,libraries47 ,paper and ,printing ,recipes ,a ,handy ,volume of ,practical ,recipes1 ,concerning the ,every-,day ,business of ,stationers1 ,printers1 ,binders1 and the ,kindred ,trades4 ,,published ,,by ,j4 ,,sawtelle ,,ford1 ,,office ,,of ,,the ,,stationer ,,and ,,printer1 ,,chicago4 ,entered according to the ,act of ,congress1 in the year #ahhc1 by ,j4 ,,sawtelle ,,ford1 ,in the ,office of the ,librarian at ,washington4 ,,glimpse ,,of ,,contents4 ,this ,volume has nearly ,two ,hundred valuable ,recipes for ,stationers1 ,printers1 ,bookbinders1 etc4 ,these ,recipes are thoroughly practical1 and such as come up in every day's work4 ,they have been gathered from many sources1 and are endorsed by the best workmen of the ,united ,states and ,europe4 ,,index ,,to ,,recipes4 ,,writing ,,inks4 ,removing ,writing ,ink from ,paper #a ,white ,ink #c ,purple ,hektograph ,ink #c ,a ,dark ,red ,indelible ,ink #d ,making ,carmine #d ,violet ,ink #e ,indelible ,ink #e ,to make ,black ,ink #f ,an ,ink which cannot be ,erased #f ,copying ,ink to be used without ,press or ,water #c ,a ,cardinal ,ink #g ,a ,portable ,ink #bh ,indelible ,india ,ink #bh ,copying ,inks #bi ,invisible ,writing #fh ,,printing ,,inks4 ,to ,prevent ,colored ,inks from becoming ,hard #ha ,to keep ,colored ,inks from ,skinning #ha ,to ,preserve ,colored ,inks #hb ,how to ,brighten ,common ,qualities of ,colored ,inks #hc ,a ,good ,dryer #gi ,a ,quick ,dryer #fa ,improved ,dryer for ,printing ,ink #ff ,to take ,printer's ,ink out of ,silk #ag ,red ,printing ,ink #fh ,black ,printing ,ink #fi ,colors for ,printing ,ink #ga ,principal ,colors of ,gold for ,grinding #de ,,marking ,,inks1 ,,etc4 ,ink for ,rubber ,stamps #g ,marking ,ink #aj ,black ,ink for ,stencils #f ,stencil ,ink #b ,blue ,marking ,ink for ,white ,goods #aj ,,removal ,,of ,,ink ,,stains1 ,,etc4 ,to ,remove ,writing ,ink from ,paper #a ,to ,remove ,aniline ,ink from the ,hands #h ,to take ,ink ,stains from the ,hands #i ,to ,remove ,grease ,spots from ,paper #ac ,how to ,remove ,colored ,inks #ha ,paper for taking out ,ink ,stains #ad ,to ,remove ,ruling ,ink ,stains from ,fingers #ag ,to ,remove ,ink ,spots #ai ,to ,remove ,oil ,marks from ,paper #bj ,to ,remove ,ink ,stains from ,mahogany #bj ,,care ,,of ,,books4 ,care of ,books #gh ,to ,destroy ,book ,worms #gg ,how to ,prevent ,mildew on ,books #gh ,,glues1 ,,pastes1 ,,mucilage1 ,,etc4 ,solid ,pocket ,glue #bj ,to ,test ,glue #ba ,book-,binder's ,glue #bb ,cement for ,glass #bb ,postage ,stamp ,mucilage #bf ,to keep ,mucilage ,fresh #bf ,mucilage #bg ,mucilage for ,pasteboard #bg ,cement for ,labels #bc ,a ,colorless ,cement #bc ,a ,cement that will ,resist the ,damp #bd ,to make ,glue ,water-proof #bd ,two ,glue ,receipts #be ,a ,good ,paster #bi ,a ,paste which will not ,spoil #bi ,a ,silver ,solder #cj ,an ,article for ,labeling ,bottles #h ,for ,making ,dextrine #gj ,,printers' ,,varnishes4 ,a ,varnish for ,color ,prints #hb ,printers' ,varnish #hc ,a ,varnish for ,paper #ac ,a ,transparent ,paper ,varnish #ec ,,color ,,and ,,gold ,,leaf ,,printing4 ,to ,fix ,bronze ,colors on ,glass #gg ,a ,bronze or ,changeable ,hue #hj ,gold ,leaf ,printing #hj ,inking ,surfaces for ,color ,work #hb ,colors for ,holding ,bronze #b ,colors for ,printing #ea ,,electrotyping4 ,to ,prevent ,electrotype ,blocks from ,warping #fi ,electrotyping on ,china #db ,electrotyping ,handwriting #ce ,,wood ,,cuts ,,and ,,engraving4 ,care of ,wood ,cuts #ge ,to ,produce ,engraving or ,types for ,printing by ,photography #ae ,different kinds of ,engraving #cf ,care of ,wood ,type #ch ,to ,restore the ,original ,whiteness of ,copper plate1 ,wood ,engravings1 etc4 #db ,to ,transfer ,engraving to ,mother of ,pearl #ci ,an ,improved ,process of ,photo-,engraving #ca ,to ,prevent ,warping in ,blocks and ,wood #fa ,stereotyping ,wood ,cuts #df ,,paper4 ,waterproof ,paper #ef ,how to ,size poor ,drawing ,paper #ef ,paper ,soft and ,flexible #ai ,incombustible ,writing and ,printing ,paper #ag ,blue-,black ,writing ,paper #aj ,electric ,paper #cj ,tinning ,paper and ,cloth #gg ,gummed ,paper from ,cockling #eg ,qualities of ,good ,paper #ad ,impermeable ,paper #ec ,aniline ,ink ,paper #af ,to make ,paper ,fine and ,water-proof #eb ,to ,bleach ,sheepskin ,parchment ,white #ej ,carbon ,paper #ed ,luminous ,paper #ed ,sizes and ,weights of ,drawing ,paper #ee ,bronzed ,paper #ee ,transparent ,drawing ,paper #ef ,paper for ,labels #ad ,to ,split a ,sheet of ,paper #ae ,photo-,lithographic ,transfer ,paper #cb ,,miscellaneous4 ,an ,ink ,restorer #b ,to ,obtain a ,bright and ,lasting ,red ,edge #da ,to ,mount ,chromos #ec ,sealing ,wax #fi ,photo ,prints on ,glass #df ,enamel for ,fine ,cards #ce ,to ,bend a ,rule #fg ,to ,make a ,corroded ,pen #ca ,to ,restore the ,lustre of ,morocco ,leather #da ,non-erasible ,pencil ,marks #da ,copy ,drawing in ,color #eg ,black ,paint for ,blackboards #cc ,to ,preserve ,pencil ,sketches #cg ,treatment of ,india ,ink ,drawings #i ,to ,clean ,gilt ,frames #fg ,cleaning ,new ,machinery #fg ,washing ,forms #ei ,a ,hardening ,gloss for ,inks #hd ,a ,modeling ,material #hd ,leaf ,copying #hd ,usual ,sizes and ,weights of ,book papers #hf ,usual ,sizes and ,weights ,colored ,print or ,poster #hf ,painting on ,ebonized ,wood #dc ,to ,clean ,steel ,pens #cc ,to ,clean a ,chamois ,skin #ab ,dryer for ,ruling ,inks #he ,usual ,sizes and ,weights of ,news ,printing ,paper #hf ,usual ,sizes of ,flat and ,ledger ,papers #hg ,size of ,newspaper ,sheets and ,number of ,columns #he ,,stationers' ,,windows4 ,stationers' ,windows #cc ,hints on ,dressing the ,store ,windows #ab ,to ,prevent ,window ,steaming #ah ,,gilding4 ,for ,cheaply ,gilding ,bronze1 etc4 #aa ,electro-,gilding in ,colors #ai ,how ,gilding is ,done #dc ,gilding with ,gold ,leaf #df ,gilding on ,wood #dg ,gilding in ,oil #dh ,,metals4 ,coloring ,metals #aa ,copper ,plating on ,zinc #ch ,an ,alloy for ,glass or ,metal #cj ,writings on ,metals #de ,,type4 ,laying ,type #gf ,metal for ,stereotyping #dj ,effect of ,petroleum ,oil on ,wood ,type #gi ,remedy for ,type that ,sticks in ,distributing #gf ,care of ,wood ,type #ch ,to ,ascertain the ,quantity of ,plain ,type ,required for ,newspapers #ge ,repairing ,battered ,wood ,type #hb ,,printers' ,,rollers4 ,keeping ,rollers when not in ,use #fb ,preservative of ,rollers when not in ,use #fb ,rollers in ,summer ,time #fc ,to ,keep ,green ,mould from ,rollers #fc ,treatment of ,old ,rollers #fd ,a ,recipe for ,printer's ,rollers #fd ,when to ,wash ,rollers #ff ,oils for ,lubricating ,roller ,moulds #fb ,,printing ,,methods4 ,gloss ,printing #di ,colors for ,printing #ea ,off-,setting #hc ,printing ,envelopes #fj ,on ,casting ,up #gd ,to ,prevent ,set-off #fa ,temperature of the ,pressroom #fe ,,lye4 ,a ,strong ,lye #gi ,a ,cheap ,lye #gg ,paper and ,printing ,recipes4 ,,how ,,to ,,remove ,,common ,,writing ,,ink ,,from ,,paper ,,without ,,injury ,,to ,,the ,,print4 ,common writing ink may be removed from paper without injury to the print by oxalic acid and lime1 carefully washing it in water before restoring it to the volume4 ,,to ,,render ,,pencil ,,notes ,,indelible4 ,pencil notes found in a book1 or placed there as annotations1 may be rendered indelible by washing them with a soft sponge dipped in warm vellum size or milk4 ,,to ,,remove ,,grease ,,spots ,,from ,,paper4 ,grease may be removed from paper in the following manner3 ,warm gradually the parts containing the grease1 and extract as much as possible of it by applying blotting-paper4 ,apply to the warm paper with a soft1 clean brush1 some clear essential oil of turpentine that has been boiled1 and then complete the operation by rubbing over a little rectified spirits of wine4 ,,how ,,to ,,detect ,,arsenic ,,in ,,paper4 ,a simple method for detecting arsenic in paper1 cards1 etc41 is described as follows3--,immerse the suspected paper in strong ammonia on a white plate or saucer2 if the ammonia becomes blue1 the presence of salt of copper is proved2 then drop a crystal of nitrate of silver into the blue liquid1 and1 if any arsenic be present1 the crystal will become coated with yellow arseniate of silver1 which will disappear on stirring4 ,,an ,,ink ,,restorer4 ,the process consists in moistening the paper with water and then passing over the lines in writing a brush which has been wet in a solution of sulphide of ammonia4 ,the writing will immediately appear quite dark in color1 and this color1 in the case of parchment1 it will preserve4 ,,colors ,,for ,,holding ,,bronze4 ,red and green inks are good colors for holding bronze1 when you are not working with size or varnish4 ,,stencil ,,ink4 ,a good and cheap stencil ink in cakes is said to be obtained by mixing lampblack with fine clay1 a little gum arabic or dextrine1 and enough water to bring the whole to a satisfactory consistence4 ,,copying ,,ink ,,to ,,be ,,used ,,without ,,press ,,or ,,water4 ,well mix three pints of jet-black writing ink and one pint of glycerine4 ,this1 if used on glazed paper1 will not dry for hours1 and will yield one or two fair1 neat1 dry copies1 by simple pressure of the hand1 in any good letter copy-book4 ,the writing should not be excessively fine1 nor the strokes uneven or heavy4 ,to prevent setting off1 the leaves after copying should be removed by blotting-paper4 ,the copies and the originals are neater than where water is used4 ,,white ,,ink4 ,there is really no such article as white ink4 ,a true ink is a solution of some substance or combination of substances in liquid4 ,colored liquids1 however1 may be prepared with various substances not soluble in the liquids available for writing fluids4 ,a white ink may be made by rubbing the finest zinc white1 or white lead1 with a dilute solution of gum arabic4 ,it must be stirred up whenever the pen or brush is dipped into it4 ,,purple ,,hektograph ,,ink4 ,to make the purple hektograph ink3--,dissolve #a part of methyl-violet in #h parts of water1 and add #a part of glycerine4 ,gently warm the whole for about an hour1 then allow to cool and add #a_/d part alcohol4 ,it is said1 on good authority1 that the alcohol may be advantageously omitted1 and that the following proportions will give even better results than the above1 viz3 ,methyl-violet1 #a part2 water1 #g parts2 glycerine1 #b parts4 ,this formula1 it is said1 produces an ink which is less liable to sink into the paper4 ,a ,,dark ,,red ,,indelible ,,ink4 ,an indelible red ink for marking linen may be made from the following formula3 ,prepare three separate solutions3 ,i4 ,sodium carbonate #c drs4 ,acacia #c ,water #ab ,with this moisten the spot to be marked1 and dry and smooth with a hot flat iron4 ,,ii4 ,platinum bichloride #a dr4 ,water #b oz4 ,trace the letters with this fluid1 permit to dry1 and finally apply solution4 ,,iii4 ,stannous chloride #a dr4 ,water1 distilled #d ,,to ,,make ,a ,,carmine4 ,take #i ozs4 carbonate of soda and dissolve in #bg quarts of rain-water1 to which add #h ozs4 of citric acid4 ,when boiling1 add #a-a_/b lbs4 of best cochineal1 ground fine1 and boil for one and a quarter hours4 ,filter and set the liquor aside until cool4 ,then boil the clear liquor for ten minutes with #i-a_/b ozs4 of alum4 ,draw off1 and allow the mixture to settle for two or three days4 ,again draw off the liquor1 and wash the sediment with clear1 cold1 soft water1 and then dry the sediment4 ,,violet ,,ink4 ,to make violet ink3--,put #h ozs4 logwood into #c pints of water1 and boil until half the water has gone off in steam4 ,the rest will be good ink1 if strained1 and supplemented by #a-a_/b ozs4 gum1 and #b-a_/b ozs4 alum4 ,chloride of tin may be used instead of alum4 ,another plan is to mix1 in hot water1 #a oz4 cudbear 7a dye obtained from lichen fermented in urine7 and #a-a_/b ozs4 pearlash2 let it stand #ab hours2 strain2 add #c ozs4 gum and #a oz4 spirit4 ,,indelible ,,ink4 ,a cheap indelible ink can be made by the following recipe3--,dissolve in boiling water #bj parts of potassa1 #aj parts of fine-cut leather chips1 and #e parts of flowers of sulphur are added1 and the whole heated in an iron kettle until it is evaporated to dryness4 ,then the heat is continued until the mass becomes soft1 care being taken that it does not ignite4 ,the pot is now removed from the fire1 allowed to cool1 water is added1 the solution strained and preserved in bottles4 ,this ink will flow readily from the pen4 ,,how ,,to ,,remove ,,ink-,,stains ,,from ,,the ,,hands4 ,ripe tomatoes will remove ink or other stains from the hands4 ,,treatment ,,of ,,india ,,ink ,,drawings4 ,an easy method for rendering drawings in ,indian ink insensible to water1 and thus preventing the ink from running when the drawing has to be colored and the lines are very thick3--,to the water in which the ink has to be rubbed1 is added a weak solution of bichromate of potash of about #b per cent4 ,the animal gum contained in the ,indian ink combines with the bichrome1 and becomes insoluble under the influence of light4 ,,black ,,ink4 ,to make a black ink for fountain pens1 add #a part of nigrosein to #ej parts of hot water2 agitate well at intervals2 let it cool1 and after twelve hours filter through a fine linen cloth1 and add a few drops of carbolic acid to each pint4 ,this may be diluted with three times its volume of water1 and still form a good ink for ordinary pens4 ,,ink ,,for ,,rubber ,,stamps4 ,aniline 7red violet71 #af parts2 boiling distilled water1 #hj parts2 glycerine1 #g parts2 molasses1 #c parts4 ,,cardinal ,,ink4 ,improved cardinal ink for draughtsmen is made as follows3--,triturate #a gram of pure carmine with #ae grams of acetate ammonia solution and an equal quantity of distilled water1 in a porcelain mortar1 and allow the whole to stand for some time4 ,in this way a portion of the alumina which is combined with the carmine dye is taken up by the acetate acid