,a ,,handbook ,,on ,,japanning ,,for ,,ironware1 ,,tinware1 ,,wood1 ,,etc4 ,,with ,,sections ,,on ,,tin-,,plating ,,and ,,galvanizing ,,by ,,william ,n4 ,,brown ,,second ,,edition3 ,,revised ,,and ,,enlarged ,,with ,,thirteen ,,illustrations ,,london ,,scott1 ,,greenwood ,,and ,,son ,,the ,,oil ,,and ,,colour ,,trades ,,journal ,,offices #h ,,broadway1 ,,ludgate1 ,e4,c4 #aiac ,d4 ,,van ,,nostrand ,,company #h ,,warren ,,st41 ,,new ,,york ,first ,edition under title ,a ,handbook on ,japanning and ,enamelling1 #aija ,second ,edition1 ,revised and ,enlarged1 under title ,a ,handbook on ,japanning--,january1 #aiac ,,contents4 ,,page ,,section ,i4 ,,introduction4 #a-e ,priming or ,preparing the ,surface to be ,japanned #d ,the ,first ,stage in the ,japanning of ,wood or of ,leather without a ,priming #e ,,section ,,ii4 ,,japan ,,grounds4 #f-ai ,white ,japan ,grounds #g ,blue ,japan ,grounds #i ,scarlet ,japan ,ground #i ,red ,japan ,ground #aj ,bright ,pale ,yellow ,grounds #aj ,green ,japan ,grounds #aj ,orange-,coloured ,grounds #aa ,purple ,grounds #aa ,black ,grounds #aa ,common ,black ,japan ,grounds on ,metal #ab ,tortoise-shell ,ground #ab ,painting ,japan ,work #ac ,varnishing ,japan ,work #ag ,,section ,,iii4 ,,japanning ,,or ,,enamelling ,,metals4 #bj-bh ,enamelling ,bedstead ,frames and similar large pieces #bd ,japanning ,tin1 such as ,tea-trays and similar goods #be ,enamelling ,old ,work #bg ,,section ,,iv4 ,,the ,,enamelling ,,and ,,japanning ,,stove--,,pigments ,,suitable ,,for ,,japanning ,,with ,,natural ,,lacquer--,,modern ,,methods ,,of ,,japanning ,,with ,,natural ,,japanese ,,lacquer4 #bi-dh ,appliances and ,apparatus used in ,japanning and ,enamelling #bi ,modern ,japanning and ,enamelling ,stoves #cd ,stoves heated by direct fire #cd ,stoves heated by hot-water pipes #cf ,pigments suitable for ,japanning with ,natural ,lacquer #de ,white ,pigments #de ,red ,pigments #df ,blue ,pigment #df ,yellow ,pigments #df ,green ,pigment #df ,black ,pigment #df ,methods of ,application #df ,modern ,methods of ,japanning and ,enamelling with ,natural ,japanese ,lacquer #dg ,,section ,v4 ,,colours ,,for ,,polished ,,brass4--,,miscellaneous4 #di-eg ,painting on ,zinc or on ,galvanized ,iron #di ,bronzing ,compositions #di ,golden ,varnish for ,metal #ea ,carriage ,varnish #ea ,metal ,polishes #ea ,black ,paints #eb ,black ,stain for ,iron #ec ,varnishes for ,ironwork #ee ,,section ,,vi4 ,,processes ,,for ,,tin-,,plating4 #eh-fj ,amalgam ,process #ei ,immersion ,process #ei ,battery ,process #ei ,weigler's ,process #fj ,hern's ,process #fj ,,section ,,vii4 ,,galvanizing4 #fa-ff ,,index4 #fg-fi ,,handbook ,,on ,,japanning4 ,,section ,i4 ,,introduction4 ,japanning1 as it is generally understood in ,great ,britain1 is the art of covering paper1 wood1 or metal with a more or less thick coating of brilliant varnish1 and hardening the same by baking it in an oven at a suitable heat4 ,it originated in ,japan--hence its name--where the natives use a natural varnish or lacquer which flows from a certain kind of tree1 and which on its issuing from the plant is of a creamy tint1 but becomes black on exposure to the air4 ,it is mainly with the application of japan to metallic surfaces that we are concerned in these pages4 ,japanning may be said to occupy a position midway between painting and porcelain enamelling1 and a japanned surface differs from an ordinary painted surface in being far more brilliant1 smoother1 harder1 and more durable1 and also in retaining its gloss permanently1 in not being easily injured by hot water or by being placed near a fire2 while real good japanning is characterised by great lustre and adhesiveness to the metal to which it has been applied1 and its non-liability to chipping--a fault which1 as a rule1 stamps the common article4 ,if the ,english process of japanning be more simple and produces a less durable1 a less costly coating than the ,japanese method1 yet its practice is not so injurious to the health4 ,indeed1 it is a moot point in how far the ,japanese themselves now utilize their classical process1 as the coat of natural japan on all the articles exhibited at the recent ,vienna exhibition as being coated with the natural lacquer1 when recovered after six months' immersion in sea water through the sinking of the ship1 was destroyed1 although it stood perfectly well on the articles of some age4 ,in the ,english method1 where necessary1 a priming or undercoat is employed4 ,it is customary to fill up any uneven surface1 any minute holes or pores1 and to render the surface to be japanned uniformly smooth4 ,but such an undercoat or priming is not always applied1 the coloured varnish or a proper japan ground being applied directly on the surface to be japanned4 ,formerly this surface usually1 if not always1 received a priming coat1 and it does so still where the surface is coarse1 uneven1 rough1 and porous4 ,but where the surface is impervious and smooth1 as in the case of metallic surfaces1 a priming coat is not applied4 ,it is also unnecessary to apply such a coat in the case of smooth1 compact1 grained wood4 ,the reason for using this coating is that it effects a considerable saving in the quantity of varnish used1 and because the matter of which the priming is composed renders the surface of the body to be varnished uniform1 and fills up all pores1 cracks1 and other inequalities1 and by its use it is easy after rubbing and water polishing to produce an even surface on which to apply the varnish4 ,the previous application of this undercoat was thus an advantage in the case of coarse1 uneven surfaces that it formed a first and sort of obligatory initial stage in the process of japanning4 ,this initial coating is still applied in many instances4 ,but it has its drawbacks1 and these drawbacks are incidental to the nature of the priming coat which consists of size and whiting4 ,the coats or layers of japan proper1 that is of varnish and pigment applied over such a priming coat1 will be continually liable to crack or peel off with any violent shock1 and will not last nearly so long as articles japanned with the same materials and altogether in the same way but without the undercoat4 ,this defect may be readily perceived by comparing goods that have been in use for some time in the japanning of which an undercoat has been applied with similar goods in which no such previous coat has been given4 ,provided a good japan varnish and appropriate pigments have been used and the japanning well executed1 the coats of japan applied without a priming never peel or crack or are in any way damaged except by violence or shock1 or that caused by continual ordinary wear and tear caused by such constant rubbing as will wear away the surface of the japan4 ,but japan coats applied with a priming coat crack and fly off in flakes at the slightest concussion1 at any knock or fall1 more especially at the edges4 ,those ,birmingham manufacturers who were the first to practise japanning only on metals on which there was no need for a priming coat did not of course adopt such a practice4 ,moreover1 they found it equally unnecessary in the case of papier-mache and some other goods4 ,hence ,birmingham japanned goods wear better than those goods which receive a priming previous to japanning4 ,,priming or ,,preparing ,,the ,,surface ,,to ,,be ,,japanned4 ,the usual priming1 where one is applied1 consists of ,paris white 7levigated whiting7 made into a thin paste with size4 ,the size should be of a consistency between the common double size and glue1 and mixed with as much ,paris white as will give it a good body so that it will hide the surface on which it is applied4 ,but in particular work glovers' or parchment size instead of common size is used1 and this is still further improved by the addition of one-third of isinglass1 and if the coat be not applied too thickly it will be much less liable to peel or crack4 ,the surface should be previously prepared for this priming by being well cleaned and by being brushed over with hot size diluted with two-thirds of water1 that is provided the size be of the usual strength4 ,the priming is then evenly and uniformly applied with a brush and left to dry4 ,on a fairly even surface two coats of priming properly applied should suffice4 ,but if it will not take a proper water polish1 owing to the uneven surface not being effectually filled up1 one or more additional coats must be applied4 ,previous to the last coat being applied1 the surface should be smoothed by fine glass paper4 ,when the last coat of priming is dry the water polish is applied4 ,this is done by passing a fine wet rag or moistened sponge over the surface until the whole appears uniformly smooth and even4 ,the priming is now complete and the surface ready to take the japan ground or the coloured varnish4 ,,the ,,first ,,stage ,,in ,,the ,,japanning ,,of ,,wood ,,or ,,of ,,leather ,,without ,a ,,priming4 ,the leather is first securely stretched on a frame or board4 ,in this case1 that is when no priming coat is previously applied1 the best way to prepare the surface is to apply three coats of coarse varnish 7#a lb4 seed-lac1 #a lb rosin to #a gallon methylated spirit1 dissolve and filter74 ,this varnish1 like all others formed from methylated spirits1 must be applied in a warm place and all dampness should be avoided1 for either cold or moisture chills it and thus prevents it taking proper hold of the surface on which it is applied4 ,when the work is prepared thus1 or by the priming made of size and whiting already described1 the japan proper is itself applied4 ,,section ,,ii4 ,,japan ,,grounds4 ,the japan ground properly so called consists of the varnish and pigment where the whole surface is to be of one simple colour1 or of the varnish1 with or without pigment1 on which some painting or other form of decoration is afterwards to be applied4 ,it is best to form this ground with the desired pigment incorporated with shellac varnish1 except in the case of a white japan ground which requires special treatment1 or when great brilliancy is a desideratum and other methods must be adopted4 ,the shellac varnish for the japan ground is best prepared as follows3 shellac #a-a_/d lb41 methylated spirits #a gallon4 ,dissolve in a well-corked vessel in a warm place and with frequent shaking4 ,after two or three days the shellac will be dissolved4 ,it is then recommended to filter the solution through a flannel bag1 and when all that will come through freely has done so the varnish should be run into a proper sized vessel and kept carefully corked for use4 ,the bag may then be squeezed with the hand till the remainder of the fluid varnish is forced through it1 and this if fairly clear may be used for rough purposes or added to the next batch4 ,pigments of any nature whatever may be used with the shellac varnish to give the desired tint to the ground1 and where necessary they may be mixed together to form any compound colour1 such as blue and yellow to form green4 ,the pigments used for japan grounds should all be previously ground very smooth in spirits of turpentine1 so smooth that the paste does not grate between the two thumb nails1 and then only are they mixed with the varnish4 ,this mixture of pigment and varnish vehicle should then be spread over the surface to be japanned very carefully and very evenly with a camel-hair brush4 ,as metals do not require a priming coat of size and whiting1 the japan ground may be applied to metallic surfaces forthwith without any preliminary treatment except thorough cleansing1 except in the cases specially referred to further on4 ,on metallic surfaces three to four coats are applied1 and in the interval between each coat the articles must be stoved in an oven heated to from #bej deg4 to #cjj deg4 ,f4 ,,white ,,japan ,,grounds4 ,the formation of a perfectly white japan ground and of the first degree of hardness has always been difficult to attain in the art of japanning1 as there are few or no substances that can be so dissolved as to form a very hard varnish coat without being so darkened in the process as to quite