Transcribed by Paul Hubbs
Source: http://ciencianet.com/science.txt
Transcribed 6 January 1990
I N T R O D U C T I O N
---------------------------
January 1990
One day, while raiding my parents attic, I came across some old books
we had enjoyed as children. "YOUNG'S DEMONSTRATIVE TRANSLATION OF
SCIENTIFIC SECRETS" being one of them. Everyone liked to look through the
old book to see the way things were done over one hundred and twenty five
years ago.
The problem, of course, was that the combination of age and frequent
handling were having a disastrous effect on the book's physical condition.
The solution was to copy the book so we could enjoy what it contained
without further damage to the original.
During the summer of 1987 my nephew (Bob Gravonic) and I copied it on
to my computer. It's been done as faithfully as possible. Obscure items
have been copied exactly as printed and many of the spellings which you
may attribute to copy mistakes are as they were originally printed.
While every effort has been made to ensure that what you now have is an
exact copy of the original text, we make no guarantees to this end. We
definitely do not encourage the use of the remedies or medicines listed in
the text for various ailments and diseases.
Some of the ingredients called for in many of the receipts may leave
you puzzled. Join the club. We don't know where to find "two scruples of
calomel" (No. 344) either. And we're sure the SPCA would have something
to say about pouring fresh melted butter in a horse's ears (No. 321).
My own favorite is number 509, the GOOD SAMARITAN PAIN KILLER which
begins with two quarts of 95% alcohol and one ounce of the oil of
turpentine.
Our family has had much enjoyment from this curious old book. We hope
you do to.
Paul Hubbs
Toronto, Ontario (Canada)
January 6, 1990
Y O U N G ' S
D E M O N S T R A T I V E T R A N S L A T I O N
O F
S C I E N T I F I C S E C R E T S ;
O R
A C O L L E C T I O N O F A B O V E
5 0 0 U S E F U L R E C E I P T S
O N A V A R I E T Y O F S U B J E C T S
T O R O N T O
P R I N T E D B Y R O W S E L L & E L L I S,
K I N G S T R E E T E A S T
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1 8 6 1
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ENTERED ACCORDING TO ACT OF PROVINCIAL LEGISLATURE, IN THE YEAR
OF OUR LORD ONE THOUSAND EIGHT HUNDRED AND SIXTY-ONE,
BY: DANIEL YOUNG,
IN THE OFFICE OF THE REGISTRAR OF THE PROVINCE OF CANADA
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I N T R O D U C T I O N
The object of the present work is clearly announced in its title. It is to
collect within a small compass the instructions of experimental knowledge
upon a great variety of subjects which relate to the present interests of
man. It contains above five hundred genuine and practical receipts, which
have been compiled by the publisher with extreme difficulty and expense. A
reference to the list of subjects which the work contains, will show that
the publisher's researches have been extensive, while a comparison of the
work with others of the same general character evinces patient labour, and
cannot fail to give it pre-eminence. While the track pursued is not new,
it is more thorough, and more easily followed than that marked out by any
previous compiler known to myself. The work contains not merely the
outlines on the subjects to which it refers, but, what appears to my own
mind one of its excellences, the full and clear explanations of these
subjects. To all classes of people, without exception, the work is of
great value. It is fit, on every account, that the publisher should be
encouraged in this production. The work is worthy the acceptance of all,
and one which every man may prize.
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E R R A T A
Page 117, and seventh line from top, and page 60, third line from bottom,
says - tin of silver foil, they should be silver leaf.
Demonstrative Translation
of
SCIENTIFIC SECRETS
----------------
1. ORIENTAL PAINTING
Any bunch of roses or flowers, or any thing of the kind that you admire,
take the pattern of by placing them against a light of window glass, then
lay a piece of white paper over them, and through the latter you will see
the roses, &c. Now with a lead pencil take the pattern of the roses, &c.,
on the paper; when you have them all marked, cut then out with a scissors,
so that you have a complete pattern of them. Now take a piece of glass,
whatever size your pattern requires, stick the pattern on it with wafers,
then paint the glass all over, except where the pattern covers, with black
paint, composed of refined lampblack, black enamel, copel varnish and
turpentine, mixed. Now let this dry, then take off your patterns and paint
your roses, flowers, &c., with tube paints, mixed with demar varnish, so
that your roses, &c., may be, in a manner, transparent. Paint your large
roses red, some of the smaller ones yellow, or any colour to suit your
taste. Paint one side of the leaves a darker shade of green than the
other, which will make the picture appear as though the sun was shining on
it. When this painting is dry, take silver or gold foil, (gold is best,)
wrinkle it up in your hand then nearly straighten it, and cover the back
of the glass all over with it; over the large roses let the wrinkles be
larger, over the small ones smaller, &c.; then lay a piece of stiff paper,
the size of the glass, over the foil, and a piece of very thin board again
over this; have it framed in this manner and it is completed. You now have
one of the richest of paintings, which is commonly taught at a cost of $5.
You may buy all you require for this painting at the druggist's.
2. TRANSFER PAINTING ON GLASS
This is for transferring any picture plate you please to glass, to be
framed. First give the glass a coat of demar varnish; let it remain for
eight hours, or until dry; at this time have your picture thoroughly
soaked in warm water; then give the glass another coat of demar varnish,
and take the picture out of the water; then let it and the glass remain
for twenty minutes, by which time the water will be struck in from the
face of the picture, after which you will place the front of the picture
on the varnished glass, (avoiding wrinkles and spots of water,) press it
well on until every part is stuck fast, then carefully rub the paper all
away to a mere film; give the glass then, over this film, another coat of
demar varnish, which will make the film transparent; let it dry; then
place the glass, with the varnished side towards you, between you and the
light, and you will see the outlines of the picture quite distinctly; you
may then paint on the back with tube paints, mixed with a little demar
varnish to assist in drying, to suit your taste. For instance, if the
picture is that of a lady, you may paint the dress red, the shawl or cape,
as it may be, blue, the face flesh colour, (which colour may be made by
mixing a little red with white,) the bonnet scarlet, the shoes black; if
trees, have them green, &c. All you want for this painting you may also
buy at the druggist's. This painting is very simple and elegant, it is
commonly taught at a cost of $3. Try it, you cannot fail.
3. TRANSFER VARNISH
Take of Canada balsam 3 drachms; gum sandric 3 drachms; spirits of wine
1/2 pint. Dissolve the balsam and gum in the spirits of wine and it is
ready for use.
4. WHITE SPIRIT VARNISH - THE VERY BEST.
Take of gum sandrack 4 ounces; mastic 1 ounce; Elmi rosin 1/2 ounce;
Venice turpentine 1 ounce; alcohol 15 ounces. Digest in a bottle,
frequently shaking, till the gums are dissolved, and it is ready for use.
5. TRANSFER PAINTING ON WOOD
By this you may transfer any picture you please from paper to a cutter
back, or any other substance you please. Give the board three coats of
white spirit varnish, receipt No.4; damp the back of the print with strong
vinegar; give the front a very heavy coat of the transfer varnish, receipt
No.3; then press it on the board, avoiding creases; when perfectly dry and
fast, rub the paper away; the print is indelibly fixed; then varnish it
over as you would any other painting. This receipt has been commonly sold
for $5.
6. ELECTRO GOLD PLATING - NEW METHOD
Take 100 grams of laminated gold, mixed with 20 grams of hydrochloric
acid; 10 grams of nitric acid; the liquid thus composed is placed over a
moderate fire, and stirred constantly until the gold passes into the state
of chlorine; it is then allowed to cool. A second liquid is formed by
dissolving 60 grams of cyanide of potassium in 80 grams of distilled
waters; the two liquids are mixed together in a decanter and stirred for
20 minutes, and then filtered. Finally 100 grams of whiting, dry and
sifted, are mixed with 5 grams of pulverised supertartrate of potass; this
new powder is dissolved in a portion of the above described liquid, in
sufficient quantity to form a paste of the proper consistency to be spread
with a pencil on the article or part to be gilded. The superabundant
powder is then removed by washing and the article is beautifully gilded
with a heavy or light coat, according to the quantity of paste used. Grams
belong to French weights, four grams are a little more than one drachm.
ELECTRO SILVERING - NEW METHOD
10 grams of nitrate of silver are dissolved in 50 grams of distilled
water; then 25 grams of cyanide of potassium in 50 grams of distilled
water; the two liquids are mixed in a decanter, and stirred for 10
minutes; it is then filtered. Finally, 100 grams of sifted whiting are
mixed with 10 grams of pulverised supertartrate of potass and one gram of
mercury. This powder and dissolving liquid are used in the same manner as
in the above method of gold plating. These excellent methods of silvering
and gilding were discovered in June 1860, by the great French chemist
Baldooshong of Paris France. It is far superior to any other method ever
discovered, and will eventually take the place of all.
8. ELECTRO GOLD PLATING - USUAL METHOD
Take a $2 50c. piece of gold, and put it into a mixture of 1 ounce of
nitric and 4 ounces of muriatic acids, (glass vessels only are to be used
in this work,) when it is all cut dissolve 1/2 an ounce of sulphate of
potash in one pint of pure rain water, and mix the gold solution, stirring
well; then let stand and the gold will be thrown down; then pour off the
acid fluid, and wash the gold in two or three waters, or until no acid is
tasted by touching the tongue to the gold. Now dissolve one ounce of
cyanuret of potassium in one pint of pure rain water, to which add the
gold, and it is ready to use. Clear the article to be plated from all dirt
and grease with whiting and a good brush; if there are cracks it may be
necessary to put the article in a solution of caustic potash. At all
events every particle of dirt and grease must be removed; then suspend the
article in the cyanuret of gold solution, with a small strip of zinc cut
about the width of a common knitting needle, hooking the top over a stick
which will reach across the top of the vessel or bottle holding the
solution. If the zinc is too large the deposit will be made so fast that
it will scale off. The slower the plating goes on the better, and this is
arranged by the size if the zinc used. When not using the plating fluid
keep it well corked and it is always ready to use, bearing in mind that it
is poison as arsenic, and must be put high out of the way of children, and
labelled poison, although you need have no fear using it; yet accidents
might arise it its nature were not known.
9. ELECTRO SILVERING - USUAL METHOD
This is done every way the same as gold plating (using coin) except that
rock salt is used instead of the cyanuret of potassium to hold the silver
in solution for use, and when it is of the proper strength of salt it has
a thick curdy appearance, or you can add salt until the silver will
deposit on the article to be plated, which is all that is required. No
hesitation need be felt in trying these receipts, as they are obtained
from a genuine source, and are in every day use.
10. GOLD PLATING FLUID
Warm six ounces of pure rain water, and dissolve in it 2 ounces of cyanide
of potassium, then add a 1/4 ounce oxide of gold; the solution will at
first be yellowish, but will soon subside to white; then half fill a
bottle with whiting, fill it up with this solution and shake it well; you
may now take a piece of old cotton, wet it with the solution, rub it well
over brass, copper, &c., and it is nicely washed with gold.
11. SILVER PLATING FLUID
Dissolve one ounce of nitrate of silver, in crystal, in 12 ounces of soft
water; then dissolve in the water two ounces of cyanuret of potash; shake
the whole together and let it stand until it becomes clear. Have ready
some 1/2 ounce vials, and fill them half full of whiting, then fill up the
bottles and it is ready for use. The whiting does not increase the coating
powder - it only helps to clear the articles and save the silver fluid by
half filling the bottles. The above quantity of materials will cost about
$1.62c., so that the fluid will be about 3 cents a bottle. It is used in
the same way as the gold plating fluid.
12. QUICKSILVER PLATING FLUID
Take of quicksilver one ounce, one ounce nitric acid, one ten cent piece,
rain water 1/2 pint to a pint, put the three first articles into a tumbler
together; let them stand until dissolved, occasionally stirring, then add
the water, and it is ready for use. This is used in the same way as the
silver and gold plating fluid.
13. TO GILD STEEL
Pour some of the ethereal solution of gold into a wine-glass, and dip into
it the blade of a new penknife, lancet, razor, &c., withdraw the
instrument and allow the ether to evaporate, the blade will then be found
to be covered with a beautiful coat of gold; the blade may be moistened
with a clean rag or a small piece of very dry sponge dipped into the
ether, and the same effect will be produced.
14. TO GILD COPPER, BRASS, &c. - BY AN AMALGAM
The gilding of these inferior metals and alloys of them is effected by the
assistance of mercury with which the gold is amalgamated. The mercury is
evaporated while the gold is fixed by the application of heat, the whole
is then burnished of left mat in the whole or in part, according as
required.
15. GILDING GLASS AND PORCELAIN
Dissolve in boiling linseed oil an equal weight either of copal or amber,
and add as much oil of turpentine as will enable you to apply the compound
or size thus formed as thin as possible to the parts of the glass intended
to be gilt; the glass is to be placed in a stove till it is so warm as
almost to burn the fingers when handled. At this temperature the size
becomes adhesive, and a piece of leaf gold applied in the usual way will
immediately stick. Sweep off the superfluous portions of the leaf, and
when quite cold it may be burnished, taking care to interpose a piece of
india paper between the gold and the burnisher. It sometimes happens when
the varnish is not very good that by repeated washing the gold wears off;
on this account the practice of burning it in is sometimes had recourse
to; for this purpose some gold powder is ground with borax, and in this
state applied to the clean surface of the glass by a camel hair pencil;
when quite dry the glass is put into a stove, heated to about the
temperature of an annealing oven, the gum burns off; and the borax, by
vitrifying, cements the gold with great firmness to the glass, after which
it may be burnished.
The gilding upon porcelain is in like manner fixed by heat and the use of
borax, and this kind of ware, being neither transparent nor liable to
soften, and thus to be injured in its form in a low red heat, is free from
the risk and injury which the finer and more fusible kinds of glass are
apt to sustain from such treatment. Porcelain and other wares may be
platinized, silvered, tinned, or bronzed, in a similar manner.
