Chapter 4

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