Chapter 294

can be distributed freely among the clothes.

ii. Procure shavings of camphor wood, and enclose in bags.

iii. Sprinkle pimento (allspice) berries among the clothes.

iv. Sprinkle the clothes with the seeds of the musk plant.

v. To destroy the eggs--when deposited in woollen cloths, &c., use a solution of acetate of potash in spirits of rosemary, fifteen grains to the pint.

2476. Bugs.

Spirits of naphtha rubbed with a small painter's brush into every part of a bedstead is a certain way of getting rid of bugs. The mattress and binding of the bed should be examined, and the same process attended to, as they generally harbour more in these parts than in the bedstead. Three pennyworth of naphtha is sufficient for one bed.

2477. Bug Poison.

Proof spirit, one pint; camphor, two ounces; oil of turpentine, four ounces: corrosive sublimate, one ounce, mix. A correspondent says,

"I have been for a long time troubled with bugs, and never could get rid of them by any clean and expeditious method, until a friend told me to suspend a small bag of camphor to the bed, just in the centre, overhead. I did so, and the enemy was most effectually repulsed, and has not made his appearance since--not even for a reconnaissance!"

This is a simple method of getting rid of these pests, and is worth a trial to see if it be effectual in other cases.

2478. Mixture for Destroying Flies (1).

Infusion of quassia, one pint; brown sugar, four ounces; ground pepper, two ounces. To be well mixed together, and put in small shallow dishes when required.

2479. To Destroy Flies (2).

To destroy flies in a room, take half a teaspoonful of black pepper in powder, one teaspoonful of brown sugar, and one tablespoonful of cream, mix them well together, and place them in the room on a plate, where the flies are troublesome, and they will soon disappear.

[WHEN APPETITE COMMANDS, THE POCKET PAYS.]

2480. Flies (3).

Cold green tea, very strong and sweetened with sugar, will, when set about the room in saucers, attract flies and destroy them.

2481. Inks.

There are many receipts published for making ink; the following is as useful and economical a mode of producing good ink as any of them:

2482. Dr. Ure's Ink.

For twelve gallons of ink take twelve pounds of bruised galls, five pounds of gum, five pounds of green sulphate of iron, and twelve gallons of rain-water. Boil the galls with nine gallons of the water for three hours, adding fresh water to supply that lost in vapour; let the decoction settle, and draw off the clear liquor. Add to it the gum, previously dissolved in one and a half gallons of water; dissolve the green vitriol separately in one and a half gallons of water, and mix the whole.

2483. Ink Powder.

Ink powder is formed of the dry ingredients for ink, powdered and mixed. Powdered galls, two pounds; powdered green vitriol, one pound; powdered gum, eight ounces. Two ounces of this mixture will make one pint of ink. Cost: galls, 1s. 4d. per pound; green vitriol, 1d. per pound; powdered gum, 1s. 5d. per pound.

2484. Red Writing Ink.

Best ground Brazil wood, four ounces; diluted acetic acid, one pint; alum, half an ounce. Boil the ingredients slowly in an enamelled vessel for one hour, strain, and add an ounce of gum.

2485. Marking Ink without Preparation.

There are several receipts for this ink, but the following is said to be one of the best of its kind:

Dissolve separately, one ounce of nitrate of silver, and one and a half ounce of best washing soda in distilled or rain water. Mix the solutions, and collect and wash the precipitate in a filter; whilst still moist, rub it up in a marble or Wedgwood mortar with three drachms of tartaric acid; add two ounces of distilled water, mix six drachms of white sugar, and ten drachms of powdered gum arabic, half an ounce of archil, and water to make up six ounces in measure.

2486a. Ink for Zinc Garden Labels.

Verdigris, one ounce; sal-ammoniac, one ounce; lampblack, half an ounce; water, half a pint. Mix in an earthenware mortar, without using a metal spatula.

_Directions_.--To be shaken before use, and used with a clean _quill_ pen, on bright zinc.

_Note_.--Another kind of ink for zinc is also used, made of chloride of platinum, five grains, dissolved in one ounce of distilled or rain water; but the first, which is much less expensive, answers perfectly, if used as directed, on clean bright zinc.

2486b. Manifold Writing [1].

The demand for a rapid and simple method of multiplying letters, circulars, &c., has led in recent years to the invention of several ingenious processes. So few copies are obtainable by the ordinary reporters' system of sheets of tissue paper, or "flimsy," interleaved with sheets of prepared black paper, that various kinds of "graphs" have been produced, by which upwards of a hundred, and in some cases many more, copies may be produced from one writing.

The "graph" process usually consists of transferring a writing made in an aniline dye on to a gelatine surface, from which, by the application of successive sheets of paper, subjected to a smoothing pressure by the hand, a number of copies may be obtained, in a manner very similar to the ordinary lithographic process. All those which may be classed as "gelatine transfer" processes are, however, open to the objection that, after a certain number of copies, the colour grows very faint.