16. GILDING THE EDGES OF PAPER
The edges of the leaves of books and letter paper are gilded whilst in a
horizontal position in the bookbinder's press or some arrangement of the
same nature, by first applying a composition formed of four parts of
Armenian-bole and one of candied sugar, ground together with water to a
proper consistence, and laid on by a brush with the white of an egg. This
coating, when nearly dry is smoothed be the burnisher, it is then slightly
moistened by a sponge dipped in clean water and squeezed in the hand; the
gold leaf is now taken up on a piece of cotton from the leathern cushion
and applied on the moistened surface; when dry it is to be burnished by
rubbing the burnisher over it repeatedly from end to end, taking care not
to wound the surface by the point.
17. PROFESSOR WORTS' AMALGAM FOR SILVERING
This is the only means yet discovered for silvering iron directly, yet it
is not so lasting as some of the other processes. Take quicksilver and the
metal potassium, equal parts by volume, put them together in a tumbler,
and if both metals be good there will be a brisk ebullition, which
continues until an amalgam of the two is formed, then add as much
quicksilver as there is of the amalgam; let it work till thoroughly mixed,
and it is ready for use. This amalgam you may apply with a cloth to any
metal, even iron, though it be a rusty bar, and you have it neatly
silvered over.
18. FOR COPPERING IRON
This is the latest method, and that now in use. To a solution of sulphate
of copper, add a solution of ferrocyanide of pottasium, so long as a
precipitate continues to be formed. This is allowed to settle, and the
clear liquor being decanted the vessel is filled with water, and when the
precipitate settles the liquor is again decanted, and continue to repeat
these washings until the sulphate of potash is washed quite out; this is
known by adding a little chloride of barium to a small quantity of the
washings, and when there is no white precipitate formed by the test, the
precipitate is sufficiently washed. A solution of cyanide of potassium is
now added to this precipitate until it is dissolved, during which process
the solution becomes warm by the chemical re-action which takes place. The
solution is filtered, and allowed to repose all night. If the solution of
cyanide of potassium that is used is strong, the greater portion of the
ferrocyanide of potassium crystalises in the solution, and may be
collected and preserved for use again. If the solution of cyanide of
potassium used to dissolve the precipitate is dilute, it will be necessary
to condense the liquor by evaporation to obtain the yellow prussiate in
crystals. The remaining solution is the coppering solution; should it not
be convenient to separate the yellow prussiate by crystallization, the
presence of that salt in the solution does not deteriorate it nor
interfere with its power of depositing copper.
19. PECULIARITIES IN WORKING CYANIDE OF COPPER SOLUTION
The true composition of the salts thus formed by copper and cyanide of
potassium has not yet been determined, but their relations to the battery
and electrolyzation are peculiar. The solution must be worked at a heat
not less than from 150~ to 200~ Farenheit (that is not quite as hot a
boiling water, which is 212~ Farenheit.) All other solutions we have tried
follow the laws, that if the electricity is so strong as to cause gas to
be evolved at the electrode, the metal will be deposited in a sandy or
powdered state, but the solution of cyanide of copper and potassium is an
exception to these laws, as there is no reguline deposit obtained unless
gas is freely evolved from the surface of the article upon which the
deposit is taking place. As this solution is used hot, a considerable
evaporation takes place, which requires that additions be made to the
solution from time to time. If water alone be used for this purpose it
will precipitate a great quantity of the copper as a white powder, but
this is prevented by dissolving a little cyanide of potassium in the water
at the rate of 4 ounces to the gallon. The vessels used in factories for
this solution are generally of copper, which are heated over a flue or in
a sand-bath, the vessel itself serving as the positive electrode of the
battery; but any vessel will suit if a copper electrode is employed when
the vessel is not of copper.
20. PREPARATION OF IRON FOR COATING WITH COPPER
When it is required to cover an iron article with copper, it is first
steeped in hot caustic potash or soda to remove any grease or oil. Being
washed from that it is placed for a short time in diluted sulphuric acid,
consisting of about one part acid to 16 parts of water, which removes any
oxide that may exist. It is then washed in water and scoured with sand
till the surface is perfectly clean, and finally attached to the battery
and immersed in the cyanide solution. All this must be done with despatch
so as to prevent the iron combining with oxygen. An immersion of five
minutes duration in the cyanide solution is sufficient to deposit upon the
iron a film of copper, but it is necessary to the complete protection of
the iron that it should have a considerably thick coating, and as the
cyanide process is expensive, it is preferable when the iron has received
a film of copper by the cyanide solution, to take it out, wash it in
water, and attach to it a simple cell or weak battery, and put it into a
solution of sulphate of copper. If there is any part not sufficiently
covered with copper by the cyanide solution, the sulphate will make these
parts of a dark colour, which a touch of the finger will remove. When such
is the case, the article must be taken out, scoured, and put again into
the cyanide solution till perfectly covered. A little practice will render
this very easy. The sulphate solution for covering iron should be prepared
by adding it by degrees a little caustic potash, so long as the
precipitate formed is re-dissolved. This neutralizes a great portion of
the sulphuric acid, and thus the iron is not so readily acted upon. When
the iron is thus coppered, proceed to silver it in the manner recommended
for silvering according to receipt No.9; or if you want to put a very
heavy coating of silver on it, make use of a strong battery.
21. SOLDERING FLUID
For mending articles of tin, iron, zinc, copper, and almost all other
metals. Take 2 fl. ounces of muriatic acid, add zinc till bubbles cease to
rise, add 1/2 a teaspoonful of sal ammoniac and 2 ounces of water. Damp
the part you wish to solder with this fluid, lay on a small piece of lead,
and with a piece of hot iron or soldering iron solder the part.
22. SOLDER FOR TIN
Take of pewter 4 parts, tin 1 part, bismuth 1 part; melt them together.
Resin is used with this solder.
23. COLD METHOD OF SILVERING IRON WITH SILVER-PLATE
Polish the iron toy wish to silver, then damp it over with soldering fluid
(receipt No.21) When this is done give it a coat of No.22 solder. This is
done by laying a piece of cold solder on the iron, and spreading it over
with a heated soldering iron, when by this means you get the iron nicely
plated with solder, then lay on your silver-plate evenly, and gently rub
it over with the heated soldering iron, and it will become firmly united
with the solder as the solder is with the iron, so that you have the iron
beautifully plated with silver with very little cost or trouble.
24. HOT METHOD OF SILVERING IRON WITH SILVER-PLATE
First polish the iron you wish to silver, wet it well over with No.21
soldering fluid; then having procured that kind of silver-plate which is
tin on one side and silver on the other, place it evenly on, with the
tined side next to the iron, then place it on the fire until the
silver-plate melts down, then at once take it from the fire, and it will
be firmly attached to the iron, and will be excellent plate; yet No.23,
the cold method, is to be preferred in most cases.
25. SILVERING LOOKING-GLASSES WITH QUICKSILVER
Take a piece of marble or some other substance very smooth, true, and
level, lay on this the glass you wish to silver, then make a ridge of
putty on the marble against the edge of the glass all round it, so that
you can pour quicksilver on the glass until it is all covered over, and
will be prevented from running off by the ridge of putty; an inch or two,
or three outside this ridge make another of putty; then cover the
quicksilver on the glass all over with tin-foil, and press it firmly but
cautiously against the glass until you have squeezed out all the
quicksilver you can. while you press this you may remove part of the first
ridge of putty to give the quicksilver a chance of escape. When it is well
pressed against the glass there will be an amalgam formed of the tin-foil
and the quicksilver that is left, which will firmly adhere to the glass.
By this means you have a very beautiful and cheap looking-glass; the
quicksilver that escapes, being saved by the second ridge of putty, may be
used again.
26. SILVERING LOOKING-GLASSES WITH PURE SILVER
Prepare a mixture of 3 grains of ammonia, 60 grains of nitrate of silver,
90 minims of spirits of wine, 90 minims of water; when the nitrate of
silver is dissolved, filter the liquid and add a small quantity of sugar
(15 grains) dissolved in 1 1/2 oz. of water, and 1 1/2 oz. of spirits of
wine. Put the glass into this mixture, having one side covered with
varnish, gum, or some substance to prevent the silver being attached to
it. Let it remain for a few days and you have a most elegant
looking-glass, yet it is far more costly than the quicksilver.
27. PATENT BURNING FLUID
To 1 gallon of 95 per cent. alcohol, add 1 quart of camphene oil; mix and
shake well, and if transparent it is fit for use, if not, add sufficient
alcohol, shaking it well, to bring it to the natural colour of the
alcohol. It may be coloured to suit the fancy by adding a little tincture
of golden seal, or any other colouring drug. This receipt has been sold
for $10.
28. BURNING FLUID
Take 4 quarts alcohol, and 1 quart spirits of turpentine; mix well
together, and it is ready for use.
29. NON-EXPLOSIVE BURNING FLUID
Take 1 gallon 44 proof alcohol, 1 quart camphene, 3 oz. of alum
pulverized, 1/2 oz. camphor gum, 65 drops cuicuma; mix all together and
let it stand 12 hours, and it is ready for use.
30. VINEGAR IN THREE DAYS WITHOUT DRUGS
Take 2 barrels and saw one of them in two in the centre, and put one-half
on the top, and the other at the bottom of the whole barrel, (or you may
use three whole barrels if you like.) The middle barrel is to be filled
with maple, beech, of baswood shavings, which are to be planed from the
edge of boards only two or three feet long, which allows the shavings to
roll, and prevents them form packing tight, and also allows air to
circulate through them, which is admitted through a number of inch holes,
which are to be made near the bottom of the barrel and just above the
faucet, which lets the vinegar run into the tub below. The top tub has its
bottom pierced with small bit holes, having several threads of twine
hanging in them to conduct the vinegar evenly over the top of the shavings
in the middle of the barrel. Air must be permitted to pass out between the
top tub and barrel, which comes in at the holes in the bottom. The
shavings which fill the barrel must be soaked three or four days in good
vinegar before they are put in. When thus arranged, for every gallon of
water use 1/2 lb. of sugar; (that you get from molasses barrels does vary
well.) If you wish to make vinegar from whiskey, put in 4 gallons of water
to 1 gallon of whiskey; and if from cider, put in one-third water, and
fill the top tub with this fluid, putting 1 pint good yeast to each barrel
making; and have the holes with threads or twine so arranged that it will
run through every twelve hours; and dip or pump up with a wooden pump
every night or morning, and three days will make good substantial vinegar,
which will keep and also improve by age. Some use only 1 gallon of whiskey
to 7 gallons of water. This accounts for so much poor vinegar. Make good
vinegar, it will pay you. If a few gallons of water if made boiling hot so
as to warm the whole of a gentle warmth, it will make faster than if used
cold. This must be done in cool weather, and the room also should be kept
warm. For families, small kegs will do, but for manufacturers large casks
are best. Many make vinegar by just putting fluid into the barrels of
shavings, soaked as directed above, and do not let it run through, but let
it stand in the shavings till sour; but it does not work fast enough for
manufacturers. It will do where only a small amount is needed, keeping the
same strength of fluid as for the other plan, which is best. Two or three
years ago, this receipt was sold for from $50 to $150. If vinegar is made
from whiskey, it will have a more beautiful color if 5 or 6 lbs. of sugar
is put into each barrel, of course keeping the same proportions of water
as though only one kind was used. The shavings will last the whole season.
31. CUBA HONEY
Good brown sugar 11 lbs., water 1 quart, old bee honey in the comb 2 lbs.,
cream tartar 50 grains, gum arabic 1 oz., oil of peppermint 5 drops, oil
of rose 2 drops, mix and boil two or three minutes and remove from the
fire, have ready strained one quart of water, in which a table-spoonful of
pulverized slippery elm bark has stood sufficiently long to make it ropy
and thick life honey, mix this into the kettle with egg well beat up, skim
well in a few minutes, and when a little cool, add two pounds of nice
strained bees' honey, and then strain the whole, and you will have not
only an article which looks and tastes like honey, but which possesses all
its medicinal properties. It has been shipped in large quantities under
the name of Cuba honey. It will keep fresh and nice for any length of time
if properly covered.
32. EXCELLENT HONEY
Take 5 lbs. of good common sugar, two pounds of water, gradually bring to
a boil, skimming well, when cool, add 1 lb. bees' honey, and 4 drops of
peppermint. If you desire a better article use white sugar and 1/2 lb.
less water, and one half pound more honey.
33. GUNPOWDER
Take pulverized saltpetre, moisten it, and subject it to the action of a
slow fire until completely dried and granulated, of this take 75 parts,
purified sugar 12 and a-half parts, moisten and grind together till
completely blended, which will require several hours, pulverize on heaters
till dried.
34. EXCELLENT MATCHES
The ends of the tapers or wood should be very dry, and then dipped in hot
melted sulphur and laid aside to dry; then take 4 parts of glue, dissolve
it and while hot add one part of phosphorus, and stir in a few spoonsful
of fine whiting to bring to the proper thickness. This preparation should
be kept hot by being suspended over a lamp, while dipping the wood or
tapers. Colour the mixture by adding a little vermillion, lamp black or
prussian blue; be careful not to ignite the compound while dipping.
35. FIRE AND WATER-PROOF CEMENT
To half a pint of milk add half a pint of vinegar to curdle it; then
separate the curd from the whey, and mix the whey with 4 or 5 eggs;
beating the whole well together; when it is well mixed, add a little
quick-lime through a sieve, until it has acquired the consistence of a
thick paste. This is a prime article for cementing marble, in or out of
the weather. It is excellent for broken vessels, &c.
36.FRENCH CHEMICAL SOAP
Take 5 lbs. castile soap, cut fine, 1 pint alcohol, 1 pint soft water, 2
ounces aquafortis (if for black cloth 1/2 ounce of lampblack,) 2 ounces
saltpetre, 3 ounces potash, 1 ounce camphor, 4 ounces cinnamon in powder.
Fist dissolve the soap, potash, and saltpetre by boiling, then add all the
other articles, and continue to stir until it cools, then pour it into a
box, let it stand 24 hours, and cut it into cakes. It is used for taking
grease, stains, and paints from cloth, wood, &c. This receipt has
frequently sold for $10.
37. BLACK INK WITHOUT SEDIMENT
This ink is not injured by frost - is a beautiful article, and only costs
5 cents. per gallon, and is sold for from $1 to $3.
Take 1 lb. logwood, 1 gallon soft water, simmer in an iron vessel for one
hour, then dissolve in a little hot water 24 grains bychromate of potash,
and 12 grains prussiate of potash, and stir into the liquid while over the
fire, then take it off and strain it through fine cloth. This ink is a jet
black flows freely from the pen and will stand the test of oexylic acid.