of the ammonia salt and separates as precipitate1 while the pure pigment of the cochineal remains dissolved in the half saturated ammonia4 ,it is now filtered and a few drops of pure white sugar syrup added to thicken it4 ,in this way an excellent red drawing ink is obtained1 which holds its color a long time4 ,a solution of gum arabic cannot be employed to thicken this ink1 as it still contains some acetic acid1 which would coagulate the bassorine1 one of the natural constituents of gum arabic4 ,,an ,,article ,,for ,,labeling ,,bottles4 ,a very useful article for labeling bottles containing substances which would destroy ordinary labels consists of a mixture of ammonium fluoride1 barium sulphate and sulphuric acid1 the proportions for its manufacture being3 barium sulphate1 #c parts2 ammonium fluoride1 #a part2 and sulphuric acid enough to decompose the fluoride and make a mixture of semi-fluid consistency4 ,this mixture1 when brought in contact with a glass surface with a common pen1 at once etches a rough surface on the parts it comes in contact with4 ,the philosophy of the action is the decomposition of the ammonium fluoride by the acid1 which attacks the glass2 the barium sulphate is inert1 and is simply used to prevent the spreading of the markings4 ,the mixture must be kept in bottles coated on the inside with paraffine or wax4 ,,how ,,to ,,remove ,,aniline ,,ink ,,from ,,the ,,hands4 ,aniline inks are now in common use1 especially in connection with the various gelatine tablets for multiplying copies of written matter4 ,upon the hands it makes annoying stains1 difficult of removal by water or acids4 ,they may be easily washed out by using a mixture of alcohol #c parts1 and glycerine #a part4 ,,an ,,ink ,,which ,,cannot ,,be ,,erased4 ,an ink which cannot be erased from paper or parchment by any known chemical solvent1 and will retain its original color indefinitely1 and last as long as the material on which it is written1 is made as follows3--,make a solution of shellac in borax1 to which add sufficient lampblack to give the requisite depth of color4 ,,to ,,make ,,black ,,ink4 ,lactate of iron1 #ae grains2 powdered gum arabic1 #ge grains2 powdered sugar1 half a drachm2 gallic acid1 #i grains2 hot water1 #c ounces4 7,lactate of iron is a novelty in ink-making1 and the above formula may possibly suit those who have a taste for writing with mucilaginous matters instead of limpid solutions47 ,black ,ink for ,stencils4 ,the following is commended for the preparation of a black ink or paste for use with stencils3--,boneblack1 #a lb42 molasses1 #h ozs42 sulphuric acid1 #d ozs42 dextrine1 #b ozs42 water sufficient4 ,mix the acid with about two ounces of water1 and add it to the other ingredients1 previously mixed together4 ,when the effervescence has subsided1 enough water is to be added to form a paste of convenient consistence4 ,,marking ,,ink4 ,put two pennyworths' lunar caustic 7nitrate of silver7 into half a tablespoonful of gin1 and in a day or two the ink is fit for use4 ,the linen to be marked must first be wet with a strong solution of common soda1 and be thoroughly dried before the ink is used upon it4 ,the color will be faint at first1 but by exposure to the sun or the fire it will become quite black and very durable4 ,,blue ,,marking ,,ink ,,for ,,white ,,goods4 ,crystallized nitrate of silver1 dram #a ,water of ammonia1 drams #c ,crystallized carbonate of soda1 dram #a ,powdered gum arabic1 drams #a-a_/b ,sulphate of copper1 grains #cj ,distilled water1 drams #d ,dissolve the silver salt in the ammonia2 dissolve the carbonate of soda1 gum arabic1 and sulphate of copper in the distilled water1 and mix the two solutions together4 ,,blue-,,black ,,writing ,,paper4 ,take of ,aleppo galls1 bruised1 #i ozs42 bruised cloves1 #b drachms2 cold water1 #hj ozs42 sulphate of iron1 #c ozs42 sulphuric acid1 #gj minims2 indigo-paste1 #d drachms4 ,place the galls and the cloves in a gallon bottle1 pour upon them the water1 and let them macerate1 with frequent agitation1 for a fortnight4 ,press1 and filter through paper into another gallon bottle4 ,next1 put in the sulphate of iron1 dissolve it1 add the acid1 and shake the whole briskly4 ,lastly1 add the indigo-paste1 mix well1 and filter again through paper4 ,keep the ink in well-corked bottles4 ,,coloring ,,metals4 ,metals may be rapidly colored by covering their surfaces with a thin layer of sulphuric acid4 ,according to the thickness of the layer and the durability of its action1 there may be obtained tints of gold1 copper1 carmine1 chestnut-brown1 clear and aniline blue and reddish-white4 ,these tints are all brilliant1 and if care be taken to scour the metallic objects before treating them with the acid1 the color will suffer nothing from the polishing4 ,,for ,,cheaply ,,gilding ,,bronzes1 ,,etc4 ,a mixture for cheaply gilding bronzes1 gas-fittings1 etc43--,two and one-half pounds cyanide of potash1 five ounces carbonate of potash and two ounces cyanate of potass1 the whole diluted in five pints of water1 containing in solution one-fourth ounce chloride of gold4 ,the mixture must be used at boiling heat1 and1 after it has been applied1 the gilt surface must be varnished over4 ,,how ,,to ,,clean ,a ,,chamois ,,skin4 ,when a chamois skin gets into a dirty condition1 rub plenty of soft soap into it1 and allow it to soak for a couple of hours in a weak solution of soda and water4 ,then rub it until it appears quite clean4 ,now take a weak solution of warm water1 soda and yellow soap1 and rinse the leather in this liquor1 afterward wringing it in a rough towel1 and drying it as quickly as possible4 ,do not use water alone1 as that would harden the leather and make it useless4 ,when dry brush it well and pull it about2 the result will be that the leather will become almost as soft as fine silk1 and will be1 to all intents and purposes1 far superior to most new leathers4 ,,hints ,,on ,,dressing ,,the ,,store ,,windows4 ,in dressing store windows avoid as far as possible placing cards or note sheets flat2 endeavor in some manner to have them erect1 leaning against a box or placed upon a small easel4 ,neither crowd your window nor place things in exact rows4 ,give each article plenty of space in your window2 then you do not need so much to fill up1 and on the following week put in the pieces you might have displayed the previous week had you crowded your window4 ,a ,,varnish ,,for ,,paper4 ,a varnish for paper which produces no stains1 may be prepared as follows3--,clear damar resin is covered in a flask1 with four and a half to six times its weight of acetone1 and allowed to stand for fourteen days at a moderate temperature1 after which the clear solution is poured off4 ,three parts of this solution are mixed with four parts of thick collodian1 and the mixture allowed to become clear by standing4 ,it is applied with a soft hair brush in vertical strokes4 ,at first the coating looks like a thin1 white film1 but on complete drying it becomes transparent and shining4 ,it should be laid on two or three times4 ,it retains its elasticity under all circumstances1 and remains glossy in every kind of weather4 ,,to ,,remove ,,grease ,,spots ,,from ,,paper4 ,the following is a recipe for removing grease spots from paper3--,scrape finely some pipe clay on the sheet of paper which is to be cleaned4 ,let it completely cover it1 then lay a thin piece of paper over it1 and pass a heated iron on it for a few seconds4 ,then take a perfectly clean piece of ,india rubber and rub off the pipe clay4 ,in most cases one application will be found sufficient1 but if it is not1 repeat it4 ,,paper ,,for ,,taking ,,out ,,ink ,,stains4 ,thick blotting paper is soaked in a concentrated solution of oxalic acid and dried4 ,laid immediately on a blot it takes it out without leaving a trace behind4 ,,qualities ,,of ,,good ,,paper4 ,a good paper ought to feel tight and healthy1 not clammy and soft1 as if a little muscle were required4 ,paper-makers say that a good paper has plenty of guts in it1 a forcible if not extremely polite expression4 ,in buying a good paper always look out for the guts4 ,clay gives paper a soft feel4 ,perhaps the first qualification about a good writing paper is its cleanliness and freedom from specks of all kinds4 ,a dirty paper is never salable except to dirty people and firms who don't mind using dirty materials4 ,,paste ,,for ,,labels4 ,for adhesive labels dissolve #a-a_/b ozs4 common glue1 which has laid a day in cold water1 with some candy sugar1 and #c_/d oz4 gum arabic1 in #f ounces hot water1 stirring constantly till the whole is homogeneous4 ,if this paste is applied to labels with a brush and allowed to dry1 they will then be ready for use by merely moistening with the tongue4 ,,how ,,to ,,produce ,,engravings ,,or ,,types ,,for ,,printing ,,by ,,photography ,the process of producing engravings or types for printing by photography consists first1 in making a sharp negative of the picture to be engraved2 second1 in the photographic printing of a sheet of sensitized gelatine by means of the negative2 third1 the development of the printed lines upon the surface of the gelatine by water2 and fourth1 the casting of a copy of the developed gelatine sheet in metal1 the metal so produced being used for printing on the press in the ordinary manner4 ,all this is very simple1 and in the hands of experienced and skilled persons very beautiful examples of printing plates1 having all the fineness and artistic effect of superior hand engraved work1 may be produced4 ,,how ,,to ,,split ,a ,,sheet ,,of ,,paper4 ,get a piece of plate glass and place on it a sheet of paper2 then let the paper be thoroughly soaked4 ,with care and a little dexterity the sheet can be split by the top surface being removed4 ,but the best plan is to paste a piece of cloth or strong paper on each side of the sheet to be split4 ,when dry1 violently and without hesitation pull the two pieces asunder1 when part of the sheet will be found to have adhered to one and part to the other4 ,soften the paste in water and the pieces can be easily removed from the cloth4 ,the process is generally demonstrated as a matter of curiosity1 yet it can be utilized in various ways4 ,if we want to paste in a scrap book a newspaper article printed on both sides of the paper1 and possess only one copy1 it is very convenient to know how to detach the one side from the other4 ,the paper1 when split1 as may be imagined1 is more transparent than it was before being subjected to the operation1 and the printing ink is somewhat duller2 otherwise the two pieces present the appearance of the original if again brought together4 ,,aniline ,,ink ,,paper4 ,to make aniline ink paper thick filtering paper is soaked in a very concentrated solution of an aniline dye and allowed to dry2 it may then be soaked again to make it absorb more color4 ,with a little attention it will not be difficult to prepare the paper so as to have a known quantity of coloring matter in a square of a given size4 ,paper prepared as above is very convenient to have when traveling2 when one wishes to write1 it is only necessary to tear off a small piece of the paper and let it soak in a little water4 ,aniline blue paper may also be employed conveniently for bluing in washing4 ,,to ,,make ,,incombustible ,,writing ,,and ,,printing ,,paper4 ,to make incombustible writing and printing paper1 asbestos of the best quality is treated with potassium permanganate and then with sulphuric acid4 ,about ninety-five per cent of such asbestos is mixed with five per cent of wood pulp in water containing borax and glue4 ,a fire proof ink is made of platinous chloride and oil of lavender1 mixed for writing with ,india ink and gum1 and for printing with lampblack and varnish4 ,,how ,,to ,,take ,,printers' ,,ink ,,out ,,of ,,silk4 ,to take printer's ink out of silk without damaging the goods3--,put the stained parts of the fabric into a quantity of benzine1 then use a fine1 rather stiff brush1 with fresh benzine4 ,dry and rub bright with warm water and curd soap4 ,the benzine will not injure the fabric or dye4 ,,to ,,remove ,,ruling ,,ink ,,stains ,,from ,,fingers4 ,wash in chloride of lime and then rinse hands in a spoonful of alcohol4 ,the operation should be done quickly1 as the lime1 of course1 eats into the flesh4 ,the alcohol renders the hands smooth again1 and takes away the disagreeable odor4 ,,to ,,prevent ,,window ,,steaming4 ,a remedy against window steaming is composed of methylated spirit at about #fc per cent over-proof1 glycerine and any of the essential oils1 and in some cases amber dissolved in spirit1 according to the state of the atmosphere4 ,about eight ounces of glycerine to about one gallon of spirit1 the quantity of essential oil depending upon the nature of the same2 but it will be understood that these proportions may be varied4 ,instead of methylated spirit1 spirit of wine may be employed1 but methylated spirit is preferable as being the cheaper4 ,in combining the above-named ingredients1 the essential is destroyed by being mixed with the methylated spirit or with the spirit of wine1 and the liquid is then incorporated with the glycerine4 ,the combination is affected at the ordinary temperature1 the employment of heat being unnecessary4 ,this liquid composition is applied to the internal surface of the pane of glass or the lens1 either by rubbing it on with felt or with cotton-waste1 or by spreading it thereon with a camel's hair brush1 or with other suitable appliances1 and thus the dull and dimmed appearance of glass usually produced by condensation--known as steaming or sweating--is avoided4 ,,to ,,render ,,paper ,,soft ,,and ,,flexible4 ,to render paper soft and flexible1 heat it with a solution of acetate of soda1 or of potash dissolved in four to ten times its weight of water4 ,for permanent paper1 