table as long as possible to allow the moisture to evaporate.
1641. They should then be placed in the pickle for three hours, or
longer, if necessary; then place them in the bottles intended for
their reception, and fill with the liquor.
1642. They should then be well corked and sealed, and arranged in
order with their names in front of the bottles.
1643. _Leaf Impressions._--Hold oiled paper in the smoke of a lamp,
or of pitch, until it becomes coated with the smoke; to this paper
apply the leaf of which you wish an impression, having previously
warmed it between your hands, that it may be pliable.
1644. Place the lower surface of the leaf upon the blackened surface
of the oil paper, that the numerous veins that are so prominent on
this side may receive from the paper a portion of the smoke.
1645. Lay a paper over the leaf, and then press it gently upon the
smoked paper, with the fingers, or with a small roller, (covered with
woolen cloth, or some like soft material), so that every part of the
leaf may come in contact with the sooted oil-paper.
1646. A coating of the smoke will adhere to the leaf.
1647. Then remove the leaf carefully, and place the blackened surface
on a sheet of white paper, not ruled, or in a book prepared for the
purpose, covering the leaf with a clean slip of paper, and pressing
upon it with the fingers, or roller, as before.
1648. Thus may be obtained the impression of a leaf, showing the
perfect outlines, together with an accurate exhibition of the veins
which extend in every direction through it, more correctly than the
finest drawing.
1649. This process is so simple, and the material so easily obtained,
that any person, with a little practice to enable him to apply
the right quantity of smoke to the oil-paper, and give the leaf a
proper pressure, can prepare beautiful leaf impressions, such as a
naturalist would be proud to possess.
1650. There is another, and we think, a better method of taking _leaf
impressions_ than the preceding one.
1651. _Leaf Impressions in Ink._--After warming the leaf between
the hands, apply printing ink, by means of a small leather ball
containing cotton, or some soft substance, or with the end of the
finger.
1652. The leather ball (and the finger when used for that purpose),
after the ink is applied to it, should be pressed several times on a
piece of leather, or some smooth surface, before each application to
the leaf, that the ink may be smoothly and evenly applied.
1653. After the under surface of the leaf has been sufficiently
inked, apply it to the paper, where you wish the impression; and
after covering it with a slip of paper, use the hand or roller to
press upon it, as described in the former process. (See 711, page
176.)
1654. _Impressions from Coins._--Melt a little isinglass glue with
brandy, and pour it thinly over the medal, &c., so as to cover
its whole surface; let it remain on for a day or two, till it has
thoroughly dried and hardened, and then take it off, when it will be
fine, clear, and as hard as a piece of Muscovy glass, and will have a
very elegant impression of the coin. It will also resist the effects
of damp air, which occasions all other kinds of glue to soften and
bend, if not prepared in this way.
TRANSFERRING TO GLASS, WOOD, ETC.
1655. The process of transferring consists in causing the ink of a
print, engraving, mezzotint, or lithograph, to adhere to the surface
of glass, wood, cardboard, ivory, or earthenware, which is effected
by cementing the face of the prints to their surface by means of
some varnish or glutinous transparent body that will not dissolve in
water, and then destroying the texture of the paper, so as to leave
the ink upon the varnish and material operated on, in the same manner
as if the original impression had been there, but of course reversed.
1656. _Materials._--The body to which the print is to be transferred.
1657. Spirits and oil of turpentine; oil and varnish colors;
seed-lac, white and transfer varnishes; oil of almonds; spirit of
wine; a flat and a round brush, and a towel.
_The Varnishes._--The _seed-lac_ and _white varnishes_.
1658. _The Transfer Varnish._--Take five ounces of the best spirit
of wine, add four ounces of the purified Venice turpentine to it,
and an ounce of picked mastic tears; put them into a bottle, shake
constantly until the mastic and turpentine dissolve, and in a few
hours it will be fit for use, but improves by keeping.