38. INDELIBLE INK
1 inch of the stick of the nitrate of silver dissolved in a little water,
and stirred into each gallon of the above, makes first rate indelible ink
for cloth. Judge what indelible ink costs.
39. INDELIBLE INK
Nitrate of silver 1 1/2 oz., dissolved in liquor ammonia fortisine 5 1/2
oz., orchil for colouring 3/4 oz., gum mucilage 12 oz., mix the two
latter, then mix them with the two former, and it is ready to use.
40. WRITING FLUID OR BLACK COPYING INK
Take two gallons of rain water and put into it gum arabic 1/4 lb., brown
sugar 1/4 lb., clean copperas 1/4 lb., powdered nut galls 3/4 lb., mix and
shake occasionally for ten days and strain. If needed sooner, let it stand
in an iron kettle until the strength is obtained. This ink can be depended
on for deeds or records, which you may want someone to read hundreds of
years to come. Oexylic acid 1/4 oz., was formerly put in, but as it
destroys the steel pens, and does just as well without it - it is now
never used.
41. BEST INK POWDER
This is formed of the dry ingredients for ink, powdered and mixed. Take
powdered galls one pound, powdered green vitriol half a pound, powdered
gum 4 ounces, mix all together, put it up into 2 ounce packages, each of
which will make a pint if ink.
42. BEST RED INK
Take of best carmine (nakarot) 2 grains, rain water 1/2 ounce, water of
ammonia 20 drops, add a little gum arabic, and it is in a few minutes
ready for use.
43. YELLOW INK
Dissolve alum in saffron water to whatever shade of yellow you please. It
makes a beautiful ink.
44. BLUE INK
Take Prussian blue, and oexylic acid, in equal parts, powder finely, and
add soft water to bring it to a soft paste, and let it stand for a few
days, then add soft water to the desired shade of colour; add a little gum
arabic to prevent spreading.
45. GOLDEN INK
Take some white gum arabic, reduce it to an impalpable powder in a brass
mortar, dissolve it in strong brandy, and add a little common water to
render it more liquid, provide some gold in a shell, which must be
detached in order to reduce it to a powder, when this is done moisten it
with the gum solution, and stir the whole with a small hair brush, or your
finger, then leave it for a night that the gold may be better dissolved.
If the composition becomes dry during the night, dilute it with more gum
water in which a little saffron has been infused, but take care that the
gold solution be sufficiently liquid to flow freely in a pen; when the
writing is dry polish it with a dry tooth.
46. WHITE INK FOR WRITING ON BLACK PAPER
Having carefully washed some egg shells remove the internal skin and grind
them on a piece of porphyry, then put the powder in a small vessel of pure
water, and when it has settled at the bottom, draw off the water and dry
the powder in the sun. This powder must be preserved in a bottle; when you
want to use it put a small quantity of gum ammoniac into distilled
vinegar, and leave it to dissolve during the night, next morning the
solution will appear exceedingly white, and if you then strain it through
a piece of linen cloth, and add to it the powder of egg shells in
sufficient quantity, you will obtain a very white ink.
47. SECRET INK FOR YOUNG LADIES AND GENTS
Take a drachm of clean rain water, put into it, in a clean vial, 10 or 12
drops of pure, clean sulphuric acid, and it is ready for use; write with
this using a clean quill pen on letter paper, and when dry you can see no
mark at all, then hold it to a strong heat and the writing becomes as
black as jet. If you want to write to a young lady or gentleman, as the
case may be, and fearing that the letter might be opened before she or he
gets it, write with common black ink something of no importance, then
between the lines write what you want to say with the secret ink. The
person to whom you are writing must understand the scheme so that she or
he may hold it to the heat and thereby make the writing visible.
48. CIDER WITHOUT APPLES
To each gallon of cold water put 1 lb. common sugar, 1/2 ounce of tartaric
acid, one tablespoonful of yeast, shake well, make in an evening and it
will be fit for use next day. I make in a keg a few gallons at a time,
leaving a few quarts to make into next time, not using yeast again until
the keg needs rinsing. If it gets a little sour, make a little more into
it or put as much water with it as there is cider and put it with the
vinegar. If it is desired to bottle this cider by manufacturers of small
drinks, you will proceed as follows: put in a barrel 5 gallons of hot
water, 30 lbs. of brown sugar, 3/4 lb. of tartaric acid, 25 gallons of
cold water, 3 pints of hop or brewer's yeast, work into paste with 3/4 lb.
of flower, and one pint water will be required in making this paste; put
all together in a barrel which it will fill and let it work 24 hours, the
yeast running out at the bung all the time by putting in a little
occasionally to keep it full; then bottle, putting in two or three broken
raisins to each bottle, and it will nearly equal champagne.
49 SPRUCE OR AROMATIC BEER
Take 3 gallons of water, 2 1/2 pints molasses, 3 eggs well beaten, 1 gill
yeast, put into two quarts of the water boiling hot, put in 50 drops of
any oil you wish the flavour of, or mix one ounce each, oil sarsafras,
spruce, and wintergreen; then use the 50 drops. For ginger flavour take 2
ounces ginger root bruised and a few hops, and boil for 30 minutes in one
gallon of the water, strain and mix all; let it stand 2 hours and bottle,
using yeast, of course, as before.
50. LEMON BEER
To make 20 gallons, boil 6 ounces of ginger root bruised, 1/4 lb.
cream-tartar for 20 or 30 minutes in 2 or 3 gallons of water; this will be
strained into 13 lbs. of coffer sugar on which you have put 1 oz. oil of
lemon and six good lemons all squeezed up together, having warm water
enough to make the whole 20 gallons, just so you can hold your hand in it
without burning, or some 70 degrees of heat; put in 1 1/2 pint hops or
brewer's yeast worked into paste as for cider, with 5 or 6 oz. of flower;
let it work over night, then strain and bottle for use. This will keep a
number of days.
51. PHILADELPHIA BEER
Take 30 gallons of water, brown sugar 20 lbs., ginger root bruised 1/4
lb., cream tartar 1 1/4 lb., carbonate of soda 3 ounces, oil of lemon 1
teaspoonful, put in a little alcohol, the white of 10 eggs well beaten,
hops 2 ounces, yeast one quart. The ginger root and hops should be boiled
for 20 or 30 minutes in enough of the water to make all milk warm; then
strain into the rest, and the yeast added and allowed to work itself clear
as the cider and bottled.
52. SILVER TOP DRINK
Take of water 3 quarts, white sugar 4 lbs., oil of lemons one teaspoonful,
white of 5 eggs, beaten with one teaspoonful of flour; boil to form syrum,
then divide into equal parts, and to one add 3 ounces of tartaric acid,
and to the other part 4 oz. of carbonate of soda, then take two thirds of
a glass of water, and put in a spoonful of each of the syrups, more or
less, according to the size of the glass.
53. DIRECTIONS FOR MAKING SODA DRINKS
In getting up any of the soda drinks which are spoken of hereafter it will
be preferable to put about 4 oz. of carbonate (sometimes called
supercarbonate) of soda into one pint of water, and shake when you wish to
make a glass of soda, and pour from this into the glass until if foams
well instead of using dry soda as directed.
54. IMPERIAL CREAM NECTAR
Part 1st. - Take 1 gallon water, 6 lbs. loaf sugar, 6 ounces tartaric
acid, gum arabic 1 oz.
Part 2nd. - Take 4 teaspoonsful of flour, the whites of four eggs beat
finely together, then add 1/2 pint of water. Heat the first part until it
is blood warm, then put in the second, boil 3 minutes and it is done.
Directions. - To 3 tablespoonfuls of the syrup in a glass half or two
thirds full of water add one third of a teaspoonful of carbonate of soda
made fine, stir well, and drink at your leisure.
55. A SUPERIOR GINGER BEER
Take of sugar 10 lbs., lemon juice 9 oz., honey 1/2 lb., bruised ginger
root 11 oz., water 9 galls., yeast 3 pints, boil the ginger in the water
until the strength is all extracted, which you may tell be tasting the
root, then pour it into a tub, throwing the roots away, let it stand until
nearly luke warm, then put in all the rest of the ingredients, stir well
until all dissolved, cover it over with a cloth, and if it be in the
evening, let it remain until next morning, then strain through cloth, and
bottle it, and in a short time it will be fit for use. Some use less
sugar, and some less lemon juice, to make it with less expense; but it is
not so elegant a drink as this.
56. GINGER POP No. 1
Take of water 5 1/2 galls., ginger root bruised 3/4 lb., tartaric acid 1/2
oz., white sugar 2 1/4 lbs., the whites of 3 eggs well beat, a small
teaspoonful of oil of lemon, yeast 1 gill; boil the root for 30 minutes in
1 gallon of the water, strain off, and put the oil in while hot, mix all
well, make over night, in the morning skim, and bottle, keeping out
sediment.
57. GINGER POP No. 2
Take best white Jamaica ginger root bruised 2 oz., water 6 quarts, boil 20
minutes and strain, then add cream tartar 1 oz., white sugar 1 lb.; put on
the fire, then stir until all the sugar is dissolved; then put into an
earthen jar, now put in tartaric acid 1/4 oz., and the rind of 1 lemon,
let it stand until 70 degrees of Fahrenheit, or until you can bear your
hand in it with comfort, then add two tablespoonsful of yeast, stir well,
bottle for use, and tie the corks; make a few days before it is wanted for
use.
58. YEAST
Take a good single handfull of hops, and boil for 20 minutes in 3 pints of
water, then strain, and stir in a teacupful of flour, a tablespoonful of
sugar, and a teaspoonful of salt; when a little cool put in 1 gill of
brewer's yeast, and after four or five hours cover up, and stand in a cool
place for use; make again from this unless you let it get sour.
59. SODA SYRUPS
Take of loaf or crushed sugar 8 lbs., pure water 1 gall., gum arabic 1
oz., mix in a brass or copper kettle, boil until the gum is dissolved,
then skim and strain through white flannel, after which add tartaric acid
5 1/2 oz., dissolved in hot water. To flavour use extract of lemon,
orange, rose, sarsaparilla, strawberry, &c., 1/2 oz., or to your taste. If
you use the juice of lemon, add 1 1/2 lbs., of sugar to a pint; you do not
need any tartaric acid with it; now use 2 or 3 tablespoonsful of syrup to
3/4 of a tumbler of water, and 1/3 teaspoonsful of supercarbonate of soda
made fine, stir well and be ready to drink; the gum arabic, however, holds
the carbonic acid so it will not fly off so readily as common soda. For
soda fountains, 1 oz., of supercarbonate of soda is used to 1 gallon of
water. for charged fountains no acids are needed in the syrups.
60. MINERAL WATER
Epsom salts 1 oz., cream tartar 1/2 oz., tartaric acid 1/4 oz., loaf sugar
1 lb., oil of birch 20 drops; put 1 quart boiling water on all these
articles, and add 3 quarts of cold water to 2 tablespoonsful of yeast; let
it work 2 hours and then bottle.
61. IMPROVED ENGLISH STRONG BEER
If you have malt use it, if not, take 1 peck of barley, and put it into a
stove oven, and steam the moisture from them, grind coarsely, and pour
into them 3 1/2 gallons of water, at 170 or 172 degrees. (If you use malt
it does not need quite so much water, as it does not absorb so much as the
other. The tub should have a false bottom with many gimblet holes to keep
back the grain.) Stir them well and let stand 3 hours and draw off, put on
7 gallons more water at 180 or 182 degrees, stir well, let stand 2 hours
and draw off, then put 1 gallon or 2 of cold water, stir well and draw
off; you should have about 5 or 6 gallons; mix 6 lbs., coarse brown sugar
in equal amount of water, add 4 oz. of good hops, boil for 1 1/2 hour; you
should have from 8 to 10 gallons when boiled; when cooled to 80 degrees,
put in a teacupful of good yeast and let it work 18 hours covered with a
sack. Use sound iron-hooped kegs, or porter bottles, bung or cork tight,
and in two weeks it will be good sound beer, nearly equal in strength to
London porter, or good ale, and will keep a long time.
62. SANGAREE
Take wine, ale, or porter, 1/3, and 2/3 water, hot, or cold, according to
the season of the year,loaf sugar to the taste with nutmeg.
63. GINGER WINE
Put 1 oz. good ginger root bruised in 1 quart of 95 per cent. alcohol, let
it stand 9 days, and strain, add 4 quarts of water, and 1 lb. of white
sugar, dissolved in hot water, 1 pint port wine to this quantity, for what
you retail at your own bar makes it far better; colour with tincture of
saunders to suit; drink freely of this hot on going to bed, when you have
a bad cold, and in the morning you will bless ginger wine.
64. HOP BEER
Take of hops 6 oz., molasses 5 quarts, boil the hops in water till the
strength is out, strain them into a 30 gallon barrel, add the molasses and
a teacupful of yeast, and fill up with water, shake it well and leave the
bung out until fermented, which will be in about 24 hours; bung up, and it
will be fit for use in about 3 days. A most excellent summer drink,
smaller quantities in proportion.
65. USQUEBAUGH OR IRISH WHISKEY
Best brandy 1 gallon, stoned raisins 1 lb., cinnamon, cloves, nutmeg, and
cardamom, each 1 oz., crushed in a morter, saffron 1/2 oz., or the rind of
1 Seville orange, and a little sugar candy; shake these well, and it is
ready for use in 14 days.
66. ICE CREAM
Add a little rich sweet cream, and 1/2 lb. of loaf sugar to each quart of
cream or milk; if you cannot get cream the best imitation is to boil a
soft custard; 6 eggs to each quart of milk, (eggs well beaten); or another
way, boil a quart of milk, and stir into it, while boiling, a
tablespoonful of arrow-root, wet with cold milk, then cool stir in the
yolk of one egg, to give a rich colour; five minutes boiling is enough for
either plan; put the sugar in after they cool, keep the same proportions
for any amount desired. The juice of strawberries, or raspberries, give a
beautiful colour and flavour to ice creams; or about 1/2 oz. of the
essence or extracts to a gallon, or to suit the taste. Have your ice well
broken, add 1 quart of salt to a bucket of ice, then place in this the
vessel containing your cream, and about one half hour's constant stirring
and occasional scraping down and beating together will freeze it.
