,curious ,arts4 ,illustration3 ,sketches of ,landscapes4 ,see page #ca ,a ,,select ,,collection ,,of ,,valuable ,,and ,,curious ,,arts1 ,,and ,,interesting ,,experiments1 ,,which ,,are ,,well ,,explained ,,and ,,warranted ,,genuine ,,and ,,may ,,be ,,performed ,,easily1 ,,safely1 ,,and ,,at ,,little ,,expense4 ,,third ,,edition4 ,,concord3 ,,published ,,by ,,rufus ,,porter4 ,j4 ,b4 ,moore1 ,printer4 #ahbf4 ,transcriber's ,note3 ,some of the articles in the ,appendix do not list a price4 ,,district ,,of ,,new-,,hampshire1 to wit4 ,district ,clerk's ,office4 ,sidenote3 ,l4 ,s4 ,be it remembered1 that on the twenty-second day of ,october1 ,a4,d4 #ahbe1 and in the fiftieth year of the ,independence of the ,united ,states of ,america1 ,,rufus ,,porter1 of the said ,district1 has deposited in this ,office the title of a book1 the right whereof he claims as proprietor1 in the words following1 to wit3-- ,a ,select ,collection of valuable and curious ,arts and interesting ,experiments1 which are well explained and warranted genuine1 and may be performed easily1 safely1 and at little expense4 ,in conformity to the act of the ,congress of the ,united ,states1 entitled1 ,an act for the encouragement of learning1 by securing the copies of ,maps1 ,charts and ,books1 to the ,authors and ,proprietors of such copies1 during the time therein mentioned2 and also to an act1 entitled1 ,an act supplementary to an act1 entitled1 an act for the encouragement of learning1 by securing the copies of ,maps1 ,charts and ,books to the ,authors and ,proprietors of such copies1 during the times therein mentioned1 and extending the benefits thereof to the arts of designing1 engraving and etching historical and other prints4 ,,samuel ,,cushman1 ,clerk of the ,district of ,new-,hampshire4 ,a true copy of record3-- ,attest1 ,,samuel ,,cushman1 ,clerk4 ,,advertisement4 ,it is not so much the object of the author1 with regard to the various arts treated of in the following pages1 to convey to professed artists1 a more accurate and extensive knowledge of those arts1 as to explain some of the first lines and principles of them1 for the advantage of those1 who may be induced to practice them occasionally1 either for profit or amusement4 ,the chemical experiments are such as are calculated to combine recreation1 with improvement in useful knowledge--a knowledge of some of the leading principles of chemistry4--,the true chemical terms1 according to the new nomenclature 7which1 perhaps1 may not be so readily understood1 by some1 as the more common and familiar names1 but will be found sufficiently explained in the appendix7 have1 in this work1 been applied to the various articles occasionally mentioned4 ,very few substances have been mentioned1 which are generally considered poisonous1 or otherwise dangerous2 but it may be proper1 however1 for those who may attempt any of the chemical experiments1 to proceed with caution1 and carefully avoid the fumes produced by chemical action1 especially in metallic solutions in nitric acid1 and sublimation of mercury4 ,several articles in this little collection1 will probably be found to contain some improvements1 and if it prove as interesting to others1 as a similar work would formerly have been to the author1 his object will have been attained4 ,,table ,,of ,,contents4 ,page4 #a4 ,water-proof gilding and silvering1 #i #b4 ,the art of burnish gilding1 #aa #c4 ,ornamental bronze gilding1 #ac #d4 ,to enamel picture glasses with gold1 #ae #e4 ,to wash iron or steel with gold1 #ae #f4 ,to wash brass or copper with silver1 #af #g4 ,to give wood a gold1 silver1 or copper lustre1 #ag #h4 ,to print gold letters on morocco1 #ah #i4 ,to dye silk a brilliant gold colour1 #ah #aj4 ,to dye silk a brilliant silver colour1 #ai #aa4 ,to silver looking glasses1 #bj #ab4 ,to write on paper with gold or silver1 #bb #ac4 ,to make good shining black ink1 #bc #ad4 ,blue ink1 #bc #ae4 ,red ink1 #bd #af4 ,yellow ink1 #bd #ag4 ,green ink1 #be #ah4 ,purple ink1 #be #ai4 ,to write in various colours with the same pen1 ink and paper4 #be #bj-bf4 ,sympathetic inks for secret correspondence1 #bg #bg4 ,luminous ink that will shine in the dark1 #bh #bh4 ,to make a writing appear and disappear at pleasure1 #bi #bi4 ,to make a writing vanish and another appear in its place1 #bi #cj4 ,to restore old writing that is nearly defaced1 #cj #ca4 ,to paint a picture that