Some other methods of manifold writing, such es the Edison, the Trypograph, the Cyclostyle, &c. (by which 1,000 copies can be taken from one writing), do not possess this fault, being based on a principle of a fine stencil on prepared paper, and squeezing ink through the minute perforations on to a sheet of paper fixed underneath. The writing in these stencil systems, however, has a "dotty" and broken appearance, displeasing to many eyes--the Cyclostyle being, perhaps, least faulty in this respect. For those who would like to make a gelatine "graph," we append the following recipe:

Six parts by weight of pure glycerine, four parts by weight of water, two parts of barium sulphate, and one part of sugar. Mix them, and let them soak for twenty-four hours; then melt at a gentle heat, stir until thoroughly mixed, and pour the composition into a tray. Any chemist will supply an aniline dye for the ink.

[Footnote 1: Both these sections were numbered 2486 in the original text. txt Ed.]

[EVERY PEA HELPS TO FILL THE PECK.]

2487. Cements.

The term "cement" includes all those substances employed for the purpose of causing the adhesion of two or more bodies, whether originally separate, or divided by an accidental fracture. As the various substances that may require cementing differ very much in texture, &c., a number of cements possessed of very different properties are required, because a cement that answers admirably under one set of circumstances may be perfectly useless in others. The general principles upon which the success or failure of cementing usually depends are:

The different parts of a solid are held together by an attraction between their several particles, which is termed the attraction of cohesion. This attraction acts only when the particles are in the closest possible contact: even air must not be between them. If, after breaking any substance, we could bring the particles into as close a contact as before, and perfectly exclude the air, they would re-unite, and be as strongly connected as ever. But in general this is impossible: small particles of grit and dust get between them; the film of interposed air cannot be removed; and thus, however firmly we press the edges of a broken cup together, it remains cracked china still.

The cohesion between the particles of the cement is very much less than the adhesion of the cement to other bodies; and if torn apart, the connected joint gives way, not by the loosening of the adhesion, but by the layer of cement splitting down the centre. Hence the important rule that the _less_ cement in a joint the stronger it is. To unite broken substances with a thick cement is disadvantageous, the object being to bring the surfaces as closely together as possible. The general principles that ought always to be borne in mind having been mentioned, the manufacture and uses of some of the more useful cements may be described.

2488. Mouth Glue.

The very useful preparation sold under this title is merely a thin cake of soluble glue, which, when moistened with the tongue, furnishes a ready means of uniting papers, &c. It is made by dissolving one pound of fine glue or gelatine in water, and adding half a pound of brown sugar, boiling the whole until it is sufficiently thick to become solid on cooling; it is then poured into moulds, or on a slab slightly greased, and cut into the required shape when cool. (_See_ LIQUID GLUE, No. 2491.)

[ECONOMY IS THE HOUSEHOLD MINT.]

2489. Paste.

Paste is usually made by rubbing up flour with cold water, and boiling; if a little alum is mixed before boiling it is much improved, being less clammy, working more freely in the brush, and thinner, a less quantity is required, and it is therefore stronger. If required in large quantity, as for papering rooms, it may be made by mixing one quartern of flour, one quarter pound of alum, and a little warm water; when mixed, the requisite quantity of boiling water should be poured on whilst the mixture is being stirred. Paste is only adapted to cementing paper; when used it should spread on one side of the paper, which should then be folded with the pasted side inwards, and allowed to remain a few minutes before being opened and used; this swells the paper, and permits its being mere smoothly and securely attached. If kept for a few days, paste becomes mouldy, and after a short time putrid; this inconveince may be obviated by the use of:

2490. Permanent Paste.

Permanent Paste, made by adding to each half-pint of flour paste without alum, fifteen grains of corrosive sublimate, previously rubbed to powder in a mortar, the whole to be well mixed; this, if prevented from drying, by being kept in a covered pot, remains good any length of time, and is therefore convenient; but unfortunately it is extremely poisonous, though its excessively nauseous taste would prevent its being swallowed accidentally. It possesses the great advantage of not being liable to the attacks of insects.

2491. Liquid Glue.

The liquid glue of the shops is made by dissolving shelac in water, by boiling it along with borax, which posesses the peculiar property of causing the solution of the resinous lac. This preparation is convenient from its cheapness and freedom from smell; but it gives way if exposed to long-continued damp, which that made with naphtha resists.

2492. Common Glue.

Of the use of _common glue_ very little need be said; it should always be prepared in a gluepot or double vessel, to prevent its being burned, which injures it very materially. The chief objection to the use of this contrivance is, that it renders it impossible to heat the glue in the inner vessel to the boiling point; this, however, can be obviated by employing in the outer vessel some liquid which boils at a higher temperature than pure water, such as a saturated solution of salt (made by adding one-third as much salt as water). This boils at 224° Fahr., 12° above the heat of boiling water, and enables the glue in the inner vessel to be heated to a much higher temperature than when pure water is employed. If a saturated solution of nitre is used, the temperature rises still higher.