67. CHICAGO ICE CREAM
Irish moss soaked in warm water about an hour, and rinsed well to clear it
of a certain foreign taste, then steep it in milk, keeping it just at the
point of boiling or simmering for an hour, or until a rich yellow colour
is given to the milk, without cream or eggs; 1 or 1 1/2 oz. of moss is
enough for a gallon of cream, and this will do to steep twice. Sweeten and
flavour as other cream.
68. CREAM SODA
Loaf sugar 10 lb., water 3 gills, mix, and warm gradually, so as not to
burn, good rich cream 2 quarts, extract vanilla 1 1/2 oz., extract nutmeg
1/4 oz., and tartaric acid 4 oz.; just bring to a boiling heat; for if you
cook it any length of time it will crystallize. Use 4 or 5 spoonsful of
this syrup instead of 3, as in other syrups; put 1/3 teaspoonful of soda
to a glass, if used without fountain. For charged fountains no acid is
used.
69. LEMON SYRUP
Take of the juice of lemons one pint, white sugar one and a half pound,
and a little of the peel. Mix and boil a few minutes, strain, and when a
little cool, bottle, and cork, for use.
70. ORANGE AND RASPBERRY SYRUPS
Take of the juice of either, as the case may be, one pint; white sugar one
and a half pound. If it be orange a little of the peel; tartaric acid 4
oz. Mix and boil a few minutes; strain, and when a little cool, bottle and
cork for use. When to be drank, mix three or four tablespoonsful of syrup
with three quarters of a glass of water, and add a teaspoonful of soda. If
water be added to the syrup it will not keep well.
71. PURE WINE
Take three pounds of nice raisins free of stems, cut each one in two or
three pieces, put them into a stone jug with one gallon pure soft water,
let them stand two weeks uncovered, shaking occasionally (put in a warm
place in winter,) strain through three or four thicknesses of woollen, or
filter; colour with burned sugar; bottle and cork for use. For saloon
purposes, add one pint of good brandy. The more raisins the better the
wine, not exceeding 5 lbs.
72 PURE WINE VINEGAR
This is made by putting the same quantity of water on the above raisins,
after the wine is poured off, as at first for making wine, and standing
the same length of time, in the same way.
73. PORT WINE
Take 42 gallons of worked cider, 12 gallons of good port wine, 3 gallons
good brandy, 6 gallons pure spirits. Mix together. Elder-berries and
sloes, or fruit of the black hawes, make a fine purple colour for wines.
74. CHAMPAGNE WINE
Take of good cider (crab-apple cider is best) seven gallons, best fourth
proof brandy one quart, genuine champagne wine five quarts, milk one gill,
bitartrate of potash 2 oz. Mix and let it stand a short time; bottle while
fermenting. This makes an excellent imitation of champagne with age.
75. CURRANT AND OTHER FRUIT WINES
For currant, cherry, raspberry, elderberry, strawberry, whortleberry, and
wild grape wines, any one can be used alone, or in combination of several
of the different kinds; to make a variety of flavours, or suit persons who
have some and not the other kinds of fruits, to every gallon of expressed
juice, add 2 galls. of soft water, put in 6 or 8 lbs. of brown sugar, and
1 1/2 oz. of cream of tartar, have them dissolved; put 1 quart of brandy
to every 6 galls. Some prefer it without brandy. After fermentation, take
4 oz. isinglass, dissolved in a pint of the wine, put to each barrel, and
it will refine and clear it; then it must be drawn off into clear casks,
or bottled, which is far the best. Give these wines age and they are most
delicious.
76. DINNER WINE OR ENGLISH PATENT WINE
From garden rhubarb, which will not lend to intemperance. An agreeable and
healthy wine is very frequently made from the expressed juice of the
garden rhubarb. To each gallon of juice add 1 gallon of soft water, in
which 7 lbs. of brown sugar have been dissolved; fill a keg or barrel with
this proportion, leaving the bung out, and keep it filled with sweetened
water as it works off until clear. Any other vegetable extract may be
added, if this flavour is not liked. Then bung down, or bottle, as you
desire. These stalks will furnish about 3/4 their weight in juice; fine
and settle with isinglass, as in the fruit wines. This has been patented
in England.
77. VARIOUS WINES
Take 28 gallons of clarified cider; 1 gallon geed brandy, 1 lb. crude
tartar, (this is what is deposited by grape wines) 5 gallons of any wine
you wish to represent, 1 pint of sweet milk to settle it; draw off in 24
or 36 hours after thoroughly mixing.
78. BLACKBERRY AND STRAWBERRY WINES
These are made by taking the above wine when made with port wine; and for
every 10 gallons, form 4 to 6 quarts of the fresh fruit, bruised and
strained, are added, and let it stand till the flavour is extracted; more
or less may be used to suit the tastes of different persons. In bottling
any of those wines 3 or four broken raisins put into each bottle will add
to their richness and flavour.
79. FRENCH BRANDY
Take of pure spirit 1 gallon, best French brandy, or any kind you wish to
imitate, even Otard, 1 quart; loaf sugar 2 oz., sweet spirits of nitre 1/2
oz., a few drops of tincture of catechu, or oak bark, to roughen the taste
if desired; colour to suit your taste, and bottle.
80. BRANDY FROM OIL COGNAC
Take of pure spirits 10 gallons, New England rum 2 quarts, or Jamaica rum
1 quart, and oil cognac from 30 to 40 drops, put in half a pint of
alcohol, colour with tincture of kino, or burned sugar, which is generally
preferred. Mix well and bottle.
81. PALE BRANDY
This is made as the French brandy, using pale instead of the French, and
using 1 oz. of tincture of kino for colour, only for 5 gallons.
82 CHERRY BRANDY
To every 10 gallons of brandy add 3 quarts of wild black cherries, stones
and all bruised, and crushed sugar 2 lbs. Let it stand until the strength
and flavour is obtained, and draw from it as wanted for use. Never attempt
to use oil of bitter almonds for this purpose, instead of the cherries,
for it is a most deadly poison.
83. BLACKBERRY BRANDY
Take of brandy 10 gallons, nice rich blackberries mashed from 4 to 6
quarts, according to the degree of flavour you wish. Mix and add a little
sugar to overcome the acidity of the berries, according to their ripeness
will the amount vary from one to 4 oz. to each gallon.
84. STRAWBERRY BRANDY
This is made as the above, using very nice ripe strawberries, and only
about half the quantity of sugar.
Receipts 85, 86 & 87 not printed
88. HOLLAND GIN
Take of pure spirits 1 gallon, best Holland gin, schnapps, or any kind
desired, 1 quart, oil of juniper 2 scruples, oil of anise 1/4 oz.; mix all
well together.
89. COLOURING
Take of white sugar 1 lb., put it into an earthen kettle, moisten a
little, let boil, and burn red, black and thick, remove from the fire and
put in a little hot water to keep it from hardening as it cools. Use this
to colour any liquors, needing colour, to your taste, or as near the
colour of the liquor you imitate as you can. Tincture of kino is a good
colour, and is made by dissolving 1 oz. of kino in a pint of alcohol. For
a cherry red use tincture of saffron; for light amber to deep brown use
sugar colouring; for brandy colour, sugar; for red use beet root or
saunders; for port wine colour use extract of rhatany.
90 TO KEEP SWEET AND SWEETEN SOUR CIDER
To keep cider sweet take a keg, put several holes in the bottom of it, and
a piece of woollen cloth at the bottom, then fill with pure sand closely
packed, then pass your cider through this, and put up in clean barrels
that have had a piece of cotton or linen cloth 2 by 6 inches, dipped in
sulphur, and burned in them, then keep in a cool place and add 1/2 lb. of
white mustard seed to each barrel. If cider is souring, about 1 quart of
hickory ashes, (or a little more of other hard wood ashes), stirred into
each barrel, will sweeten and clarify it, nearly equal to rectifying; but
if it is not rectified it must be racked off to get clear of pomace, for
while this is in it, it will remain sour. Oil or whiskey barrels are best
to put up cider in, or 1/2 pint of sweet oil, or a gallon of whiskey, or
both may be added to a barrel with decidedly good effects. Isinglass 4 oz.
to each barrel helps to clarify and settle cider that is not going to be
rectified.
91. SCHRUB
Take of lemon juice 1 pint, white sugar 2 pints, rum 3 pints, water 4
pints; mix and colour ready for use.
92. STOUGHTON BITTERS
Take of gentian 4 oz., orange peel 4 oz., columbo 4 oz., chamomile flowers
4 oz., quassia 4 oz., burned sugar 1 lb., whiskey 2 1/2 galls., water 2
1/2 galls,; mix and let stand one week, then bottle the clear liquor.
93. TO IMPROVE THE FLAVOUR OF NEW WHISKEY
Take of whiskey 1 gall., add tea 4 oz., allspice 4 oz., caraway seed 4
oz., cinnamon 2 oz., shake occasionally for a week and use one pint to a
barrel. Keep this mixture in a jug.
94. CHERRY BOUNCE OR BRANDY
Take 10 galls. of good whiskey, put into it from 4 to 6 quarts of wild
black cherries with the stones broken, common almonds shelled 1 lb., white
sugar 1 1/2 lb., cinnamon 1/2 oz., nutmeg 1/2 oz., all bruised. Let stand
12 or 13 days and draw off; this, with the addition of 2 galls. of brandy,
make very nice cherry brandy.
95 MONONGAHALE
Take of good common whiskey 36 gall., dried peaches 2 quarts, rye, burned
and ground as coffee, 1 quart, cinnamon, cloves, and allspice, bruised, of
each 1 oz., loaf sugar 5 lbs., sweet spirits of nitre 2 oz., put all these
articles into 4 galls. of pure spirits, and shake every day for a week,
then draw off through a woollen cloth, and add the whole to the 36 galls.
of whiskey.
96. RYE WHISKEY
Take of dried peaches 1/2 a peck, put them into a pan in a stove, scorch a
little, not to burn however, then bruise, and place in a woollen (pointed)
bag, and leach good common whiskey over them twice, having the barrel up
so as to hang the bag under the faucet and draw slowly over them; this is
for a barrel. Add 10 or 12 drops of aqua ammonia to each barrel, after
leaching through the peaches; with age this is nearly, if not quite, equal
to whiskey made from rye.
97. STOMACH BITTERS
Take of gentian root 6 oz., orange peel 10 oz., cinnamon 1 oz., anise seed
2 0z., coriander seed 2 oz., cardamom seed 1/2 oz., Peruvian bark,
unground, 2 oz., bruise all the articles and add of gum kino 1 oz., and
put them into 2 quarts of alcohol, and two quarts of pure spirits or good
whiskey; shake occasionally for 10 or 12 days, and strain or filter
through several thicknesses of woollen. Half a pint of this may be added
to a gallon of whiskey, more or less, as desired, and you have an article
as good, or better, and more healthy than that for which you will pay
three times as much; or you may use it the same as stoughton, to which it
is preferred.
98. PEPPERMINT CORDIAL
Take of good whiskey 10 galls., water 10 galls., white sugar 10 lbs., oil
of peppermint 1 oz., flour 1 oz., burned sugar 1/2 lb. to colour, alcohol
1 pint; put the oil of peppermint in the alcohol, then with this work the
flour well, add the burned sugar, work again, and mix all the ingredients
together; let them stand a week and they are ready for use. If you wish a
different flavour from that of oil of peppermint use any other oil of
which you desire the flavour.
99. ST. CROIX RUM
Take of pure spirits 28 galls., of pure St. Croix run 3 galls., sal
ammonia (cut in alcohol) 1 OZ., sweet spirits of nitre 6 ozs., mix all
together and let stand for 24 hours, occasionally shaking, and it is ready
for use.
100. LEMONADE
Take of fresh lemon juice 4 oz., fresh lemon peel 1/2 oz., white sugar 4
oz., boiling water 3 pints; mix all together; let them stand till cool,
and then strain off for use; if you wish you can cool at once with ice.
Where this is used as a cooling drink in fevers a little sweet spirits of
nitre may be added.
101. A BRILLIANT WHITEWASH
This bears a gloss like ivory, and will not rub off. Take of clean
unslacked lime 5 or 6 quarts, slack with hot water in a tub, cover to keep
in the steam; when ready, pass it through a fine sieve, and add 1/4 lb. of
whiting, 1 lb. of good sugar pulverized, and 3 pints of rice flour, first
made into a thin paste; boil this mixture well, then dissolve 1 lb. of
clean glue in water, and add it to the mixture, and apply while warm with
a whitewash brush, except when particular neatness is required you may
then use a paint brush; in both cases put it on warm. You may add
colouring matter to give it any shade you please.
102. CHANGING VARNISHES
Varnishes of this description are call changing because, when applied to
metals such as copper, brass, or tin or silver foil, they give them a more
agreeable colour; indeed, the common metals, when coated with them
acquired a lustre approaching to that of the precious metals, and hence
these varnishes are much employed in manufacturing imitations of gold and
silver. Put four ounces of the best gum gamboge into 32 ozs. of spirits of
turpentine, 4 ozs. of dragon's blood into the same quantity of spirits of
turpentine as the gamboge, and 1 oz. of anatto into 8 ozs. of the same
spirits. The three mixtures being made in different vessels, they should
then be kept for about a fortnight in a warm place, and as much exposed to
the sun a possible; at the end of that time they will be fit for use; and
you can procure any tints you wish by making a composition from them, with
such proportions of each liquor as practice and the nature of the colour
you are desirous of obtaining will point out. Changing varnishes may
likewise be employed, with very good effect, for furniture, such as
picture frames, &c. - See Lackers.
103. GOLD LACKER OR VARNISH
In using the changing varnish or any of these lackers, for picture frames
for instance, lay them over with tin or silver foil, by means of plaster
of Paris glue, or cement of some kind, that the foil may be perfectly
adherent to the wood, then apply your varnish; apply as many coats as may
suit your taste, and if it be the gold lacker you use it has the
appearance of being laid with gold leaf, and if the pale brass lacker, of
being laid with brass, &c., and if you use the changing varnish you may
make it just what colour you wish, by mixing the three materials in
different proportions. For making gold lacker, put into a clean 4 gallon
tin 1 lb. ground turmeric, 1 1/2 oz. powdered gamboge, 3 1/2 lbs. powdered
gum sandrack, 3/4 lb. shellac, and 2 galls. spirits of wine; after being
dissolved and strained add 1 pint of turpentine varnish, receipt No.112,
well mixed, and it is ready for use.