1659. _To Transfer to Glass._--Procure a piece of the best
crown-glass, as near as possible in size and shape to the print to be
transferred, varnish it over with a mixture of equal parts of spirits
and oil of turpentine, and lay the print on the glass, beginning at
one end, and pressing it gently down with a towel in every part in
proceeding to the other.
1660. If this is not done carefully, vesicles of air will be admitted
between the paper and glass, and mar the effect. After pressing the
print down with the towel, it is to be set aside to dry, which will
take some time, varying according to the state of the atmosphere.
1661. When the turpentine has become perfectly hard, the paper must
be moistened with water till it is thoroughly saturated, and the
paper entirely removed by rubbing very gently with the forefinger in
a circular direction, and then set aside to dry, when the impression
will be found perfectly transferred, but reversed.
1662. If it is wished to preserve only the appearance of an
engraving, a sheet of white paper or Bristol-board must be placed
behind the glass; but if required to be colored, the operation must
be completed with oil or varnish colors, in such a manner as may
impart to it the semblance of a painting.
1663. _To Transfer to Wood._--Procure a piece of wood of the required
form and size; if flat, it should be newly planed, and rubbed down
with pumice-stone and fine sand-paper to make it perfectly smooth and
free from grease; if rounded or any other shape, it should be scraped
with a piece of glass, then pumiced and sand-papered.
1664. Give the wood a coat of transfer varnish previous to
transferring, and set aside for twenty-four hours to dry.
1665. This promotes adhesion of the print to the wood, and secures
the latter from being soiled.
1666. Cut off the white margin of the print, then damp it by placing
it face upward on the surface of some water in a shallow vessel,
taking care to keep the face or printed side dry; when properly
soaked, pass a sponge over the back, spread a coat of varnish over
the whole of the face, and apply immediately to the wood.
1667. Rub down the whole gently with a towel, in the same manner as
directed for glass, so that it may adhere properly. When this has
been done, and while the back is yet moist, rub it carefully with the
forefinger until half the thickness of the paper is removed, then
leave it to dry.
1668. Then wet the finger only, and keep rubbing until the remainder
of the paper is removed, and there is a thin white film over all,
allowing the print to appear clean through; then let it dry, and
bring out with a little oil of almonds; after which apply a coat of
carriage-varnish, or the seed-lac and animi varnish used for white
japan grounds, though we prefer the transfer-varnish ourselves.
1669. Great care and patience must be exercised during the process of
rubbing off, to avoid scratching or tearing the print; if, however,
any part is destroyed, it must be repaired with the same color.
1670. In this manner plain or colored prints may be transferred from
paper to wood.
1671. When colored prints are transferred, they should be laid on
vinegar and water (two-thirds of the former and one of the latter),
to destroy the size which is in the paper, and remain twice as long
as plain prints; then removed and placed between blotting-paper, and
when the superfluous moisture has been removed, treated the same as
the other prints.
1672. _To Clean the Brushes_ and your hands after using the
varnishes, rub with spirit of wine.
1673. _To Transfer to Ivory._--Rub well with pumice-stone, and then
transfer in the same manner as directed above.
1674. _To Transfer to Card-board._--Remove the sizing on the surface
by immersing in the vinegar and water mentioned above, then transfer
as usual.
1675. _To Transfer to Earthenware._--Give the article a thin coating
of varnish, then transfer as directed above.
1676. _Etching on Glass._--Mix in a gallipot a little sulphuric acid
and lampblack to a thin smooth paste, and spread a layer of it on a
piece of glass; upon which trace with a sharp-pointed instrument,
(penetrating to the glass,) any design which may suggest itself.
1677. Then dissolve a little fluor-spar, coarsely powdered, in spirit
of turpentine, and with a camel's-hair brush lay some of the solution
upon the parts so traced; let it remain an hour or two; and you will
find, on scraping off the paste, that the glass will be etched with
whatever forms you have traced.
1678. Very pleasing drawings may thus be etched upon glass; and they
may be rendered more effective by dusting the outline with a little
vermilion.