will appear and disappear occasionally1 #cj #cb4 ,landscape painting on walls of rooms1 #ca #cc4 ,to paint in figures for carpets or borders1 #cd #cd4 ,to paint in imitation of mahogany and maple1 #ce #ce4 ,the art of painting on glass1 #cf #cf4 ,best method of polishing steel1 #cg #cg4 ,to make letters of blue on polished steel1 #ch #ch4 ,to preserve the brightness of polished steel1 #ci #ci4 ,to give steel a temper to cut marble1 #dj #dj4 ,to wash iron or steel with copper1 #da #da4 ,to give iron the whiteness of silver1 #db #db4 ,to wash iron with tin1 #db #dc4 ,to give tin the whiteness and brilliancy of silver1 #dd #dd4 ,to crystallize tin1 #dd #de4 ,to make a gold coloured varnish for tin1 #de #df4 ,to make shellac varnish for japanning1 #df #dg4 ,to make the best copal varnish1 #dg #dh4 ,to make a spirit varnish for maps1 #dh #di4 ,to make elastic varnish for umbrellas1 #di #ej4 ,to varnish maps and pictures1 #di #ea4 ,to make brunswick blacking1 #ej #eb4 ,to make a print appear on a gold ground1 #ea #ec4 ,best method of tracing or copying a picture1 #eb #ed4 ,the construction and use of a copying machine1 #ec #ee4 ,to produce the exact likeness of any object instantly1 #ed #ef4 ,copper plate engraving1 #eg #eg4 ,etching on copper plates1 #fj #eh4 ,engraving and scraping in mezzotinto1 #fc #ei4 ,etching in aqua-tinta1 #fd #fj4 ,copper plate printing1 #fe #fa4 ,etching letters and flowers on glass1 #fg #fb4 ,to print figures with a smooth stone1 #fh #fc4 ,to cut glass with a piece of iron1 #fi #fd4 ,best cement for joining glass1 #gj #fe4 ,best cement for joining china or crockery1 #gj #ff4 ,to make a strong water proof glue1 #ga #fg4 ,the art of moulding figures in relief1 #gb #fh4 ,to cast images in plaster1 #gc #fi4 ,to produce embossed letters on marble1 #gd #gj4 ,to soften stone1 #ge #ga4 ,to change wood1 apparently1 to stone1 #gf #gb4 ,to render wood1 cloth or paper1 fire proof #gg #gc-ge4 ,to produce fire readily1 #gg #gf4 ,to make super-combustible matches1 #gh #gg4 ,to make gun powder1 #gi #gh4 ,to make the common fulminating powder1 #hj #gi4 ,to make mercurial fulminating powder1 #hj #hj4 ,to kindle a fire under water1 #hb #ha4 ,to light a candle by application of ice1 #hb #hb4 ,to form letters or flowers of real flame1 #hc #hc4 ,to produce flame of various colours1 #hd #hd4 ,to make sky rockets and fire wheels1 #he #he4 ,to produce detonating balloons1 #hg #hf4 ,to prepare a phial that will give light in the dark1 #hi #hg4 ,to make a person's face appear luminous in the dark1 #hi #hh4 ,to freeze water in warm weather1 #ij #hi4 ,to change the colours of animals1 #ia #ij4 ,to give leather a beautiful metallic lustre1 #ib #ia4 ,an easy method of extracting the essence of roses1 #ib #ib4 ,to prepare various kinds of essences1 #ic #ic4 ,to prepare soda water1 #id #id-ie4 ,to produce metallic trees1 #ie #if4 ,to tin copper by boiling1 #if #ig4 ,a metal that will melt in hot water1 #if #ih4 ,illustration of calico printing1 #if #ii4 ,to prepare an imitation of gold bronze1 #ii #ajj4 ,to procure the exhilarating gas1 #ii #aja4 ,construction of the galvanic pile or battery1 #aja #ajb4 ,construction of the oxy-hydrogen blow-pipe1 #ajb #ajc4 ,to make a dry phosphorescent powder1 #ajd #ajd4 ,curious experiment of precipitation1 #aje #aje4 ,to make a beautiful soft glass for jewelry1 #aje #ajf4 ,composition of various kinds of glass1 #ajf #ajg4 ,composition of various alloys1 #ajg #ajh4 ,to produce various kinds of gas1 #ajh #aji4 ,various chemical tests1 #aaj #aaj4 ,to produce a picture instantly1 #aaa #aaa4 ,a cheap imitation of silver bronze1 #aab #aab4 ,to make crayons of various colours1 #aac #aac4 ,to make hard sealing wax1 #aae #aad4 ,the art of manufacturing paper hangings1 #aaf #aae4 ,to make elastic blacking for leather1 #aah #aaf4 ,sundry experiments1 #aai ,,curious ,,arts4 #a4 ,,water-,,proof ,,gilding ,,and ,,silvering4--,this kind of gilding1 usually termed oil gilding1 being the cheapest and most durable1 is in general use for gilding or silvering letters on signs1 labels1 c4 and may be performed as follows3--,grind one ounce of white lead and two ounces of litharge1 very fine1 in a gill of old linseed oil1 and if convenient1 add nearly one-fourth of a gill of old copal varnish1 and half an ounce of stone yellow2 but neither of these last1 are very essential ingredients4 ,expose this composition to the rays