2493. Diamond Cement.

Soak isinglass in water till it is soft; then dissolve it in the smallest possible quantity of proof spirit, by the aid of a gentle heat; in two ounces of this mixture dissolve ten grains of ammoniacum, and whilst still liquid add half a drachm of mastic, dissolved in three drachms of rectified spirit; stir well together, and put into small bottles for sale.

_Directions for Use_.--Liquefy the cement by plunging the bottle in hot water, and use it directly. The cement improves the oftener the bottle is thus warmed; it resists the action of water and moisture perfectly.

2494. Rice Flour Cement.

An excellent cement may be made from rice flour, which is at present used for that purpose in China and Japan. It is only necessary to mix the rice flour intimately with cold water, and gently simmer it over a fire, when it readily forms a delicate and durable cement, not only answering all the purposes of common paste, but admirably adapted for joining together paper, cards, &c., in forming the various beautiful and tasteful ornaments which afford much employment and amusement to the ladies. When made of the consistence of plaster-clay, models, busts, bas-relievos, &c., may be formed of it; and the articles, when dry, are susceptible of high polish, and are very durable.

2495. Using Egg.

The white of an egg, well beaten with quicklime, and a small quantity of very old cheese, forms an excellent substitute for cement, when wanted in a hurry, either for broken china or old ornamental glassware.

2496. Cement for Broken China, Glass, &c.

This cement being nearly colourless, possesses advantages which liquid glue and other cements do not.--Dissolve half an ounce of gum acacia, in a wineglass of boiling water; add plaster of Paris sufficient to form a thick paste, and apply it with a brush, to the parts required to be cemented together.

[AT NIGHT NATURE IS IN MOURNING FOR THE LOSS OF THE SUN.]

2497. Lime and Egg Cement.

Lime and Egg Cement is frequently made by moistening the edges to be united with white of egg, dusting on some lime from a piece of muslin, and bringing the edges into contact. A much better mode is to slake some freshly-burned lime with a small quantity of _boiling_ water; this occasions it to fall into a very fine dry powder, if excess of water has not been added. The white of egg used should be intimately and thoroughly mixed, by beating with an equal bulk of water, and the slaked lime added to the mixture, so as to form a thin paste, which should be used speedily, as it soon sets. This is a valuable cement, possessed of great strength, and capable of withstanding boiling water. Cements made with lime and blood, scraped cheese, or curd, may be regarded as inferior varieties of it.

2498. White Lead as Cement.

Cracked vessels of earthenware and glass may often be usefully, though not ornamentally, repaired by white lead spread on strips of calico, and secured with bands of twine.

2499. Marine Glue.

In point of strength, all ordinary cements yield the palm to Jeffery's Patent Marine Glue, a compound of India-rubber, shellac, and coal-tar naphtha. Small quantities can be purchased at most of the tool warehouses, at cheaper rates than it can be made. The colour of this glue, however, prevents its being much used.

2500. Coaguline.

An exceedingly strong, and at the same time a transparent and colourless cement is made by Messrs. Kay Brothers, of Stockport, and is sold by most fancy stationers and chemists under the name of Coaguline. It is easily and quickly applied, and will be found extremely serviceable in repairing glass, china, and stone articles. It is inexpensive.

2501. Red Cement .

Red Cement which is employed by instrument makers for cementing glass to metals, and which is very cheap, and exceedingly useful for a variety of purposes, is made by melting five parts of black rosin, one part of yellow wax, and then stirring in gradually one part of red ochre or Venetian red, in fine powder, and previously _well dried_. This cement requires to be melted before use, and it adheres better if the objects to which it is applied are warmed.

2502. A Soft Cement for Corks.

A soft cement, of a somewhat similar character to that just described, is useful for covering the corks of preserved fruit, and other bottles. It is made by melting yellow wax with an equal quantity of rosin, or of common turpentine (not oil of turpentine, but the resin), using the latter for a very soft cement, and stirring in, as before, some dried Venetian red.

2503. Mastic Cement.

This is employed for making a superior coating to inside walls, but must not be confounded with the _resin mastic_. It is made by mixing twenty parts of well-washed and sifted sharp sand with two parts of litharge and one of freshly burned and slaked quicklime, in fine _dry_ powder. This is made into a putty, by mixing with linseed oil. It sets in a few hours, having the appearance of light stone; and we mention it, as it may be frequently employed with advantage in repairing broken stone-work (as steps), by filling up the missing parts. The employment of Roman cement, plaster, &c., for masonry work, hardly comes within the limits of Domestic Manipulation.

2504. Cement for Leather and Cloth.

An adhesive material for uniting the parts of boots and shoes, and for the seams of articles of clothing, may be made thus:--Take one pound of gutta-percha, four ounces of India rubber, two ounces of pitch, one ounce of shellac, two ounces of oil. The ingredients are to be melted together, and used hot.

[GO TO BED WITH THE LAMB AND RISE WITH THE LARK.]