EMBLEMATIC STONES.
1679. _The Jewels of the Months._--In Poland, according to a
superstitious belief, each month of the year is under the influence
of some precious stone, which influence is attached to the destiny of
persons born during the course of the month.
1680. It is, in consequence, customary amongst friends, and more
particularly between lovers, to make, on birthdays, reciprocal
presents, consisting of some jewel ornamented with the tutelar stone.
It is generally believed that this prediction of happiness, or rather
of the future destiny, will be realized according to the wishes
expressed on the occasion.
1681. _January._--The stone of January is the Jacinth, or Garnet,
which denotes constancy and fidelity in any sort of engagement.
1682. _February._--The Amethyst, a preservative against violent
passions, and an assurance of peace of mind and sincerity.
1683. _March._--The Bloodstone is the stone of courage and wisdom in
perilous undertakings, and firmness in affection.
1684. _April._--The Sapphire, or Diamond, is the stone of repentance,
innocence, and kindliness of disposition.
1685. _May._--The Emerald. This stone signifies happiness in love,
and domestic felicity.
1686. _June._--The Agate is the stone of long life, health, and
prosperity.
1687. _July._--The Ruby, or Cornelian, denotes forgetfulness of, and
exemption from, the vexations caused by friendship and love.
1688. _August._--The Sardonyx. This stone denotes conjugal felicity.
1689. _September._--The Chrysolite is the stone which preserves and
cures madness and despair.
1690. _October._--The Aqua-Marine, or Opal, signifies distress and
hope.
1691. _November._--The Topaz signifies fidelity and friendship.
1692. _December._--The Turquoise is the stone which expresses great
sureness and prosperity in love, and in all the circumstances of life.
STAINING.
1693. _General Observations._--When _alabaster_, _marble_, and
other _stones_, are colored, and the stain is required to be deep,
it should be poured on boiling-hot, and brushed equally over every
part if made with water; if with spirit, it should be applied cold,
otherwise the evaporation, being too rapid, would leave the coloring
matter on the surface, without any, or very little, being able to
penetrate.
1694. In grayish or brownish stones, the stain will be wanting in
brightness, because the natural color combines with the stain;
therefore, if the stone be of a pure color, the result will be a
combination of the color and stain.
1695. _Bone or Ivory._--In staining bone or ivory, the colors will
take better before than after polishing; and if any dark spots
appear, they should be rubbed with chalk, and the article dyed again
to produce uniformity of shade. On removal from the boiling-hot
dye-bath, the bone should be immediately plunged into cold water, to
prevent cracks from the heat.
1696. _Paper or Parchment_ is stained; a broad varnish brush should
be employed to lay the coloring on evenly.
1697. _Wood._--When the stains for wood are required to be very
strong, it is better to soak and _not_ brush them; therefore if for
inlaying or fine work, the wood should be previously split or sawn
into proper thicknesses, and when directed to be brushed several
times over with the stains, it should be allowed to dry between each
coating.
1698. _To Varnish._--When it is wished to render any of the stains
more durable and beautiful, the work should be well rubbed with
Dutch or common rushes after it is colored, and then varnished with
seed-lac varnish, or if a better appearance is desired, with three
coats of the same, or shellac varnish.
1699. _Common Work_ only requires frequent rubbing with linseed oil
and woolen rags. The remainder, with the exception of _glass_, will
be treated of in this paper.
1700. _Alabaster, Marble and Stone_, may be stained of a yellow, red,
green, blue, purple, black, or any of the compound colors, by the
stains used for wood.
1701. _Bone and Ivory._--_Black._--Lay the articles for several hours
in a strong solution of nitrate of silver, and expose to the light.
1702. Boil the article for some time in a strained decoction of
logwood, and then steep it in a solution of per-sulphate or acetate
of iron.
1703. Immerse frequently in ink, until of sufficient depth of color.
1704. _Blue._--1. Immerse for some time in a dilute solution of
sulphate of indigo--partly saturated with potash--and it will be
fully stained. 2. Steep in a strong solution of sulphate of copper.