of the sun for a week or more in a broad open vessel1 observing1 however1 to keep it free from dust4 ,then pour off the finest part1 and dilute it with as much spirits of turpentine as will make it work freely with a brush or camel-hair pencil4 7,oil that will answer exceedingly well for this purpose1 may sometimes be collected from the top of oil paints that have been long standing1 and may be used directly1 without being exposed to the sun as directed above47 ,whatever letters or figures you would gild1 must be first drawn or painted with this sizing1 the ground having been previously painted and varnished2 and when the sizing is so dry as to be hard1 but yet remains slightly adhesive1 or sticky1 lay on gold or silver leaves smoothly over the whole1 pressing them down gently with a soft ball of cotton4 ,the most convenient manner of performing this1 is to lay the leaves of gold or silver1 first on a piece of deer-skin or glove-leather1 and cut them into pieces of a convenient size1 by drawing a smooth 7not sharp7 edged knife over them4 ,then take a small block of wood1 of a triangular form1 about half an inch thick1 and two inches in diameter1 and bind a strip of fine flannel round the edges2--breathe on this1 and press it gently on a piece of the leaf1 which by this may be taken from the leather1 and carried to any part of the sizing where it will best fit1 and to which it will readily adhere3 thus the sizing may be readily covered with the leaf1 very little of which will be wasted4 ,afterward the whole may be brushed over lightly with cotton1 or a soft brush1 and the superfluous gold or silver will be brushed off1 leaving the letters or figures entire4 ,when the work has thus remained two or three days1 it may be rubbed with a piece of silk1 which will increase its metallic lustre4 ,note4--,it is very essential that the varnish of the ground should be thoroughly dry1 that it may not be adhesive in the least degree1 otherwise the leaf will stick where it should not1 and materially injure the work4 ,when plain gilding is required for vanes1 balls1 c4 the leaves of gold or silver may be applied to the work directly from the book1 without cutting or dividing them4 #b4 ,,the ,,art ,,of ,,burnish ,,gilding4--,make a sizing by boiling the skins of beaver and musk rats1 7which may be readily procured at a hat manufactory17 in water1 till it is of sufficient strength that by cooling it will become a stiff jelly2 strain the liquor while warm1 and give your work one coat of it with a brush2 when this is dry1 add a little fine whiting to the sizing1 and give the work one coat of this4 ,then add as much whiting as will work freely under the brush1 and lay on five or six coats of this1 allowing each a sufficient time to dry4 ,smooth the work by wetting it1 and rubbing it with a piece of pumice stone1 which should be previously cut and fitted to the moulding or other work that is to be gilt2 afterward1 when the work is dry1 rub it with some fine sand paper4 ,then take some burnish-gold-size 7which is composed of pipe-clay1 plumbago1 beef tallow and castile soap1 but may be easily procured ready made17 and dilute it with water till it is of the consistence of very soft putty1 and afterward with the above mentioned sizing till it will flow freely from a brush1 and give the work three successive coats of this2 when the last is dry1 dip a camel-hair pencil in a mixture of equal quantities of rum and water1 and with it wet a small part of the work1 and immediately1 while it is flowing1 lay on a leaf of gold1 brushing it down with a very soft1 flat camel-hair brush1 with which also1 the leaf is usually conveyed from the book to the sizing2 proceed thus till the whole is gilt1 and let it dry4 ,when the work is sufficiently dry to take a fair polish by burnishing1 7which can be only ascertained by applying the burnisher to different parts of the work occasionally while it is drying17 rub over the whole carefully with a flint burnisher1 or with the tooth of a wolf or dog1 being fixed in a convenient handle1 till the whole acquires a brilliant polish1 except such parts as are required to remain in a rough-gilt state1 which parts are usually flatted by a coat of thin sizing4 ,such are the principal rules of the art of burnish gilding2 but as this business requires some variation of management1 according to the state of the weather and other