2505. Birdlime.

Take any quantity of linseed oil, say half a pint; put it into an old pot, or any vessel that will stand the fire without breaking--the vessel must not be more than one-third full; put it on a slow fire, stir it occasionally until it thickens as much as required; this will be known by cooling the stick in water, and trying it with the fingers. It is best to make it rather harder than for use. Then pour it into cold water. It can be brought back to the consistency required with a little Archangel tar.

2506. Anglo-Japanese Work.

This is an elegant and easy domestic art. Take yellow withered leaves, dissolve gum, black paint, copal varnish, &c. Any articles, such as an old tea-caddy, flower-pots, fire-screens, screens of all descriptions, work-boxes, &c., may be ornamented with these simple materials. Select perfect leaves, dry and press them between the leaves of books; rub the surface of the article to be ornamented with fine sand paper, then give it a coat of fine black paint, which should be procured mixed at a colour shop.

When dry rub smooth with pumice-stone, and give two other coats. Dry. Arrange leaves in any manner and variety, according to taste. Gum the leaves on the under side, and press them upon their places. Then dissolve some isinglass in hot water, and brush it over the work. Dry. Give three coats of copal varnish, allowing ample time for each coat to dry. Articles thus ornamented last for years, and are very pleasing.

2507. Ornamental Leather Work.

An excellent imitation of carved oak, suitable for frames, boxes, vases, and ornaments in endless variety, may be made of a description of leather called basil. The art consists in simply cutting out this material in imitation of natural objects, and in impressing upon it by simple tools, either with or without the aid of heat, such marks and characteristics as are necessary to the imitation. The rules given with regard to the imitation of leaves and flowers apply to ornamental leather work. Begin with a simple object, and proceed by degrees to those that are more complicated.

Cut out an ivy or an oak leaf, and impress the veins upon it; then arrange these in groups, and affix them to frames, or otherwise. The tools required are ivory or steel points of various sizes, punches, and tin shapes, such as are used for confectionery. The points may be made out of the handles of old tooth-brushes. Before cutting out the leaves the leather should be well soaked in water, until it is quite pliable. When dry, it will retain the artistic shape. Leaves and stems are fastened together by means of liquid glue, and varnished with any of the drying varnishes, or with sealing-wax dissolved to a suitable consistency in spirits of wine. Wire, cork, gutta-percha, bits of stems of trees, &c., may severally be used to aid in the formation of groups of buds, flowers, seed-vessels, &c.

2508. Black Paper Patterns.

Mix some lamp-black with sweet oil. With a piece of flannel cover sheets of writing-paper with the mixture; dab the paper dry with a bit of fine linen. When using, put the black side on another sheet of paper, and fasten the corners together with small pins. Lay on the back of the black paper the pattern to be drawn, and go over it with the point of a steel drawing pencil: the black will then leave the impression of the pattern on the undersheet, on which you may draw it with ink.

2509. Patterns on Cloth or Muslin.

Patterns on cloth or muslin are drawn with a pen dipped in stone blue, a bit of sugar and a little water; wet to the consistence wanted.

2510. Feather Flowers: Materials.

Procure the best white swan or goose feathers; have them plucked off the fowl with care not to break the web; free them from down, except a small quantity on the shaft of the feather. Get also a little fine wire, different sizes; a few skeins of fine floss silks, some good cotton wool or wadding, a reel of No. 4 Moravian cotton, a skein of Indian silk, some starch and gum for pastes, and a pair of small sharp scissors, a few sheets of coloured silk paper, and some water colours.

[EATING AND DRINKING SHOULDN'T KEEP US FROM THINKING.]

2511. Patterns for Petals.

Having procured two good specimens of the flower you wish to imitate, carefully pull off the petals of one, and, with a piece of tissue paper, cut out the shape of each, taking care to leave the shaft of the feather at least half an inch longer than the petal of the flower. Carefully bend the feather with the thumb and finger to the proper shape; mind not to break the web.

2512. Stem and Heart of a Flower.

Take a piece of wire six inches long; across the top lay a small piece of cotton wool, turn the wire over it, and wind it round until it is the size of the heart or centre of the flower you are going to imitate. If a single flower, cover it with paste or velvet of the proper colour, and round it must be arranged the stamens; these are made of fine Indian silk, or feathers may be used for this purpose. After the petals have been attached, the silk or feather is dipped into gum, and then into the farina. Place the petals round, one at time, and wind them on with Moravian cotton, No. 4. Arrange them as nearly like the flower you have for a copy as possible. Cut the stems of the feathers even, and then make the calyx of feathers, cut like the pattern or natural flower. For the small flowers the calyx is made with paste. Cover the stems with paper or silk the same as the flowers; the paper must be cut in narrow strips, about a quarter of an inch wide.

2513. Pastes of Calyx, Hearts, and Buds of Flowers.

Take common white starch and mix it with gum water until it is the substance of thick treacle; colour it with the dyes used for the feathers, and keep it from the air.