1705. _Green._--1. Dip blue-stained articles for a short time in
nitro-hydrochlorate of tin, and then in a hot decoction of fustic. 2.
Boil in a solution of verdigris in vinegar until the desired color is
obtained.
1706. _Red._--Dip the articles first in the tin mordant used in
dyeing, and then plunge into a hot decoction of Brazil wood--half a
pound to a gallon of water--or cochineal.
1707. Steep in red ink until sufficiently stained.
1708. _Scarlet._--Use lac-dye instead of the preceding.
1709. _Violet._--Dip in the tin mordant, and then immerse in a
decoction of logwood.
1710. _Yellow._--Impregnate with nitro-hydrochlorate of tin, and then
digest with heat in a strained decoction of fustic.
1711. _Second._--Steep for twenty-four hours in a strong solution of
the neutral chromate of potash, and then plunge for some time in a
boiling solution of acetate of lead.
1712. _Third._--Boil the articles in a solution of alum--a pound to
half a gallon--and then immerse for half an hour in the following
mixture.
1713. Take half a pound of turmeric, and a quarter of a pound of
pearlash; boil in a gallon of water. When taken from this, the bone
must be again dipped in the alum solution.
1714. _Horn_ must be treated in the same manner as bone and ivory for
the various colors given under that heading.
1715. _In Imitation of Tortoise-Shell._--First steam and then press
the horn into proper shapes, and afterward lay the following mixture
on with a small brush, in imitation of the mottle of tortoise-shell.
1716. _Second._--Take equal parts of quick lime and litharge, and mix
with strong soap-lees; let this remain until it is thoroughly dry,
brush off, and repeat two or three times, if necessary.
1717. Such parts as are required to be of a reddish brown, should be
covered with a mixture of whiting and the stain.
1718. _Iron._--_Black, for Ship's Guns, Shot, etc._--To one gallon
of vinegar add a quarter of a pound of iron rust, let it stand for
a week; then add a pound of dry lamp-black, and three-quarters of a
pound of copperas; stir it up for a couple of days.
1719. Lay five or six coats on the gun, &c., with a sponge, allowing
it to dry well between each. Polish with linseed oil and soft woolen
rag, and it will look like ebony.
1720. _Paper and Parchment._--_Blue._--Stain it green with the
verdigris stain given below, and brush over with a solution of
pearlash--two ounces to the pint--till it becomes blue.
1721. Use the blue stain for wood.
1722. _Green and Red._--The same as for wood. (See 717, page 178.)
1723. _Orange._--Brush over with a tincture of turmeric, formed by
infusing an ounce of the root in a pint of spirits of wine; let this
dry, and give another coat of pearlash solution, made by dissolving
two ounces of the salt in a quart of water.
1724. _Purple._--Brush over with the expressed juice of ripe privet
berries. The same as for wood.
1725. _Yellow._--Brush over with tincture of turmeric.
1726. Add anatto or dragon's blood to the tincture of turmeric, and
brush over as usual. (See 716, page 178.)
1727. _Wood._--_Black._--Drop a little sulphuric acid into a small
quantity of water, brush over the wood and hold it to the fire; it
will be a fine black, and receive a good polish.
1728. _Second._--Take half a gallon of vinegar, an ounce of bruised
nut-galls, of logwood chips and copperas each half a pound--boil
well; add half an ounce of the tincture of sesquichlorid of iron,
formerly called the muriated tincture, and brush on hot.
1729. _Third._--Use the stain given for ships' guns.
1730. _Fourth._--Take half a gallon of vinegar, half a pound of dry
lamp-black, and three pounds of iron rust sifted. Mix, and let stand
for a week. Lay three coats of this on hot, and then rub with linseed
oil, and you will have a fine deep black.
1731. _Fifth._--Add to the above stain an ounce of nut-galls, half
a pound of logwood chips, and a quarter of a pound of copperas; lay
on three coats, oil well, and you will have a black stain that will
stand any kind of weather, and one that is well suited for ships'
combings, &c.