104. RED SPIRIT LACKER
Take 2 galls. spirits of wine, 1 lb. dragon's blood, 3 lbs. Spanish
annatto, 3 1/2 lbs. gum sandrack, 2 pints turpentine. Made exactly as the
gold lacker.
105 PALE BRASS LACKER
Take 2 galls. spirits of wine, 3 ozs. cape aloes, cut small, 1 lb. fine
pale shellac, 1 oz. gamboge, cut small, no turpentine. Varnish made
exactly as before, but observe, that those who make lackers frequently
want some paler and some darker and sometimes inclining more to the
particular tint of certain of the component ingredients; therefore if a 4
oz. vial of a strong solution of each ingredient be prepared, a lacker of
any tint can be prepared at any time as by changing varnish.
106. DEMAR VARNISH
This is a fine clear varnish, being harder and less coloured than mastic,
while it is as soluble, and may be had at one-tenth the price. Put 6 oz.
of gum demar in a bottle with 10 ozs. of spirits of turpentine, and put
into another bottle 6 ozs. of gum demar, with 16 ozs. alcohol, when they
are dissolved put them together, and you have an excellent cheap varnish
which dries quickly and is very clear.
107. COPAL VARNISH
Take 1 oz. of copal, and 1/2 oz. of shellac, powder them well and put them
into a bottle or jar containing 1 quart of spirits of wine; place the
mixture in a warm place and shake it occasionally, till you see that the
gums are completely dissolved, and when strained the varnish is fit for
use.
108. WHITE HARD VARNISH
Take 1 lb. of mastic, 4 oz. of gum anima; and 5 lbs. of gum sandrack, put
them all together to dissolve, into a vessel containing 2 oz. of rectified
spirits of wine, which should be kept in a warm place and frequently
shaken till all the gums are quite dissolved; then strain the mixture
through a lawn sieve, and it will be fit for use.
109. CRYSTAL VARNISH
Procure a bottle of Canada balsam, which can be had at any druggist's;
draw out he cork and set the bottle of balsam at a little distance from
the fire, turning it round several times, until the heat has thinned it;
then have something that will hold as much as double the quantity of
balsam; carry the balsam from the fire, and, while fluid mix it with the
same quantity of good turpentine, and shake them together until they are
well incorporated. In a few days the varnish is fit for use, particularly
if it is poured into a half gallon glass or stone bottle, and kept in a
gentle warmth. This varnish is used for maps, prints, charts, drawings,
paper, ornaments, &c.
110. BLACK VARNISH FOR OLD STRAW OR CHIP HATS
Take a 1/2 oz. of the best black sealing wax, pound it well, and put it
into a 4 oz. vial, containing 2 ozs. of rectified spirits of wine; place
it in a sand-bath or near a moderate fire till the wax is dissolved, then
lay it on warm, with a fine soft hairbrush, before a fire or in the sun.
It gives a good stiffness to old straw hats, and a beautiful gloss equal
to new. It likewise resists wet.
111. VARNISH FOR VIOLINS &c.
Take 1 gallon of rectified spirits of wine, 12 ozs. of mastic, and 1 pint
of turpentine varnish; put them altogether in a tin can, and keep it in a
very warm place, shaking it occasionally till it is perfectly dissolved;
then strain it, and it is fit for use. If you find it necessary, you may
dilute it with turpentine varnish. This varnish is also very useful for
furniture of plumtree, mahogany, or rosewood.
112. TURPENTINE VARNISH
Take 5 lbs. of clear good resin, pound it well, and put it into 1 gallon
of oil of turpentine; boil the mixture over a stove till the resin is
perfectly dissolved, and when cool, it will be fit for use.
113. IRON WORK BLACK OR BLACK VARNISH FOR IRON
Put 48 lbs. asphaltum into an iron pot, and boil for four hours; during
the first two hours, introduce 7 lbs. litharge, 3 lbs. dried copperas, and
10 gallons boiled oil; add 1/8 lb. run of dark gum, with 2 gallons hot
oil; after pouring the oil and gum, continue the boiling two hours, or
until it will roll into hard pills like Japan; when cool, thin it off with
three gallons of turpentine, or until it is of proper consistence. This
varnish is intended principally for the iron work of coaches and other
carriages.
114 VARNISH FOR HARNESS
Take 1/2 lb. of india rubber, 1 gallon of spirits of turpentine; dissolve
enough to make it into a jelly by keeping it almost new milk warm; then
take equal quantities of good linseed oil, (in a hot state,) and the above
mixture, incorporate them well on a slow fire, and it is fit for use.
115. QUICK DRYING HARNESS BLACKING VARNISH
Break 1/2 cake (which is about 1 ounce) of white wax into an earthen pan,
and just cover it with oil of turpentine; place a board over the pan to
keep out the air; let it stand for 24 hours or until formed into a paste;
then in another pan, mix 1 lb. of best ivory black with neatsfoot oil,
until it assumes a thick consistency; then mix the contents of both pans
together. It may be reduced with spirits of turpentine. Bottle, and it is
fit for use.
116. OIL PASTE BLACKING
Take oil vitriol, 2 ozs., tanners oil, 5 ozs., ivory black, 2 lbs.,
molasses, 5 ozs; mix the oil and vitriol together, let it stand a day,
then add the ivory black, the molasses, and the white of an egg; mix well,
and it is ready for use.
117 WATER PROOF OIL OR PASTE BLACKING
Take 1 pint of camphene, and put into it all the india rubber it will
dissolve, 1 pint currier's oil, 7 lbs. tallow, and 2 ozs. of lampblack;
mix thoroughly by heat. This is a nice thing for old harness and carriage
tops, as well as for boots and shoes.
118 BEST VARNISH BLACKING EXTANT
Take of alcohol, 1 gallon; white turpentine, 1 1/2 lbs.; gum shellac 1 1/2
lbs.; venice turpentine, 1 gill; let these stand in a jug in the sun, or
by a stove, until the gums are dissolved; then add sweet oil, 1 gill;
lampblack, 2 oz., and you have a varnish that will not crack when the
harness is twisted like the old shellac varnish. It is good also for boots
and shoes, looking well, and turns water.
119. ASPHALTUM OR WALNUT STAIN
Take of asphaltum, 2 lbs.; boiled linseed oil, 1/2 pint; spirits of
turpentine, 1 gallon; mix the two first in an iron pot, boil slowly until
the asphaltum is melted, then take it some distance from the fire, cool a
little, and add the turpentine (avoiding ignition) before it cools too
much, and it is finished.
120. POLISH FOR OLD FURNITURE
Take 1 pint best spirits of wine, 1 pint raw linseed oil, 1 pint spirits
of turpentine; mix all three together, and shake well before use. Apply
with a rubber of cotton wool covered with a piece of clean old white
cotton cloth. Apply slightly and you will be astonished at the effect. Old
furniture that is scratched, soiled, or stained, if the wood is not torn
up, being polished with this, has the appearance of new.
121. OIL TO MAKE THE HAIR GROW AND CURL
Take of olive oil 1/2 a pint, oils of rosemary and origanum, of each 1/8
of an oz. Mix well and apply rather freely.
122. BEST SHAVING SOAP
Take 4 1/2 lbs. white bar soap, 1 quart rain water, 1 gill of beef's gall,
and 1 gill spirits of turpentine; cut the soap thin, and boil five
minutes, stir while boiling, and colour with 1/2 oz. of vermillion; scent
with oil of rose or almonds. 10 cents worth will positively make $6 worth
of soap.
123. NEW YORK BARBERS' STAR HAIR OIL
Take of castor oil, 6 1/2 pints; alcohol, 1 1/2 pint; citronella and
lavender oils, of each 2 ozs.; mix and shake well, and it is ready for
use.
124. ROWLAND'S MACASSAR HAIR OIL
Take of sweet oil, 8 ozs.; cantharides and oil of lemon, of each 60 drops;
alkanet sufficient to colour it.
125. ROSE HAIR OIL
Take 1 quart olive oil, 2 1/2 ozs. alcohol, 1 1/2 ozs. rose oil; after
this tie 1 oz. of chipped alkanet root in 3 or 4 little muslin bags, and
let them lie in the oil until a pretty red is manifested, then change them
to other oil. do not press them.
126. BEAR'S OIL
Take of good sweet lard oil, 1 quart; bergamot, 1 ounce; mix well together
127 OX MARROW FOR THE HAIR
Take of ox marrow, 4 ozs.; white wax, 1 oz.; nice fresh lard, 6 ozs; mix
and melt; when cool, add 1 1/2 ozs. oil of bergamot, and mix well.
128. COLOGNE
Take oils of rosemary and lemon, of each, 1/4 oz.; oils of bergamot and
lavender, of each, 1/8 oz.; oil of cinnamon, 8 drops; oils of cloves and
rose, of each 15 drops; best alcohol, 2 quarts; mix and shake 2 or 3 times
a day for a week. This will be better if deoderized, or cologne alcohol is
used.
129. HARD SOAP
Take of soft soap, 12 lbs.; (that made of olive oil is best,) common salt,
9 lbs.; mix and boil for 2 hours, run it into bars, or as you want it, and
you will have 7 1/2 lbs. of soap. Add a little resin when you melt it
over. Scent with fragrant oil if you wish to do so.
130. BAR SOAP
Take of lime water 1 teacupful, spirits of turpentine 2 teaspoonsful,
resin 1/2 lb., sal. soda 1 1/2 lbs., of bar shop soap 4 lbs.; melt and
boil all together to a proper consistency, then pour into moulds.
131. CARVER'S POLISH
In a pint of spirits of wine dissolve 2 oz. of seed lac, and 2 oz. of
resin. The principal use of this polish is for the carved parts of cabinet
work, such as standards, pillars, claws, &c. It should be laid on warm,
and it will be still better; but all moisture and dampness should be
carefully avoided.
132. FRENCH POLISH
Take 1 oz. of shellac, 1/4 oz. of gum-arabic, and 1/4 oz. of gum copal;
bruise them well, and sift them through a piece of muslin, then put them
along with a pint of spirits of win into a closely corked vessel, place it
in a very warm situation, and shake it frequently every day till the gums
are dissolved, then strain through a piece of muslin, and keep it corked
for use.
133. WATER-PROOF POLISH
Put 2 ozs. of gum benjamin, 1/4 oz. of gum sandrac, and 1/4 oz. of gum
anima, into a pint of spirits of wine, in a closely stopped bottle, place
the bottle either in a sand bath, or in hot water, till the gums are
dissolved, then strain off the mixture, shake it up with a 1/4 of a gill
of the best clear poppy oil, and put by for use.
134 FINISHING POLISH
Put 2 drachms of shellac, and 2 drachms of gum benjamin, into 1/2 pint of
the very best rectified spirits of wine, in a bottle closely corked; keep
the bottle in a warm place, and shake it frequently till the gums are
dissolved, when cold shake up with it 2 teaspoonsful of the best clear
poppy oil, and it will be fit for use. This polish may be applied with
great advantage after any of those mentioned in the foregoing receipts
have been used. It removes the defects existing in them, increasing their
lustre and durability, and gives the surface a most brilliant appearance.
135. COMPOSITION USED IN WELDING CAST STEEL
Take of borax, 10 parts; sal-ammoniac, 1 part; grind or pound them roughly
together, then fuse them in a metal pot over a close fire, taking care to
continue the heat until all spume has disappeared from the surface, when
the liquid appears clear, the composition is ready to be poured out to
cool and concrete; afterward being ground to a fine powder. To use this
composition, the steel to be welded is raised to a heat, which may be
expressed by bright yellow, it is then dipped among the welding powder,
and again placed in the fire until it attains the same degree of heat as
before, it is then ready to be placed under the hammer.
136. COMPOSITION USED IN WELDING CAST IRON
Take good clear white course sand, 3 parts; refined solton, 1 part;
fosterine, 1 part; rock salt 1 part; borax, 1 part; mix all together. Take
2 pieces of cast iron, heat them in a moderate charcoal fire, occasionally
taking them out while heating, and dipping them into the composition,
until they are of a proper heat to weld, then at once lay them on the
anvil, and gently hammer them together, and if done carefully by one who
understands welding iron, you will have them nicely welded together. One
man prefers heating the metal, then cooling it in the water of common
beans, and heating it again for welding.
137. CAST IRON CEMENT
Take of clean borings or turning of cast iron, 16 parts; of sal-ammoniac,
2 parts; and flour of sulphur, 1 part; mix them well together on a mortar,
and keep them dry. When required for use, take 1 part of the mixture, and
20 parts of clean borings, mix thoroughly, and add a sufficient quantity
of water. Note. - A little grindstone added improves the cement.
138. CASE HARDENING
This is the conversion of the surface of wrought iron into steel, for the
purpose of adapting it to receive a polish, or to bear friction, &c. The
best method in the world of effecting this is by heating the iron to
cherry red in a close vessel, in contact with carbonacious material, and
then plunging it into cold water. Bones, leather, hoofs, and horns of
animals, are best for this purpose, after having been burnt or roasted, so
that they can be pulverized. Soot is very frequently used; it answers, but
not so well.
139. TO SOFTEN IRON OR STEEL
Either of the following simple methods will make iron or steel as soft as
lead: - 1. Anoint it all over with tallow, temper it in a gentle charcoal
fire, and let it cool of itself. 2. Take a little clay, cover your iron
with it, temper in a charcoal fire. 3. When the iron or steel is red hot,
strew hellebore on it. 4. Quench the iron or steel in the juice, or water,
of common beans.
140. SOLDER FOR LEAD
Melt 1 part of block tin, and when in a state of fusion, add 2 parts of
lead; if a small quantity of this, when melted, is poured upon the table,
there will, if it be good, arise little bright stars upon it. Resin should
be used with this solder.
141. SOLDER FOR TIN
Take 4 parts of pewter, 1 of tin, and 1 of bismuth, melt them together,
and run them into thin slips. Resin is also employed in using this solder.