2514. To make the Farina.

Use common ground rice, mixed into a stiff paste with any dye; dry it before the fire, and when quite hard, pound it to a fine powder. The buds, berries, and hearts of some double flowers are made with cotton wool, wound around wire, moulded to the shape with thumb and finger. Smooth it over with gum water, and when dry, cover the buds, berries, or calyx with the proper coloured pastes; they will require one or two coats, and may be shaded with a little paint, and then gummed and left to dry.

2515. Flowers of Two or More Shades.

Flowers of two or more shades are variegated with water colours, mixed with lemon juice, ultramarine and chrome for blue; and to produce other effects, gold may also be used in powder, mixed with lemon juice and gum water.

2516. To Dye Feathers Blue.

Into two pennyworth of oil of vitriol mix two pennyworth of the best indigo in powder; let it stand a day or two; when wanted shake it well, and into a quart of boiling water put one tablespoonful of the liquid. Stir it well, put the feathers in, and let them simmer a few minutes.

2517. Yellow.

Put a tablespoonful of the best turmeric into a quart of boiling water; when well mixed put in the feathers. More or less of the turmeric will give them different shades, and a very small quantity of soda will give them an orange hue.

2518. Green.

Mix the indigo liquid with turmeric, and pour boiling water over it; let the feathers simmer in the dye until they have acquired the shade you want them.

2519. Pink.

Three good pink saucers in a quart of boiling water, with a small quantity of cream of tartar. If a deep colour is required, use four saucers. Let the feathers remain in the dye several hours.

2520. Red.

In a quart of boiling water dissolve a teaspoonful of cream of tartar; put in one tablespoonful of prepared cochineal, and then a few drops of muriate of tin. This dye is expensive, and scarlet flowers are best made with the plumage of the red ibis, which can generally be had of a bird-fancier or bird-stuffer, who will give directions how it should be applied.

[WE SELDOM REPENT OF HAVING EATEN TOO LITTLE.]

2521. Lilac.

About two teaspoonfuls of cudbear into about a quart of boiling water; let it simmer a few minutes before you put in the feathers. A small quantity of cream of tartar turns the colour from lilac to amethyst.

2522. Black; Crimson.

_See Instructions upon Dyeing, par._ 2682, _et seq_.

2523. Preparation of Feathers for Dyeing.

The feathers must be put into hot water, and allowed to drain before they are put into the dyes. After they are taken out of the dye, rinse them two or three times in clear cold water (except the red, which must only be done once), then lay them on a tray, over which a cloth has been spread, before a good fire; when they begin to dry and unfold, draw each feather gently between your thumb and finger, until it regains its proper shape.

2524. Leaves of the Flowers.

These are made of green feathers, cut like those of the natural flower, and serrated at the edge with a very small pair of scissors. For the calyx of a moss-rose the down is left on the feather, and is a very good representation of the moss on the natural flower.

2525. Waxen Flowers and Fruit.

There is no art more easily acquired, nor more encouraging in its immediate results, than that of modelling flowers and fruit in wax. The art, however, is attended by this draw-back--that the materials required are somewhat expensive.

2526. Materials for Wax Flowers.

The appliances required for commencing the making of waxen flowers will cost from 20s. to 30s., and may be obtained at most fancy repositories in large towns. Persons wishing to commence the art would do well to inquire for particulars, and see specimens of materials; because in this, as in every other pursuit, there are novelties and improvements being introduced, which no book can give an idea of.

2527. Petals and Leaves of Wax Flowers.

Petals and leaves of wax flowers are made of sheets of coloured wax, which may be purchased in packets of assorted colours.

2528. Stems.

The stems are made of wire of suitable thicknesses, covered with silk, and overlaid with wax; and the leaves are frequently made by thin sheets of wax pressed upon leaves of embossed calico. Leaves of various descriptions are to be obtained of the persons who sell the materials for wax flower making.

2529. Models for Wax Flowers.

Ladies will often find among their discarded artificial flowers, leaves and buds that will serve as the base of their wax models.

2530. Natural Models for Wax Flowers.

The best guide to the construction of a flower--far better than printed diagrams or patterns--is to take a flower, say a _tulip_, a _rose_, or a _camellia_. If possible, procure _two_ flowers, nearly alike; and carefully pick one of them to pieces; lay the petals down in the order in which they are taken from the flower, and then cut paper patterns from them, and number them fron the centre of the flower, that you may know their relative positions.

2531. Putting Petals Together.

The perfect flower will guide you in getting the wax petals together, and will enable you to give, not only to each petal but to the _contour_ of the flower, the characteristics which are natural to it. In most cases, they are merely pressed together and held in their places by the adhesiveness of the wax. From the paper patterns the wax petals or other portions of the flowers may be cut. They should be cut singly, and the scissors should be frequently dipped into water, to prevent the wax adhering to the blades.