to twenty parts of this solution one part of starch or dextrine is added4 ,if the paper has to be made transparent1 a little of a solution containing one part soluble glass in four to eight parts water is added4 ,to render the paper fit for copying without being made wet1 to the acetate solution chromic acid or ferro-cyanide of potassium is added4 ,,to ,,remove ,,ink ,,spots4 ,first moisten the blots with a strong solution of oxalic acid1 then with a clear saturated aqueous solution of fresh chloride of lime--bleaching powder4 ,absorb excess of the liquids from the paper as quickly as possible with a clean piece of blotting paper4 ,repeat the treatment if necessary1 and dry thoroughly between blotting pads under pressure4 ,,electro ,,gilding ,,in ,,colors4 ,electro-gilding in various colors may be readily effected by adding to the gold bath small quantities of copper or silver solution until the desired tint is obtained4 ,a little silver solution added to the gilding bath causes the deposit to assume a pale yellow tint4 ,by increasing the dose of silver solution a pale greenish tint is obtained4 ,copper solution added to the gold bath yields a warm1 red gold tint4 ,it is best to use a current of rather high tension1 such as that of the ,bunsen battery1 for depositing the alloy of gold and copper4 ,,to ,,remove ,,oil ,,marks ,,from ,,paper4 ,oil marks on wall paper1 where careless persons have rested their heads1 may be removed by making a paste of cold water and pipe clay or fuller's earth1 and laying it on the stains without rubbing it in2 leave it on all night1 and in the morning it can be brushed off1 and the spot1 unless it be a very old one1 will have disappeared4 ,if old1 renew the application4 ,,to ,,remove ,,ink ,,stains ,,from ,,mahogany4 ,to remove ink stains from mahogany apply carefully with a feather a mixture of a teaspoonful of water and a few drops of nitre1 and rub quickly with a damp cloth4 ,,solid ,,pocket ,,glue4 ,is made from #fjj grams of glue and #bej grams of sugar4 ,the glue is at first completely dissolved by boiling with water2 the sugar is then introduced into the hot solution1 and the mixture evaporated until it becomes solid on cooling4 ,the hard mass dissolves very rapidly in lukewarm water1 and then gives a paste which is especially adapted for paper4 ,,to ,,test ,,glue4 ,an article of glue which will stand damp atmosphere is a desideratum among mechanics4 ,few know how to judge of quality except by the price they pay for it4 ,but price is no criterion2 neither is color1 upon which so many depend4 ,its adhesive and lasting properties depend more upon the material from which it is made1 and the method of securing purity in the raw material1 for if that is inferior and not well cleansed1 the product will have to be unduly charged with alum or some other antiseptic1 to make it keep during the drying process4 ,weathered glue is that which has experienced unfavorable weather while drying1 at which time it is rather a delicate substance4 ,to resist damp atmosphere well1 it should contain as little saline matter as possible4 ,when buying the article1 venture to apply your tongue to it1 and if it tastes salt or acid1 reject it for anything but the commonest purpose4 ,the same operation will also bring out any bad smell the glue may have4 ,these are simple and ready tests and are the ones usually adopted by dealers and large consumers4 ,another good test is to soak a weighed portion of dry glue in cold water for twenty-four hours1 then dry again and weigh4 ,the nearer it approaches to its original weight the better glue it is1 thereby showing its degree of insolubility4 ,,book-,,binders' ,,glue4 ,to prevent book-binders glue from turning sour1 add enough of the raw salicylic acid in boiling water to keep it soluble4 ,it is also commended never to keep glue in open pots1 but in cylindrical shaped vessels that admit of tight corking4 ,,how ,,to ,,make ,a ,,cement ,,for ,,glass ,,that ,,will ,,resist ,,acids4 ,to make a cement for glass that will resist acids1 the following has been recommended3--,take #aj-a_/b pounds of pulverized stone and glass1 and mix with it #d-c_/d pounds of sulphur4 ,subject the mixture to such a moderate degree of heat that the sulphur melts4 ,stir until the whole becomes homogeneous1 and then run it into molds4 ,when required for use it is to be heated to #bdh deg41 degrees1 at which temperature it melts1 and may be employed in the usual manner4 ,this1 it is said1 resists the action of acids1 never changes in the air1 and is not affected in boiling water4 ,at #bcj deg4 it is said to be as hard as stone4 ,,cement ,,for ,,labels4 #a4 ,macerate #e parts of glue in #ah parts of water4 ,boil and add #i parts rock candy and #e parts gum arabic4 #b4 ,mix dextrine with water and add a drop or two of glycerine4 #c4 ,a mixture of one part of dry chloride of calcium1 or #b parts of the same salt in the crystallized form1 and #cf parts of gum arabic1 dissolved in water to a proper consistency1 forms a mucilage which holds well1 does not crack by drying1 and yet does not attract sufficient moisture from the air to become wet in damp weather4 #d4 ,for attaching labels to tin and other bright metallic surfaces1 first rub the surface with a mixture of muriatic acid and alcohol1 then apply the label with a very thin coating of the paste1 and it will adhere almost as well as on glass4 #e4 ,to make cement for attaching labels to metals1 take #aj parts tragacanth mucilage1 #aj parts of honey1 and #a part flour4 ,the flour appears to hasten the drying1 and renders it less susceptible to damp4 ,a ,,colorless ,,cement ,,for ,,joining ,,sheets ,,of ,,mica4 ,a colorless cement for joining sheets of mica is prepared as follows3--,clear gelatine softened by soaking it in a little cold water1 and the excess of water pressed out by gently squeezing it in a cloth4 ,it is then heated over a water bath until it begins to melt1 and just enough hot proof spirit 7not in excess7 stirred in to make it fluid4 ,to each pint of this solution is gradually added1 while stirring1 one-fourth ounce of sal-ammoniac and one and one-third ounces of gum mastic1 previously dissolved in four ounces of rectified spirits4 ,it must be warmed to liquefy it for use1 and kept in stoppered bottles when not required4 ,this cement1 when properly prepared1 resists cold water4 ,a ,,cement ,,that ,,will ,,resist ,,the ,,damp4 ,a cement that will resist the damp1 but will not adhere if the surface is greasy1 is made by boiling together #b parts shellac1 #a part borax1 and #af parts water4 ,,to ,,make ,,glue ,,waterproof4 ,the best substance is bichromate of potash4 ,add about one part of it1 first dissolved in water1 to every thirty or forty parts of glue2 but you must keep the mixture in the dark1 as light makes it insoluble4 ,when you have glued your substances together1 expose the joint to the light1 and every part of the glue thus exposed will become insoluble1 and therefore waterproof4 ,if the substances glued together are translucent like paper1 all will become waterproof2 if opaque like wood1 only the exposed edges will become so1 but they also protect the interior--not exposed parts--against the penetration of moisture4 ,,two ,,glue ,,recipes4 ,a glue ready for use is made by adding to any quantity of glue1 common whisky1 instead of water4 ,put both together in a bottle1 cork it tight and set it for three or four days1 when it will be fit for use without the application of heat4 ,glue thus prepared will keep for years1 and is at all times fit for use1 except in very cold weather1 when it should be set in warm water before using4 ,to obviate the difficulty of the stopper getting tight by the glue drying in the mouth of the vessel1 use a tin vessel with the cover fitting tight on the outside to prevent the escape of the spirit by evaporization4 ,a strong solution of isinglass made in the same manner is an excellent cement for leather4 ,a valuable glue is made by an admixture with common glue of one part of acid chromate of lime in solution to five parts of gelatine4 ,the glue made in this manner1 after exposure1 is insoluble in water1 and can be used for mending glass objects likely to be exposed to hot water4 ,it can also be made available for waterproofing articles such as sails or awnings1 but for flexible fabrics it is not suitable4 ,a few immersions will be found sufficient to render the article impervious to wet4 ,it is necessary that fractured articles should be exposed to the light after being mended1 and then warm water will have no effect on them1 the chromate of lime being better than the more generally used bichromate of potash4 ,,postage ,,stamp ,,mucilage4 ,postage stamp mucilage can be made by dissolving an ounce of dextrine in five ounces of hot water1 and adding one ounce of acetic acid and one ounce of alcohol4 ,the dextrine should be dissolved in water in a glue pot1 or some similar vessel1 which will prevent burning4 ,the quantities in this recipe may be varied by taking any required weights in the proportions mentioned4 ,dr4 ,phin says that dextrine mixed with water makes a good label mucilage if a drop or two of glycerine be added to it4 ,too much glycerine will prevent the mucilage drying2 with too little it will be likely to crack4 ,,how ,,to ,,keep ,,mucilage ,,fresh4 ,to keep mucilage fresh1 and prevent the formation of mould1 drop into the bottle a few crystals of thymol1 which is a strong and harmless antiseptic4 ,,mucilage ,,in ,a ,,solid ,,form ,,which ,,will ,,dissolve ,,in ,,water4 ,mucilage in a convenient solid form1 and which will readily dissolve in water1 for fastening paper1 prints1 etc41 may be made as follows3--,boil one pound of the best white glue1 and strain very clear2 boil also four ounces of isinglass1 and mix the two together2 place them in a water bath--a glue pot will do--with one-half pound of white sugar1 and evaporate till the liquid is quite thick1 when it is to be poured into molds1 dried1 and cut into pieces of convenient size4 ,,mucilage ,,for ,,pasteboard4 ,persons are often at a loss for a very strong mucilage having sufficient power of tenacity to fasten sheets of pasteboard together4 ,the following cement is recommended by a scientific authority4 ,it has the additional advantage of being waterproof4 ,melt together equal parts of pitch and gutta-percha4 ,to nine parts of this add three parts of boiled oil1 and one-fifth part of litharge4 ,continue the heat with stirring until a thorough union of the ingredients is effected4 ,apply the mixture hot or somewhat cooled1 and thinned with a small quantity of benzole or turpentine oil4 ,a ,,portable ,,ink4 ,the aniline colors1 which possess great tinctorial powers1 can be conveniently used in the preparation of a portable ink4 ,saturate white tissue paper with an aniline violet1 or with aniline black1 by dipping the sheets into a saturated alcoholic solution of these colors2 then dry and pack them in suitable parcels1 and you will have a portable ink1 either violet or black4 ,,indelible ,,india ,,ink4 ,draughtsmen are aware that lines drawn on paper with good ,india ink well prepared cannot be washed out by mere sponging or washing4 ,now1 however1 it is proposed to take advantage of the fact that glue or gelatine1 when mixed with bichromate of potassa1 and exposed to the light1 becomes insoluble1 and thus renders ,india ink1 which always contains a little gelatine1 indelible4 ,reisenbichler1 the discoverer1 calls this kind of ink ,harttusche1 or hard ,india ink4 ,it is made by adding to the common ,india ink of commerce about one per cent1 in a very fine powder1 of bichromate of potash4 ,this must be mixed with the ink in a dry state2 otherwise1 it is said1 the ink could not be easily ground in water4 ,those who cannot provide themselves with ink prepared as above in a cake1 can use a dilute solution of bichromate of potash in rubbing up the ink4 ,it answers the same purpose1 though the ink should be used thick1 so that the yellow salt will not spread4 ,,to ,,make ,,copying ,,inks4 ,dissolve in a pint and a half of writing ink 7violet or any other color7 an ounce of lump sugar or sugar candy4 ,a copying ink1 so slow drying that writing in it can be copied by the use of no greater pressure than the hand can produce when passed over a sheet of paper1 may be made by boiling away nearly half of some ordinary writing fluid and then adding as much glycerine4 ,a ,,good ,,paster4 ,let a little starch lie in vinegar over night4 ,pour in boiling water1 stirring briskly till it thickens4 ,it will keep better if a few drops of carbolic acid are added4 ,a very little corrosive sublimate will keep out insects4 ,a little glue dissolved in the vinegar will make it stronger4 ,it leaves the pasted scrap-page flexible1 adheres firmly1 dries quickly1 and does not give a varnishy look to even the thinnest print paper4 ,a ,,paste ,,which ,,will ,,not ,,spoil4 ,a paste that will not spoil is made by dissolving a piece of alum the size of a walnut in one pint of water4 ,add to this two tablespoonfuls flour made smooth with a little cold water1 and a few drops of oil of cloves1 putting the whole to a boil4 ,put up in a glass canning-jar4 ,,electric ,,paper4 ,electric paper may be made thus3--,tissue paper or filtering paper is soaked in a mixture consisting of equal quantities of saltpetre and sulphuric acid4 ,it is afterwards exposed to dry1 when a pyroxyline 7a substance resembling gun-cotton7 forms4 ,this is in the highest degree electrical4 ,a ,,silver ,,solder4 ,to make silver solder melt together #cd parts1 by weight1 silver coin1 and five parts copper2 after cooling a little1 drop into the mixture #d parts zinc1 then heat again4 ,,an ,,alloy ,,for ,,glass ,,or ,,metal4 ,the following alloy1 it is said1 will attach itself firmly to glass1 porcelain or metal4--,twenty to