142. SOLDER FOR IRON
The best solder for iron is good tough brass, with a little borax.
143. SOLDER FOR COPPER
Take of brass, 6 parts; zinc, 1 part; tin, 1 part; melt all together, mix
well, and pour out to cool.
144. SOLDER FOR STEEL JOINTS
Silver, 19 parts; copper, 1 part; brass, 2 parts; melt all together.
145. HARD SOLDER
Fuse together 2 parts of copper, and 1 of zinc.
146. SOLDER FOR SILVER
Fuse together 5 parts of silver, and 1 part of brass.
147. GOLD SOLDER No. 1
Take of gold, 4 parts; silver, 3 parts; copper 1 part; and zinc, 1 part.
148. GOLD SOLDER No. 2
Take of gold, 3 parts; silver, 3 parts; copper, 1 part; zinc, 1/2 part.
149. GOLD SOLDER No. 3
Take of gold, 2 parts; silver, 3 parts; copper, 1 part; and zinc 1/2 a
part. The gold, silver, and copper must be fused in a crucible before the
zinc is added, or else you cannot keep them in the vessel while heating.
When all are completely fused, they must be well stirred, and run into
bars. Solder No.1 is for gold 16 carats and upwards; No.2 is for that 14
carats fine; and No.3 for lower qualities. If more zinc is added, it will
fuse at a lower heat, but the colour is not so good.
150. MOCK GOLD
Fuse together 16 parts of copper, 7 of platinum, and 1 of zinc. When steel
is alloyed with 1/500 part of platinum, or with 1/500 part of silver, it
is rendered much harder, more malleable, and better adapted for all kinds
of cutting instruments. Note. - In making alloys, care must be taken to
have the more infusible metals melted first, and afterwards add the
others.
151. BRITANNIA METAL
Take 4 parts of brass, and 4 parts of tin; when fused add 4 parts of
metallic bismuth, and 4 parts of metallic antimony. This composition is
added at discretion to metallic tin, according to the quality you wish to
make.
152. BLANCHED COPPER
Melt together 8 parts of copper and a half part of arsenic.
153. COMMON PEWTER
Melt together 4 parts of tin and 1 part of lead.
154. BEST PEWTER
Melt together 100 parts of tin and 17 of antimony.
155. A METAL THAT EXPANDS IN COOLING
Melt together 9 parts of lead, 2 of antimony and one of bismuth. This
metal is very useful in filling small defects in iron castings, &c.
156. QUEEN'S METAL
Melt together 9 parts of tin, 1 of antimony, 1 of bismuth, and 1 of lead
157. IMITATION PLATINUM
This metal, or alloy, very closely resembles platinum. Melt together 8
parts of brass and 5 parts of zinc.
158. CHINESE WHITE COPPER
Melt together 40.4 parts of copper, 31.6 parts of nickel, 25.4 of zinc,
and 2.6 of iron.
159. MANHEIM GOLD
Melt together 3 parts copper, 1 of zinc, and a little tin.
160. TOMBACK, OR RED BRASS
Melt together 8 parts of copper, and 1 part of zinc.
161. IMITATION GOLD
Take of platina 8 parts, of silver 4 parts, copper 12 parts, melt all
together.
162. IMITATION SILVER
Take of block tin 100 parts, metallic antimony 8 parts, bismuth 1 part,
and 4 parts of copper; melt all together.
163. TRUE IMITATION OF GOLD
Dr. Harmsteadt's imitation of gold, which is stated not only to resemble
gold in colour, but also in specific gravity and ductility, consists of 16
parts of platinum, 7 parts of copper, and 1 of zinc, put in a crucible,
covered with charcoal powder, and melted into a mass.
164. TRUE IMITATION OF SILVER
Imitation of pure silver, so perfect in its resemblance that no chemist
living can tell it from pure virgin silver. It was obtained from a German
chemist now dead; he used it for unlawful purposes to the amount of
thousands, and yet the metal is so perfect that he was never discovered.
It is all melted together in a crucible, here it is: 1/4 oz. of copper, 2
oz. of brass, 3 oz. of pure silver, 1 oz. of bismuth, 2 ozs. of saltpetre,
2 ozs. of common salt, 1 oz. of arsenic, and 1 oz. of potash.
165. MOULDS AND DIES
Take copper, zinc, and silver, in equal proportions, and melt them
together, and mould into the forms you desire, and bring the same to a
nearly white heat; now lay on the thing that you would take the impression
of, and press it with sufficient force, and you will find that you have a
perfect and beautiful impression. All of the above metals should be melted
under a coat of powdered charcoal.
166. TO SOFTEN HORN
To 1 lb. of wood ashes, add 2 lbs. of quicklime; put them into a quart of
water, let the whole boil till reduced to one third, then dip a feather
in, and if, on drawing it out, the plume should come off, it is a proof
that it is boiled enough, if not, let it boil a little longer; when it is
settled filter it off, and in the liquor thus strained put in shavings of
horn; let them soak for three days, and, first anointing your hands with
oil, work the horn into a mass, and print or mould it into any shape you
please.
167. TO MAKE MOULDS OF HORN
If you wish to take the impression of any coin, medal, &c., previously
anoint it with oil, then lay the horn shavings over it in its softened
state; when dry the impression will be sunk into the horn, and this will
serve as a mould to reproduce, either by plaster of Paris, putty and glue,
or isinglass and ground egg shells, the exact resemblance of the coin or
medal.
168. TO CASE FIGURES IN IMITATION OF IVORY
Make isinglass and strong brandy into a paste, with powder of egg shells,
very finely ground; you may give it what colour you please, but cast it
warm into your mould, which you previously oil over; leave the figure in
the mould till dry, and you will find, on taking it out, that it bears a
very strong resemblance to ivory.
169. TRUE GOLD POWDER
Put some gold leaf, with a little honey or thick gum water, (whenever I
speak of gum I mean gum arabic,) into an earthen mortar, and pound the
mixture till the gold is reduced to very small particles; then wash out
the honey or gum repeatedly with warm water, and the gold will be left
behind in a state of powder, which, when dried, is fit for use.
170. TRUE GOLD POWDER
Another, and perhaps better method of preparing gold powder is to heat a
prepared amalgam of gold in a clean open crucible, (an amalgam of any
metal is formed by a mixture of quicksilver with that metal) continuing a
very strong heat till all the mercury has evaporated, stirring the amalgam
all the while with a glass rod; when the mercury has entirely left the
gold, grind the remainder in a Wedgewood's mortar, with a little water,
and when dried it will be fit for use. The subliming the mercury is,
however, a process injurious to the health.
171. COLOUR HEIGHTENING COMPOSITIONS
For yellow gold, dissolve in water 6 ozs. of saltpetre, 2 ozs. of
copperas, 1 oz. of white vitriol, and 1 oz. of alum. If wanted redder, add
a small portion of blue vitriol.
172. FOR GREEN GOLD
Dissolve in water a mixture consisting of 1 1/2 oz. of saltpetre; vitriol
and sal-ammoniac, 1 1/4 oz. of each, and 1 oz. verdigris.
173. FOR RED GOLD
Take 1 1/2 oz. of red ochre in fine powder, the same quantity of calcined
verdigris, 1/2 oz. of calcined borax, and 4 oz. of melted yellow wax; the
verdigris must be calcined, or else, by the heat applied in melting the
wax, the vinegar becomes so concentrated as to corrode the surface, and
make it appear speckled. These last three are colours for heightening
compositions.
174. MOSAIC GOLD
Mosaic gold, or aurum mosaicum, is used for inferior articles. It is
prepared in the following manner: 1 lb. of tin is melted in a crucible,
and 1/2 lb. of purified quicksilver added to it; when this mixture is
cold, it is reduced to powder, and ground with 1/2 lb. of sal ammoniac,
and 7 ozs. of flower of sulphur, till the whole is thoroughly mixed; they
are then calcined in a mattrass, and the sublimation of the other
ingredients leaves the tin converted into the aurum mosaicum, which is
found at the bottom of the glass, like a mass of bright flakey gold
powder. Should any black or discoloured particles appear, they must be
removed. The sal-ammoniac used here must be very white and clear, and the
mercury quite pure and unadulterated. When a shade of deeper red is
required, it can easily be obtained by grinding a very small quantity of
red lead along with the above materials.
175. DUTCH OR GERMAN GOLD
A gilding powder is sometimes made from Dutch gold, which is sold in books
at a very low price. This is treated in the same way as the real gold leaf
in making the true gold powder. It is necessary, when this inferior powder
is used, to cover the gilding with a coat of clear varnish, otherwise it
soon loses its metallic appearance. The same remark applies, though to a
less degree, to Mosaic gilding.
176. COPPER POWDER
This is prepared by dissolving filings or slips of copper with nitrous
acid in a receiver. When the acid is saturated, the slips are to be
removed; or, if filings be employed, the solution is to be poured off from
what remains undissolved; small bars are then put in, which will
precipitate the copper from the saturated acid, in a powder of the
peculiar appearance and colour of copper, and the liquid being poured from
the powder, this is to be washed clean of the crystals by repeated
levigations.
177. COMMON SIZE
The size used by painters for most sorts of common work is prepared by
boiling in water pieces of parchment, and of the skins of animals and fins
of fish, and evaporating the solution to a proper consistency. It only
differs, however, from a solution of glue containing fewer foreign
ingredients, and in not being so strong.
178. DR. JOHN'S VARNISH FOR PLASTER OF PARIS CASTS
Take of white soap and white wax, each half an ounce, of water two pints;
boil them together for a short time in a clean vessel. This varnish is to
be applied when cold, by means of a soft brush. It does not sink in, it
readily dries, and its effect may be heightened by lightly using a silk
pocket handkerchief.
179. GENERAL DIRECTIONS FOR BRONZING
This art is nothing but a species of painting, but far from being of the
most delicate kind. The principal ingredients made use of in it are the
true gold powder, the German gold, the aurum mosaicum, and copper powder,
(all above described.) The choice of these powders is, of course, to be
determined by the degree of brilliancy you wish to obtain. The powder is
mixed with strong gum water or isinglass, and laid on with a brush or
pencil; and when not so dry as to have still a certain clamminess, a piece
of soft leather wrapped round the finger, is dipped in the powder and
rubbed over the work; when the work has been all covered with the bronze,
it must be left to dry, and any loose powder then cleared away by a hair
pencil.
180. BRONZING IN WOOD
This may be effected by a process somewhat differing from the above,
Prussian blue, patent yellow, raw amber, lamp-black, and pipe clay are
ground separately with water on a stone, and as much of them as will make
a good colour put into a small vessel three-fourths full of size. This
mixture is found to succeed best on using about half as much more pipe
clay as of any of the other ingredients. The wood being previously cleaned
and smoothed, and coated with a mixture of clean size and lamp-black,
receives a new coating with the above compound twice successively, having
allowed the first to dry. Afterwards the bronze powder is to be laid on
with a pencil, and the whole burnished or cleaned anew, observing to
repair the parts which may be injured by this operation; next, the work
must be coated over with a thin lather of castile soap, which will take
off the glare of the burnishing, and afterwards be carefully rubbed with a
woollen cloth. The superfluous powder may be rubbed off when dry.
181. IN BRONZING IRON
The subject should be heated to a greater degree than the hand can bear;
and German gold, mixed with a small quantity of spirit of wine varnish,
spread over it with a pencil; should the iron be already polished, you
must heat it well and moisten it with a linen rag dipped in vinegar.
182. BRONZING CASTS OF PLASTER OF PARIS
There is a method of bronzing casts of plaster of Paris analogous to that
which we have above given for bronzing wood, but it is not in much repute.
Such figures may be beautifully varnished by means of Dr. John's varnish,
receipt No.178. Casts of plaster of Paris may be made by receipt No.167.
183. SHELL-LAC VARNISH
Dissolve in an iron kettle, one part of pearl-ash in about 8 parts of
water; add one part of shell-lac, and heat the whole to ebullition. When
the lac is dissolved, cool the solution, and impregnate it with chlorine,
till the lac is all precipitated. The precipitate is white, but its colour
deepens by washing and consolidation; dissolved in alcohol, lac bleached
by the above process yields a varnish which is as free from colour as any
copal varnish.
184. CHLORINE FOR SHELL-LAC VARNISH
This may be formed by mixing intimately eight parts of common salt, and
three parts of the black oxide of manganese in powder; put this mixture
into a retort, then pour four parts of sulphuric acid, diluted with an
equal weight of water, and afterwards allowed to cool upon the salt and
manganese; the gas will then be immediately liberated, and the operation
may be quickened by a moderate heat. A tube leading from the mouth of the
retort must be passed into the resinous solution, where the gas will be
absorbed, and the lac precipitated.
185. SHELL-LAC VARNISHES OF VARIOUS COLOURS
These may be made by using ant colour in fine powder with the varnish, in
the following manner: rub up the colour with a little alcohol or spirits
of turpentine till it becomes perfectly smooth, then put it into the cup
with the varnish. Shell-lac varnish is the best spirit varnish we have,
and may be made any colour by the above process.
186. GOLD OIL-COLOUR, OR SIZE
The English method of preparing the colour in size, which serves as the
ground on which the gold is laid, is, to grind together some red oxide of
lead with the thickest drying oil that can be procured, the older the
better. To make it work freely, it is mixed, before being used, with a
little oil of turpentine, till it is brought to a proper consistence. The
above four receipts are used in japanning.
187. JAPANNING
If it be woodwork you are about to japan, it must be prepared with size,
and some coarse material mixed with it to fill up and harden the grain of
the wood, (such as may best suit the colour to be laid on,) which must be
rubbed smooth with glass paper when dry. In cases of accident, it is
seldom necessary to resize the damaged places, unless they are
considerable.
188. GRINDING COLOURS IN JAPANNING
Be very careful in japanning, to grind your colours smooth in spirits of
turpentine, then add a small quantity of turpentine and spirit varnish,
lay it carefully on with a camel hair brush, and varnish it with brown or
white varnish, according to the colour.
189. COLOURS REQUIRED IN JAPANNING
Flake white, red lead, vermillion, lake, Prussian blue, patent yellow,
orpiment, orchres, verditers, vandyke brown, umber, lamp-black, and
siennas raw and burnt. With these you may match almost any colour in
general use in japanning. For a black japan, it will be found sufficient
to mix a little gold-size with lamp-black; this will bear a good gloss,
without requiring to be varnished afterwards.