1732. _Sixth._--Take a pound of logwood chips, a quarter of a pound
of Brazil wood, and boil for an hour and a half in a gallon of water.
Brush the wood several times with this decoction while hot. Make a
decoction of nut-galls by simmering gently for three or four days a
quarter of a pound of the galls in two quarts of water; give the wood
three coats of this, and while wet lay on a solution of sulphate of
iron (two ounces to a quart), and when dry oil or varnish.
1733. _Seventh._--Give three coats with a solution of copper filings
in aquafortis, and repeatedly brush over with the logwood decoction,
until the greenness of the copper is destroyed.
1734. _Eighth._--Boil half a pound of logwood chips in two quarts
of water, add an ounce of pearlash, and apply hot with a brush.
Then take two quarts of the logwood decoction, and half an ounce of
verdigris, and the same of copperas; strain and throw in half a pound
of iron rust. Brush the work well with this, and oil.
1735. _Blue._--Dissolve copper filings in aquafortis, brush the wood
with it, and then go over the work with a hot solution of pearlash
(two ounces to a pint of water), till it assumes a perfectly blue
color.
1736. Boil a pound of indigo, two pounds of woad, and three ounces of
alum in a gallon of water; brush well over until thoroughly stained.
1737. _Green._--Dissolve verdigris in vinegar, and brush over with
the hot solution until of a proper color.
1738. _Mahogany Color._--_Dark._--1. Boil half a pound of madder and
two ounces of logwood chips in a gallon of water, and brush well over
while hot; when dry, go over the whole with pearlash solution, two
drachms to the quart.
1739. _Second._--Put two ounces of dragon's blood, bruised, into a
quart of oil of turpentine; let the bottle stand in a warm place,
shake frequently, and, when dissolved, steep the work in the mixture.
1740. _Light Red Brown._--Boil half a pound of madder and a quarter
of a pound of fustic in a gallon of water; brush over the work when
boiling-hot, until properly stained.
1741. _Second._--The surface of the work being quite smooth, brush
over with a weak solution of aquafortis, half an ounce to the pint,
and then finish with the following:--Put four ounces and a half of
dragons blood and an ounce of soda, both well bruised, to three pints
of spirit of wine; let it stand in a warm place, shake frequently,
strain, and lay it on with a soft brush, repeating until of a proper
color; polish with linseed oil or varnish.
1742. _Purple._--Brush the work several times with the logwood
decoction used for No. 6 _Black_, and when dry give a coat of
pearlash solution, one drachm to a quart, taking care to lay it on
evenly.
1743. _Red._--1. Boil a pound of Brazil wood and an ounce of pearlash
in a gallon of water, and while hot brush over the work until of a
proper color. Dissolve two ounces of alum in a quart of water, and
brush the solution over the work before it dries.
1744. _Second._--Take a gallon of the above stain, add two more
ounces of pearl ash; use hot, and brush often with the alum solution.
1745. _Third._--Use a cold infusion of archil, and brush over with
the pearlash solution used for No. 1 _dark mahogany_.
1746. _In imitation of Rosewood._--1. Boil half a pound of logwood in
three pints of water till it is of a very dark red, add half an ounce
of salt of tartar; stain the work with the liquor while boiling hot,
giving three coats; then with a painter's graining-brush form streaks
with No. 8 _black stain_; let dry, and varnish.
1747. _Second._--Brush over with the logwood decoction used for No. 6
_black_, three or four times; put half a pound of iron filings into
two quarts of vinegar; then with a graining-brush or cane, bruised
at the end, apply the iron filing solution in the form required, and
polish with beeswax and turpentine when dry, or varnish.
ORNAMENTED LEATHER WORK.
1748. An excellent imitation of carved oak, suitable for frames,
boxes, vases, and ornaments in endless variety, may be made of a
description of leather called Basil.