thirty parts of finely pulverulent copper1 prepared by precipitation or reduction with the battery1 are made into a paste with oil of vitriol4 ,to this seventy parts of mercury are added1 and well triturated4 ,the acid is then washed out with boiling water and the compound allowed to cool4 ,in ten or twelve hours it becomes sufficiently hard to receive a brilliant polish1 and to scratch the surface of tin or gold4 ,when heated it is plastic1 but does not contract on cooling4 ,,an ,,improved ,,process ,,of ,,photo-,,engraving4 ,the metal plate1 of copper or zinc1 is coated with a very thin layer of bitumen of ,judaea1 and when this coat has become perfectly dry1 a film of bichromatized albumen is flowed over the plate4 ,it is next exposed in the camera1 and afterwards washed with water1 in order to dissolve all the albumen which has not been rendered insoluble by the luminous action2 it is then treated with spirit of turpentine1 which dissolves all those parts of the layer of bitumen that have become exposed4 ,the plate can now be attacked directly by water acidulated with from four to six per cent of nitric acid4 ,the great advantage of this method consists in the high sensitiveness of the bichromatized albumen1 at the same time preserving the solid reserve produced by the bitumen of ,judaea on a metallic surface4 ,,to ,,make ,,new ,a ,,corroded ,,pen4 ,when a pen has become so corroded as to be useless1 it can be made good as new by holding it in the flame of a gas jet for half a minute2 then drop in cold water1 take out1 wipe clean1 and it will be ready for use again4 ,,enamel ,,for ,,fine ,,cards4 ,for the brilliant enamel now often generally applied to fine cards and other purposes1 the following formula is given3--,for white and for all pale and delicate shades1 take twenty-four parts1 by weight1 of paraffine2 add thereto #ajj parts of pure kaolin 7,china clay71 very dry and reduced to a fine powder4 ,before mixing with the kaolin1 the paraffine must be heated to fusing point4 ,let the mixture cool1 and it will form a homogeneous mass1 which is to be reduced to powder1 and worked into paste in a paint-mill1 with warm water4 ,this is the enamel ready for application4 ,it can be tinted according to fancy4 ,,electrotyping ,,handwriting4 ,to produce electrotypes or stereotypes of letters1 signatures1 ordinary written matter1 drawings or sketches1 coat a smooth surface of glass or metal with a smooth1 thin layer of gelatine1 and let it dry4 ,then write or draw upon it with an ink containing chrome alum1 allow it to dry exposed to light1 and immerse the plate in water4 ,those parts of the surface which have not been written upon will swell up and form a relief plate1 while those parts which have been written upon with the chrome ink have become insoluble in water1 after exposure to light4 ,the relief may be transferred to plaster of ,paris1 and from this may be made a plate in type metal4 ,,black ,,paint ,,for ,,blackboards4 ,take shellac varnish1 one-half gallon2 lampblack1 five ounces2 powdered iron ore or emery in fine powder1 three ounces4 ,if too thick1 thin down with alcohol4 ,give the wood three coats of the composition1 allowing each to dry before putting on the next4 ,the first coat may be of shellac and lampblack alone4 ,,to ,,clean ,,steel ,,pens4 ,potato is used to clean steel pens1 and generally act as a pen-wiper4 ,it removes all ink crust1 and gives a peculiarly smooth flow to the ink4 ,pass new pens two or three times through a gas flame1 and then the ink will flow freely4 ,,stationers' ,,windows4 ,it is important that strangers should get a good impression with a tasty window1 or a polite reception when entering the store4 ,remember that first impressions go a great way1 and when once formed1 good or bad1 are very hard to get rid of4 ,make it a special point to clean the window once a week1 put in different stock every time1 and do not be afraid to display goods because the dust will spoil them4 ,if the article in question is delicate and easily ruined1 leave it in the window only a few days2 display samples of the latest goods1 and1 if necessary1 buy some article that is showy1 and which you think will attract people1 especially for the window1 even though the amount expended is sunk4 ,it will certainly pay in the end4 ,if your stock of a certain article or class of goods is large1 devote the whole window to it for a week4 ,it is impossible to give rules for the arrangement1 which1 of course1 depends on the goods to be shown and the taste of the person dressing the window4 ,stamped papers and visiting cards can be shown effectively in the following manner3--,have a number of wooden blocks made the size of a quarter of a ream of paper and a package of visiting cards2 wrap these neatly with a sample sheet of paper or cards on the outside1 tied with ribbon4 ,another way to show printed visiting cards is to make a small pyramid of them by taking three small square boxes of different sizes1 which1 when placed one on top of the other1 will form a small pyramid4 ,cover these entirely with samples of visiting cards1 and place in the center of the window4 ,,photo-,,lithographic ,,transfer ,,paper4 ,photo-lithographic transfer paper and ink are prepared in the following manner3--,the paper is treated with a solution of a hundred parts of gelatine and one part of chrome alum in #b1djj parts of water4 ,after drying1 it is treated with the white of egg4 ,it is made sensitive with a bath consisting of one part of chrome alum1 #ad parts of water and #d parts of alcohol4 ,the latter ingredient prevents the white of egg from dissolving4 ,on the dark places the white of egg1 together with the ink with which the exposed paper has been coated1 separates in water4 ,the transfer ink consists of #bj parts of printing ink1 #ej parts of wax1 #dj parts of tallow1 #ce parts of colophony1 #baj parts of oil of turpentine1 #cj parts of ,berlin blue4 ,it is found that a varnish formed of ,canadian balsam1 dissolved in turpentine1 supplies a most valuable means of making paper transparent4 ,the mode by which this is most satisfactorily accomplished is by applying a thin coating of this varnish to the paper1 so as to permeate it thoroughly1 after which it is to be coated on both sides with a much thicker mixture4 ,the paper is kept warm by performing the operation before a hot fire1 and a third and even a fourth coating may be applied until the texture of the paper is seen to merge into homogeneous translucency4 ,paper prepared according to this process is said to come nearer than any other to the highest standard of perfection in transparent paper4 ,care must be used in making1 as the materials are highly inflammable4 ,,different ,,kinds ,,of ,,engraving4 ,line engraving is of the highest order4 ,all engravings are done in line--simply straight lines4 ,next comes line and stiple4 ,stiple means dots--small dots like this3--4444--4444 ,these small dots are used to lighten up the high parts of the face or drapery4 ,it is very hard to engrave a face in lines1 simply1 and only master engravers have ever undertaken it4 ,the masters understand and practice both in line and stiple4 ,claude ,mellan engraved1 in #agjj1 a full head of ,christ1 with one unbroken line4 ,this line commenced at the apex of the nose1 and wound out and out like a watch spring4 ,mezzotint engravings are produced thus3--,the steel or copper is made rough like fine sand paper4 ,to produce soft effects1 this rough surface is scraped off4 ,if you want a high place or high light in your engraving1 scrape the surface smooth1 then the ink will not touch it4 ,if you want faint color1 scrape off a little4 ,such engravings look like lithographs4 ,etching is adapted to homely and familiar-sketches4 ,etching is done thus3--,the copper or steel plate is heated and covered with black varnish4 ,the engraver scratches off this varnish with sharp needles1 working on the surface as he would on paper with a pencil4 ,nitric acid is then passed over the plate1 and it eats away at the steel and copper wherever the needle has scraped off the varnish4 ,when the varnish is removed with spirits of turpentine1 the engraving is seen in sunken lines on the plate4 ,,how ,,to ,,preserve ,,pencil ,,sketches4 ,the pencil drawings of mechanical draughtsmen and engineers may be rendered ineffaceable by the following process3--,slightly warm a sheet of ordinary drawing paper1 then place it carefully on the surface of a solution of white resin in alcohol1 leaving it there long enough to become thoroughly moistened4 ,afterward dry it in a current of warm air4 ,paper prepared in this way has a very smooth surface4 ,in order to fix the drawing1 the paper is to be warmed for a few moments4 ,this process may prove useful for the preservation of plans or designs when the want of time or any other cause will not allow the draughtsman reproducing them in ink4 ,a simpler method than the above1 however1 is to brush over the back of the paper containing the charcoal or pencil sketch with a weak solution of white shellac in alcohol4 ,,care ,,of ,,wood ,,type4 ,wood type should always be kept in a cool and dry place--not1 as is often the case1 a few feet from a large stove1 or directly over the lye and wash tub4 ,the drawer or shelves--drawers or cases are preferable to shelves--where they are kept1 should not1 as very often happens1 be made of unseasoned wood1 for this reason3 type wood is usually perfectly seasoned1 and when allowed to remain for any length of time on a damp surface1 the moisture is absorbed1 the bottom expands1 and a warped type1 ready to be broken at the first impression1 is the result4 ,wood type should only be washed with oil4 ,a moistened cloth is sufficient1 is more economical1 and is certainly much cleaner than using their weight in oil4 ,all wood type have a smooth and polished face1 and if properly cleaned when put away will last for years4 ,in fact1 proper use only improves the working qualities4 ,wood type forms should not be left standing near hot stoves1 or left locked up over night on a damp press or stone to warp1 swell1 and perhaps ruin a costly chase4 ,,copper-,,plating ,,on ,,zinc4 ,take an organic salt of copper--for instance1 a tartrate4 ,dissolve #abf grammes sulphate of copper 7blue vitriol7 in two litres of water2 also #bbg grammes tartrate of potash and #bhf grammes crystallized carbonate of soda in #b litres of water4 ,on mixing the two solutions1 a light bluish-green precipitate of tartrate of copper is formed4 ,it is thrown on a linen filter and afterwards dissolved in half a litre of caustic soda solution of #af deg4 ,b4 when it is ready for use4 ,the coating obtained from this solution is very pliable1 smooth and coherent1 with a fine surface2 acquires any desired thickness if left long enough in the bath4 ,other metals can also be employed for plating1 in the form of tartrates4 ,instead of tartrates1 phosphates1 oxalates1 citrates1 acetates and borates of metals can be used2 so that it seems possible to entirely dispense with the use of cyanide baths4 ,,to ,,transfer ,,engravings ,,to ,,mother-,,of-,,pearl4 ,to transfer engravings to mother-of-pearl1 coat the shell with thin white copal varnish4 ,as soon as the varnish becomes sticky1 place the engraving face down on it1 and press it well into the varnish4 ,after the varnish becomes thoroughly dry1 moisten the back of the engraving and remove the paper very carefully by rubbing4 ,when the paper is all removed and the surface becomes dry1 varnish lightly with copal4 ,,metal ,,for ,,stereotyping4 ,for every six pounds of lead add one pound of antimony4 ,the antimony should be broken into very small pieces1 and thrown on the top of the lead when it is at red heat4 ,it is a white metal1 and so brittle that it may be reduced to powder2 it melts when heated to redness2 at a higher heat it evaporates4 ,the cheapest and most simple mode of making a stereotype metal is to melt old type1 and to every fourteen pounds add about six pounds of grocer's tea-chest lead4 ,to prevent any smoke arising from the melting of tea-chest lead it is necessary to melt it over an ordinary fire-place1 for the purpose of cleansing it1 which can be done by throwing in a small piece of tallow about the size of a nut1 and stir it briskly with the ladle1 when the impurities will rise to the surface1 and can be skimmed off4 ,in the mixing of lead and type-metal see that there are no pieces of zinc among it1 the least portion of which will spoil the whole of the other metal that is mixed with it4 ,zinc is of a bluish white color2 its hue is intermediate between that of lead and tin4 ,it takes about eighty degrees more heat than lead to bring it into fusion2 therefore1 should any metal float on the top of the lead1 do not try to mix it1 but immediately take it off with the ladle4 ,,how ,,to ,,fix ,,pencil ,,marks ,,so ,,they ,,will ,,not ,,rub4 ,to fix pencil marks so they will not rub1 take well skimmed milk and dilute with an equal bulk of water4 ,wash the pencil marks 7whether writing or drawing7 with this liquid1 using a soft camel-hair brush1 and avoid all rubbing4 ,place upon a flat board to dry4 ,,how ,,to ,,obtain ,a ,,bright ,,and ,,lasting ,,red ,,edge4 ,a bright and lasting red edge may be obtained by the following process3--,take the best vermillion and add a pinch of carmine2 mix this with glaire1 slightly diluted4 ,take the book and bend over the edge so as to allow the color to slightly permeate it2 then apply the color with a bit of fine ,turkey sponge1 bend over the edge in the opposite direction1 and color again4 ,when the three edges have been done in this manner1 allow them to dry4 ,next screw the book tightly up in the cutting press1 and after wiping the edge with a waxed rag1 burnish well with a flat agate burnisher4 ,,to ,,restore ,,the ,,lustre ,,of ,,morocco ,,leather4 ,the lustre of morocco leather is restored by varnishing with white of egg4 ,,to ,,restore ,,the ,,original ,,whiteness ,,of ,,copper-,,plate1 ,,wood ,,engraving1 ,,etc4 ,the following process will restore the original whiteness of copper-plate1 wood-engraving or printed matter3--,place a piece of phosphorus in a large glass vessel2 pour in water of #cj deg4 centigrade 7that is #hf deg4 ,fahrenheit7 temperature until the phosphorus is half covered4 ,cork up1 but not tightly1 the glass vessel1 and lay it in a moderately warm place for fourteen hours4 ,damp the paper that is to be bleached1 with distilled water2 fasten it to a piece of platinum wire and hang it up inside the glass vessel4 ,the faded paper after a short time will regain its original white color4 ,it should then be taken out and washed in water2 next drawn through a weak solution of soda1 and finally dipped in pure water and laid on a glass table1 and thus made dry and smooth4 ,,for ,,electrotyping ,,on ,,china4 ,for electrotyping on ,china and similar non-conducting materials3--,sulphur is dissolved in oil of spike lavender to a syrupy consistence2 then chloride of gold or chloride of platinum is dissolved in ether1 and the two solutions mixed under a gentle heat4 ,the compound is next evaporated until the thickness of ordinary paint1 in which condition it is applied with a brush to such portions of the china1 glass or other fabric as it is desired to cover1 according to the design or pattern1 with the electrometallic deposit4 ,the objects are baked in the usual way before they are immersed in the bath4 ,,painting ,,on ,,ebonized ,,wood4 ,the great difficulty to be overcome in painting on ebonized wood1 is the non-absorbent character of the surface1 which will not allow the paint to sink in4 ,washing the panel over with onion juice enables the paint to adhere more easily4 ,the paint1 whether oil or water color1 must be laid on thickly4 ,in order that the painting1 whether of flowers or figures1 shall prove a decoration1 the black space between the painted figures must be graceful in shape4 ,water color paintings on such panels require to be varnished4 ,oil color does not need the varnish4 ,,how ,,gilding ,,is ,,done4 ,letters written on vellum or paper are gilded in three ways4 ,in the first a little size is mixed with the ink1 and the letters are written as usual2 when they are dry a slight degree of stickiness is produced by breathing on them1 upon which the gold leaf is immediately applied1 and by a little pressure may be made to adhere with sufficient firmness4 ,in the second method some white lead or chalk is ground up with strong size1 and the letters are made with this by means of a brush2 when the mixture is almost dry1 the gold leaf may be laid on and afterward burnished4 ,the best method is to mix up some gold powder with size1 and make the letters of this by means of a brush4 ,the edges of the leaves of books are gilded while in the binders' press1 by first applying a composition formed of four parts of ,armenian bole and one of sugar candy1 ground together to a proper consistence2 it is laid on by a brush with white of egg2 this coating1 when nearly dry1 is smoothed by the burnisher2 it is then slightly moistened with clear water1 the gold leaf applied1 and afterwards burnished4 ,in order to impress the gilt figures on the leather covers of books1 the leather is first dusted over with very fine powdered resin or mastic2 then the iron tool by which the figure is made is moderately heated and pressed down upon a piece of leaf gold which slightly adheres to it1 being then immediately applied to the surface of the leather with a certain force2 the tool at the same time makes an impression1 and melts the mastic which lies between the heated iron and the leather2 in consequence of this1 the gold with which the face of the tool is covered is made to adhere to the leather1 so that on removing the tool a gilded impression of it remains behind4 ,,principal ,,colors ,,of ,,gold ,,for ,,grinding4 ,the principal colors of gold for grinding are red1 green1 yellow4 ,these should be kept in different amalgams4 ,the part which is to remain of the first color is to be stopped off with a composition of chalk and glue2 the variety required is produced by gilding the unstopped parts with the proper amalgam1 according to the usual mode of gilding4 ,sometimes the amalgam is applied to the surface to be gilt1 without any quicking1 by spreading it with aquafortis2 but this depends on the same principle as a previous quicking4 ,,writing ,,on ,,metals4 ,to write on metals1 take half a pound of nitric acid and one ounce muriatic acid4 ,mix and shake well together1 and then it is ready for use4 ,cover the plate you wish to mark with melted beeswax2 when cold1 write your inscription plainly in the wax clear to the metal with a sharp instrument4 ,then apply the mixed acids with a feather1 carefully filling each letter4 ,let it remain from one to ten hours1 according to the appearance desired1 throw on water1 which stops the process1 and remove the wax4 ,,how ,,to ,,transfer ,a ,,photographic ,,print ,,to ,,glass4 ,to transfer a photographic print to glass for painting or for other purposes1 separate the paper print from the background by steaming it2 dry thoroughly1 and having given the warmed glass an even coating of clean balsam or negative varnish1 place the face of the print on the surface thus prepared1 smooth it out and let it stand in a cool place until the varnish has hardened4 ,then apply water1 and with a soft piece of gum-rubber rub off the paper so as to leave the photographic image on the varnished glass4 ,,stereotyping ,,woodcuts4 ,in stereotyping woodcuts1 care should be taken that they are thoroughly dry before being sent to the foundry1 as the intense heat to which they are subjected frequently causes them to warp and split1 especially if pierced4 ,,to ,,gild ,,with ,,gold ,,leaf4 ,bookbinders use gold leaf in two ways--to gild on the edge1 and to place gold letters on the binding4 ,to gild on the edge1 the edge is smoothly cut1 put in a strong press1 scraped so as to make it solid1 and the well-beaten white of an egg1 or albumen1 put on thinly2 the gold leaf is then put on before the albumen is dry2 it is pressed down with cotton1 and when dry polished with an agate polisher4 ,to put on the lettering1 the place where the letters are to appear is coated with albumen1 and after it is dry1 the type to be used is heated to about the boiling point of water1 the gold leaf is put on1 either on the book or on the type1 and then placed on the spot where the lettering is desired1 when the gold leaf will adhere by the heat of the type1 while the excess of gold leaf loosely around is rubbed off with a tuft of cotton4 ,,gilding ,,on ,,wood4 ,to gild in oil1 the wood1 after being properly smoothed1 is covered with a coat of gold size1 made of drying linseed oil mixed with yellow ochre4 ,when this has become so dry as to adhere to the fingers without soiling them1 the gold leaf is laid on with great care and dexterity1 and pressed down with cotton wool4 ,places that have been missed are covered with small pieces of gold leaf1 and when the whole is dry the ragged bits are rubbed off with cotton4 ,this is by far the easiest mode of gilding4 ,any other metallic leaves may be applied in a similar manner4 ,pale leaf gold has a greenish-yellow color1 and is an alloy of gold with silver4 ,dutch gold leaf is only copper colored with the fumes of zinc4 ,being much cheaper than gold leaf1 it is very useful when large quantities of gilding are required in places where it can be defended from the weather1 as it changes color if exposed to moisture2 and it should be covered with varnish4 ,silver leaf is prepared like gold leaf1 but when applied should be kept well covered with varnish1 as otherwise it will tarnish4 ,a transparent yellow varnish will give it the appearance of gold4 ,,gilding ,,in ,,oil4 ,in order to make good work in oil gilding there are several indispensable conditions which must be observed4 ,first1 a smooth ground4 ,second1 gold size free from grit or skins4 ,third1 in putting oil gold size on the work it must be dross black1 ground in turpentine1 and mixed with boiled linseed oil and a small piece of dryers2 well sand-paper again1 when this coat is dry4 ,and now for the finishing coat of color1 which should be flat1 i4 e41 mixed with turpentine and a few drops of japanner's gold-size1 but no oil4 ,the dross black should be first ground in turpentine and the gold-size added after4 ,when this has dried1 varnish with hard drying oak varnish1 leave for a day or two1 and then rub down with pumice-stone powder1 sifted through muslin2 use a piece of cloth or felt wrapped on a small block of wood1 and first wet the surface to be rubbed with water2 dry with a wash-leather1 and re-varnish4 ,the ornaments are usually done with stencil patterns1 and the lines are done with straight edges and lining fitches4 ,stencil patterns can be cut out of card paper4 ,before using1 give a coat or two of patent knotting4 ,for gilding panels1 give a coat of buff first1 then a coat of gold-size1 in oil4 ,when this has dried just sticky1 press the gold leaf upon it with a ball of wadding1 and leave for five or six hours1 then rub over with a piece of soft wadding1 and wash well with a sponge and cold water4 ,the gold will not need any preparation before painting on1 but if varnished afterward use pale varnish4 ,screens should be painted in colors to match the rooms they are intended to be used in4 ,birds1 flowers and animals are the subjects generally introduced for this purpose4 ,birds should be painted toward the top of the screen1 animals1 flowers1 etc41 in the centre or at the bottom4 ,,gloss ,,printing4 ,gloss printing is done in two ways2 one by using the gloss inks specially prepared for the purpose1 the other by printing the gloss preparation on over the finished job1 or over that portion of it required to be glossed4 ,to the inexperienced this is a difficult operation1 attended by many failures4 ,it is accomplished as follows3--,prepare a tint block the exact size and shape to cover the printing to be glossed4 ,the block should be of boxwood or hard metal--soft metal will not do4 ,fix it on the press and make it ready as for ordinary work1 with a good1 even impression4 ,wash up the ink table1 the rollers and the block itself thoroughly1 removing the least trace of ink4 ,replace the rollers and distributors4 ,now1 with a clean palette knife put a little of the gloss preparation on the ink cylinder or table1 let it distribute for about a minute1 and then pull an impression2 if it comes up perfectly clean1 the work may proceed1 but if there are any signs of dirt1 it is best to wash up again at once4 ,while working the gloss1 keep the machine in motion1 and should the gloss become too sticky 7which it is apt to do7 sprinkle a very little turpentine on the rollers4 ,it is best to have a separate hand to put on the gloss1 so as not to delay the feeder1 and the sheets should be taken away at once and laid out singly to dry4 ,the two most important points are to have the machine clean and keep it in motion4 ,after printing1 wash up the gloss quickly with benzine4 ,,to ,,bleach ,,sheepskin ,,parchment ,,white4 ,to bleach sheepskin parchment white1 expose the pieces to strong sunlight under glass1 in a moist atmosphere4 ,,colors ,,for ,,printing4 ,for a black color for printing1 #be parts paraffine oil and #de parts resin are mixed1 either by melting at #hj deg4,c41 or by mechanical means at the ordinary temperature4 ,to this mass #ae parts of black are added4 ,for printing machines1 the mixture is composed of #dj parts of resin only1 instead of #de4 ,resin can1 in some cases1 be replaced by dammar4 ,other colors are mixed by substituting the equivalent of the color to the black4 ,when cheapness has to be considered1 paraffine oil can be substituted by resinous oil1 and resin by ,burgundy resin1 etc4 ,,how ,,to ,,dye ,,parchment ,,blue ,,or ,,red4 ,parchment can be dyed green1 blue or red4 ,to dye it blue1 use the following process3--,dissolve verdigris in vinegar2 heat the solution1 and apply it by means of a brush on the parchment1 till it takes a nice green color4 ,the blue color is then obtained by applying on the parchment thus prepared a solution of carbonate of potash4 ,use two ounces for one gallon of water4 ,another method is to cover it by means of a brush with aquafortis1 in which copper dust has been dissolved4 ,the potash solution is then applied as before1 till the required shade is obtained4 ,another method is by using the following solution3--,indigo1 #e ozs42 white wood1 #aj ozs42 alum1 #a oz42 water1 #ej ozs4 ,red3--,the parchment is dyed red by applying with a brush a cold logwood solution1 and then using a #c per cent potash solution4 ,,to ,,make ,,paper ,,fire ,,and ,,water-,,proof4 ,to make paper fire and water-proof1 mix two-thirds ordinary paper-pulp with one-third asbestos4 ,steep in a solution of common salt and alum1 and after being made into paper coat with an alcoholic solution of shellac4 ,by plunging a sheet of paper into an ammoniacal solution of copper for an instant1 then passing it between the cylinders and drying it1 it is rendered entirely impermeable to water1 and may even be boiled without disintegrating4 ,two1 three1 or any number of sheets rolled together become permanently adherent1 and form a material having the strength of wood4 ,by the interposition of cloth or any kind of fiber between the layers1 the strength is greatly increased4 ,a ,,new ,,blotting ,,paper4 ,a blotting paper that will not only dry the blot1 but bleach the remainder of it can be made by passing ordinary blotting paper or card through a concentrated solution of oxalic acid4 ,care must be taken