190. TO PREPARE A FINE TORTOISE-SHELL JAPAN
Take 1 gallon of good linseed oil, and 1/2 lb. of umber; boil them
together till the oil becomes very brown and thick, then strain it through
a coarse cloth, and set it again to boil; in which state it must be
continued till it acquires a consistence resembling that of pitch; it will
then be fit for use.
191. DIRECTIONS FOR USING TORTOISE-SHELL JAPAN
Having thus prepared the varnish or japan, clean well the substance which
is to be japanned; then lay vermillion, tempered with shell-lac varnish,
or with drying oil, very thinly diluted with oil of turpentine, on the
places intended to imitate the more transparent parts of the
tortoise-shell; when the vermillion is dry, brush the whole over with
black varnish, tempered to a due consistence with the oil of turpentine.
When set and firm, put the work into a stove, where it may undergo a
very strong heat, which must be continued a considerable time; if even
three weeks or a month it will be the better. This tortoise-shell ground
it not less valuable for its great hardness, and enduring to be made
hotter than boiling water without damage, than for the superior beauty and
brilliancy of its appearance.
192. TO MAKE CLOTH, SILK &c., WATER-PROOF
Mix equal quantities of alum and acetate of lead, and dissolve the mixture
in 1 1/2 gallons of boiling water. When the solution has cooled,remove the
supernatent liquid from the sediment, which consists of sulphate of lead,
and is ready for use. Any article of dress, when well saturated in this
liquid, and allowed to dry slowly, bears the action of boiling water, and
does not permit it to pass through, although steam and air penetrate if
freely.
193. CROCKERY CEMENT
Dissolve 1 oz. of common salt in 1 quart of water, bring to a boil, and
put in 1 1/4 lbs. gum shell-lac; when it shall have dissolved, pour into
cold water, and work like wax; make into small sticks. This will make
crockery as firm as a rock. Directions: - Warm the stick, apply it to the
broken edges, then heat the edges, place them together and hold for a
minute, and they are firm.
194. A CEMENT FOR CHINA, GLASS-WARE, &c.
Take a thick mucilage of gum arabic, and stir into it plaster of Paris to
form a thick paste, apply to the edges with a brush, and press firmly
together and confine them two or three days, and you will be astonished at
their firmness.
195. ANGLER'S SECRET
The juice of loveage or smellage mixed with any kind of bait, or a few
drops of the oil of rhodium; India cockle, also, is sometimes mixed with
flour dough, and sprinkled on the surface of still water. This intoxicates
the fish, and makes him turn up on the top of the water, when he is taken
and put in a tub of fresh water until he revives, when all is right; he
may be eaten without fear; but this will destroy many fish.
196. MORELLA WINE
Take the juice of morella or tame cherries, and to each quart put 3 quarts
of water, and 4 lbs. of coarse brown sugar; let them ferment, and skim
until worked clear; then draw off, avoiding the sediment at the bottom,
bung up, or bottle, which is best for all wines, letting the bottles lie
always on the side, either for wines or beers.
197. HAIR DYE
No.1 Crystalised nitrate of silver, 1 drachm; soft water, 1 oz.
No.2 Sulphide (sulphuret is the same) of potassium, 1 drachm; soft water,
1 oz.; wash the beard or hair with soap to remove oil, dry with a towel a
little then apply No.1, and directly after it No.2, for a few minutes,
alternately, using different tooth brushes for each No. Clear days are
best on which to apply it. As soon as dry, wash out well with soap. Keep
it from shirt bosoms and face, especially No.1, as it will make the face
sore as well as colour it. If you do get it on the skin, cyanide (cyanuret
is the same) of potassium, 1 drachm, to 2 ozs. of water, will take it off.
This last is poison, however, and should not touch sore places, nor be
left where children may get at it.
198. TALLOW CANDLES IN IMITATION OF WAX
Purify melted mutton tallow by throwing in powdered quicklime, then add 2
parts of wax to 1 of tallow. A most beautiful article of candle,
resembling wax, will be produced by the mixture. Dip the wicks in
lime-water and saltpetre on making.
199. TO STAIN MUSICAL INSTRUMENTS A CRIMSON STAIN
Take of ground Brazil, 1 lb.; water, 3 quarts; cochineal, 1/2 oz.; boil
the Brazil in the water for an hour; then strain, and add the cochineal;
then boil it gently for half-an-hour, when it will be fit for use. If you
wish a scarlet tint, boil an ounce of saffron in a quart of water, and
pass over the work before you stain it. The article must be very clean,
and of firwood, or the best sycamore. When varnished over this stain it is
most elegant.
200. A PURPLE STAIN FOR VIOLINS, &c.
Take of chipped logwood, 1 lb.; of water, 3 quarts; of pearl-ash, 4 ozs.;
of indigo, pounded, 2 ozs.; put the logwood in the water, boil well for an
hour, then add the pearl-ash and indigo, and when dissolved, you will have
a beautiful purple.
201. A BLUE STAIN FOR VIOLINS, &c.
Take of oil of vitriol in a glass bottle, 1 lb.; put into it 4 ozs. of
indigo, and precede as directed in dyeing.
202. GREEN STAIN FOR VIOLINS, &c.
Take of strong vinegar, 3 pints; of best verdigris, 4 ozs., ground fine;
of sap green, 1/2 oz.; of indigo, 1/2 oz.; mix all together.
203. GENERAL DIRECTIONS FOR DYEING
The materials should be perfectly clean; soap should be rinsed out in soft
water; the article should be entirely wetted, or it will spot; light
colours should be steeped in brass, tin or earthen; and, if set at all,
should be set with alum. Dark colours should be boiled in iron, and set
with copperas; too much copperas rots the thread.
204. FOR COLOURING SKY BLUE
Get the blue composition; it may be had at the druggist's, or clothier's,
for a shilling an ounce. If the articles are not white, the old colours
should all be discharged by soap or a strong solution of tartaric acid,
then rinsed; 12 or 16 drops of the composition, stirred into a quart-bowl
of warm water, and strained if settlings are seen, will dye a great many
articles. If you want a deeper colour, add a few drops more of the
composition. If you wish to colour cotton goods, put in pounded chalk to
destroy the acid, which is very destructive to all cotton; let it stand
until the effervescence subsides, and then it may be safely used for
cotton or silk.
205. FOR LILAC COLOUR
Take a little pinch of archil, and put some boiling hot water upon it, add
to it a very little lump of pear-lash. Shades may be altered by pear-lash,
common slat, or wine.
206. TO COLOUR BLACK
Logwood and cider, boiled together in iron, water being added for the
evaporation, makes a good durable black. Rusty nails or any bits of rusty
iron, boiled in vinegar, with a small piece of copperas, will also dye
black; so will ink powder, if boiled with vinegar. In all cases, black
must be set with copperas.
207. TO DYE LEMON COLOUR
Peach leaves, bark scraped from the barberry bush, or saffron, steeped in
water, and set with alum, will colour a bright lemon, drop in a little
gum-arabic to make the articles stiff.
208. TO DYE ROYAL PURPLE
Soak logwood chips in soft water until the strength is out, then add a
teaspoonful of alum to a quart of the liquid; if this is not bright
enough, add more alum, rinse and dry. When the dye is exhausted, it will
colour a fine lilac.
209. TO DYE SLATE COLOUR
Tea grounds, boiled in iron vessels, set with copperas, makes a good slate
colour. To produce a light slate colour, boil white maple bark in clear
water, with a little alum. The bark should be boiled in brass utensils.
The goods should be boiled in it and then hu
210. TO DYE SCARLET
Dip the cloth in a solution of alkaline or metallic salt, then in a
cochineal dye, and let it remain some time, and it will come out
permanently coloured. Another method: 1/2 lb. of madder, 1/2 oz. of cream
tartar, and 1 oz. of marine acid to 1 lb. of cloth; put it all together,
and bring the dye to a scalding heat; put in your materials, and they will
be coloured in ten minutes. The dye must be only scalding hot. Rinse your
goods in cold water as soon as they come from the dye.
211. TO COLOUR A BRIGHT MADDER
For 1 lb. of yard or cloth, take 3 ozs. of madder; 3 ozs. of alum; 1 oz.
of cream tartar; prepare a brass kettle with two gallons of water, and
bring the liquor to a steady heat, then add your alum and tartar, and
bring it to a boil; put in your cloth, and boil it two hours; take it out,
and rinse it in cold water; empty your kettle, and fill it with as much
water as before; then add your madder; rub it in fine in the water before
your cloth is in. When your dye is as warm as you can bear your hand in,
then put in your cloth, and let it lie one hour, and keep a steady heat;
keep it in motion constantly, then bring it to a boil fifteen minutes,
then air and rinse it. If your goods are new, use 4 ozs. of madder to a
lb.
212. TO COLOUR GREEN
If you wish to colour green, have your cloth as free as possible from the
old colour, clean, and rinsed; and, in the first place, colour it deep
yellow. Fustic, boiled in soft water, makes the strongest and brightest
yellow dye; but saffron, barberry-bush, peach-leaves, or onion-skins, will
answer pretty well. Next take a bowlful of strong yellow dye, and pour in
a great spoonful or more of the blue composition, stir it up well with a
clean stick, and dip the articles you have already coloured yellow into
it, and they will take a lively grass-green. This is a good plan for old
bombazet-curtains, dessert-cloths, old flannel for desk coverings, &c.
213. TO DYE STRAW COLOUR AND YELLOW
Saffron, steeped in earthen and strained, colours a fine straw colour. It
makes a delicate or deep shade, according to the strength of the tea.
Colouring yellow is described in receipt No.212. In all these cases a
little bit of alum does no harm, and may help to fix the colour. Ribbons,
gauze handkerchiefs, &c., are coloured well in this way, especially if
they be stiffened by a bit of gum-arabic, dropped in while the stuff is
steeping.
214. TO DYE A DRAB COLOUR
Take plum tree sprouts, and boil them an hour or more; add copperas,
according to the shade you wish your articles to be. White ribbons take
very pretty in this dye.
215. TO DYE PURPLE
Boil an ounce of cochineal in a quart of vinegar. This will afford a
beautiful purple.
216 TO DYE BROWN
Use a teaspoonful of soda to an ounce of cochineal, and a quart of soft
water.
217. TO COLOUR PINK
Boil 1 lb. of cloth an hour in alum water, pound 3/4 of an oz. of
cochineal and mix 1 oz. of cream of tartar; put in a brass kettle, with
water, enough to cover the cloth; when about blood hot, put in your cloth,
stir constantly, and boil about fifteen minutes.
218. TO DYE A COFFEE COLOUR
Use copperas in a madder-dye, instead of madder compound.
219. TO DYE NANKIN COLOUR
The simplest way is to take a pailful of lye, to which put a piece of
copperas half as big as a hen's egg; boil in a copper or tin kettle.
220. TO MAKE ROSE COLOUR
Balm blossoms, steeped in water, colour a pretty rose colour. This answers
very well for the linings of children's bonnets, for ribbons, &c.
221. TO DYE STRAW AND CHIP BONNETS BLACK
Boil them in strong logwood liquor 3 or 4 hours, occasionally adding green
copperas, and taking the bonnets out to cool in the air, and this must be
continued for some hours. Let the bonnets remain in the liquor all night,
and the next morning take them out, dry them in the air, and brush them
with a soft brush. Lastly, rub them inside and out with a sponge moistened
with oil, and then send them to be blocked. Hats are done in the same way.
222. TO DYE WHITE GLOVES A BEAUTIFUL PURPLE
Boil 4 oz. of logwood, and 2 oz. of roche-alum, in 3 pints of soft water,
till half wasted; let it stand to be cold after straining. If they be old
gloves let them be mended; then do them over with a brush, and when dry
repeat it. Twice is sufficient unless the colour is to be very dark; when
dry, rub off the loose dye with a coarse cloth; beat up the white of an
egg, and with a sponge, rub it over the leather. The dye will stain the
hands, but wetting them with vinegar before they are washed will take it
off.
223. TO BLEACH STRAW HATS, &c.
Straw hats and bonnets are bleached by putting them, previously washed in
pure water, in a box with burning sulphur; the fumes which arise unite
with the water on the bonnets, and the sulphurous acid, thus formed,
bleaches them.
224. TO DYE SILKS BLACK
To 8 gallons of water add 4 ozs. of copperas; immerse for 1 hour and take
out and rinse; boil 2 lbs. logwood chips, or 1/2 lb. of extract; 1/2 lb.
of fustic; and for white silks, 1/2 lb. of nicwood; dissolve 2 lbs. of
good bar-soap in a gallon of water; mix all the liquids together, and then
add the soap, having just enough to cover the silk; stir briskly until a
good lather is formed, then immerse the silk and handle it lively. The dye
should be as warm as the hand will bear; dry quickly and without rinsing.
The above is enough for 10 yards or one dress.
225. TO COLOUR YELLOW ON COTTON
Wet 6 lbs. of goods thoroughly; and to the same quantity of water add 9
oz. of sugar of lead; and to the same quantity of water in another vessel,
add 6 oz. of bichromate of potash; dip the goods first into the solution
of sugar of lead, and next into that of the potash, and then again into
the first; wring out, dry, and afterwards rinse in cold water.
226. FOR STAINING GLASS - No.1 FLUX
Minimum, or red lead, 3 parts; white sand, washed, 1 part. This mixture is
melted, by which it is converted into a greenish-yellow glass
227. No.2 FLUX
Of No.1, 8 parts; fused borax, in powder, 1 part. This mixture is melted.
228. No.3 FLUX
Fused borax, 5 parts; calcined flint, 3 parts; pure minium, 1 part. This
mixture is also melted. The above fluxes are used in procuring the
different colours for staining glass.
229. INDIGO BLUE
Oxide of cobalt, 1 part; flux No.3, 2 parts.
230. TURQUOISE BLUE
Oxide of cobalt, 1 part; oxide of zinc, 3 or 4 parts; flux No.3, 6 parts;
melt and pour out. If it is not sufficiently green, increase the zinc and
flux.