2532. Utilisation of Scraps of Wax.

The scraps of wax that fall from the cutting will be found useful for making seed vessels, and other parts of the flowers.

[HE WHO SERVES WELL NEED NOT BE AFRAID TO ASK HIS WAGES.]

2533. Leaves of Flowers.

Where the manufactured foundations cannot be obtained, patterns of them should be cut in paper; the venous appearance may be imparted to the wax by pressing the leaf upon it.

2534. Sprigs of Plants.

In the construction of sprigs, it is most important to be guided by sprigs of the natural plant, as various kinds of plants have many different characteristics in the grouping of their flowers, leaves and branches.

2535. Selection of Sheets of Wax.

When about to copy a flower, take care in the selection of good sheets of wax, and see that their colours are precisely those of the flower you desire to imitate.

2536. Imitation of Tints, Stripes, Spots, &c.

For the tints, stripes, and spots of variegated flowers, you will be supplied with colours among the other materials; and the application of them is precisely upon the principle of water-colour painting.

2537. Fruit, &c., in Wax.

For the imitating of fruit in wax, very different rules are to be observed. The following directions may, however, be generally followed:

The material of which moulds for waxen fruit should be composed is the _best_ plaster of Paris, such as is used for plaster casts, &c. If this cannot be procured, the inferior plaster, from the oil-shop, may be substituted, if it can be obtained _quite fresh_. If, however, the plaster is faulty, the results of the modelling will of course be more or less faulty also. It is the property of plaster of Paris to form a chemical union with water, and to form a pasto winch rapidly "sets" or hardens into a substance of the density of firm chalk. The mould must therefore be formed by impression from the object to be imitated, made upon the plaster before it sets.

2538. Causes of Want of Accuracy.

The use of an elastic fruit in early experiments leads to a want of accuracy in the first, steps of the operation, which causes very annoying difficulties afterwards; and therefore a solid, inelastic body--an egg boiled hard--is recommended as the first object to be imitated.

2539. Making the Moulds--First Half.

Having filled a small pudding basin about three-quarters full of damp sand (the finer the better), lay the egg lengthways in the sand, so that half of it is above, and half below, the level of the sand, which should be perfectly smooth around it. Then prepare the plaster in another basin, which should be half full of water. Sprinkle the plaster in quickly till it comes to the top of the water, and then, having stirred it for a moment with a spoon, pour the whole upon the egg in the other basin.

2540. Making the Moulds--Second Half.

While the half mould thus made is hardening thoroughly, carefully remove every particle of plaster from the basin in which it was mixed, and also from the spoon which has been used. This must be done by placing them both in water and wiping them perfectly clean. This is highly important, since a small quantity of plaster which has set will destroy the quality of a second mixing if it is incorporated therewith. In about five minutes the half mould will be fit to remove, which may be done by turning the basin up with the right hand (taking care not to lose the sand), so that the mould falls into the left hand.

The egg should then be gently allowed to fall back on the sand out of the mould; if, however, it adheres, lightly scrape the plaster from the edge of the mould, and then shake it out into the hollow of the hand. If, however, the exact half of the egg has been immersed in the sand, no such difficulty will arise; this shows how important is exactness in the first position of the object from which a tasting is to be taken.

The egg being removed and laid aside, the moulder casting must be "trimmed;" that is, the sand must be brushed from the flat surface of the mould with a nail-brush very slightly, without touching the extreme and sharp edges where the hollow of the mould commences. Then upon the broad edge from which the sand has been brushed, make four equi-distant hollows (with the round end of a table-knife), like the deep impression of a thimble's-end. These are to guide hereafter in the fixing of the second half of the mould. The egg should now be replaced in the casting, and the edge of the cast, with the holes, thoroughly lubricated with sweet oil, laid on with a feather, or what is better, a large camel-hair brush.

[FATHER AND MOTHER ARE KIND, BUT GOD IS KINDER.]

2541. Casting Second Half of Mould.

Into the small pudding basin from which the sand has been emptied, place with the egg upper-most the half mould, which, if the operation has been managed properly, should _fit_ close at the edges to the side of the vessel; then prepare some more liquid plaster as before, and pour it upon the egg and mould, and while it is hardening, round it with the spoon as with the first half.

2542. Completion of Mould.

In due time remove the whole from the basin; the halves will be found readily separable, and the egg being removed, the mould is ready to cast in, after it has been set aside for an hour or two, so as to completely harden. This is the simplest form of mould, and all are made upon the same principle.

2543. Casting Egg in Wax.

The casting of an egg is not merely interesting as the first step in a series of lessons, but as supplying a means of imitating peculiarly charming objects, which the student of natural history tries almost in vain to preserve. We shall proceed, then, with the directions for the casting of an egg in the mould.

2544. Materials required.

For the first experiments, common yellow wax may be used as the material, or the ends of half-burnt wax candles. The materials of the hard (not tallow) composition mould candles will also answer.