that no crystals appear1 which would injure the porosity of the paper4 ,,impermeable ,,paper4 ,to make impermeable paper1 prepare the two following baths3 7#a7 alum1 #be ozs42 white soap1 #ab-a_/b ozs42 water1 #ajj ozs4 7#b7 gum arabic1 #f ozs42 ,colle de ,flandre1 #ah ozs42 water1 #ajj ozs4 ,place the sheet of paper in the first bath to be well impregnated4 ,in this bath the paper is left only for a short time4 ,it is then dried and dipped in the second bath1 the same precautions being used as for the first bath4 ,when dry1 the paper is hot-pressed in order to render it uniform4 ,,to ,,mount ,,chromos ,,for ,,framing4 ,to mount chromos for framing1 first soak for fifteen minutes in a shallow dish1 or lay between two newspapers that have been thoroughly saturated with water2 then paste to the panel of the wood or canvas which has been prepared to receive them4 ,care must be taken that there are no lumps in the paste4 ,a ,,varnish ,,for ,,making ,,paper ,,transparent4 ,a varnish formed of ,canada balsam1 dissolved in turpentine1 supplies a most valuable means of making paper transparent4 ,the mode by which this is most satisfactorily accomplished is by applying a pretty thin coating of this varnish to the paper1 so as to permeate it thoroughly1 after which it is to be coated on both sides with a much thicker sample4 ,the paper is kept warm by performing the operation before a hot fire1 and a third1 or even a fourth1 coating may be applied1 until the texture of the paper is seen to merge into a homogeneous translucency4 ,paper prepared according to this process is said to come nearer than any other to the highest standard of perfection in transparent paper4 ,care must be used in making1 as the materials are highly inflammable4 ,,carbon ,,paper4 ,to make carbon paper3--,take of clear lard1 five oz42 beeswax1 one oz42 ,canada balsam1 one-tenth oz42 lampblack1 q4 s4 ,melt by aid of heat1 and mix4 ,apply with a flannel dauber1 removing as much as possible with clean woolen rags4 ,,luminous ,,paper4 ,to make paper which shall be luminous in the dark1 it is sufficient to mingle with the pulp the following ingredients in their proportions3--,water1 ten parts2 pulp1 forty parts2 phosphorescent powder1 ten parts2 gelatine1 one part2 bichromate of potash1 one part4 ,the paper will also be waterproof4 ,,sizes ,,and ,,weights ,,of ,,drawing ,,papers4 ,the following are the sizes and weights of drawing papers3 ,inches4 ,lbs4 ,emperor1 #gb x #dh #fbj ,antiquarian1 #ec x #ca #bej ,double ,elephant1 #dj x #bf-c_/d #acf ,atlas1 #cd x #bf #ih ,columbier1 #cd-a_/b x #bc-a_/b #ajb ,imperial1 #cj x #bb #gb ,elephant1 #bh x #bc #gb ,super ,royal1 #bg x #ai #ed ,royal1 #bd x #ai #dd ,medium1 #bb x #ag-a_/b #cd ,demy1 #bj x #ae-a_/b #be ,large ,post1 #bj-c_/d x #af-c_/d #bc ,post1 #ai x #ae-a_/d #bj ,foolscap1 #ag x #ac-a_/b #ae ,pott1 #ae x #ab-a_/b #aj ,copy1 #bj x #af #bj ,,to ,,make ,,bronzed ,,paper4 ,dissolve gum lac in four parts by volume of pure alcohol1 and then add bronze or other metal powder in the proportion of one part to every three of the solution4 ,a smooth paper must be chosen1 and the mixture applied with a fine brush4 ,the coating is not dull1 and may be highly burnished4 ,another process consists in first applying a coat of copal or other varnish1 and when this has become of a tacky dryness1 dusting bronze powder over it4 ,after remaining a few hours1 this bronzed surface should be burnished with an agate or steel burnisher4 ,,to ,,make ,,drawing-,,paper ,,transparent4 ,drawing paper of any thickness may be made perfectly transparent by damping it with benzine4 ,india ink and water colors can be used on this paper4 ,the paper resumes its opacity as the benzine evaporates1 so that any place that has not been duly traced requires to be redamped with the benzine for that purpose4 ,a sponge should be used for the application4 ,,to ,,make ,,paper ,,water-,,proof4 ,the following is a recipe for making paper water-proof3--,add a little acetic acid to a weak solution of carpenters' glue4 ,dissolve also a small quantity of bichromate of potash in distilled water1 and mix both solutions together4 ,the sheets of paper are drawn separately through the solution1 and hung up to dry4 ,,how ,,to ,,size ,,poor ,,drawing ,,paper4 ,to size poor drawing paper1 take one oz4 of white glue1 one oz4 of white soap1 and one-half oz4 of alum4 ,soak the glue and soap in water until they appear like jelly1 then simmer in one quart of water until the whole is melted4 ,add the alum1 simmer again and filter4 ,to be applied hot4 ,,to ,,prevent ,,alterations ,,in ,,writing4 ,the following process of preparing paper will prevent alterations in writing3--,add to the sizing #e per cent of cyanide of potassium and sulphide of antimony1 and run the sized paper through a thin solution of sulphate of manganese or copper4 ,any writing on this paper with ink made from nutgalls and sulphate of iron1 can neither be removed with acids nor erased mechanically4 ,any acid will change immediately the writing from black to blue or red4 ,any alkali will change the paper to brown4 ,any erasure will remove the layer of color1 and the white ground of the paper will be exposed1 since the color of the paper is only fixed to the outside of the paper without penetrating it4 ,,to ,,prevent ,,gummed ,,paper ,,from ,,cockling4 ,it is well known that paper1 when gummed1 often cockles4 ,to remedy this a little glycerine or sugar should be added to the gum4 ,,copying ,,drawing ,,in ,,color4 ,the paper on which the copy is to appear is first dipped in a bath consisting of thirty parts of white soap1 thirty parts of alum1 forty parts of ,english glue1 ten parts of albumen1 two parts of glacial acetic acid1 ten parts of alcohol of #fj deg41 and #ejj parts of water4 ,it is afterwards put into a second bath1 which contains fifty parts of burnt umber ground in alcohol1 twenty parts of lampblack1 ten parts of ,english glue1 and ten parts of bichromate of potash in #ejj parts of water4 ,they are now sensitive to light1 and must1 therefore1 be preserved in the dark4 ,in preparing paper to make the positive print1 another bath is made just like the first one1 except that lampblack is substituted for the burnt umber4 ,to obtain colored positives the black is replaced by some red1 blue1 or other pigment4 ,in making the copy1 the drawing to be copied is put in a photographic printing frame1 and the negative paper laid on it1 and then exposed in the usual manner4 ,in clear weather an illumination of two minutes will suffice4 ,after the exposure the negative is put in water to develop it1 and the drawing will appear in white on a dark ground2 in other words1 it is a negative or reversed picture4 ,the paper is then dried and a positive made from it by placing it on the glass of a printing frame1 and laying the positive paper upon it1 and exposing as before4 ,after placing the frame in the sun for two minutes1 the positive is taken out and put in water4 ,the black dissolves off without the necessity of moving back and forth4 ,,washing ,,forms4 ,forms sent down to machine ought not to be wet too much with lye or with water1 otherwise it becomes necessary to dry them before working1 which takes time and often much trouble4 ,the wet works up little by little to the face of the letter1 and then the form becomes unworkable4 ,it has often to be taken off the coffin1 the feet of the types have to be thoroughly dried1 then some sheets of unsized paper have to be placed under the form2 it has also to be unlocked1 shaken1 locked up again1 the sheets removed with the moisture they have imbibed1 and then it is to be hoped the form will be workable4 ,if not there is nothing to be done but to lift it and dry it by heat4 ,lye is generally used for washing forms which do not contain wood blocks2 turpentine where wood-cuts or wood-letters are to be found in them4 ,the bristles of the lye-brush should be longer than those of the turpentine-brush1 and1 in order to preserve it1 each brush should be properly washed with water after using1 and shaken and stood up to dry4 ,if this is not done the brush will last but a short time4 ,there is no good in taking up with the brush a large quantity of lye or turps1 and to shed it at once4 ,yet this is too commonly done1 regardless of waste4 ,in order to wash a form well the brush should be passed lightly over all the pages1 in order to wet them uniformly4 ,then they should be rubbed round and round1 and finally lengthwise and crosswise4 ,leaning on the brush not only wears away the bristles1 but sometimes injures the face of the type1 too4 ,it is a bad practice4 ,after washing1 before printing1 a sponge with pure water should be passed lightly over the form1 and then the form should be dried with a cloth4 ,care should be taken not to use a woolen cloth1 which is liable to leave little pieces on the face of the types1 and to see that there are no hard substances in it4 ,after printing it is always best to wash with turpentine4 ,lye induces oxidation of the types1 while turps leave an oily film on them1 which preserves them from the action of the atmosphere4 ,,how ,,to ,,prevent ,,off-,,setting4 ,a practical pressman says that a sheet of paper wet with glycerine and used as a tympan-sheet will prevent off-setting4 ,this will be found better than using oiled sheets4 ,,printing ,,envelopes4 ,to prevent the lumpy particles of mucilage on gummed envelopes from battering the type1 use a heavy piece of blotting paper as a tympan1 and when beaten down1 touch the injured part with a drop of water1 which will bring up the impression again4 ,,to ,,prevent ,,set-,,off ,,on ,,writing ,,papers ,,printed ,,on ,,one ,,side4 ,to prevent set-off on writing papers printed on one side1 do not lay the sheets straight as they leave the press or machine2 this will enable the air to get between them1 and wonderfully expedite the drying of the ink4 ,do not allow the heap to become too heavy4 ,a ,,quick ,,dryer4 ,a quick dryer3--,japanese gold size1 #b parts2 copal varnish1 #a part2 elber powder 7radix carlinae1 carline thistle71 #b parts4 ,incorporate well together with a small spatula1 and use in quantities to suit the consistency of the ink employed and the rapidity with which it is desired to dry4 ,the usual proportion is a small teaspoonful of the dryer to about one ounce of average good ink4 ,,to ,,prevent ,,warping ,,in ,,blocks ,,and ,,wood4 ,to prevent warping in blocks and wood-letter used in large bills1 a ,french printer advises that they should be placed in a zinc basin1 provided with an air-tight lid2 they should then be thoroughly saturated with paraffine oil1 and left thus for about four days1 when they should be wiped with a clean dry rag4 ,prepared in this way when new1 wood-letter resists the effects of lye1 petroleum1 turpentine1 and atmospheric changes4 ,,how ,,to ,,keep ,,rollers ,,when ,,out ,,of ,,use4 ,it is a good plan1 when rollers are to be kept out of use for any particular time1 to put them away with the ink on them4 ,it protects their surface from the hardening effects of the atmosphere1 and causes them to retain those properties which give them the much desired tackiness4 ,but about half an hour before using them1 remove the ink and see that they are really in condition again4 ,,preservative ,,of ,,rollers ,,when ,,not ,,in ,,use4 ,the following preservative of rollers when not in use is often applied3--,corrosive sublimate1 #a drachm2 fine table salt1 #b ozs42 put together in #a_/b gallon of soft water4 ,it is allowed to stand #bd hours1 and is to be well shaken before using4 ,sponge the rollers with the mixture after washing4 ,,oils ,,for ,,lubricating ,,roller ,,molds4 ,sperm and lard oils are the best for lubricating roller molds4 ,if they are properly used1 no trouble will be experienced in drawing the rollers4 ,,care ,,of ,,rollers ,,in ,,the ,,summer ,,time4 ,in hot1 sultry weather rollers will not need sponging1 as some of the materials used in their manufacture1 having an affinity for moisture1 will absorb enough humidity from the atmosphere to keep the surface soft4 ,indeed1 too much moisture is absorbed in close and sultry weather4 ,cover the rollers while not in use with tallow 7in damp weather72 this will prevent the absorbtion of moisture and keep the roller dry4 ,when starting up put a little tallow on the distributor4 ,this will prevent the rollers from sticking1 and keep them cool4 ,the safest thing for the pressman is to have on hand1 as a reserve1 a set of old1 hard rollers4 ,remember1 it is not dry1 hot weather that causes trouble so much as it is hot moist weather4 ,when the weather is dry1 soft rollers can be used1 but when dampness comes on1 take out the soft and put in the old hard rollers that have become rejuvenated by the absorption of moisture4 ,,to ,,keep ,,green ,,mould ,,from ,,rollers4 ,nothing destroys the surface of a roller so much as green mould4 ,it takes all the life out of them4 ,green mould results from a damp place and a careless pressman1 and is always a disgrace to all concerned4 ,,treatment ,,of ,,old ,,rollers4 ,when rollers have been lying for weeks with a coating of ink dried on to the surface--a circumstance that often occurs1 more especially when colored inks have been used--get an ordinary red paving brick 7an old one with the edges worn away will be the best71 place the roller on a board1 then dip the brick in a trough of cold water1 and work it gently to and fro on the surface from end to end1 taking care to apply plenty of water1 dipping the brick in repeatedly2 and in a short time the ink will disappear4 ,nor is this all2 for if a little care and patience is exercised1 it will put a new face to the roller1 making it almost equal to new2 the coating of ink having1 by keeping the air from the surface1 tended to preserve the roller from perishing4 ,sponge off clean4 ,a ,,recipe ,,for ,,printers' ,,rollers4 ,best white glue1 one pound2 concentrated glycerine1 one pound4 ,soak the glue over night in just enough cold soft water to cover it4 ,put the softened glue in a fine cloth bag1 gently press out excess of water1 and melt the glue by heating it over a salt water bath4 ,then gradually stir in the glycerine and continue the heating1 with occasional stirring1 for several hours1 or until as much of the water is expelled as possible4 ,cast in oiled brass molds1 and give the composition plenty of time to cool and harden properly before removing from the mold and inking4 ,see that the ink is well spread before bringing the roller in contact with type4 ,,temperature ,,of ,,the ,,press ,,room4 ,the temperature of the press or machine room ought to be as near as possible the same as that at which the ink is manufactured--viz41 #af deg4 of ,reamur 7#fh deg4 ,fahrenheit74 ,if the temperature of the room1 and consequently1 of the iron receptacles the ink is kept in1 be considerably less1 the varnish of the ink will stiffen1 the paper will adhere to the type and peel off1 or1 if this does not occur1 there will at least be too little varnish in the ink remaining on the type1 and too much carbon1 which1 of course1 will not sufficiently adhere to the paper1 and may be wiped off even when the paint is perfectly dry4 ,but if the temperature of the work-room be too high1 the varnish becomes too thin1 the ink loses its power of covering well all parts of the types1 which then look as if they had been printed with lamp-oil4 ,colors of different hues require generally a somewhat higher temperature than black1 say #gj deg4 to #ge deg4 ,fahrenheit1 but any printer who wants to see a clear and sharp impression of his types on the paper should not neglect to look sometimes to the thermometer1 too low or too high a temperature being much oftener the cause of unsatisfactory printing than the ink we use4 ,,when ,,to ,,wash ,,rollers4 ,the press or machine man must be guided by the condition of the face of the roller1 and the eyes and fingers will be the best guides4 ,where machine rollers are required for a weekly newspaper1 they should be washed ready for the first set of forms1 and when the number is long1 a second set should be got ready and inked to work the second side1 as the paper throws off a quantity of cotton waste1 and powder1 and neutralizes the tack so necessary to the face of a good roller and a clear impression4 ,should a roller require cleaning for a hurried work1 the old ink may be removed with turpentine1 but must be done quickly1 and immediately distributed on the ink table1 or the face will harden4 ,,improved ,,dryer ,,for ,,printing ,,ink4 ,a small quantity of perfectly dry acetate of lead or borate of manganese in impalpable powder will hasten the drying of the ink4 ,it is essential that it be thoroughly incorporated with the ink by trituration in a mortar4 ,,how ,,to ,,bend ,a ,,rule4 ,to bend a rule1 get it thoroughly hot and let it cool slowly2 this will take the spring out1 and it will stay in the shape it is bent to4 ,,to ,,clean ,,gilt ,,frames4 ,use a soft sponge moderately moistened with spirits of wine2 allow to dry by evaporation4 ,do not use a cloth1 and avoid friction4 ,another way is to use a very soft shaving brush1 and to gently rub backward and forward a lather of curd soap4 ,rinse with water at about blood heat4 ,this applied morning after morning to old and dirt-covered oil paintings will greatly restore them4 ,in adopting this plan with regard to gilt frames around water colors or prints1 be sure that not enough moisture is used to run off the frame1 or the paper will be stained4 ,the cleaning applies to gold frames only4 ,dutch metal will bear no cleaning1 but a new material1 not absolutely gold1 but very like it1 will stand any amount of soap and water4 ,,cleaning ,,new ,,machinery4 ,as presses and machinery have their bright work covered with a compound to keep it from rusting while shipping1 parties who receive the machinery will find benzine or kerosene oil the best articles to clean off the compound with4 ,,to ,,make ,,invisible ,,writing4 ,to make secret or invisible writing1 procure some very thin starch1 with which write with a quill pen 7which should be a soft one7 anything that fancy may dictate4 ,suffer it to dry perfectly2 examine the paper upon which you have written1 and not one letter can be distinguished by the naked eye4 ,procure a little iodine1 which is an elementary body1 dissolve it in water1 and with a camel's hair pencil1 a quill1 or any other convenient article1 dipped in the solution1 slightly rub the paper on the side which has been written upon2 the writing will instantly appear as distinctly visible as if written with the finest ink ever invented4 ,,red ,,printing ,,ink4 ,red printing ink may be made in this way3--,boil linseed oil until smoke is given off4 ,set the oil then on fire1 and allow it to burn until it can be drawn out into strings half an inch long4 ,add one pound of resin for each quart of oil1 and one-half pound of dry1 brown soap cut into slices4 ,the soap must be put in cautiously1 as the water in the soap causes a violent commotion4 ,lastly1 the oil is ground with a sufficient pigment on a stone by means of a muller4 ,vermilion1 red lead1 carmine1 ,indian red1 ,venetian red1 and the lakes are all suitable for printing inks4 ,,to ,,prevent ,,electrotype ,,blocks ,,from ,,warping4 ,to prevent electrotype blocks from warping1 shrinking or swelling1 place them in a shallow pan or dish1 cover with kerosene oil and let them soak as long as possible1 say three or four days4 ,then wipe dry and place in the form4 ,after the first two or three washings they may swell a little2 if so1 have them carefully dressed down1 and after that you will have little or no trouble with them1 and can leave them in the form just as you would were they solid4 ,,black ,,printing ,,ink4 ,to make a good1 permanent black printing ink1 take ,balsam copaiva #i oz4 ,best lampblack #c oz4 ,prussian blue #a-a_/b oz4 ,indian red #j-c_/d oz4 ,turpentine soap1 dried #c oz4 ,grind on a stone until extreme fineness has been obtained4 ,this ink will work clear and sharp1 and can easily be removed from the type4 ,,sealing ,,wax4 ,following are formulas for making sealing wax3--,fine red sealing wax--,pale shellac1 #d oz42 ,venice turpentine1 #aj drachms2 ,english vermilion1 #b oz4 ,ordinary red sealing wax--,shellac1 #b oz42 resin1 #d oz42 ,venice turpentine1 #ab drachms2 chrome red1 #ab drachms4 ,cheap red bottle wax--,resin1 #aj oz42 turpentine1 #a oz42 beeswax1 #a-a_/b oz42 tallow1 #a oz42 red lead or red ochre1 #c oz4 ,the manipulation is about the same for the three kinds4 ,first1 the resins are melted with as low a heat as will suffice1 then the turpentine1 previously warmed1 is to be added1 and lastly the coloring material4 ,the first quality is only used in sticks1 and the third1 when melted1 for dipping bottles in4 ,the second can be employed for either purpose4 ,when the wax is used for dipping it should be kept at a temperature just sufficient to render it liquid1 as too much heat causes it to foam and to rapidly become brittle4 ,even with this precaution1 it is necessary to add a little turpentine1 from time to time1 to replace the essential oil lost by evaporation4 ,,for ,,making ,,dextrine4 ,five hundred parts of potato starch are mixed with #a1ejj parts of cold distilled water and eight parts of pure oxalic acid4 ,this mixture is placed in a suitable vessel on a water-bath1 and heated until a small sample tested with iodine solution does not produce the reaction of starch4 ,when this is found to be the case the vessel is immediately removed from the water-bath1 and the liquid neutralized with pure carbonate of lime4 ,after having been left standing for two days1 the liquor is filtered1 and the clear filtrate evaporated upon a water-bath until the mass has become quite a paste1 which is removed by a spatula1 and having been made into thin cakes is placed upon paper and further dried in a warm situation2 #bbj parts of pure dextrine are thus obtained4 ,when needed for making mucilage1 the solution has only to be evaporated to the proper thickness4 ,,colors ,,for ,,printing ,,inks4 ,the different colors1 and the inks which may be made from them1 are as follows3 ,for ,red4--,orange lead1 vermilion1 burnt sienna1 ,venetian red1 ,indian red1 lake vermilion1 orange mineral1 rose pink and red lead4 ,yellow4--,yellow ochre1 gamboge1 and chromate of lead4 ,blue4--,cobalt1 ,prussian blue1 indigo1 ,antwerp blue1 ,chinese blue1 ,french ultramarine1 and ,german ultramarine4 ,green4--,verdigris1 green verditer1 and mixtures of blue and yellow4 ,purple4--,a mixture of those used for red and blue4 ,deep ,brown4--,burnt umber1 with a little scarlet lake4 ,pale ,brown4--,burnt sienna2 a rich shade is obtained by using a little scarlet lake4 ,lilac4--,cobalt blue1 with a little carmine added4 ,pale ,lilac4--,carmine1 with a little cobalt blue4 ,amber4--,pale chrome1 with a little carmine4 ,pink4--,carmine or crimson lake4 ,shades and ,tints4--,a bright red is best got from pale vermilion1 with a little carmine added2 dark vermilion1 when mixed with the varnish1 produces a dull color4 ,orange lead and vermilion ground together also produce a very bright tint1 and one that is more permanent than an entire vermilion color4 ,the pigments are dear2 when a cheap job is in hand1 orange mineral1 rose pink and red lead may be used4 ,yellow4--,of the materials named1 the chromate of lead makes the brightest color4 ,if a dull yellow be wanted1 yellow ochre may be used2 it grinds easily and is very cheap4 ,blue4--,indigo is excessively dark1 and requires a good deal of trouble to lighten it4 ,it makes a fine1 showy color where brightness is not required4 ,prussian blue is useful1 but it must be thoroughly ground4 ,it dries very quickly1 hence the roller must be frequently cleaned4 ,antwerp blue is very light and easily worked4 ,chinese blue is also available4 ,as already said1 the shade may be varied with flake white4 ,there is this objection to ,prussian1 ,antwerp1 and ,chinese blues1 that they are hard to grind1 and likely to turn greenish with varnish when used thin4 ,a bright blue is also to be got from cobalt1 or ,french or ,german ultramarine4 ,this is cheap1 easily ground1 and works freely4 ,lime blue may also be used4 ,green4--,any of the yellows and blues may be mixed4 ,gamboge1 a transparent color1 is very useful in mixture with ,prussian blue2 or chromate of lead and ,prussian blue may be used4 ,the varnish1 having a yellow tinge1 has an effect upon the mixture1 and should be taken into account4 ,with a slight quantity of ,antwerp blue1 varnish in itself will produce a decidedly greenish tint4 ,verdigris and green verditer also give greens4 ,if ,chinese blue be added to pale chrome1 it gives a good green1 and any shade can be obtained by increasing or diminishing either color4 ,emerald green is got by mixing pale chrome with a little ,chinese blue1 and then adding the emerald until the tint is satisfactory4 ,brown4--,sepia gives a nice tint1 and burnt umber a very hot tint4 ,raw umber gives a brighter brown1 bistre a brighter still4 ,neutral tints are obtained by mixing ,prussian blue1 lake and gamboge4 ,in using painters' colors1 it is advisable to avoid1 as much as possible1 the heavy ones4 ,tints of any desired depth may be made by using a finely-ground white ink as a basis1 and toning it with the color desired4 ,varnish tints are made by adding color to full-bodied1 well-boiled printers' varnish1 using a little soap and drying preparation to make them work smoothly and dry quickly4 ,in mixing tints to print with1 the muller should be used to rub in the colors thoroughly1 otherwise the work is liable to be streaky4 ,it is advisable to mix no more of a tint than is needed for the work in hand4 ,most colored inks work best if applied to the rollers a little at a time1 until the depth of color desired is reached1 as colored inks distribute slower than black1 and are more liable to thicken upon and clog the type when too much is taken at once4 ,,hints ,,on ,,casting ,,up4 ,the most simple and effective contrivance for casting-up work is1 for every printer to set up1 in vertical parallel lines1 the m's of each font in his office1 with figures in succession beside them1 and work them upon good hard paper1 but little wet or pressed1 which ought to be dried very gradually4 ,if the cast-up work printed with the same type as these measures very little variation will be found2 for if the measure and the measured page do vary from the measurement1 the one is compensated by the other4 ,but even this method can scarcely be trusted in setting the price with the compositor1 since the difference between a thin and thick space will carry an en quadrat1 and thus may give the turn in the #ejj letters1 so as to make #a1jjj difference4 ,,how ,,to ,,ascertain ,,the ,,quantity ,,of ,,plain ,,type ,,required ,,for ,,newspaper4 ,to ascertain the quantity of plain type required for a newspaper1 magazine1 and other work1 find the number of square inches and divide the same by four2 the quotient will be the approximate weight of the matter4 ,as it is impossible to set the cases entirely clear1 it is necessary to add #be per cent to large fonts1 and #cc per cent to small1 to allow for dead letter4 ,this1 of course1 is only approximate1 but will be found sufficiently close for all practical purposes4 ,,care ,,of ,,wood-,,cuts4 ,care should be taken that wood-cuts are thoroughly dry before being sent to the foundry1 as the intense heat to which they are subjected frequently causes them to warp and split1 especially if pierced4 ,,remedy ,,for ,,type ,,that ,,sticks ,,in ,,distributing4 ,great difficulty is sometimes