degrade or spoil the whiteness of the colour4 ,the following process1 however1 is said to give a composition which yields a very near approach to a perfect white ground3 ,take flake white or white lead washed and ground up with the sixth of its weight of starch and then dried1 temper it properly for spreading with mastic varnish made thus3 ,take #e oz4 of mastic in powder and put it into a proper vessel with #a lb4 of spirits of turpentine2 let them boil at a gentle heat till the mastic be dissolved1 and1 if there appear to be any turbidity1 strain off the solution through flannel4 ,apply this intimate and homogeneous mixture on the body to be japanned1 the surface of which has been suitably prepared either with or without the priming1 then varnish it over with five or six coats of the following varnish3 ,provide any quantity of the best seed-lac and pick out of it all the clearest and whitest grains1 take of this seed-lac #a_/b lb4 and of gum anime #c_/d lb41 pulverize the mixture to a coarse powder and dissolve in a gallon of methylated spirits and strain off the clear varnish4 ,the seed-lac will give a slight tint to this varnish1 but it cannot be omitted where the japanned surface must be hard1 though where a softer surface will serve the purpose the proportion of seed-lac may be diminished and a little turpentine oleo-resin added to the gum anime to take off the brittleness4 ,a very good varnish entirely free from brittleness may1 it is said1 be formed by dissolving gum anime in old nut or poppy oil1 which must be made to boil gently when the gum is put into it4 ,after being diluted with turps the white ground may be applied in this varnish1 and then a coat or two of the varnish itself may be applied over it4 ,these coats1 however1 take a long time to dry1 and1 owing to its softer nature1 this japanned surface is more readily injured than that yielded by the shellac varnish4 ,according to ,mr4 ,dickson1 the old way of making a cream enamel for stoving 7a white was supposed to be impossible7 was to mix ordinary tub white lead with the polishing copal varnish and to add a modicum of blue to neutralize the yellow tinge1 stove same in about #agj deg4,f4 and then polish as before described4 ,this1 continues ,mr4 ,dickson1 would at the best produce but a very pale blue enamel or a cream4 ,it was afterwards made with flake white or dry white lead ground in turps only and mixed with the polishing copal varnish with the addition of tints as required1 by which means a white of any required character could be produced4 ,,blue ,,japan ,,grounds4 ,authorities state that these may be formed from bright ,prussian blue or verditer glazed over with ,prussian blue or of smalt4 ,by bright ,prussian blue possibly a genuine ,prussian blue toned down to a sky blue with white lead is meant1 and by verditer the variety known as refiners' blue verditer1 and as to smalt it must not be forgotten that it changes its colour in artificial light4 ,be that as it may1 the pigment may be mixed with the shellac varnish according to the instructions already given1 but as the shellac will somewhat injure the tone of the pigment by imparting a yellow tinge to it where a bright true blue is required1 the directions already given as regards white grounds must be carried out4 ,,scarlet ,,japan ,,ground4 ,vermilion is the best pigment to use for a scarlet japan ground1 and its effect will be greatly enhanced by glazing it over with carmine or fine lake4 ,if1 however1 the highest degree of brightness be required the white varnish must be used4 ,vermilion must be stoved at a very gentle heat4 ,,red ,,japan ,,ground4 ,the basis of this japan ground is made up with madder lake ground in oil of turpentine1 this constitutes the first ground2 when this is perfectly dry a second coat of lake and white in copal varnish is applied1 and the last coat is made up of lake in a mixture of copal varnish and turpentine varnish4 ,,bright ,,pale ,,yellow ,,grounds4 ,orpiment or ,king's yellow may be used1 and the effect is enhanced by dissolving powdered turmeric root in the methylated spirits from which the upper or polishing coat is made1 which methylated spirits must be strained from off the dregs before the seed-lac is added to it to form the varnish4 ,the seed-lac varnish is not so injurious to yellow pigments as it is to the tone of some other pigments1 because1 being tinged a reddish yellow1 it does little more than intensify or deepen the tone of the pigment4 ,,green ,,japan ,,grounds4 ,green japan grounds are produced by mixing ,prussian blue or distilled verdigris with orpiment1 and the effect is said to be extremely brilliant by applying them on a ground of leaf gold4 ,any of them may be used with good seed-lac varnish1 for reasons already given4 ,equal parts by weight of rosin1 precipitated rosinate of copper1 and coal-tar solvent naphtha will give a varnish which1 when suitably thinned and the coats stoved at a heat below #bab deg4 ,f41 will give a green japan second to none as a finishing coat as regards purity of tone at least4 ,to harden it and render it more elastic half of the rosin might be replaced by equal weights of a copal soluble in solvent naphtha and boiled linseed oil1 so that the mixture would stand thus3 rosinate of copper #a lb41 rosin #a_/b lb41 boiled oil #a_/d lb41 hard resin 7copal7 #a_/d lb41 solvent naphtha #a lb4 ,when heated to a high temperature this rosinate of copper varnish yields a magnificent ruby bronze coloration1 especially on glass4 ,verdigris dissolves in turpentine1 and successful attempts might be made to make a green japan varnish from it on the lines indicated for rosinate of copper4 ,,orange-,,coloured ,,grounds4 ,orange-coloured grounds may be formed by mixing vermilion or red lead with ,king's yellow1 or orange lake or red orpiment 78 realgar7 will make a brighter orange ground than can be produced by any mixture4 ,,purple ,,grounds4 ,purple grounds may be produced by the admixture of lake or vermilion with ,prussian blue4 ,they may be treated as the other coloured grounds as regards the varnish vehicle4 ,,black ,,grounds4 ,black grounds may be formed either from lamp black or ivory black1 but ivory black is preferable to lamp black1 and possibly carbon black or gas black to either4 ,these may be always applied with the shellac varnish as a vehicle1 and their upper or polishing coats may consist of common seed-lac varnish4 ,but the best quality of ivory black ground in the best super black japan yields1 after suitable stoving1 a very excellent black indeed1 the purity of tone of which may be improved by adding a little blue in the grinding4 ,,common ,,black ,,japan ,,grounds ,,on ,,metal4 ,common black japan grounds on metal by means of heat are procured in the following manner3 ,the surface to be japanned must be coated over with drying oil1 and when it is moderately dry must be put into a stove of such heat as will change the oil black without burning it4 ,the stove should not be too hot when the oil is put into it nor the heat increased too fast1 either which error would make it blister1 but the slower the heat is increased and the longer it is continued1 provided it be restrained within a due degree1 the harder will be the coat of japan4 ,this kind of japan requires no polish1 having received from the heat1 when properly regulated1 a sufficiently bright surface4 ,,tortoise-,,shell ,,ground4 ,this beautiful ground1 produced by heat1 is valued not only for its hardness and its capacity to stand a heat greater than that of boiling water1 but also for its fine appearance4 ,it is made by means of a varnish prepared thus3 ,take one gallon of good linseed oil and half a pound of umber1 boil them together until the oil becomes very brown and thick1 strain it then through a coarse cloth and set it again to boil1 in which state it must be continued until it acquires a consistency resembling that of pitch2 it will then be fit for use4 ,having thus prepared the varnish1 clean well the surface which is to be japanned2 then apply vermilion ground in shellac varnish or with drying oil1 very thinly diluted with oil of turpentine1 on the places intended to imitate the more transparent parts of the tortoise-shell4 ,when the vermilion is dry1 brush the whole over with the black varnish thinned to the right consistency with oil of turpentine4 ,when set and firm put the work into a stove where it may undergo a very strong heat1 which must be continued a considerable time1 for three weeks or even a month so much the better4 ,this ground may be decorated with painting and gilding in the same way as any other varnished surface1 which had best be done after the ground has been hardened1 but it is well to give a second annealing at a very gentle heat after it has been finished4 ,a very good black japan may be made by mixing a little japan gold size with ivory or lamp-black1 this will develop a good gloss without requiring to be varnished afterwards4 ,,painting ,,japan ,,work4 ,japan work should be painted with real enamel paints1 that is with paints actually ground in varnish1 and in that case all pigments may be used and the peculiar disadvantages1 which attend several pigments with respect to oil or water1 cease with this class of vehicle1 for they are secured by it when properly handled from the least danger of changing or fading4 ,the preparation of pigments for this purpose consists in bringing them to a due state of fineness by grinding them on a stone with turpentine4 ,the best varnish for binding and preserving the pigments is shellac4 ,this1 when judiciously handled1 gives such a firmness and hardness to the work that1 if it be afterwards further secured with a moderately thick coat of seed-lac varnish1 it will be almost as hard and durable as glass4 ,the method of painting in varnish is1 however1 far more tedious than with an oil or water vehicle4 ,it is1 therefore1 now very usual in japan work for the sake of dispatch1 and in some cases in order to be able to use the pencil 7brush7 more freely1 to apply the colours in an oil vehicle well diluted with turps4 ,this oil 7or japanners' gold size7 may be made thus3 ,take #a lb4 of linseed oil and #d oz4 of gum anime1 set the oil in a proper vessel and then add the gum anime powder1 stirring it well until the whole is mixed with the oil4 ,let the mixture continue to boil until it appears of a thick consistence1 then strain the whole through a coarse cloth and keep it for use4 ,the pigments are also sometimes applied in a gum-water vehicle1 but work so done1 it has been urged1 is not nearly so durable as that done in varnish or oil4 ,however1 those who formerly condemned the practice of japanning water-coloured decorations allowed that amateurs1 who practised japanning for their amusement only and thus might not find it convenient to stock the necessary preparations for the other methods1 might paint with water-colours4 ,if the pigments are ground in an aqueous vehicle of strong isinglass size and honey instead of gum water the work would not be much inferior to that executed with other vehicles4 ,water-colours are sometimes applied on a ground of gold after the style of other paintings1 and sometimes so as to produce an embossed effect4 ,the pigments in this style of painting are ground in a vehicle of isinglass size corrected with honey or sugar-candy4 ,the body with which the embossed work is raised is best formed of strong gum water thickened to a proper consistency with armenian bole and whiting in equal parts1 which1 being laid on in the proper figures and repaired when dry1 may be then painted with the intended pigments in the vehicle of isinglass size or in the general manner with shellac varnish4 ,as to the comparative value of pigments ground in water and ground in oil1 that is between oil-colours and water-colours in enamelling and japanning1 there seems to have been a change of opinion for some time back1 especially as regards the enamelling of slate4 ,the marbling of slate 7to be enamelled7 in water-colours is a process which ,mr4 ,dickson says well repays study4 ,it is greatly developed