231. AZURE BLUE
Oxide of cobalt, 1 part; oxide of zinc, 2 parts; flux No.2, 8 parts; melt
them together.
232. DEEP AZURE BLUE
Oxide of cobalt, 1 part; oxide of zinc, 2 parts; flux No.2, 5 parts. The
beauty of this colour depends on the proportion of flux. As little as
possible is to be used; it must, however, be brilliant. Sometimes less is
used than the proportion indicated.
233. SKY BLUE
Oxide of cobalt, 1 part; oxide of zinc, 2 parts; flux No.2, 12 parts;
pound up, melt, and pour out.
234. EMERALD GREEN
Oxide of copper, 1 part; antimonic acid, 10 parts; flux No.1, 30 parts;
pulverize together, and melt.
235. BLUEISH GREEN
Green oxide of chromium, 1 part; oxide of cobalt, 2 parts; triturate, and
melt at a high heat. The product is a button slightly melted, from which
is removed the portion in contact with the crucible. This button is
pounded up, and three parts of flux No.3, for one of the button, are added
to it.
236. GRASS GREEN
Green oxide of chromium 1 part, flux No.3, 3 parts, triturate and melt.
237. DEEP YELLOW
Antimonic acid 2 parts, subsulphate of iron 1 part, flux No.1, 10 parts;
melt and pour out. The subsulphate of iron may be increased a little, the
proportions of flux vary.
238. JONQUILLE YELLOW FOR FLOWERS
Litharge 18 parts, sand 6 parts. The product of the calcination of equal
parts of lead and tin 2 parts, carbonate of soda 1 part, antimonic acid 1
part, rub together, or triturate, and melt.
239. WAX YELLOW
Litharge 18 parts, sand 4 parts, oxide of antimony 2 parts, sienna earth 2
parts; melt. If it is too deep the proportion of sienna earth may be
decreased.
240. ORANGE YELLOW
Chromate of lead 1 part, minium 3 parts.
241. BRICK RED
Yellow No.240, 12 parts; red oxide of iron, 1 part.
242. DEEP BLOOD RED
Subsulphate of iron, calcined in a muffle until it becomes a beautiful
capucine red, 1 part; flux No.2, 3 parts; mix without melting.
243. BROWN YELLOW OCHRE
Yellow ochre No.244, 10 parts; sienna earth, 1 part; triturate without
melting.
244. DEEP YELLOW OCHRE - CALLED YELLOW BROWN
Subsulphate of iron, 1 part; oxide of zinc, 1 part; flux No.2, 5 parts;
triturate without melting.
245. PURE PURPLE
The purple powder of Cassius mixed while moist with flux No.3, and
sometimes a little chloride of silver previously melted with flux No.3. If
the purple, when prepared, does not melt sufficiently easy, some flux may
be added when it is dry.
246. DEEP VIOLET
The purple of Cassius, in place of flux No.3, flux No.1 is mixed with it.
Sometimes a little of blue No.233 is added.
247. FLESH RED
The sulphate of iron, put in a small crucible, and lightly calcined,
produces a suitable red oxide. Those which have the desired tone are
selected. All the flesh reds are made in this way, and vary only in the
degree of heat which they receive.
248. HAIR BROWN
Yellow ochre, No.244, 15 parts; oxide of cobalt, 1 part; well triturated
and calcined, in order to give the tone to it.
249. LIVER BROWN
Oxide of iron made of a red brown, and mixed with three times its weight
of flux No.2. A tenth of sienna earth is added to it if it is not
sufficiently deep.
250. WHITE
The white enamel of commerce in cakes.
251. YELLOWISH GREY
Yellow No.252, 1 part; blue No.233, 1 part; oxide of zinc, 2 or 3 parts;
flux No.2, 5 parts; sometimes a little black is added, according to the
tone which the mixture produces. The proportions of the blue and yellow
vary.
252. YELLOW FOR BROWNS & GREENS
Antimonic acid, 2 parts; sulphate of iron 1 part; flux No.1, 9 parts. This
colour is melted and sometimes a little Naples Yellow is added if it is
too soft, i.e., melts too easily.
253. BLUEISH GREY FOR MIXTURES
Blue previously made by melting together three parts of flux No.1, and one
part of the mixture of oxide of cobalt, 8 parts; oxide of zinc, 1 part;
sulphate of iron calcined at a forge heat, 1 part; flux No.2, 3 parts;
triturate and add a little manganese in order to render it more grey.
254. GRAYISH BLACK FOR MIXTURES
Yellow ochre, No.244, 15 parts; oxide of cobalt, 1 part; triturate and
calcine in a crucible until it has the desired tone. A little oxide of
manganese is added in order to make it blacker; sometimes a little more of
oxide of cobalt.
255. DEEP BLACK
Oxide of cobalt, 2 parts; oxide of copper, 2 parts; oxide of manganese, 1
part; flux No.1, 6 parts; fused borax, 1/2 part; melt and add oxide of
manganese, 1 part; oxide of copper, 2 parts; triturate without melting.
256. GENERAL DIRECTIONS
The colours thus prepared after having been rubbed up on a plate of ground
glass with the spirits of turpentine or lavender, thickened in the air are
applied with a hair pencil. Before using them, however, it is necessary to
try them on small pieces of glass, and expose them to the fire, to
ascertain if the desired tone of colour is produced. The artist must be
guided by these proof pieces in using his colours. The proper glass for
receiving these colours should be uniform, colourless, and difficult of
fusion. For this reason crown glass made with a little alkali or kelp is
preferred. A design must be drawn upon paper and placed beneath the plate
of glass. The upper side of the glass being sponged over with gum-water
affords, when dry, a surface proper for receiving the colours, without the
risk of their running irregularly, as they would be apt to do on the
slippery glass. The artist draws on the plate, with a fine pencil all the
traces which mark the great outlines and shades of the figures. This is
usually done in black , and afterwards, when it is dry, the vitrifying
colours are laid on by means of larger hair pencils. The yellow formed
with chloride of silver is generally laid on the back of the glass, for it
is apt to run with the other colours while heating.
The pigments used in painting on glass are principally matallic oxides and
chlorides, and as, in most of these, the colour is not brought out until
after the painting is submitted to heat, it is necessary to ascertain
beforehand if the colours are properly mixed by painting on slips of
glass, and exposing them to heat in a muffle. The painter is guided by
these trial pieces in laying on his colours. To fire the paintings a
furnace with a muffle is used. The muffles are made of refractory clay.
257. WHITE COATING FOR GOLD VARNISHES
A quart of strong parchment size and half a pint of water are to be made
quite hot, and to these are to be added, (in small portions from time to
time,) two good handsful of common whiting, passed through a fine sieve;
this mixture is to be left to infuse for half an hour, when it is to be
stirred carefully so that the amalgamation may be perfect. This coating is
preferable to any glue or cement for coating picture frames, &c., on which
is to be laid the tin or silver foil, to be varnished with gold varnishes
or lackers.
258. LEAD COLOURING PAINT
Whiting, 112 lbs...................... $1.12
Blue-black, 5 lbs..................... 0.25
White lead ground in oil, 28 lbs...... 2.24
Road-dirt, 56 lbs..................... 0.10
Lime-water, 5 galls................... 0.05
Residue of the oil, 2 1/4 galls....... 1.25
--------
Weights, 256 lbs....... $5.01
To the above add two galls. of the incorporated oil, and 2 galls. of the
linseed oil to thin it for use, and it will not exceed two cents and a
quarter. The lime-water, whiting, road-dirt, and blue-black, must be first
mixed together, then add the ground lead, first blending it with 2 1/2
galls. of the prepared fish oil; after which, thin the whole with 2 galls.
of linseed oil and 2 galls. of incorporated oil, and it will be fit for
use. For garden doors, and other work liable to be in constant use, a
little spirits of turpentine may be added to the paint whilst laying on,
which will have the desired effect.
259. BRIGHT GREEN PAINT
112 lbs. yellow ochre in powder at 5 cts. per lb.... $5.50
168 lbs. road-dust.................................. 0.25
112 lbs. wet blue, at 20 cts. per lb................ 22.40
10 lbs. blue-black, at 5 cts. per lb............... 0.50
6 galls. of lime-water............................ 0.06
4 galls. fish oil, prepared....................... 2.40
7 1/2 galls. incorporated oil..................... 4.28
7 1/2 galls. linseed oil, at 90 cts. per gal...... 6.75
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Weights, 592 lbs.............. $42.24
It will be seen that the bright green paint costs but about 7 cts. per
lb., ready to lay on; and the inventor challenges any colour-man or
painter to produce a green equal to it for five times the price. After
painting, the colour left in the pot may be covered with water to prevent
it from sinking, and the brushes, as usual, should be cleaned with the
painting-knife, and kept under water. A brighter green may be formed by
omitting the blue-black. A lighter green may be had by the addition of 10
lbs. of ground white lead. Observe that the wet blue must be ground with
the incorporated oil, preparatory to its being mixed with the mass.
260. STONE-COLOURED PAINT
Lime-water, 4 galls................. $0.04
Whiting, 112 lbs.................... 1.12
White lead, ground, 28 lbs.......... 2.24
Road-dust, 56 lbs................... 0.10
Prepared fish oil, 2 galls.......... 1.20
Incorporated oil, 3 1/2 galls....... 2.00
Linseed oil, 3 1/2 galls............ 3.15
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Weights, 293 lbs....... $9.85
The above stone-colour fit for use, is not three and a half cents per
pound.
261. BROWN-RED COLOURED PAINT
Lime-water, 8 galls................. $0.08
Spanish brown, 112 lbs.............. 3.36
Road-dust, 224 lbs.................. 0.40
4 galls. of fish oil................ 2.40
4 galls. incorporated oil........... 2.28
4 galls. linseed oil................ 3.60
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Weights, 501 lbs....... $12.12
This paint is scarcely two and a half cents per pound. The Spanish brown
must be in powder.
262. A GOOD CHOCOLATE COLOURED PAINT
This is made by the addition of blue black in powder, or lamp-black to
receipt No.261, till the colour is to the painter's mind; and a lighter
brown may be formed by adding ground white lead. By ground lead is meant
white lead ground in oil.
263. YELLOW PAINT
This is prepared with yellow ochre in powder, to receipt No.261, in the
same proportion as Spanish brown.
264. BLACK PAINT
This is also prepared in the same proportion, as in receipt No.261, using
lamp-black or blue-black, instead of Spanish brown.
265. WHITE PAINT
Slack a peck of nice, clean, fresh lime in a covered vessel, with water
which is boiling hot; when well slacked, strain it well, then add to it 1
1/2 lbs. of finely ground rice; let the rice be boiled to a thin paste,
and stirred in while very hot; 1/2 peck of common salt, well dissolved in
warm water; 1/2 lb. of clean glue, dissolved in water; and 1/4 lb. of
whiting; when well mixed, add 5 gallons of very hot water, then stir well,
and let stand a few days well covered. Pit it on hot, and it will stand
the weather as well as a good deal of white lead. You may colour this
paint to suit your taste, using and stirring in well Spanish brown for a
red pink colour. Take common clay finely powdered, and mixed well with
Spanish brown for a reddish stone-colour. For yellow colour use yellow
ochre if you please, but chrome yellow makes a richer colour and less
does. You may make the colours dark or light according to the quantity of
colouring matter used.
266 COMPOUND COLOURED PAINTS
The various colours that may be obtained by the mixture of other colours,
are innumerable. I only propose here to give the best and simplest modes
of preparing those which are required for use. Compound colours, formed by
the union of only two colours, are called by painters virgin tints. The
smaller the number of colours of which any compound colour is composed,
the purer and the richer it will be. They are prepared as follows:
267. LIGHT GREY
This is made by mixing white lead with lamp-black, using more or less of
each material, as you wish to obtain a darker or lighter colour.
268. BUFF COLOUR
This is made from yellow ochre and white lead.
269. SILVER OR PEARL GREY
Mix white lead, indigo, and a very light portion of black, regulating the
quantities by the shade you wish to obtain.
270. FLAXEN GREY
This is obtained by a mixture of white lead and Prussian blue, with a
small quantity of lake.
271. BRICK COLOUR
This is prepared by mixing yellow ochre, and red lead, with a little white
lead.
272. OAK WOOD COLOUR
Mix together three-fourths white lead, and one-fourth part umber and
yellow ochre; the proportions of the last two ingredients being determined
by the required tints.
273. WALNUT TREE COLOUR
Two-thirds white lead, and one-third red ochre, yellow ochre, and umber,
mixed according to the shade sought. If veining is required, use different
shades of the same mixture, and for the deepest places, black.
274. JONQUIL
Mix together yellow, pink, and white lead. This colour is only proper for
distemper
275. LEMON YELLOW
Mix together realgar and orpiment; some object to this mixture on account
of the poisonous nature of the ingredients. The same colour can be
obtained by mixing yellow-pink with Naples yellow; but it is then only fit
for distemper.
276. ORANGE COLOUR
For this colour mix red lead and yellow ochre.
277. VIOLET COLOUR
Make by mixing vermillion, or red lead, with black or blue, and a small
portion of white: vermillion is far preferable to red lead, in mixing this
colour.
278. PURPLE
Made by mixing dark-red with violet-colour.
280. GOLD COLOUR
This is procured by mixing massicot, or Naples yellow, with a small
quantity of realgar, and a very little Spanish white.
281. OLIVE COLOUR
This may be obtained by various mixtures: black and a little blue, mixed
with yellow; yellow-pink, with a little verdigris and lamp-black; or ochre
and a small quantity of white, will also produce a kind of olive colour.
For distemper, indigo and yellow-pink, mixed with white lead or Spanish
white, must be used. If veined, it should be done with umber.
282. LEAD COLOUR
Mix together indigo and white lead or whiting.
283 CHESTNUT COLOUR
Mix red-ochre and black, for a dark-chestnut. To make it lighter, employ a
mixture of yellow-ochre.
284. LIGHT TIMBER COLOUR
For this colour mix together spruce-ochre, white and a little umber.
285. FLESH COLOUR
Mix lake, white-lead, and a little vermillion.
286. LIGHT WILLOW GREEN
This is made by mixing white with verdigris.
287. STONE COLOUR
Mix white with a little spruce-ochre.
288. DARK LEAD COLOUR
Mix black and white with a little indigo.