1749. The art consists in simply cutting out this material in
imitation of natural objects, and in impressing upon it by simple
tools, either with or without the aid of heat, such marks and
characteristics as are necessary to the imitation.
1750. The rules given with regard to the imitation of leaves and
flowers (1887) apply to Ornamental Leather Work.
1751. Begin with a simple object, and proceed by degrees to those
that are more complicated.
1752. The tools required are ivory or steel points of various sizes,
punches, and tin shapes, such as are used for confectionary. The
points may be made out of the handles of old tooth-brushes.
1753. Before cutting out the leaves, the leather should be well
soaked in water, until it is quite pliable. When dry, it will retain
the artistic shape.
1754. Cut out an ivy or an oak leaf, and impress the veins upon it;
then arrange these in groups, and affix them to frames, or otherwise.
1755. Leaves and stems are fastened together by means of liquid glue,
and varnished with any of the drying varnishes, or with sealing-wax
dissolved to a suitable consistency in spirits of wine.
1756. Wire, cork, gutta-percha, bits or stems of trees, &c., may
severally be used to aid in the formation of groups of buds, flowers,
seed-vessels, &c.
DYEING.
(SEE PAGES 74, 75, 76.)
1757. _Dye Hair and Feathers Green._--Take of verdigris or verditer,
of each one ounce: gum water, one pint; mix them well, and dip the
hair or feathers into the mixture, shaking them well about.
1759. _Cleansing Feathers of their Animal Oil._--The following
receipt gained a premium from the Society of Arts:
1760. Take for every gallon of clean water one pound of quicklime,
mix them well together, and when the undissolved lime is precipitated
in fine powder, pour off the clean lime-water for use.
1761. Put the feathers to be cleaned in another tub, and add to them
a quantity of the clean lime-water, sufficient to cover them about
three inches, when well immersed and stirred about therein.
1762. The feathers, when thoroughly moistened, will sink down, and
should remain in the lime-water three or four days; after which the
foul liquor should be separated from them, by laying them in a sieve.
1763. The feathers should be afterward well washed in clean water,
and dried upon nets, the meshes of which may be about the fineness of
cabbage-nets.
1764. The feathers must be, from time to time, shaken on the nets,
and as they get dry will fall through the meshes, and are to be
collected for use. The admission of air will be serviceable in drying.
1765. The process will be completed in three weeks; and after being
thus prepared, the feathers will only require to be beaten to get rid
of the dust.
1766. _Dyeing Eggs._--Wrap the egg in _crimson silk ribbon_ (taking
care that no part is uncovered), tack it on and boil it five minutes,
and when it is divested of the ribbon the shell will be of a pretty
mottled red; any colored ribbon may be used with a very pretty effect.
1767. _Crystallization upon Cinders._--Saturate water, kept boiling,
with alum; then set the solution in a cool place, suspending a cinder
in it, by a hair or fine silk thread; as the solution cools, a
beautiful crystallization will take place upon the cinder, which will
resemble a specimen of mineralogical spar.
1768. _Staining Grasses and Mosses._--Take some common powder-blue,
mix with water, rather thin; take dry moss and dip it in, and let it
soak a few minutes, take out and squeeze it--you will have a blue
moss. Take _light_ chrome yellow (as there are two sorts), mix with
water, as before: with the same process you will have a yellow moss.
Take some of the blue and some of the yellow, mix with water, as
before, and you will have a green moss. You may have a variety of
shades by adding or diminishing the yellow.
THE GAME OF DRAUGHTS.
1769. _Rules of the Game._--The nine laws for regulating the game of
draughts are as follows.
1770. Each player takes the first move alternately, whether the last
game be won or drawn.
1771. Any action which prevents the adversary from having a full view
of the men is not allowed.
1772. The player who touches a man must play him.
1773. In case of standing the huff ten minutes, the other may call
upon him to play; and if, after that, he delay above five minutes
longer, then he loses the game.
1775. In the losing game, the player can insist upon his adversary
taking all the men, in case opportunities should present themselves
for their being so taken.