in ,france and ,germany4 ,the process is a quick one and the pigments are said to stand well and to maintain their pristine hue1 yet if many strikingly natural effects result from the use of this process1 its use has not spread in ,great ,britain1 being confined wholly and solely to the marbling of slate 7except in the case of wall-paper which is water-marbled in a somewhat similar way74 ,in painting in oil-colour1 says ,mr4 ,dickson1 the craftsman trusts largely to his badger-hair brush to produce his effects of softness and marbly appearance2 but in painting in water-colours1 this softness1 depth1 and marbly appearance are produced mostly by the colour placed upon the surface1 and left entirely untouched by badger or any other brush4 ,the colour drying quickly1 does not allow much time for working1 and when dry it cannot be touched without spoiling the whole of the work4 ,the difference first of all between painting in water and in oil colour1 is that a peculiar grain exists with painting in water that it is absolutely impossible to get in oil4 ,the charm of a marble is1 ,i think1 its translucency as much as its beautiful colour2 it is to that translucency 7for in marble fixed we have no transparency7 that it owes its softness of effect1 which makes marble of such decorative value4 ,this translucency can only be obtained by thin glazes of colour1 by which means each succeeding glaze only partly covers the previous one1 the character of the marble being thus produced4 ,this is done sometimes in oil-colour in a marvellous manner1 but even the best of oil-painting in marble cannot stand the comparison of water-colour1 and it is only by comparison that any accurate judgment can be formed of any work4 ,the production of marbles in water-colour has a depth1 softness1 and stoniness that defies oil-painting1 and in some cases will defy detection unless by an expert of marbles4 ,it may be that first of all the materials employed are more in keeping with the real material1 as no oil enters into the composition of real marble1 and by using the medium of water we thus start better1 but the real secret is that by using water as a medium the colours take an entirely different effect4 ,in painting in water-colour greys of any tint or strength can be obtained suitable for the production of a marble of greyish ground1 by pure white1 tinted as required1 being applied of different thicknesses of colour1 all the modulations of tone being obtained by the difference in the thickness of the colour applied4 ,,varnishing ,,japan ,,work4 ,varnishing is the last and the finishing process in japanning4 ,it consists in 7#a7 applying1 and 7#b7 polishing the outer coats of varnish1 which are equally necessary whether the plain japan ground be painted on or not4 ,this is best done in a general way with common seed-lac varnish1 except on those occasions where other methods have been shown to be more expedient1 and the same reasons1 which decide as to the propriety of using the different varnishes as regards the colours of the ground1 hold equally with those of the painting1 for where brightness is a material point and a tinge of yellow would injure it1 seed-lac must give way to the whiter resins2 but where hardness and tenacity are essential it must be adhered to1 and where both are necessary a mixed varnish must be used4 ,this mixed varnish should be made from the picked seed-lac as directed in the case of the white japan grounds4 ,the common seed-lac varnish may be made thus3 ,take #a-a_/b lb4 of seed-lac and wash it well in several waters1 then dry it and powder it coarsely and put it with a gallon of methylated spirits into a ,bohemian glass flask so that it be not more than two-thirds full4 ,shake the mixture well together and place the flask in a gentle heat till the seed-lac appears to be dissolved1 the shaking being in the meantime repeated as often as may be convenient2 then pour off all the clear and strain the remainder through a coarse cloth4 ,the varnish so prepared must be kept for use in a well-corked glass vessel4 ,the whiter seed-lac varnishes are used in the same manner as the common1 except as regards the substances used in polishing1 which1 where a pure white or the greater clearness or purity of other pigments is in question1 should be itself white1 while the browner sorts of polishing dust1 as being cheaper and doing their business with greater dispatch1 may be used in other cases4 ,the pieces of work to be varnished should be placed near the fire or in a warm room and made perfectly dry1 and then the varnish may be applied with a flat camel-hair brush made for the purpose4 ,this must be done very rapidly1 but with great care2 the same place should not be passed twice over in laying on one coat if it can possibly be avoided4 ,the best way of proceeding is to begin in the middle and pass the brush to one end1 then with another stroke from the middle pass it to the other end1 taking care that before each stroke the brush be well supplied with varnish2 when one coat is dry another must be laid over it in like manner1 and this must be continued five or six times4 ,if on trial there be not a sufficient thickness of varnish to bear the polish without laying bare the painting or ground colour underneath more varnish must be applied4 ,when a sufficient number of coats of varnish is so applied the work is fit to be polished1 which must be done in common work by rubbing it with a piece of cloth or felt dipped in tripoli or finely ground pumice-stone4 ,but towards the end of the rubbing a little oil of any kind must be used with the powder1 and when the work appears sufficiently bright and glossy it should be well rubbed with the oil alone to clean it from the powder and to give it a still greater lustre4 ,in the case of white grounds1 instead of the tripoli1 fine putty or whiting should be used1 but they should be washed over to prevent the danger of damaging the work from any sand or any other gritty matter that may happen to be mixed with them4 ,it greatly improves all kinds of japan work to harden the varnish by means of heat1 which1 in every degree that can be applied short of what would burn or calcine the matter1 tends to give it a firm and strong texture where metals form the body2 therefore a very hot stove may be used1 and the stoving may be continued for a considerable time1 especially if the heat be gradually increased4 ,but where wood or papier-mache is in question1 heat must be applied with great caution4 ,,section ,,iii4 ,,japanning ,,or ,,enamelling ,,metals4 ,in japanning metals1 all good work of which should be stoved1 they have to be first thoroughly cleaned1 and then the japan ground applied with a badger or camel-hair brush or other means1 very carefully and evenly4 ,metals usually require from three to five coats1 and between each application must be dried in an oven heated from #bej deg4 to #cjj deg4 ,f4--about #bgj deg4 being the average4 ,it has already been seen that the best grounds for japanning are formed of shellac varnish1 the necessary pigments for colouring being added thereto1 being mixed with the shellac varnish after they have been ground into a high degree of smoothness and fineness in spirits of turpentine4 ,in japanning it is best to have the oven at rather a lower temperature1 increasing the heat after the work has been placed in the oven4 ,when a sufficient number of coats have been laid on--which will usually be two only--the work must be polished by means of a piece of cloth or felt dipped in tripoli or finely powdered pumice-stone4 ,for white grounds fine putty powder or whiting must be employed1 a final coat being afterwards given1 and the work stoved again4 ,the last coat of all is one of varnish4 ,and here1 as a preliminary remark1 it is advisable that all enamels and japans should be purchased ready-made1 as any attempt to make such is almost sure to end in disaster1 while1 owing to the fact that such are only required for small jobs2 it would involve too much trouble and would not pay4 ,it is for this reason that few japan recipes are given1 as1 although many are available1 they do not always turn out as suitable for the purpose as could be desired1 in addition to which the ready-made articles can be purchased at a very reasonable price and are much better prepared4 ,the operator should procure his enamels a shade or two lighter than he desires to see in the finished article1 allowing the chemical action due to the stoving to tone the colours down4 ,another necessity is to keep the enamel thoroughly well mixed by well stirring it every time it is used1 as if this is not done the actual colouring matter is apt to sink to the bottom1 the ultimate result being that streaky work is produced in consequence of this indifferent mixing of the enamelling materials4 ,it is hardly necessary to state that all japanning or enamelling work must be done in a room or shop absolutely free from dust or dirt1 and as far away as possible from any window or other opening leading to the open air1 for two reasons--one being that the draught therefrom may cool the oven or stove1 and the other that the air may convey particles of dust into the enamelling shop4 ,in fact1 it cannot be too much impressed upon the workmen that one of the primary secrets of successful enamelling is absolute cleanliness2 consequently all precautions must be taken to ensure that the enamel is perfectly free from grit and dust1 and it must be so kept by frequent straining through fine muslin1 flannel1 or similar material4 ,the work having been thoroughly cleaned and freed from all grease and other foreign matter1 it must be suspended or held immediately over the pan elsewhere referred to1 and the enamel poured on with an ordinary iron ladle1 or covered by means of the brush4 ,when it has been permitted to drain thoroughly1 the work should be hung on the hooks on the rods in the oven as seen in the explanatory sketch1 care being observed that no portion of the work is in such a position that any superfluous enamel cannot easily drain off--in other words1 the work must lie or hang that it is always1 as it were1 on the slant4 ,always bear in mind when shutting the oven door to do so gently1 as if a slam is indulged in all the gas jets will be blown out1 and an explosion would probably result4 ,should the job in hand be a large one1 it will be found as well to get a cheaper enamel for the first coat1 but if the work is only a small job1 it will not be necessary to have more than one enamel1 of which a couple of coats at least will be required4 ,when the first coat has thoroughly dried and hardened1 the surface will have to be thoroughly rubbed till it is perfectly smooth with tripoli powder and fine pumice-stone1 and afterwards hand-polished with rotten-stone and putty powder4 ,and here it may be remarked that the finer the surface is got up with emery powder and other polishing agents the better will be the enamelling and ultimate finish4 ,the rubbing down being finished1 another coat of enamel must be applied and the work baked as before1 care being always taken to keep the enamel in a sufficiently fluid condition as to enable it to flow and run off the work freely4 ,it can easily be thinned with a little paraffin4 ,a third coat will frequently be advisable1 as it improves the finish4 ,in enamelling cycles1 it is well to hang the front forks crown uppermost when they are undergoing the final baking1 and it is advisable to bear in mind that wheels require an enamel that will stove at a lower temperature than is called for for other parts of the machine4 ,some japanners advocate the fluid being put on with camel-or badger-hair brushes1 and for the best descriptions of work1 final coats1 and such like1 ,i agree with them2 but this is a detail which can be left to the operator's own fancy1 the class of work1 etc42 but ,i would remind him that applying enamel with a brush requires much care and a certain amount of knack4 ,it is something like successful lacquering in brasswork--it looks very simple1 but is not4 ,each succeeding coat of japan gives a more uniform