experienced in distributing type which has been allowed to remain in form for any length of time4 ,prevention1 of course1 is better than cure2 but where the remedy is required1 the following may be tried with advantage3--,pour boiling water over the type1 and allow it to stand for about half an hour4 ,repeat1 if necessary1 until the desired effect has been obtained4 ,,laying ,,type4 ,the page as received from the founder1 should be carefully unwrapped1 and1 after having been placed on a galley1 soaked thoroughly with thin soap water1 to prevent adhesion after the types have been used a short time2 then1 with a firm rule or reglet1 as many lines should be lifted as will make about an inch in thickness1 and1 placing the rule close upon one side of the bottom of the proper box1 slide off the lines gently1 taking care not to rub the face against the side of the box4 ,proceed then with successive lines till the box is filled4 ,careless compositors are prone to huddle new type together1 and grasping them by handfulls plunge them pell-mell into the box1 rudely shaking them down to crowd in more4 ,this should never be allowed1 as shaking does more injury to type than press wear4 ,the type left over should be kept standing on galleys in regular order till the cases need to be again filled or sorted4 ,,to ,,fix ,,bronze ,,colors ,,on ,,glass4 ,bronze colors can be fixed upon glass or porcelain by painting the articles with a concentrated solution of potash water glass of #cj deg4 ,b41 and dusting them with the bronze powder4 ,the latter adheres so firmly that it will not be affected by water1 and may be polished with steel or agate4 ,,to ,,destroy ,,book ,,worms4 ,for the destruction of book worms1 put the books into a case which closes pretty well1 and keep a saucer supplied with benzine within it for some few weeks4 ,worms1 larvae1 eggs--all are said to be got rid of4 ,,tinning ,,paper ,,and ,,cloth4 ,the following is a method of tinning paper and cloth3--,zinc powder is ground with an albumen solution1 the boiling mixture is then spread over the tissue by means of a brush1 when dry1 the layer is fixed by dry steam1 which coagulates the albumen1 and the tissue is then taken through a solution of tin4 ,metallic tin is reduced1 and sets in a very thin layer4 ,the tissues of paper are then washed1 dried and hot pressed4 ,,care ,,of ,,books4 ,books should be shelved in the coolest part of the room1 and where the air is never likely to be overheated1 which is near the floor1 where we ourselves live and move4 ,in the private libraries of our residences a mistake is often made in carrying the shelving of our book-cases so high that they enter the upper and overheated stratum of air4 ,if anyone be skeptical on this point1 let him test1 by means of a step-ladder1 the condition of the air near the ceiling of his common sitting-room on a ,winter evening1 when the gas is burning freely4 ,the heat is simply insufferable4 ,,how ,,to ,,prevent ,,mildew ,,on ,,books4 ,to prevent mildew on books1 lightly wash over the backs and covers with spirits of wine1 using as a brush the feather of a goose quill4 ,a ,,cheap ,,lye4 ,boil six gallons of water and add while boiling one pound of unslacked lime and four pounds of common soda4 ,when cold1 it should be carefully dipped out1 leaving the dregs of the lime at the bottom of the vessel1 and it is then fit for immediate application4 ,cost1 about two cents per gallon4 ,a ,,good ,,dryer4 ,a good dryer for printers' use is made by taking a small quantity of perfectly dry acetate of lead or borate of manganese in impalpable powder will hasten the drying of the ink4 ,it is essential that it should be thoroughly incorporated with the ink by trituration in a mortar4 ,a ,,strong ,,lye4 ,a very strong printers' lye may be made as follows3--,take of table salt1 #b oz42 unslacked lime1 #b lb41 and bruised ,scotch washing soda1 #b lb4 ,mix together in three gallons of water1 stirring frequently until the ingredients are dissolved1 when the lye will be ready for use4 ,this is a powerful mixture1 and will wash off almost any color4 ,,effect ,,of ,,petroleum ,,oil ,,on ,,wood ,,type4 ,although petroleum oil is a highly useful fluid for cleansing wood letter or wood-cuts1 the printer should be cautioned that it is highly detrimental to type and stereoplate4 ,while it has no effect in opening the pores of the wood1 but on the contrary1 hardens the surface1 rendering the face peculiarly smooth1 it corrodes or rots the metal1 and leaves a white powder on the face1 which1 although it may be removed with a brush1 shows that the type has been injured4 ,besides this1 petroleum is highly dangerous on account of its inflammability4 ,it cannot be extinguished by water4 ,a ,,bronze ,,or ,,changeable ,,hue4 ,a bronze or changeable hue may be given to inks with the following mixture3--,gum shellac1 #a-a_/b lb41 dissolved in one gallon of #ie per cent alcohol or ,cologne spirits for #bd hours4 ,then add fourteen ounces aniline red4 ,let it stand for a few hours longer1 when it will be ready for use4 ,when added to a good blue1 black1 or other dark inks1 it gives them a rich hue4 ,the quantity used must be very carefully apportioned4 ,in mixing the materials1 add the dark color sparingly at first1 for it is easier to add more1 if necessary1 than to take away1 as in making a dark color lighter1 you increase its bulk considerably4 ,,gold ,,leaf ,,printing4 ,gold leaf printing requires much more care than bronze printing1 but if properly managed will be found to be a great improvement4 ,ink should be made of chrome yellow1 mixed with ,venice turpentine1 virgin wax and varnish4 ,cut the gold leaf into slips a shade wider than the lines it is to cover1 ink the form in the usual way1 and pull a sheet2 then lay on the gold leaf with no great harm4 ,some colors will not keep at all1 and others deposit at the bottom of the can almost all their solid ingredients4 ,it is not easy to alter this1 but colza oil will at least prevent the surface skinning over4 ,,to ,,prevent ,,colored ,,inks ,,from ,,becoming ,,hard4 ,red and some other colored inks are often found to become so hard in a few weeks after the can has been opened that the knife can scarcely be got into them1 and they cannot be got to work at all4 ,oil1 varnish and turpentine are of no use in such a case2 the remedy is paraffine oil mixed well up with the old ink4 ,many prefer paraffine oil rather than boiled oil or turps for thinning down both black and colored inks4 ,,to ,,keep ,,colored ,,inks ,,from ,,skinning4 ,colored inks can be kept from skinning by pouring a little oil or water on the top and closing the can tightly4 ,,how ,,to ,,remove ,,colored ,,inks4 ,benzine is a powerful chemical preparation which may be used to remove colored inks when lye and turpentine fail4 ,it should1 however1 not be used after dark1 as it is very inflammable1 and it should be kept out of doors if possible4 ,a ,,varnish ,,for ,,color ,,prints4 ,to make a varnish for colored prints1 etc41 take of ,canada balsam1 #a ounce2 spirits of turpentine1 #b ounces1 and mix well together4 ,the print or drawing should first be sized with a solution of isinglass in water1 and when this has dried the varnish above named should be applied with a camel's hair brush4 ,,repairing ,,battered ,,wood ,,type4 ,wood type when battered may be repaired by removing the damaged part with a sharp pointed knife1 and fill in with beeswax or gutta-percha4 ,,inking ,,surfaces ,,for ,,color ,,work4 ,the best inking surfaces or slabs for color work at press or machine are porcelain1 litho stone1 marble or slab4 ,metals are injurious to colored inks--even polished iron surfaces give a dullness to bright colors4 ,,how ,,to ,,preserve ,,colored ,,inks4 ,if it is necessary to keep colored inks1 the best way of preserving them so that they shall be workable after standing some time is to pour a little colza oil on the top1 and securely close the vessel containing them4 ,this oil will not generally rob the ink of any of its color1 and even if it is not all poured off afterwards1 its presence can do a piece of cotton wool2 when dry1 it may be washed in the same way as bronze4 ,rolling afterward will improve it very much4 ,,how ,,to ,,brighten ,,common ,,qualities ,,of ,,colored ,,inks4 ,common qualities of colored inks may be brightened by using the whites of fresh eggs1 but they must be applied a little at a time1 as they dry very hard and are apt to take away the suction of rollers if used for any lengthend period4 ,,printers' ,,varnish4 ,for fine work1 a little ,canada balsam of the consistency of honey makes a good varnish of great purity4 ,the coarser but similar ,venice turpentine may also be used with effect where time is precious and purity of tint not indispensable4 ,a little soft soap may be added to the ,venice turpentine4 ,if the work be coarse and varnish not at hand1 a little oak varnish and soft soap form a good substitute4 ,,to ,,prevent ,,off-,,setting4 ,setting off may be prevented by slightly greasing or oiling a sheet which may be placed on the tympan if in press work1 or the cylinder if at a machine4 ,this will answer for several thousands without requiring to be replaced4 ,a ,,hardening ,,gloss ,,for ,,inks4 ,a hardening gloss for inks may be made by dissolving gum arabic in alcohol or a weak solution of oxalic acid4 ,this mixture should be used in small quantities1 and mixed with the ink while it is being consumed4 ,a ,,modeling ,,material4 ,some pretty effects can be produced by the use of a composition made by thoroughly mixing rice flour with cold water1 and allowing it to gently simmer over the fire until a delicate and durable cement results4 ,when made of the consistency of plastic clay1 models1 busts1 etc41 may be formed1 and the articles when dry resemble white marble1 and will take a high polish1 being very durable4 ,any coloring matter may be used at pleasure4 ,,leaf ,,copying4 ,take a piece of thin muslin and wrap it tightly round a ball of cotton wool as big as an orange4 ,this forms a dabber1 and should have something to hold it by4 ,then squeeze on to the corner of a half-sheet of foolscap a little color from a tube of oil paint4 ,take up a very little color on the dabber1 and work it about on the center of the paper for some time1 till the dabber is evenly covered with a thin coating4 ,a little oil can be used to dilute or moisten the color if necessary4 ,then put your leaf down on the paper and dab some color evenly over both sides4 ,place it then between the pages of a folded sheet of paper 7unglazed is best71 and rub the paper above it well all over with the finger4 ,open the sheet1 remove the leaf1 and you will have an impression of each side of the leaf4 ,any color may be used4 ,burnt or raw sienna works the most satisfactorily4 ,,dryer ,,for ,,ruling ,,inks4 ,ruling inks are made to dry quickly by using half a gill of methylated spirits to every pint of ink4 ,the spirit is partly soaked into the paper and partly evaporates2 it also makes the lines firm4 ,,size ,,of ,,newspaper ,,sheets ,,and ,,number ,,of ,,columns4 ,width of ,column ,paper4 ,column ,rules4 #ac ,ems ,pica4 #e ,column ,folio #bj x #bf #ag-c_/d in4 #f #bb x #ca #ai-c_/d #f ,col ,fo 7wide margin7 #bb x #cb #ai-c_/d #g ,column ,folio #bd x #ce #ba-c_/d #g ,col ,fo 7wide margin7 #bd x #cf #ba-c_/d #h ,column ,folio #bf x #dj #bc-c_/d #i #bh x #dd #bf #d ,quarto #bb x #ca #ac-c_/d #d ,col ,qu 7wide margin7 #bb x #cb #ac-c_/d #e #bf x #dj #ag-c_/d #f #cj x #dd #ai-c_/d #g #ce x #dh #ba-c_/d ,,usual ,,sizes ,,and ,,weights ,,of ,,news ,,printing ,,paper4 ,size4 ,weight per ,bundle4 #bb x #cj #dd lbs4 #bb x #cb #de and #ej #bd x #cf #ej1 #ef1 #fj and #gj #bf x #ch #fj and #gj #bf x #dj #fe1 #gj1 #ge1 #hj and #ij #bh x #dj #hj #bh x #db #gj1 #hj1 #ij and #ajj #bh x #dd #he1 #ij and #aje #bi x #dh #ajj #bi x #eh #aaj #cj x #dd #ij1 #ie and #ajj #ca x #dd #ij1 #ie and #ajj #ca x #de #if #bb x #dd #ij1 #ie1 #ajj and #abj #cb x #df #ajj #cd-a_/b x #dg-a_/b #abj #ce x #dh #abj ,,usual ,,sizes ,,and ,,weights ,,of ,,book ,,papers4 ,size4 ,weight per ,ream4 #bb x #cb #cj1 #ce and #dj lbs4 #bd x #cf #cj1 #ce1 #dj and #ej #be x #ch #ce1 #dj1 #de1 #ej1 #fj1 #gj1 #hj and #ajj #bh x #db #dj1 #ej1 #fj1 #gj1 #hj1 #ajj and #abj #cb x #dd #fj1 #gj1 #hj1 #ajj and #abj ,,usual ,,sizes ,,and ,,weights ,,colored ,,print ,,or ,,poster4 ,size4 ,weight per ,ream4 #bd x #cf #be lbs4 #be x #ch #bg #bh x #db #ce1 #dj1 #de and #ej ,,usual ,,sizes ,,of ,,flat ,,and ,,ledger ,,papers4 ,flat ,letter #aj x #af ,flat ,foolscap #ac x #af ,packet ,post #ab x #ai ,cap #ad x #ag ,crown #ae x #ai ,double ,flat ,letter #af x #bj ,demy #af x #ba ,folio ,post #ag x #bb ,check ,folio #ag x #bd ,medium #ah x #bc ,double ,flat ,foolscap #af x #bf ,bank ,folio #ai x #bd ,royal #ai x #bd ,double ,cap #ag x #bh ,super ,royal #bj x #bh ,double ,demy #ba x #cb ,double ,demy #af x #db ,imperial #bc x #ca ,double ,medium #bc x #cf ,double ,medium #ah x #df ,elephant #bc x #bh ,colombier #bc x #cd ,atlas #bf x #cc ,double ,royal #bd x #ch ,double ,elephant #bg x #dj ,antiquarian #ca x #ec ,transcriber's ,notes3 ,passages in italics are indicated by underscore4 ,passages in bold are indicated by bold4 ,the following misprints have been corrected3 ,lables corrected to ,labels 7,index to ,recipes7 ,sett-off corrected to ,set-off 7,index to ,recipes7 ,i corrected to #a 7page #e7 missing word is added 7page #ac7 missing word ,a added 7page #ad7 ,gildng corrected to ,gilding 7page #ai7 missing word be added 7page #bi7 homoegeneous corrected to homogeneous 7page #ce7 posssble corrected to possible 7page #ci7 condiitons corrected to conditions 7page #dh7 a a corrected to a 7page #ej7 receipe corrected to recipe 7page #ef7 missing word a added 7page #fg7 he corrected to the 7page #gd7 when corrected to ,when 7page #hj7