1776. To prevent unnecessary delay, if one color have no pieces, but
two kings on the board, and the other no piece but one king, the
latter can call upon the former to win the game in twenty moves; if
he does not finish it within that number of moves, the game to be
relinquished as drawn.
1777. If there are three kings to two on the board, the subsequent
moves are not to exceed forty.
LAWS OF CHESS.
1778. The rules given below are based upon the code published in
"_Walker's Art of Chess Play_." The word _piece_ frequently includes
the _pawn_.
1779. If the board or pieces be improperly placed, or are deficient
in number (except in the case of odds), the game must be
recommenced, if the error is discovered before the fourth move on
each side (the eighth move of the game.) If not discovered before
this stage, the game must proceed.
1780. If the player gives odds, and yet omits to remove the odds from
the board at the commencement, he may recommence the game, and remove
the odds given, provided he discover his error before playing his
fourth move.
1781. But if he has made his fourth move, the game must be played
out; and should the player who agreed to give the odds win the game,
it shall nevertheless be considered drawn.
1782. When parties play even, they draw lots for the first move
of the first game. The first move is afterward taken alternately
throughout the sitting, except when a game is drawn, when he who had
the first move in that game still claims it, a drawn game being of no
account.
1783. He who gains the move has also the choice of color. Each player
uses the same color throughout the sitting. When a match is made for
a given number of games, the move passes alternately throughout the
match. A player giving odds has the choice of men, and takes the move
in every game, unless agreed to the contrary.
1784. A player who gives the odds of a piece, may give it each game
from the king's or queen's side, at his option. If he gives the odds
of a pawn, he must give the king's bishop's pawn, unless otherwise
stipulated.
1785. The player who receives the odds of a certain number of moves
at the commencement, must not with those moves cross from his own
half of the board.
1786. If a player, in his turn to play, touch one of his men, he
must move that piece, if it can legally move, unless, when he first
touches it, he says aloud, "_J'adoube_." No penalty is attached to
touching a piece, unless it is your turn to move.
1787. If the player touch his king, with the intention of moving
him, and then finds that he cannot do so without placing the king
in check, no penalty can be inflicted on his replacing his king and
moving elsewhere.
1788. [Otherwise?] If the player should touch a man which cannot
be moved without placing his king in check, he must move his king
instead.
1789. If a player about to move touch one of his adversary's men,
without saying "_J'adoube_" when he first touches it, he must take
that piece, if it can be lawfully taken.
1790. Should it not be taken, he must, as a penalty, move his king;
but should the king be unable to play without going into check,
no penalty can be enforced. It is not allowed to castle upon a
compulsory move of the king.
1791. While you hold your piece you may move it anywhere allowed by
the rules; but when you quit your hold the move is completed, and
must be abided by.
1792. If you inadvertently move one of your adversary's pieces
instead of your own, he may compel you to take the piece you have
touched, should it be _en prise_; or to replace it and move your
king, or to leave it on the square to which you have moved it, and
forego any other move at that time.
1793. Should you capture one of the adverse pieces with another,
instead of one of your own, the capture holds good, if your opponent
so decides.
1794. If the player takes a piece through a false move, his adversary
may compel him to take such piece with one that can lawfully take it,
or to move the piece that has been touched, if such move does not
expose the king to check, or he may be directed to move his king.
1795. If you take one of your own men, instead of one of your
adversary's, you may be compelled to move one of the two pieces
touched, at the option of your opponent.
1796. Mr. Walker thinks that the penalty should be to lose the man
you have improperly taken off.
1797. An opponent has the option of punishing a false move, by
claiming the false move as your move, by compelling you to move the
piece touched, as you may think fit, or to replace the piece and move
your king.
1798. The king must never be exposed to check by any penalty enforced.
1799. If you move twice running, you may be compelled to abide by
both moves, or to retract the second.
1800. Unlimited time is allowed for the moves [unless otherwise
agreed.] If one player insists upon the postponement of the
termination of a game, against the will of his opponent, the game is
forfeited by him who will not play on.