and glossy surface1 and for this reason it may1 in some cases1 be necessary to repeat the operation no fewer than half a dozen times1 the final coat being generally a layer of clear varnish only1 to add to the lustre4 ,care must be taken for light-coloured japans or enamels not to have the temperature sufficiently high to scorch1 or the surface will be discoloured1 as they require a lower temperature for fixing than the dark japans1 which1 provided the article is not likely to be injured by the heat1 are usually dried at a somewhat high temperature4 ,the preceding instructions apply only to the best descriptions of work4 ,when pouring enamel by means of the ladle over pieces of work1 do not agitate the liquid too much--at the same time taking care to keep it well mixed--so as to form air bubbles1 as this will cause trouble1 and in pouring over the work do it with an easy and gentle and not too hurried a motion4 ,in japanning curved pieces1 such as mud-guards1 etc41 in hanging up the work in the oven see that the liquid does not run to extremities and there form ugly blots or blotches of enamel4 ,when white or other light tones are used for japanning they are mixed with japanners' varnish1 and these require more careful heating in the oven or stove than darker tints or brown or black4 ,illustration3 ,,fig4 #a4--,trough for ,dipping ,bedstead ,frames and other ,large ,work4 ,,enamelling ,,bedstead ,,frames ,,and ,,similar ,,large ,,pieces4 ,at ,fig4 #a is shown a trough in which large pieces1 such as bedsteads1 bicycle frames1 etc41 are dipped or immersed4 ,for the first-mentioned class of work such high finish is not required as for bicycles1 and consequently the enamel need not be applied with a brush1 nor will it be necessary to rub down the work between each coat1 but instead the pieces can be literally dipped in the tank of liquid1 then allowed to drain on to the dripping-board--the superfluous enamel thus finding its way back into the trough or tank1 the dripped articles being afterwards placed in the oven to harden4 ,the trough must be of sufficient dimensions to allow the pieces of work to be completely immersed1 and the dripping-board should be set at an angle of about #de deg44 ,bedstead frames will never require more than two coats and the commoner class of goods only one4 ,i would not advise the tradesman in a small way of business to go to the expense of a trough1 etc41 as it calls for much more room than is ordinarily available1 but if he has the necessary plant for bicycle work he can1 of course1 do an occasional job of the other kind4 ,,japanning ,,tin1 ,,such ,,as ,,tea-,,trays ,,and ,,similar ,,goods4 ,for japanning sheet-iron articles1 which are really tin goods1 such as tea-trays and similar things1 first scour them well with a piece of sandstone1 which will effectually remove all the scales and make the surface quite smooth4 ,then give the metal a coating of vegetable black1 which must be mixed with super black japan varnish1 thinned with turps1 and well strained4 ,only a small quantity of this varnish is necessary1 as it will dry dead4 ,the article must then be placed in the stove to harden at a temperature of #bab deg4 ,f41 there to remain for from ten to twelve hours4 ,when taken out of the stove1 the articles must be allowed to get cold1 after which they must be given a coat of super black japan1 which1 if necessary1 must be thinned with turps1 a stiff1 short bristle brush being employed1 and the varnish put on sparingly1 so that it will not run when it gets warm4 ,two coats of this varnish on top of the vegetable black coating are usually sufficient1 when done properly1 but a third coating much improves the work1 and from ten to twelve hours' hardening will be necessary between each coating4 ,the small lumps which will be more or less certain to arise will require to be rubbed down between each application by a small and smooth piece of pumice-stone4 ,if it is desired to add gold or bronze bands or any kind of floral or other kind of fancy decorations1 these are painted on1 after the ground japanning has been done1 in japanners' gold size1 and then the gold leaf is applied1 or the bronze or other metal powder is dusted on1 after which the objects so treated are again placed in the stove1 where they will not require to be kept near so long as for ordinary japanning4 ,after they have been removed1 the gilt or bronzed portions must be treated with a protecting coat of white spirit varnish4 ,transfers can be applied in the same way4 ,tinned iron goods are the most largely japanned1 and for these brown and black colours are principally employed4 ,both are obtained by the use of brown japan1 the metal having a preliminary coating of black paint when black is required4 ,only one coating of brown japan is given to cheap goods1 but for better articles two or more are applied4 ,for these it is possible that a final dressing with pumice-stone1 then with rotten-stone1 and rubbed with a piece of felt or cloth1 or even the palm of the hand1 may be necessary1 but as a rule not4 ,large numbers of articles of the above description1 such as tea-trays1 tea-canisters1 cash-boxes1 coal-boxes1 and similar goods1 are japanned at ,birmingham1 and it is to such that the preceding instructions apply4 ,,enamelling ,,old ,,work4 ,in all cases of re-enamelling old work1 it is absolutely necessary to remove all traces of the first enamelling1 and if this has been well done in the first instance1 it will prove no mean job4 ,the best way to clean the work is to soak it in a strong lye of hot potash1 when the softened enamel can be wiped or brushed off--this latter method being pursued in the more intricate and ungetatable portions of the work4 ,new work1 which has not been enamelled1 can be treated in the same way for the removal of all grease1 stains1 finger-marks1 etc41 and too much attention cannot be paid to the initial preparation of the surface of the metal1 to have it thoroughly even and smooth1 as it adds so much to the ultimate finish and appearance of the work4 ,plenty of labour must be bestowed before the final coat1 as any blemish will show through this finishing1 and so mar what would otherwise be a highly satisfactory bit of work4 ,in all kinds of bicycle work1 whether new or old1 the most satisfactory results are obtained by the application of at least two1 and sometimes four or five1 successive coats of good but thin enamel1 as this will impart the necessary perfect coat1 combined with durability1 a high finish1 and a good colour4 ,a good enamel should be sufficiently hard1 so as not to be scratched on the merest touch or rubbing4 ,it will1 of course1 be understood that no solder-work must be put into the stove1 or the pieces will separate4 ,should any of this work be discovered1 the pieces must be taken apart1 and then brazed together before being enamelled1 and put in the stove4 ,,section ,,iv4 ,,the ,,enamelling ,,and ,,japanning ,,stove--,,pigments ,,suitable ,,for ,,japanning ,,with ,,natural ,,lacquer--,,modern ,,methods ,,of ,,japanning ,,with ,,natural ,,japanese ,,lacquer4 ,,appliances ,,and ,,apparatus ,,used ,,in ,,japanning ,,and ,,enamelling4 ,besides the various enamels or japans and varnishes of various colourings and the stove1 which will be found described and illustrated1 together with the trough1 in other pages1 the worker will need some iron pots or cauldrons in which to boil the potash lye for the cleansing1 more particularly1 of old work1 some iron ladles both for this work and for pouring the japan on the articles to be covered therewith1 a few badger tools and brushes for small fine work1 some hooks for the stove1 a pair of pliers1 a few bits of broom handle cut into short lengths and made taper1 so as to fit into the tubes1 etc41 of bicycles and other work1 so as to keep the hands as free from the japan as possible1 some emery powder1 pumice-stone powder1 tripoli1 putty powder1 whiting1 and a piece of felt or cloth4 ,if he is also doing any common work1 a stumpy brush of bristles and a soft leather will also be requisite1 together with a file or two4 ,these will about comprise the whole of the articles required1 not very expensive1 all of which will really not be required by a beginner4 ,owing largely to the strides made in the cycle trade enamelling is stoved by means of gas1 and of this a plentiful supply is necessary4 ,enamelling stoves may really be described as hot-air cupboards or ovens1 and for a stove which will answer most requirements--say one of #f feet by #f feet by #c-a_/b feet--six rows of atmospheric burners will be necessary to heat it1 while it will be also advisable to fix pipes of #a-a_/d inch internal diameter from the gas meter to the stove4 ,the atmospheric burners can be made from the requisite number of pieces of #a-a_/d-;inch gas tube #c-a_/b feet in length1 one end of each being stopped1 and having #a_/c-;inch holes drilled therein at intervals of about #a inch1 the other end being left open for the insertion of ordinary #c_/h-;inch brass gas taps4 ,another plan preferred by some japanners is to have three rows of burners the full length of the stove1 which1 under some circumstances1 due to structural conditions1 will be found more suitable4 ,anyway1 whatever the position of the stove1 allowance must be made for a temperature up to #djj deg4 ,f4 to be raised4 ,in old-fashioned ovens the heat is applied by means of external flues1 in which hot air or steam is circulated1 but this system is generally unsatisfactory1 the supply of heat having to be controlled by dampers or stop-cocks1 and this has given place to the gas apparatus4 ,another simple form of oven1 though not one which ,i shall recommend1 is a species of sheet-iron box1 which is encased by another and larger box of the same shape1 so placed that from #b to #c inches of interspace exists between the two boxes4 ,to this interspace heat is applied1 and a flue will have to be affixed to this apparatus to carry off the vapours which arise from the enamel or japan4 ,for amateur or intermittent jobbing work the oven illustrated in ,figs4 #b and #c is about as good as any1 though to guard against fire it would be as well to have a course of brickwork beneath the oven1 while if this is not possible on account of want of height1 a sheet or so of zinc or iron will help to mitigate the danger4 ,it is also advisable1 if the apartment is a low-pitched one1 to have a sheet of iron or zinc suspended by four corner chains from the ceiling in order to protect this from firing through the heat from the enamelling oven4 ,of course1 it will be understood that every portion of the stove must be put together with rivets1 no soldered work being permissible4 ,illustration3 ,,fig4 #b4--;,door of ,oven when ,shut4 ,to those who wish to construct their own stove1 it will be found that the framework can be shaped out of #a-;inch angle iron1 the panels or walls being constructed of sheet-iron of about #ah gauge1 the whole being riveted together4 ,the front will be occupied in its entire space by a door1 which will require to be hung on strong iron hinges1 and the framework of this door should be constructed of #a inch by #a_/d inch iron--a rather stouter material will really be no disadvantage--to which the sheet-iron plates must be riveted4 ,in the centre of the door must be cut a slit1 say #a-a_/b inches by #i inches1 which will require to be covered with mica or talc behind which must be placed the thermometer1 so as it can be seen during the process of stoving1 without the necessity of opening the door1 which1 of course1 more or less cools the oven4 ,and1 by the way1 this thermometer must register higher than the highest temperature the oven is capable of reaching4 ,above is shown a sketch of the stove1 interior and exterior1 which will give an idea of what a japanner's stove is like4 ,illustration3 ,,fig4 #c--,showing ,stove when ,open1 and ,back of ,door4 ,inside the stove it will be necessary to fix rows of iron rods1 some four inches from the top1 from which to suspend the work1 or angle-iron ledges can be used on which the rods or bars