2545. Large Castings made Hollow.

Every large object to be imitated in wax should be cast _hollow_; and therefore, though the transparent lightness required in the imitation of fruits is not requisite in an artificial egg, the egg may be cast upon the same principle as a piece of fruit, in the following manner.

Firstly. The two pieces of the plaster of Paris mould must be soaked in hot water for ten minutes.

Secondly. The wax should in the meantime be very slowly melted in a small tin saucepan, with a spout to it, care being taken not to allow it to boil, or it will be discoloured. As to the quantity of wax to be melted, the following is a general rule:--If a lump, the size of the object to be imitated, be placed in the saucepan, it should be sufficient for casting twice, at least.

Thirdly. As soon as the wax is melted thoroughly, place the saucepan on the hob of the grate, and taking the parts of the mould from the hot water, remove the moisture from their surfaces by pressing them gently with a handkerchief or soft cloth. It is necessary to use what is called in some of the arts "a very light hand" in this operation, especially in drying moulds of fruits whose aspect possesses characteristic irregularities--such as those on the orange, the lemon, or the cucumber. The mould must not be _wiped_, but only _pressed_. If the _water_ has not been hot enough, or if the drying is not performed quickly, the mould will be too cold, and the wax will congeal too rapidly, and settle in ridges and streaks; on the other hand, if the wax has been made too hot, it will adhere to the mould, and refuse to come out entire.

Fourthly. Having laid the two halves of the mould so that there can be no mistake in fitting the one in its exact place quickly on the other, pour from the saucepan into _one_ of the half moulds nearly as much wax as will fill the hollow made by the model (egg), quickly fit the other half on the top of it, squeeze the two pieces tightly together in the hand, and still holding them thus, turn them over in every possible position, so that the wax which is slowly congealing in the internal hollow of the mould may be of equal thickness in all parts. Having continued this process at least two minutes, the hands (still holding and turning the mould) may be immersed in cold water to accelerate the cooling process. The perfect congealment of the wax may be known after a little experience by the absence of the sound of fluid on shaking the mould.

Fifthly. As soon as the mould is completely cooled, the halves may be separated carefully, the upper being lifted straight up from the under, and if the operation has been properly managed, a waxen egg will be turned out of the mould.

Lastly. The egg will only require _trimming_, that is, removing the ridge which marks the line at which the halves of the mould joined, and polishing out the scratches or inequalities left by the knife with a piece of soft rag, wet with spirits of turpentine or spirits of wine.

It is always desirable to make several castings of the same object, as the moulds are apt to get chipped when laid by in a cupboard; and for this reason, as well as for the sake of practice, we recommend our pupils to make at least a dozen waxen eggs before they proceed to any other object. If they succeed in this _completely_, they may rest assured that every difficulty which is likely to meet them in any future operation will be easily overcome.

[HE DOETH WELL WHO DOETH GOOD.]

2546. Colouring the Wax.

While the wax is yet on the hob, and in a fluid state, stir into it a little _flake white_, in powder, and continue to stir the mixture while it is being poured into the half mould. It will be found that unless the fixing and shaking of the moulds is managed quickly, the colouring matter will settle on the side of the half into which the mixture is poured; a little care in manipulation is therefore again requisite. The colouring of the wax is a matter which comes easily enough by experiment. Oranges, lemons, large gooseberries, small cucumbers, &c.,&c., are excellent objects for practice.

2547. Close Imitation of the Surface.

It will be noted by the accurate observer that the shell of the common hen's egg has a number of minute holes, which destroy the perfect smoothness of its appearance. This peculiarity is imitated in the following simple manner:--In the first place, very slightly prick with a fine needle the surface of your waxen egg, and then, having smeared it with spirits of turpentine, rub the surface all over. So as _nearly_ to obliterate the marks of the needle point.

2548. Diaphanie.

This is a beautiful, useful, and inexpensive art easily acquired, and producing imitations of the richest and rarest stained glass; and also of making blinds, screens, skylights, Chinese lanterns, &c., in every variety of colour and design.

2549. Imitation of Coloured Glass.

In decorating his house an Englishman spends as much money as he can conveniently spare; the elegances and refinements of modern taste demand something more than mere comfort; yet though his walls are hung with pictures, his drawing-rooms filled with bijouterie, how is it that the windows of his hall, his library, his staircase, are neglected? The reason is obvious. The magnificent historical old stained glass might be envied, but could not be brought within the compass of ordinary means.

Recent improvements in printing in colours led the way to this beautiful invention, by which economy is combined with the most perfect results. A peculiar kind of paper is rendered perfectly transparent, upon which designs are printed in glass colours (_vitre de couleurs_), which will not change with the light. The paper is applied to the glass with a clear white varnish, and when dry, a preparation is finally applied, which increases the transparency, and adds tenfold brilliancy to the effect.