1801. When a pawn is moved two squares, it is liable to be taken, _en
passant_, by a pawn, but not by a piece.
1802. If you touch both king and rook, intending to castle, you must
move one of the two pieces, at the option of your adversary; or he
may compel you to complete the castling.
1803. You cannot take a piece and castle at the same time; nor does
the rook check as it passes to its new position; but it may check on
its position after castling.
1804. False castling is liable to the same penalties as a false move.
1805. When a player gives the odds of a rook, he does not relinquish
the right of castling on the side from which the rook has been taken,
all other conditions being lawful, as if the rook were in its place.
1806. When you give check you must say so aloud.
1807. If check is not called on either side, but subsequently
discovered, you must endeavor to recall all the moves back to the
period when the check first occurred.
1808. You are not compelled to cry check when you attack the queen.
1809. If you cry check, and afterward alter your determination, you
are not compelled to abide by the intention, provided you have not
touched the piece.
1810. When a pawn reaches the opposite side of the board it may be
replaced by any piece, at the option of the owner, and irrespective
of the pieces already owned by him.
1811. Stale-mate is a drawn game.
1812. Drawn games count for nothing; and he who moved first in the
drawn game moves first in the following.
1813. If you declare to win a game, or position, and only draw it,
you are accounted the loser.
1814. When you have either of the following advantages of force,
you are compelled to give check-mate in fifty moves, or the game is
considered drawn:
1815. King and queen against king.
King and rook against king.
King and two bishops against king.
King, bishop, and knight, against king.
King and queen against king and rook.
King and rook against king and minor piece.
King and pawn against king.
King and two pawns against king and pawn.
1816. If you move after your adversary has made a false move, or
committed other irregularity, you cannot claim the penalties.
1817. Spectators are forbidden to make remarks.
1818. Disputes to be referred to a third party.
EVENING PASTIME.
1819. Among the innocent recreations of the fireside, there are few
more commendable and practicable than those afforded by what are
severally termed Anagrams, Charades, Conundrums, Enigmas, Puzzles,
Rebuses, Riddles, Transpositions, &c.
1820. Of these there are such a variety, that they are suited to
every capacity; and they present this additional attraction, that
ingenuity may be exercised in the _invention_ of them, as well as in
their solution.
1821. Many persons who have become noted for their literary
compositions may date the origin of their success to the time when
they attempted the composition of a trifling enigma or charade.
1822. _Anagrams_ are formed by the transposition of the letters of
words or sentences, or names of persons, so as to produce a word,
sentence, or verse of pertinent, or of widely different meaning.
1823. They are very difficult to discover, but are exceedingly
striking when good. The following are some of the most remarkable.
1824. _Transposed Forms_--Astronomers--No more stars; Catalogues--Got
as a clue; Elegant--Neat leg; Impatient--Tim in a pet; Immediately--I
met my Delia; Masquerade--Queen as mad; Parishioners--I hire
parsons; Parliament--Partial men; Penitentiary--Nay I repent;
Presbyterians--Best in prayer; Sweetheart--There we sat;
Telegraphs--Great helps.
1825. _Conundrums._--These are simple catches, in which the sense is
playfully cheated, and are generally founded upon words capable of
double meaning. The following are examples.
1826. If a person were looking at a conflagration by the names of
what three great British writers, could he express his emotions?
1827. _Dickens, How-itt Burns!_
1828. The name of what class of persons, in Rome, might a bear be
supposed to say when he was licking his paws after having eaten a
little girl?
1829. _Gladiator--Glad I ate her._
1830. Who first introduced salt provisions into the navy?
1831. _Noah, when he took Ham into the ark._
1832. Why need a person never be hungry in the desert?
1833. _Because of the sand which is there.--Sandwiches!_
1834. Why is a clock the most modest thing in the world?
1835. _Because it always keeps its hands before its face, and no
matter how good its works are, it will run itself down._