can be fixed1 these arrangements being varied according to the particular description of work1 individual fancy1 or other circumstances4 ,large ,s hooks are about the handiest to use4 ,a necessary adjunct of the stove is a pan1 which can be made by any handy man or tinworker1 which should be made to fit the bottom of the stove above the gas jets1 it being arranged that it rests on two side ledges1 or along some rods4 ,one a couple of inches in depth will be found sufficient1 and it will repay its cost in the saving of enamel1 it being possible with its use to enamel a bicycle with as little as a gallon of enamel4 ,some workmen have the tray made with a couple of hinged side flaps1 to turn over and cover up the pan when not in use1 but this is a matter of fancy4 ,of course1 they must always be covered up when not in use4 ,for those who would prefer to use ,bunsen burners1 ,i show at ,fig4 #d a sketch of the best to employ1 these having three rows of holes in each4 ,illustration3 ,,fig4 #d4--;,bunsen ,burner4 ,when brick ovens are employed they must be lined with sheet-iron1 and in these very rare circumstances where gas is not available1 the stove can be heated with coal or wood1 which will1 of course1 involve a total alteration in the structural arrangements4 ,i have not given the details here1 as ,i do not think the necessity will ever arise for their use1 and for the same reason ,i have refrained from giving the particulars for heating by steam and electricity1 or the other methods which have been adopted by various workers1 as there is no question but that a gas stove or oven1 as described1 is about the best and handiest for jobbers or amateurs4 ,,modern ,,japanning ,,and ,,enamelling ,,stoves4 ,the modern japanning and enamelling stove consists of a compartment capable of being heated to any desired temperature1 say #ajj deg4 to #djj deg4 ,f41 and at the same time1 except as regards ventilation1 capable of being hermetically sealed so as to prevent access of dust1 soot1 and dirt of all kinds to mar the beauty and lustre of the object being enamelled or japanned4 ,such a stove may be heated-- #a4 ,by a direct coal1 coke1 wood1 peat1 or gas fire 7which surrounds the inner isolated chamber7 7,fig4 #e74 #b4 ,by heated air4 #c4 ,by steam or hot-water pipes1 coils of which circulate round the interior of the stove or under the floor4 ,such ovens may be either permanent1 that is1 built into masonry1 or portable4 ,illustration3 ,,fig4 #e4--;,greuzburg's ,japanning ,oven4 #a4 ,stoves heated by direct fire4--,these were1 of course1 the form in which japanning ovens were constructed somewhat after the style of a drying kiln4 ,fig4 #e1 ,greuzburg's japanning oven heated on the outside by hot gases from furnace4 ,the oven is built into brickwork1 and the hot gases circulate in the flues between the brickwork and the oven1 and its erection and the arrangement of the heating flues are a bricklayer's job4 ,coke containing much sulphur is objectionable as a fuel for enamel stoves ,mr4 ,dickson emphasizes this very forcibly4 ,he says3 ,in the days when stoves were heated by coke furnaces1 and the heat distributed by the flues1 the principal trouble was the escape of fumes of sulphur which caused dire disaster to all the enamels by entering into their composition and preventing their ever drying1 not to speak of hardening4 ,i have known enamels to be in the stoves with heat to #bgj deg4 for two and three days1 and then be soft4 ,the sulphur also caused the enamels to crack in a peculiar manner1 much like a crocodile skin1 and work so affected could never be made satisfactory1 for here again we come back to the first principle1 that if the foundation be not good1 the superstructure can never be permanent4 ,the enamels1 being permeated with sulphur and other products from the coke1 could never be made satisfactory1 and the only way was to clean it all off4 ,the other principal troubles are the blowing of the work in air bubbles1 which is caused mainly by the heat being too suddenly applied to the articles1 but these are very small matters to the experienced craftsman4 ,illustration3 ,,fig4 #f4 #b4 ,stoves heated by hot-water pipes4--,let us first of all consider the principle on which these are constructed4 ,in ,perkins' apparatus for conveying heat through buildings by the circulation of water in small-bore hot-water pipes an endless tube or pipe is employed1 the surface of which is occasionally increased by spiral or other turnings where the heat is to be given off or acquired3 the annexed figure may serve to illustrate this principle2 it represents a strong wrought-iron tube of about one inch diameter completely filled with water2 the spiral ,a passes through a furnace where it is highly heated1 and the water is consequently put into motion in the direction of the arrows2 the boiling of the water or formation of steam is prevented by the pressure1 whence the necessity of the extreme perfection and strength of the tube4 ,b represents a second coil which is supposed to be in an apartment where the heat is to be given out4 ,c is a screw stopper by which the water may be occasionally replenished4 ,by this form of apparatus the water may be heated to #cjj deg4 or #djj deg41 or even higher1 so as occasionally to singe paper4 ,a larger tube and lower temperature are1 however1 generally preferable4#a ,illustration3 ,,fig4 #g4--;,enamelling ,stove--in a ,tin-plate ,printing ,factory--heated by ,perkins' ,hot-water ,pipes4 ,the principle of ,perkins' invention has1 during the last eighty years1 i4e4 since the date of the invention in #ahca1 been very extensively applied not only for the heating of buildings of every description1 but it has also been utilized for numerous industrial purposes which require an atmosphere heated up to #fjj deg4 ,f4 ,the principle lends itself specially to the design of apparatus for raising and maintaining heat evenly and uniformly1 and also very economically for such purposes as enamelling1 japanning1 and lacquering4 ,the distinctive feature of this apparatus when applied to moderate temperatures lies in the adoption of a closed system of piping of small bore1 a certain portion of which is wound into a coil and placed in a furnace situated in any convenient position outside the drying chamber or hot closet4 ,the circulation is thus hermetically sealed and so proportioned that while a much higher temperature can be attained than is possible with a system of pipes open to the atmosphere1 yet a certain and perfectly safe maximum cannot by any possibility be exceeded4 ,the efficiency of the apparatus increases within certain limits in proportion to the pressure employed1 which fact explains the exceedingly economical results obtained1 while the fact that1 owing to the high temperature used1 a small-bore pipe can be made more effective than the larger pipes used in any open system1 accounts for the lower first cost of the ,perkins' apparatus4 ,illustration3 ,,fig4 #h4--;,japanning and ,enamelling ,oven ,heated by ,single ,hot-water ,pipes sealed at both ends with ,furnace in ,rear4 ,illustration3 ,,fig4 #i--;,japanning and ,enamelling ,oven ,for ,bedstead1 ,ironmongery1 ,cash-box1 and ,lamp ,factories4 ,illustration3 ,,fig4 #aj4--;,japanning and ,enamelling ,stove for parts of ,sewing ,machines4 ,it will be seen from the various illustrations that the articles to be treated are absolutely isolated from actual contact with the fire or the fire gases and other impurities which must be an objection to all methods of heating by means which are not of a purely mechanical nature4 ,this principle not only recommends itself as scientifically correct and suited to the purpose in view1 but is also a very simple and practical one4 ,it affords the means of applying the heat at the point where it is required to do the work without unduly heating parts where heat is unnecessary2 it secures absolute uniformity1 perfect continuity1 and the highest possible fuel economy4 ,illustration3 ,,fig4 #aa4--;,japanning and ,enamelling ,stove for ,iron-,bedsteads and ,household ,ironmongery with ,truck on ,rails4 ,illustration3 ,,fig4 #ab--,permanent ,japanning and ,enamelling ,stove for ,kitchen ,utensils built in ,masonry4 ,the nature of the work to be executed in the different classes and various sizes of stoves vary so greatly and indefinitely that only by careful attention to the special requirements of each case1 on the part of the designers and constructors1 is it possible to obtain the most satisfactory results4 ,the arrangement of fixing the pipes round the lower walls of the room in this form of stove is somewhat cumbersome1 but in a roomy stove this slight drawback is not felt quite so much4 ,however1 it seems a good principle to leave every inch of internal space available for the goods to be enamelled or japanned1 ,this principle is carried out to the letter in the other form of stoves described and illustrated in the sequel4 ,the figure shows a section through single chamber japanning and enamelling oven heated by hot-water pipes 7steel7 closed at both ends and partially filled with water which always remains sealed up therein1 and never evaporates until the pipes require to be refilled4 ,this stove may be heated 7#a7 by hot-water pipes 7iron71 7#b7 by super-heated water1 7#c7 by steam1 but only to #hj deg4 ,c4 ,the different compartments may be heated to uniform or to different temperatures with hot water2 the stoke-hole is at the side and thus quite separated from the stove proper4 ,the ovens must be on the ground floor1 so that the super-heated steam from the basement may be available4 ,the great drawback to the use of gas for heating japanning and enamelling stoves is the great cost of coal gas4 ,illustration3 ,,fig4 #ac4--,portable ,gas ,heated ,japanning and ,enamelling ,stove fitted with ,shelves1 ,thermometer1 etc4 ,,pigments ,,suitable ,,for ,,japanning ,,with ,,natural ,,lacquer4 ,white ,pigments4--,barium sulphate and bismuth oxychloride4 ,these two are used for the white lacquer or as a body for coloured lacquers4 ,when the lacquer is to be dried at a high temperature barium sulphate is preferable1 but when it is dried at an ordinary temperature bismuth oxychloride is better4 ,since the lacquer is originally of a brown colour the white lacquer is not pure white1 but rather greyish or yellowish4 ,many white pigments1 such as zinc oxide1 zinc sulphide1 calcium carbonate1 barium carbonate1 calcium sulphate1 lead white1 etc41 turn brown to black1 and no white lacquer can be obtained with them4 ,red ,pigments4--,vermilion and red oxide of iron4 ,these two are used for the red lacquer1 but vermilion should be stoved at a low temperature4 ,blue ,pigment4--,prussian blue4 ,yellow ,pigments4--,cadmium sulphide1 lead chromate and orpiment4 ,green ,pigment4--,chromium oxide 78 ,guignet's green74 ,black ,pigment4--,lamp black4 ,this is one of the pigments for black lacquer1 but does not give a brilliant colour1 therefore it is better to prepare the black lacquer by adding iron powder or some compound of iron to the lacquer4 ,various mixed colours are obtained by mixing some of the above-mentioned pigments4 ,examples of application are as follows3-- 7#a7 ,golden ,yellow4--,finished lacquer1 #aj parts2 gamboge1 #a to #c2 solvent1 #e4 ,if utensils are lacquered with this thin lacquer and dried for about #b hours in an air-oven at a temperature of #abj deg4 ,c4 a beautiful hard coating of golden colour is obtained4 7#b7 ,black4--,black lacquer1 #aj parts2 solvent #b to #d4 ,utensils lacquered with this lacquer are dried for about an hour at #acj deg4 to #adj deg4 ,c4 7#c7 ,red4--,vermilion1 #aj parts2 finished lacquer1 #d2 solvent1 #b4 ,this lacquer is dried for about an hour at #acj deg4 to #adj deg4 ,c4 7#d7 ,khaki or ,dirty ,yellow4--,barium sulphate1 #ajj parts2 chromic oxide1 #c2 finished lacquer1 #bj to #be2 solvent1 #ae4 ,this lacquer is dried for about half an hour at #afj deg4 ,c4 7#e7 ,green4--,barium sulphate1 #ajj parts2 chromic oxide1 #bj to #ej2 finished lacquer1 #dj to #ej2 solvent1 #bj4 ,this is dried for about #aj minutes at #afj