2550. Imitation of Half-Light.

There is another design, printed in imitation of the half-light (_abat-jour_); this is used principally for a ground, covering the whole surface of the glass, within which (the necessary spaces having been previously cut out before it is stuck on the glass) are placed medallion centres of Watteau figures, perfectly transparent, which derive increased brilliancy from the semi-transparency of the surrounding ground. This is by far the cheapest method, though involving extra trouble, as the plain grounds printed in sheets are only a fourth the price of the sheets which contain the medallion Watteau centres or other small designs suitable for the purpose.

2551. Sheets of Designs.

The transparent sheets measure 20-1/2 in. by 16-1/2, and are ready for immediate use. The other articles required are some clear white varnish, some liqueur diaphane, brushes, metal palettes, and ivory sticks. These are all the appliances required.

2552. Calculation of Quantities.

To ascertain the quantity of designs required, measure your glass carefully, and then calculate how many sheets it will take (the sheets being 20-1/2 in. by 16-1/2 in. as given above). The sheets are arranged so that they can be joined together continuously, or cut to any size or shape.

2553. Practical Instructions.

Choose a fine day for the operation, as the glass should be perfectly dry, and unaffected by the humidity of the atmosphere. Of course, if you have a choice, it is more _convenient_ to work on your glass before it is fixed in the frame. If you are working on a piece of unattached glass, lay it on a _flat_ table (a marble slab is preferable), over which you must previously lay a piece of baize or cloth to keep the glass steady.

The glass being thus fixed, clean and polish the side on which you intend to operate (in windows this is the inner side), then with your brush lay on it very equably a good coat of the prepared varnish; let this dry for _an hour_, more or less, according to the dryness of the atmosphere and the thickness of the coat of varnish; meantime cut and trim your designs carefully to fit the glass (if it is one entire transparent sheet you will find little trouble); then lay them on a piece of paper, face downwards, and damp the back of them with a sponge, applied several times, to equalize the moisture.

In ths operation arrange your time so that your designs may now be finally left to dry for fifteen minutes before application to the glass, the varnish on which has now become tacky or sticky, and in a proper state to receive them. Apply the printed side next to the glass without pressure; endeavour to let your sheet fall perfectly level and smooth on your glass, so that you may avoid leaving creases, which would be fatal.

Take now your palette, lay it flat on the design, and press out all the air-bubbles, commencing in the centre, and working them out at the sides; an ivory stick will be found useful in removing creases: you now leave this to dry, and after twenty-four hours apply a slight coat of the liqueur diaphane, leaving it another day, when, if dry, apply a second coat of the same kind, which must be left several days; finally, apply a coat of varnish over all.

2554. Probable Results.

If these directions are carefully followed, your glass will never be affected by time or any variations in the weather; it will defy hail, rain, frost, and dust, and can be washed the same as ordinary stained glass, to which, in some respects, it is even superior.

2555. Application of Diaphanie.

It is impossible to enumerate the variety of articles to the manufacture of which Diaphanie may be successfully applied, as it is not confined to glass, but can be done on silk, parchment, paper, linen, &c., _after they have been made transparent_ which may be accomplished in the following manner:

2556. Management of Paper, &c.

Stretch your paper, or whatever it may be, on a frame or drawing board, then apply two successive coats (a day between each) of diaphanous liquor, and after leaving it to dry for _several_ days, cover it with a thin layer of very clear size, and when dry it will be in a fit state to receive the coat of varnish and the designs.

2557. Management of Textile Fabrics.

Silk, linen, or other stuffs should be more carefully stretched, and receive a thicker coat of size than paper or parchment; the latter may be strained on a drawing or any other smooth board, by damping the sheet, and after pasting the edges, stretching it down while damp. Silk, linen, and other stuffs require to be carefully stretched on a suitable frame. _Whatever you use_, take great care to allow time to dry before applying the liqueur diaphane.

2558. Screens, &c., in Diaphanie.

All kinds of screens, lamp shades and glasses, lanterns, &c., &c., may be made in this way, as heat will produce no effect upon them. The transparent pictures are successful, because they may be hung on a window frame or removed at will, and the window blinds are superior to anything of that kind yet produced.

2559. Vitremanie.

Vitremanie is a process of imitating painting on glass similar to Diaphanie, and Potichomanie is a process of like nature by which glass plates, vases, &c., are made to resemble porclain.

2560. Decalcomanie.

This recently discovered and beautiful art consists in transferring coloured drawings to glass, porcelain, china, wood, silk, furniture, plaster of Paris, alabaster, ivory, paper, paper hangings, windows, tea trays, oil cloth, and all kinds of fancy articles; in short, materials of any kind, shape, or size, provided they possess a smooth surface, can be decorated with Decalcomanie; the immediate result being an exact resemblance to painting by hand. The art itself is simple and ingenious, and while affording agreeable occupation to ladies, it may be made to serve many useful purposes, on account of the numerous objects which will admit of being thus ornamented.

2561. Materials Employed in Decalcomanie.

i. A bottle of transfer varnish for fixing the drawings.

ii. A bottle of light varnish to pass over the drawings when fixed.