deg4 ,c4 7#f7 ,yellow4--,barium sulphate1 #ajj parts2 lead chromate1 #dj2 finished lacquer1 #dj2 solvent1 #bj4 ,this is dried for about #ae minutes at #aej deg4 ,c4 ,almost all pigments other than the above-mentioned are blackened by contact with lacquer or suspend its drying quality4 ,several organic lakes can be used for coloured lacquers1 that is to say1 ,indian yellow1 thioflavin1 and auramine lake for a yellow lacquer2 fuchsine1 rhodamine1 and chloranisidin lake for a red2 diamond sky blue1 and patent nileblue lake for a blue2 acid green1 diamond green1 brilliant milling green1 vert-methyl lake1 etc41 for a green2 methyl violet1 acid violet1 and magenta lake for a violet2 phloxine lake for a pink4 ,these lakes1 however1 are decomposed more or less on heating and fail to give proper colours when dried at a high temperature4 ,,modern ,,methods ,,of ,,japanning ,,and ,,enamelling ,,with ,,natural ,,japanese ,,lacquer4 ,urushiol1 the principal constituent of ,japanese lacquer1 does not according to the ,japanese investigator1 ,kisaburo ,miryama1 dry by itself at ordinary temperatures1 but can be dried with ease at a temperature above #if deg4 ,c4 ,in the same way1 lacquer that has been heated to a temperature above #gj deg4 ,c4 and has entirely lost its drying quality can be easily dried at a high temperature4 ,in this method of japanning the higher the temperature is1 the more rapidly does the drying take place2 for instance1 a thin layer of urushiol1 or lacquer1 hardens within #e hours at #ajj deg4 ,c41 within #cj minutes at #aej deg4 ,c41 and within #aj minutes at #ahj deg4 ,c4 ,japanning at a high temperature with natural lacquer does not require the presence of the enzymic nitrogenous matter in the lacquer1 and gives a transparent coating which is quite hard and resistant to chemical and mechanical action2 in these respects it is distinguished from that dried at an ordinary temperature4 ,during the drying1 oxygen is absorbed from the atmosphere and at the same time a partial decomposition takes place4 ,this method of japanning has its application in lacquering metal work1 glass1 porcelain1 earthenware1 canvas1 papier-mache1 etc42 because the drying is affected in a short time1 and the coating thus obtained is much more durable than the same obtained by the ordinary method4 ,for practical purposes it is better to thin the lacquer with turpentine oil or other solvent in order to facilitate the lacquering and lessen the drying time of the lacquer4 ,since the lacquer-coating turns brown at a high temperature1 lacquers of a light colour should be dried at #abj deg4 to #aej deg4 ,c42 and even those of a deep colour must not be heated above #ahj deg4 ,c4 ,most pigments are blackened by lacquer2 therefore the varieties of coloured lacquers are very limited4 ,,footnotes3 #a ,a question has been raised concerning the safety of ,perkins' apparatus1 not merely as relates to the danger of explosion1 but also respecting that of high temperature2 and it has been asserted that the water may be so highly heated in the tubes as to endanger the charring and even inflammation of paper1 wood1 and other substances in their contact or vicinity3 such no doubt might be the case in an apparatus expressly intended for such purposes1 but in the apparatus as constructed by ,perkins1 with adequate dampers and safety valves1 and used with common care1 no such result can ensue4 ,paper bound round an iron tube is not affected till the temperature exceeds #djj deg42 from #dbj deg4 to #ddd deg4 it becomes brown or slightly singed2 sulphur does not inflame below #edj deg44 ,,section ,v4 ,,colours ,,for ,,polished ,,brass--,,miscellaneous4 ,,painting ,,on ,,zinc ,,or ,,on ,,galvanized ,,iron4 ,painting on zinc or galvanized iron is facilitated by employing a mordant of #a quart of chloride of copper1 #a of nitrate of copper1 and #a of sal-ammoniac1 dissolved in #fd parts of water4 ,to thin mixture add #a part of commercial hydrochloric acid4 ,this is brushed over the zinc1 and dries a dull-grey colour in from twelve to twenty-four hours1 paint adhering perfectly to the surface thus formed4 ,,bronzing ,,compositions4 ,the following are the formulae for a variety of baths1 designed to impart to polished brass various colours4 ,the brass objects are put into boiling solutions composed of different salts1 and the intensity of the shade obtained is dependent upon duration of the immersion4 ,with a solution composed of sulphate of copper1 #abj grains2 hydrochlorate of ammonia1 #cj grains2 and water #a quart1 greenish shades are obtained4 ,with the following solution1 all the shades of brown1 from orange-brown to cinnamon1 are obtained3 chlorate of potash1 #aej grains2 sulphate of copper1 #aej grains2 and water1 #a quart4 ,the following solution gives the brass first a rosy tint1 and then colours it violet and blue3 sulphate of copper1 #dce grains2 hyposulphite of soda1 #cjj grains2 cream of tartar1 #aej grains2 and water1 #a pint4 ,upon adding to this solution ammoniacal sulphate of iron1 #cjj grains1 and hyposulphite of soda1 #cjj grains1 there are obtained1 according to the duration of the immersion1 yellowish1 orange1 rosy1 and then bluish shades4 ,upon polarizing the ebullition1 the blue tint gives way to yellow1 and finally to a pretty grey4 ,silver1 under the same circumstances1 becomes very beautifully coloured4 ,after a long ebullition in the following solution1 we obtain a yellow-brown shade1 and then a remarkable fire-red3 chlorate of potash1 #ge grains2 carbonate of nickel1 #cj grains2 salt of nickel1 #ge grains2 and water1 #aj oz4 ,the following solution gives a beautiful dark-brown colour3 chlorate of potash1 #ge grains2 salt of nickel1 #aej grains2 and water1 #aj oz4 ,the following gives in the first place1 a red1 which passes to blue1 then to pale lilac1 and finally to white3 orpiment1 #ge grains2 crystallized sal-sodae1 #aej grains2 and water1 #aj oz4 ,the following gives a yellow-brown3 salt of nickel1 #ge grains2 sulphate of copper1 #ge grains2 chlorate of potash1 #ge grains2 and water1 #aj oz4 ,on mixing the following solutions1 sulphur separates1 and the brass becomes covered with iridescent crystallizations3 7#a7 cream of tartar1 #ge grains2 sulphate of copper1 #ge grains2 and water1 #aj oz4 7#b7 ,hyposulphite of soda1 #bbe grains2 and water1 #e oz4 ,upon leaving the brass objects immersed in the following mixture1 contained in corked vessels1 they at length acquire a very beautiful blue colour3 hepar of sulphur1 #ge grains2 ammonia1 #ge grains2 and water1 #d oz4 ,a ,,golden ,,varnish ,,for ,,metal4 ,take #b oz4 of gum sandarach1 #a oz4 of litharge of gold1 and #d oz4 of clarified linseed oil1 which boil in a glazed earthenware vessel till the contents appear of a transparent yellow colour4 ,this will make a good varnish for the final coating for enamelled and japanned goods4 ,,carriage ,,varnish4 ,the following is used for the wheels1 springs1 and carriage parts of coaches and other vehicles3 ,take of pale ,african copal #h lb42 fuse1 and add #b-a_/b gallons of clarified linseed oil2 boil until very stringy1 then add #a_/d lb4 each of dry copperas and litharge2 boil1 and thin with #e-a_/b gallons of turpentine2 then mix while hot with the following varnish1 and immediately strain the mixture into a covered vessel4 ,gum anime1 #h lb42 clarified linseed oil1 #b-a_/b gallons2 #a_/d lb4 each of dried sugar of lead and litharge2 boil1 and thin with #e-a_/b gallons of turpentine2 and mix it while hot as above directed4 ,of course these quantities will only do for big jobs1 and as it has to do with metal1 it has been thought advisable to include the formula in this handbook4 ,,metal ,,polishes4 ,the active constituent of all metal polishes is generally chalk1 rouge1 or tripoli1 because these produce a polish on metallic surfaces4 ,the following recipes give good polishing soaps3-- 7#a7 #bj to #be lb4 liquid soap is intimately mixed with about #hj lb4 of ,swedish chalk and #a_/b lb4 ,pompeiian red4 7#b7 #be lb4 liquid coco-nut oil soap is mixed with #b lb4 tripoli1 and #a lb4 each alum1 tartaric acid1 and white lead4 7#c7 #be lb4 liquid coco-nut oil soap is mixed with #e lb4 rouge and #a lb4 ammonium carbonate4 7#d7 #bd lb4 coco-nut oil are saponified with #ab lb4 soda lye of #ch deg4 to #dj deg4 ,b41 after which #c lb4 rouge1 #c lb4 water1 and #cb grammes ammonia are mixed in4 ,good recipes for polishing pomades are as follows3 7#a7 #e lb4 lard and yellow vaseline is melted and mixed with #a lb4 fine rouge4 7#b7 #b lb4 palm oil and #b lb4 vaseline are melted together1 and then #a lb4 rouge1 #djj grains tripoli1 and #bj grains oxalic acid are stirred in4 7#c7 #d lb4 fatty petroleum and #a lb4 lard are heated and mixed with #a lb4 of rouge4 ,the polishing pomades are generally perfumed with essence of myrbane4 ,polishing powders are prepared as follows3 7#a7 #d lb4 magnesium carbonate1 #d lb4 chalk1 and #g lb4 rouge are intimately mixed4 7#b7 #d lb4 magnesium carbonate are mixed with #aej grains fine rouge4 ,an excellent and harmless polishing water is prepared by shaking together #bej grains floated chalk1 #a lb4 alcohol1 and #bj grains ammonia4 ,gilded articles are most readily cleansed with a solution of #e grains borax in #ajj parts water1 by means of a sponge or soft brush4 ,the articles are then washed in pure water1 and dried with a soft linen rag4 ,silverware is cleansed by rubbing with a solution of sodium hyposulphite4 ,,black ,,paints4 ,carbon1 in one form or another1 is the base of all black pigments4 ,by far the most common of these1 as used in structural plants1 is graphite4 ,other black pigments are lamp-black 7including carbon black7 and bone-black1 the former being produced in many grades1 varying in price from twopence to half a crown per pound4 ,bone-black1 which is refuse from the sugar-house black1 varies in the percentage of carbon contained1 which is usually about #aj or #ab per cent1 the remainder being the mineral matter originally present in the bone1 and containing #c or #d per cent of carbonate1 whilst most of the remainder is phosphate of lime4 ,lamp-black is an absolutely impalpable powder1 which having a small amount of greasy matter in it1 greatly retards the drying of the oil with which it may be mixed4 ,for this reason it is not used by itself1 but is added in small quantity to other paints1 which it affects by changing their colour1 and probably their durability4 ,for example1 it is a common practice to add it to red lead1 in order to tone down its brilliant colour1 and also to correct the tendency it has to turn white1 due to the conversion of the red oxide of lead into the carbonate4 ,,black ,,stain ,,for ,,iron4 ,for colouring iron and steel a dead black of superior appearance and permanency1 the following is a good formula3 #a part bismuth chloride1 #b parts mercury bi-chloride1 #a part copper chloride1 #f parts hydrochloric acid1 #e parts alcohol1 and #ej parts lamp-black1 these being all well mixed4 ,to use this preparation successfully--the article to be blacked or bronzed being first made clean and free from grease--it is applied with a swab or brush1 or1 better still1 the object may be dipped into it2 the liquid is allowed to dry on the metal1 and the latter is then placed in boiling water1 the temperature being maintained for half an hour4 ,if1 after this1 the colour is not so dark as is desired1 the operation has simply to be repeated1 and the result will be found satisfactory4 ,after obtaining the desired degree of colour1 the latter is fixed1 as well as much improved generally1 by placing for a few minutes in a bath of boiling oil1 or by coating the surface with oil1 and heating the object till the oil is completely driven off ,the intense black obtained by this method is admirable4 ,another black coating for ironwork1 which is really a lacquer1 is obtained by melting ozokerite1 which becomes a brown resinous mass1 with a melting-point at #adj deg4 ,f4 ,the melted mass is then further heated to #bab deg4 ,f41 the boiling-point of water4 ,the objects to be lacquered are scoured clean by rubbing with dry sand1 and are dipped in the melted mass4 ,they are then allowed to drip1 and the ozokerite is ignited by the objects being held over a fire4 ,after the ozokerite has burned away1 the flame is extinguished1 and the iron acquires a firmly adhering black coating1 which resists atmospheric influences1 as well as acids and alkalies4 ,if the black iron vessels are to contain alkaline liquids1 the above operation is repeated4 ,a good cheap stock black paint or varnish for ironwork is prepared1 as follows3 ,clear 7solid7 wood tar1 #aj lb42 lamp black or mineral black1 #a-a_/d lb42 oil of turpentine1 #e-a_/b quarts4 ,the tar is first heated in a large iron pot to boiling-point1 or nearly so1 and the heat is continued for about #d hours4 ,the pot is then removed from the fire out of doors1 and while still warm1 and not hot1 the turpentine1 mixed with the black1 is stirred in4 ,if the varnish is too thick to dry quickly1 add more turpentine4 ,benzine can be used instead of turpentine1 but the results are not so good4 ,asphaltum is preferable to the cheap tar4 ,to make another good black varnish for ironwork1 take #h lb4 of asphaltum and fuse it in an iron kettle1 then add #b gallons of boiled linseed oil1 #a lb4 of litharge1 #a_/b lb4 of sulphate of zinc 7add these slowly1 or the mixture will boil over71 and boil them for about #c hours4 ,then1 add #a-a_/b lb4 of dark gum amber1 and boil for #b hours longer1 or until the mass will become quite thick when cool4 ,after this it should be thinned with turpentine to the proper consistency4 ,,varnishes ,,for ,,ironwork4 ,a reliable authority gives the following as a very good recipe for ironwork varnish4 ,take #b lb4 of tar oil1 #a_/b lb4 of pounded resin1 and #a_/b lb4 of asphaltum1 and dissolve together1 and then mix while hot in an iron kettle1 taking all care to prevent the flames getting into contact with the mixture4 ,when cold the varnish is ready for application to outdoor ironwork4 ,another recipe is to take #c lb4 of powdered resin1 place it in a tin or iron vessel1 and add thereto #b-a_/b pints of spirits of turpentine1 which well shake1 and then let it stand for a day or two1 giving it an occasional shake4 ,then add to it #e quarts of boiled oil1 shake it thoroughly well all together1 afterwards letting it stand in a warm room till it gets clear4 ,the clear portion can then be drawn off and used1 or reduced with spirits of turpentine till of the requisite consistency4 ,for making a varnish suitable for iron patterns1 take sufficient oil of turpentine for the purpose of the job in hand1 and drop into it1 drop by drop1 some strong commercial oil of vitriol1 when the acid will cause a dark syrupy precipitate in the oil of turpentine1 and continue to add the drops of vitriol till the precipitate ceases to act1 after which pour off the liquid and wash the syrupy mass with water1 when it will be ready for use4 ,when the iron pattern is to be varnished1 it must be heated to a gentle degree1 the syrupy product applied1 and then the article allowed to dry4 ,a fine black varnish suitable for the covering of broken places in sewing machines and similar articles1 where the japanned surface has become injured or scratched1 can be made by taking some fine lamp-black or ivory-black1 and thoroughly mixing it with copal varnish4 ,the black must be in a very fine powder1 and to mix the more readily it should be made into a pasty mass with turpentine4 ,for the ordinary repairing shop this will be found very handy4 ,the following is a simple way for tarring sheet-iron pipes to prevent rusting4 ,the sections as made should be coated with coal tar1 and then filled with light wood shavings1 and the latter set alight4 ,the effect of this treatment will be to render the iron practically proof against rust for an indefinite period1 rendering future painting unnecessary4 ,it is important1 of course1 that the iron should not be made too hot1 or kept hot for too long a time1 lest the tar should be burnt off4 ,the following is a varnish for iron and steel given by a recognized authority3 #e parts of camphor and elemi1 #ae parts of sandarach1 and #aj parts of clear grains of mastic1 are dissolved in the requisite quantity of alcohol1 and applied cold4 ,another good black enamel for small articles can be made by mixing #a lb4 of asphaltum with #a lb4 of resin in #d lb4 of tar oil1 well heating the whole in an iron vessel before applying4 ,a good brown japan can be prepared by separately heating equal quantities of amber and asphaltum1 and adding to each one-half the quantity by weight of boiled linseed oil4 ,both compounds are then mixed together4 ,copal resin may be substituted for the amber1 but it is not so durable4 ,oil varnish made from amber is highly elastic4 ,if it is used to protect tin-plate printing1 when the plates after stoving have been subsequently rolled so as to distort the letters1 the varnish has in no way suffered1 and its surface remains unbroken4 ,a bronzing composition for coating iron consists of #abj parts mercury1 #aj parts tin1 #bj parts green vitriol1 #abj parts water1 and #ae parts hydrochloric acid of #a4b specific gravity4 ,,section ,,vi4 ,,processes ,,for ,,tin-,,plating4 ,in these days of making everything look what it is not1 perhaps the best and cheapest substitute for silver as a white coating for table ware1 culinary vessels1 and the many articles requiring such a coating1 is pure tin4 ,it does not compare favourably with silver in point of hardness or wearing qualities1 but it costs very much less than silver1 is readily applied1 and can be easily kept clean and bright4 ,in tinning hollow ware on the inside the metal article is first thoroughly cleansed by pickling it in dilute muriatic or sulphuric acid and then scouring it with fine sand4 ,it is then heated over a fire to about the melting-point of tin1 sprinkled with powdered resin1 and partly filled with melted pure grain tin covered with resin to prevent its oxidation4 ,the vessel is then quickly turned and rolled about in every direction1 so as to bring every part of the surface to be covered in contact with the molten metal4 ,the greater part of the tin is then thrown out and the surface rubbed over with a brush of tow to equalize the coating2 and if not satisfactory the operation must be repeated4 ,the vessels usually tinned in this manner are of copper and brass1 but with a little care in cleaning and manipulating1 iron can also be satisfactorily tinned by this means4 ,the vessels to be tinned must always be sufficiently hot to keep the metal contained in them thoroughly fused4 ,this is covering by contact with melted tin4 ,the amalgam process is not so much used as it was formerly4 ,it consists in applying to the clean and dry metallic surface a film of a pasty amalgam of tin with mercury1 and then exposing the surface to heat1 which volatilizes the latter1 leaving the tin adhering to the metal4 ,the immersion process is the best adapted to coating articles of brass or copper4 ,when immersed in a hot solution of tin properly prepared the metal is precipitated upon their surfaces4 ,one of the best solutions for this purpose is the following3-- ,ammonia alum #ag-a_/d oz4 ,boiling #ab-a_/b lb4 ,protochloride of tin #a oz4 ,the articles to be tinned must be first thoroughly cleansed1 and then kept in the hot solution until properly whitened4 ,a better result will be obtained by using the following bath1 and placing the pieces in contact with a strip of clean zinc1 also immersed3-- ,bitartrate of potassium #ad oz4 ,soft water #bd ,protochloride of tin #a ,it should be boiled for a few minutes before using4 ,the following is one of the best solutions for plating with tin by the battery process3-- ,potassium pyrophosphate #ab oz4 ,protochloride of tin #d-a_/b ,water #bj ,the anode or feeding-plate used in this bath consists of pure ,banca tin4 ,this plate is joined to the positive 7copper or carbon7 pole of the battery1 while the work is suspended from a wire connected with the negative 7zinc7 pole4 ,a moderately strong battery is required1 and the work is finished by scratch-brushing4 ,in ,weigler's process a bath is prepared by passing washed chlorine gas into a concentrated aqueous solution of stannous chloride to saturation1 and expelling excess of gas by warming the solution1 which is then diluted with about ten volumes of water1 and filtered1 if necessary4 ,the articles to be plated are pickled in dilute sulphuric acid1 and polished with fine sand and a scratch-brush1 rinsed in water1 loosely wound round with zinc wire or tape1 and immersed in the bath for ten or fifteen minutes at ordinary temperatures4 ,the coating is finished with the scratch-brush and whiting4 ,by this process cast-or wrought-iron1 steel1 copper1 brass1 and lead can be tinned without a separate battery4 ,the only disadvantage of the process is that the bath soon becomes clogged up with zinc chloride1 and the tin salt must be frequently removed4 ,in ,hern's process a bath composed of-- ,tartaric acid #b oz4 ,water #ajj ,soda #c ,protochloride of tin #c is employed instead of the preceding4 ,it requires a somewhat longer exposure to properly tin articles in this than in ,weigler's bath4 ,either of these baths may be used with a separate battery4 ,,section ,,vii4 ,,galvanizing4 ,galvanizing1 as a protecting surface for large articles1 such as enter into the construction of bridges1 roofs1 and shipwork1 has not quite reached the point of appreciation that possibly the near future may award to it4 ,certain fallacies existed for a long time as to the relative merits of the dry or molten and the wet or electrolytical methods of galvanizing4 ,the latter was found to be costly and slow1 and the results obtained were erratic and not satisfactory1 and soon gave place to the dry or molten bath process1 as in practice at the present day2 but the difficulty of management in connexion with large baths of molten material1 and the deterioration of the bath1 and other mechanical causes1 limit the process to articles of comparatively small size and weight4 ,the electro deposition of zinc has been subject to many patents1 and the efforts to introduce it have been lamentable in both a mechanical and financial sense4 ,most authorities recommend a current density of #ah or #bj amperes per square foot of cathode surface1 and aqueous solutions of zinc sulphate1 acetate or chloride1 ammonia1 chloride or tartrate1 as being the most suitable for deposition4 ,electrolytes made by adding caustic potash or soda to a suitable zinc salt have been found to be unworkable in practice on account of the formation of an insoluble zinc oxide on the surface of the anode and the resultant increased electrical resistance2 the electrolytes are also constantly getting out of order1 as more metal is taken out of the solution than could possibly be dissolved from the anodes by the chemicals set free on account of this insoluble scale or furring up of the anodes1 which sometimes reaches one-eighth of an inch in thickness4 ,to all intents and purposes the deposits obtained from acid solutions under favourable circumstances are fairly adhesive when great care has been exercised to thoroughly scale and clean the surface to be coated1 which is found to be the principal difficulty in the application of any electro-chemical process for copper1 lead1 or tin1 as well as for zinc1 and that renders even the application of paint or other brush compounds to futile unless honestly complied with4 ,unfortunately these acid zinc coatings are of a transitory nature1 ,their durability being incomparable with hot galvanizing1 as the deposit is porous and retains some of the acid salts1 which cause a wasting of the zinc1 and consequently the rusting of the iron or steel4 ,castings coated with acid zinc rust comparatively quickly1 even when the porosity has been reduced by oxidation1 aggravated no doubt by some of the corroding agents--sal-ammoniac1 for instance--being forced into the pores of the metal4 ,other matters of serious moment in the electro-zincing process1 apart from the slowness of the operation1 were the uncertain nature1 thickness1 and extent of the coating on articles of irregular shape1 and the formation of loose1 dark-coloured patches on the work2 the unhealthy and non-metallic look and want of brilliancy and the lustre prevented engineers and the trade from accepting the process or its results1 except for the commoner articles of use4 ,to obviate any tendency of the paint to peel off from the zinc surface1 as it generally manifests a disposition to do1 it is recommended to coat all the zinc surfaces1 previous to painting them1 with the following compound3 #a part chloride of copper1 #a part nitrate of copper1 #a part sal-ammoniac1 dissolved in #fa parts of water1 and then add #a part commercial hydrochloric acid4 ,when the zinc is brushed over with this mixture it oxidizes the surface1 turns black1 and dries in from twelve to twenty-four hours1 and may then be painted over without any danger of peeling4 ,another and more quickly applied coating consists of1 bi-chloride of platinum1 #a part dissolved in #aj parts of distilled water1 and applied either by a brush or sponge4 ,it oxidizes at once1 turns black1 and resists the weak acids1 rain1 and the elements generally4 ,zinc surfaces1 after a brief exposure to the air1 become coated with a thin film of oxide--insoluble in water--which adheres tenaciously1 forming a protective coating to the underlying zinc4 ,so long as the zinc surface remains intact1 the underlying metal is protected from corrosive action1 but a mechanical or other injury to the zinc coating that exposes the metal beneath1 in the presence of moisture causes a very rapid corrosion to be started1 the galvanic action being changed from the zinc positive to zinc negative1 and the iron1 as the positive element in the circuit1 is corroded instead of the zinc4 ,when galvanized iron is immersed in a corrosive liquid1 the zinc is attacked in preference to the iron1 provided both the exposed parts of the iron and the protected parts are immersed in the liquid4 ,the zinc has not the same protective quality when the liquid is sprinkled over the surface and remains in isolated drops4 ,sea air1 being charged with saline matters1 is very destructive to galvanized surfaces1 forming a soluble chloride by its action4 ,as zinc is one of the metals most readily attacked by acids1 ordinary galvanized iron is not suitable for positions where it is to be much exposed to an atmosphere charged with acids sent into the air by some manufactories1 or to the sulphuric acid fumes found in the products of combustion of rolling mills1 iron1 glass1 and gas works1 etc41 and yet we see engineers of note covering-in important buildings with corrugated and other sheets of iron1 and using galvanized iron tie rods1 angles1 and other constructive shapes in blind confidence of the protective power of the zinc coating2 also in supreme indifference as to the future consequences and catastrophes that arise from their unexpected failure4 ,the comparative inertia of lead to the chemical action of many acids has led to the contention that it should form as good1 if not a better1 protection of iron than zinc1 but in practice it is found to be deficient as a protective coating against corrosion4 ,a piece of lead-coated iron placed in water will show decided evidences of corrosion in twenty-four hours4 ,this is to be attributed to the porous nature of the coating1 whether it is applied by the hot or wet 7acid7 process4 ,the lead does not bond to the plate as well as either of the other metals--zinc1 tin1 copper1 or any alloys of them4 ,the following table gives the increase in weight of different articles due to hot galvanizing3-- ---------------------------------------- ------------------------- ,description of ,weight of ,zinc ,percentage ,article per ,square foot of ,increase of ,weight ---------------------------------------- ------------------------- ,thin sheet-iron #a4aif oz4 #ah4b #e_/af-;in4 plates #a4gf #b4j #d-;in4 cut nails #b4ai #f4gb #g_/h-;in4 die bolt and nut approximately #a4bjf oz4 #a4jj ---------------------------------------- ------------------------- ,tin is often added to the hot bath for the purpose of obtaining a smoother surface and larger facets1 but it is found to shorten the life of the protective coating very considerably4 ,a portion of a zinc coating applied by the hot process was found to be very brittle1 breaking when attempts were made to bend it2 the average thickness of the coating was 4#jae inch4 ,an analysis gave the following result3 tin1 #b4bj2 iron1 #c4gh2 arsenic1 a trace2 zinc 7by difference71 #id4jb4 ,a small quantity of iron is dissolved from all the articles placed in the molten zinc bath1 and a dross is formed amounting in many cases to #be per cent of the whole amount of zinc used4 ,the zinc-iron alloy is very brittle1 and contains by analysis #f per cent of iron1 and is used to cast small art ornaments from4 ,a hot galvanizing plant1 having a bath capacity of #aj feet by #d feet by #d-a_/b feet outside dimensions1 and about #a inch in thickness1 will hold #bh tons of zinc4 ,with equal amounts of zinc per unit of area1 the zinc coating put on by the cold process is more resistant to the corroding action of a saturated solution of copper sulphate than is the case with steel coated by the ordinary hot galvanizing process2 or1 to put it in another form1 articles coated by the cold process should have an equally long life under the same conditions of exposure that hot galvanized articles are exposed to1 and with less zinc than would be necessary in the ordinary hot process4 ,the hardness of a zinc surface is a matter of some importance4 ,with this object in view aluminium has been added from a separate crucible to the molten zinc at the moment of dipping the article to be zinced1 so as to form a compound surface of zinco-aluminium1 and to reduce the ashes formed from the protective coverings of sal-ammoniac1 fat1 glycerine1 etc4 ,the addition of the aluminium also reduces the thickness of the coating applied4 ,cold and hot galvanized plates appear to stand abrasion equally well4 ,both pickling and hot galvanizing reduce the strength1 distort and render brittle iron and steel wires of small sections4 ,,the ,,end4 ,,index4 ,a ,amalgam process in tin-plating1 #ei4 ,appliances and apparatus used in japanning and enamelling1 #bi4 ,b ,battery process in tin-plating1 #ei4 ,black grounds1 #aa4 ---- japan grounds on metal1 common1 #ab4 ---- paints1 #eb4 ---- pigment1 #df4 ---- stain for iron1 #ec4 ---- varnish for sewing machines1 #ef4 ,blue japan grounds1 #i4 ---- pigment1 #df4 ,brass1 polished1 colours for1 #di-eg4 ,brick ovens1 #cc4 ,bright pale yellow grounds1 #aj4 ,bronzing composition1 #di4 ,brown japan1 #eg4 ,bunsen burner1 #cc4 ,c ,carriage varnish1 #ea4 ,colours for polished brass1 #di4 ,common black japan grounds on metal1 #ab4 ,composition for bronzing1 #di4 ,cream enamel1 #h4 ,e ,enamelling and japanning stoves1 #bi-df4 ---- ---- ---- ---- heated by direct fire1 #cd4 ---- ---- ---- ---- heated by hot-water pipes1 #cf4 ---- or japanning metals1 #bj-bh4 ---- old work1 #bg4 ,f ,first stage in the japanning of wood1 #e4 ---- ---- in the japanning of leather1 without a priming1 #e4 ,g ,galvanized iron1 painting on1 #di4 ,galvanizing1 #fa-ff4 ,golden varnish for metal1 #ea4 ,green japan grounds1 #aj4 ---- pigment1 #df4 ,ground1 red japan1 #aj4 ---- scarlet japan1 #i4 ---- tortoise-shell1 #ab4 ,grounds1 black1 #aa4 ---- black japan1 #ab4 ---- blue japan1 #i4 ---- bright pale yellow1 #aj4 ---- green japan1 #aj4 ---- japan1 #f-ai4 ---- orange-coloured1 #aa4 ---- purple1 #aa4 ---- white japan1 #g ,h ,heating stoves by direct fire1 #cd4 ---- ---- by hot-water pipes1 #cf4 ,hern's process in tin-plating1 #fj4 ,i ,immersion process in tin-plating1 #ei4 ,iron1 black stain for1 #ec4 ---- galvanized1 painting on1 #di4 ,ironwork1 varnishes for1 #ee4 ,j ,japan1 brown1 #eg4 ---- ground1 red1 #aj4 ---- ---- scarlet1 #i4 ---- ---- grounds1 #f-ai4 ---- ---- black1 #ab4 ---- ---- blue1 #i4 ---- ---- green1 #aj4 ---- ---- white1 #g4 ---- work1 painting1 #ac4 ---- ---- varnishing1 #ag4 ,japanese gold size1 #ad4 ,japanese lacquer1 #dg4 ,japanning and enamelling stoves1 #cd4 ---- ---- ---- ---- heated by direct fire1 #cd4 ---- ---- ---- ---- heated by hot-water pipes1 #cf4 ---- leather without a priming1 first stage1 #e4 ---- or enamelling metals1 #bj-bh4 ---- tin1 #be4 ---- wood1 first stage1 #e4 ,l ,lacquer1 ,japanese1 #dg4 ,m ,metal1 golden varnish for1 #ea4 ---- polishes1 #ea4 ,metals1 japanning or enamelling1 #bj-bh4 ,modern japanning and enamelling stoves1 #cd4 ,n ,natural ,japanese lacquer1 #dg4 ---- lacquer1 #de4 ,o ,oil vehicle1 #ad4 ,old work1 enamelling1 #bg4 ,orange-coloured grounds1 #aa4 ,p ,painting japan work1 #ac4 ---- on galvanized iron1 #di4 ---- ---- zinc1 #di4 ,paints1 black1 #eb4 ,pigments suitable for japanning with natural lacquer1 #de4 ---- black1 #df4 ---- blue1 #df4 ---- green1 #df4 ---- red1 #df4 ---- white1 #de4 ---- yellow1 #df4 ,polished brass1 colours for1 #di4 ,preparing the surface to be japanned1 #d4 ,priming the surface to be japanned1 #d4 ,processes for tin-plating1 #eh4 ,purple grounds1 #aa4 ,r ,red japan ground1 #aj4 ---- pigments1 #df4 ,s ,scarlet japan ground1 #i4 ,sewing machines1 black varnish for1 #ef4 ,shellac varnish1 #f4 ,stoves1 modern japanning and enamelling1 #cd4 ,stove1 the enamelling and japanning1 #bi-de4 ,surface to be japanned1 priming or preparing the1 #d4 ,t ,tin1 japanning1 #be4 ,tin-plating1 colours for1 #eh4 ,tin-plating1 amalgam process1 #ei4 ---- battery process1 #ei4 ---- ,hern's process1 #fj4 ---- immersion process1 #ei4 ---- ,weigler's process1 #fj4 ,tortoise-shell ground1 #ab4 ,u ,urushiol1 #dg4 ,v ,varnish1 carriage1 #ea1 ---- for iron and steel1 #eg4 ---- for metal1 golden1 #ea4 ---- shellac1 #f4 ,varnishes for iron work1 #ee4 ,varnishing japan work1 #ag4 ,w ,weigler's process of tin-plating1 #fj4 ,white japan grounds1 #g4 ---- pigments1 #de4 ,wood1 first stage in the japanning of1 #e4 ,y ,yellow grounds1 bright pale1 #aj4 ---- pigments1 #df4 ,z ,zinc1 painting on1 #di4 ,,aberdeen3 ,,the ,,university ,,press 99 99 99 99 99 ,,enamels ,,and ,,enamelling ,an ,introduction to the ,preparation and ,application of all kinds of ,enamels for ,technical and ,artistic ,purposes4 ,,translated ,,from ,,the ,,german ,,of ,,paul ,,randau4 ,second and ,enlarged ,edition4 ,demy #hvo4 #aid ,pages4 ,price #ajs4 #f;d4 net4 7,post ,free1 #ajs4 #aj;d4 ,home2 #aas4 ,abroad47 ,published by ,,scott1 ,,greenwood ,,son1 #h ,,broadway1 ,,ludgate1 ,,london1 ,e4,c4 99 99 99 99 99 ,,the ,,manufacture ,,of ,,varnishes4 ,,by ,j4,g4 ,mc,i,n,t,o,s,h4 ,based on and including the work of ,,ach4 ,,livache4 ,,in ,,three ,,volumes4 ,,volume ,i4--,,oil ,,crushing1 ,,refining ,,and ,,boiling1 ,,the ,,manufacture ,,of ,,linoleum1 ,,printing ,,and ,,lithographic ,,inks1 ,,and ,,india-,,rubber ,,substitutes4 ,demy #hvo4 #aej pp4 #bi ,illustrations4 ,price #ge4 #f;d4 net4 7,post free1 #gs4 #aj;d4 home2 #hs4 abroad47 ,,volume ,,ii4--,,varnish ,,materials ,,and ,,oil-,,varnish ,,making4 ,demy #hvo4 #gj ,illustrations4 #bbj pp4 ,price #ajs4 #f;d4 net4 7,post free1 #ajs4 #aj;d4 home2 #aas4 #c;d4 abroad47 ,,volume ,,iii4--,,spirit ,,varnishes ,,and ,,spirit ,,varnish ,,materials4 ,demy #hvo4 #fd ,illustrations4 #dfd pp4 ,price #abs4 #f;d4 net4 7,post free1 #acs4 home2 #acs4 #f;d4 abroad47 ,send for ,catalogue giving ,list of ,contents of above works from ,,scott1 ,,greenwood ,,son1 #h ,,broadway1 ,,ludgate1 ,,london1 ,e4,c4 99 99 99 99 99 ,for the latest recipes1 etc41 on ,japanning you should read ,oil ,colour ,trades ,journal4 ,the ,weekly ,organ of the ,,oil1 ,,paint1 ,,varnish1 ,,soap1 ,,glue1 ,,drysaltery1 ,,and ,,allied ,,trades4 ,the ,annual ,subscription ,,for #eb ,,weekly ,,issues1 ,,post ,,free1 ,,and ,a ,,copy ,,of ,,the ,,annual ,,diary ,,and ,,trade ,,directory1 ,,carriage ,,paid1 ,,is #ajs4 ,,to ,,any ,,part ,,of ,,the ,,world4 ,a ,specimen ,copy ,,will ,,be ,,sent ,,to ,,anyone ,,sending ,,their ,,name ,,and ,,address ,,to ,,the ,,oil ,,and ,,colour ,,trades ,,journal ,,offices1 #h ,,broadway1 ,,ludgate1 ,,london1 ,e4,c4