circumstances1 it may not be expected that any person should become very expert in the art1 without the advantage of some experience and practice4 #c4 ,,ornamental ,,bronze ,,gilding4--,this is performed by means of gold or silver1 reduced to an impalpable powder1 called bronze4 ,one method of preparing it1 is to levigate any quantity of gold or silver leaves on a stone1 with some clarified honey2 dilute the honey with clear water1 that the bronze may settle2 pour off the water and honey1 and add fresh water to the bronze1 which1 after being thus thoroughly washed1 may be dried on paper1 and is ready for use4 ,another method of preparing the gold bronze1 is to precipitate the gold from its solution in nitro-muriatic acid1 7see #e17 by adding sulphate of iron to the solution2--then washing it1 as directed above4 ,but in general it will be found much cheaper to buy the bronze ready prepared4 ,the ground for this work must be varnished with a mixture of copal varnish1 with an equal quantity of old linseed oil2 and whatever figures are to be formed in bronzing1 must be represented by holes cut through pieces of paper4 ,lay these patterns on the work1 when the varnish is so dry as to be but slightly adhesive1 but not press them down any more than is requisite to keep the paper in its place4 ,then take a piece of soft glove-leather1 moisten it a little by breathing on it1 and dip it in some dry bronze1 and apply it to the figures1 beginning at the edges2--tap the figure gently with the leather1 and the bronze will stick to the varnish according to the pattern4 ,thus any figure may be produced in a variety of shades1 by applying the bronze more freely to some parts of the work than to others4 ,if some internal parts of the figures require to be more distinct than others1 they may be wrought by their peculiar patterns1 or may be edged with dark coloured paint4 ,in some work it may be well to extend the varnish no farther than the intended figures1 in which case1 any projecting or branching parts of the figures1 may be drawn with a camel-hair pencil1 and the patterns may in some measure be dispensed with4 ,in either case1 the work must afterwards have one or more coats of copal or shellac varnish4 #d4 ,,to ,,enamel ,,picture ,,glasses ,,with ,,gold4--,the glass must first be washed perfectly clean and dried2 then damp it by breathing on it1 or wet it with the tongue1 and immediately lay on a leaf of gold1 and brush it down smooth4 ,when this is dry1 draw any letters or flowers on the gold with ,brunswick blacking1 7see #ea7 and when dry1 the superfluous gold may be brushed off with cotton1 leaving the figures entire4 ,afterward the whole may be covered with blacking1 or painted in any colour1 while the gold figures will appear to advantage on the opposite side of the glass4 ,this work may be elegantly shaded by scratching through the gold with a small steel instrument1 7in the end of which many sharp points are formed17 previous to laying on the blacking4 ,oil paints of any kind may be substituted in the place of the blacking1 but will not dry so quick4 #e4 ,,to ,,wash ,,iron ,,or ,,steel ,,with ,,gold4--,mix together in a phial1 one part of nitric acid1 with two parts of muriatic acid1 and add as much fine gold as the acid will dissolve4 ,for this purpose gold leaf is the most convenient1 as it will be the most readily dissolved4 7,this solution is called the nitro-muriate of gold47 ,pour over this solution1 cautiously1 about half as much sulphuric ether2--shake the mixture1 and then allow it to settle4 ,the ether will take the gold from the acid1 and will separate itself from it also1 and form an upper stratum in the phial4 ,carefully pour off this auriferous ether into another phial1 and cork it close4 ,wash any piece of steel or iron with this ether1 and immediately plunge it in cold water1 and it will have acquired a coat of pure gold4 ,with this also1 any flowers or letters may be drawn or written1 even with a pen1 and will appear perfectly gilt4 ,the steel or iron should afterward be heated as much as it will bear without changing colour1 and if the steel be previously polished1 the beauty of the gilding may be much increased by burnishing with a cornelian or blood stone4 #f4 ,,to ,,wash ,,brass ,,or ,,copper ,,with ,,silver4--,to half an ounce of nitric acid in a phial1 add one ounce of water1 and one fourth of an ounce of good silver4 ,it will soon be dissolved1 and if the acid and metal are both pure1 the solution1 7which is called nitrate of silver7 will be transparent and colourless4 ,add to this a solution of nearly two drachms of muriate of soda1 in any quantity of water2 this will precipitate the silver in a white opaque mass4 ,pour off the water with the acid1 and add to the silver an equal quantity of super-tartrate of potass1 thus forming a soft paste2--dip a piece of soft leather in his paste1 and rub it on the metal to be silvered2 continue rubbing it till it is nearly dry2 then wash it with water1 and polish by rubbing it hard with a piece of dry leather4 ,another method is1 to add sub-carbonate of potass to the nitrate of silver1 as long as ebulition ensues2 then the acid is poured off1 and the precipitate1 7which is white at first1 but becomes green when dry17 is mixed with double its quantity of muriate of soda1 and super-tartrate of potass4 ,with this composition1 being moistened1 the metal is rubbed over1 c4 #g4 ,,to ,,give ,,wood ,a ,,gold1 ,,silver1 ,,or ,,copper ,,lustre4--,grind about two ounces of white beach sand in a gill of water1 in which half an ounce of gum-arabic has been dissolved1 and brush over the work with it4 ,when this is dry1 the work may be rubbed over with a piece of gold1 silver or copper1 and will in a measure1 assume their respective colours and brilliancy4 ,this work may be polished by a flint burnisher1 but should not be varnished4 #h4 ,,to ,,print ,,gold ,,letters ,,on ,,morocco4--,first wet the morocco with the whites of eggs2 when this is dry1 rub the work over with a little olive oil1 and lay on gold leaves4 ,then take some common printing types1 and heat them to the temperature of boiling water1 and impress the letters on the gold2--rub the whole with a piece of flannel1 and the superfluous gold will come off1 leaving the letters handsomely gilt4 ,another method is1 to strew powdered rosin over the morocco previous to laying on the leaf2 the heat of the types melts the rosin1 which occasions the gold to adhere in the impressions1 while the other may be brushed off4 #i4 ,,to ,,dye ,,silk ,a ,,brilliant ,,gold ,,colour4--,take any quantity of nitro-muriate of gold1 7see #e7 and evaporate by exposing it to a gentle heat in a glass tumbler or phial2 the gold will form itself in crystals on the bottom and sides of the vessel2 collect these crystals and dissolve them in ten times their weight of pure water4 ,then put a gill of water into a common flask1 and add one ounce of granulated zinc1 and one-fourth of an ounce of sulphuric acid4 ,hydrogen gas will be evolved1 and rise through the neck of the flask1 which must not be stopped4 ,immerse a piece of white silk in the above mentioned aqueous solution of gold1 and expose it1 while wet1 to the current of gas as it rises from the flask2 the gold will soon be revived1 and the silk will become beautifully and permanently gilt4 ,any letters or flowers may be drawn on the silk with a camel-hair pencil dipped in the solution1 and on being exposed to the action of the gas1 will be revived and shine with metallic brilliancy4 ,note4--,the silk must be kept moist with water till the gold is revived4 ,zinc may be prepared for the above purpose1 by melting it1 and stirring it continually with a stick or iron rod while it is cooling2 or it may be pulverized with a hammer as soon as it becomes solid4 #aj4 ,,to ,,dye ,,silk ,a ,,brilliant ,,silver ,,colour4--,proceed as directed in the last experiment1 only use the nitrate of silver1 7see #f7 instead of nitro-muriate of gold4 ,the process of crystalizing1 re-dissolving1 c4 is the same4 ,but the crystals of silver differ in colour1 being white1 whereas those produced from gold are yellow4 ,if a jar1 or box be filled with hydrogen gas1 and the silk suspended in it1 the action of the gas1 and consequently the revivification of the metals will be more uniform4 ,for small figures1 however1 it may be as well to fix a stopper in the flask1 having a small orifice through it1 that the gas may be thrown with some force on the silk1 and will have a more certain effect4 ,a solution of muriate of tin may be managed in a similar manner1 but none of these solutions can be thus revived on paper4 #aa4 ,,to ,,silver ,,looking ,,glasses4--,lay on a smooth board1 a piece of soft deer-skin leather1 rather larger than the glass that is to be silvered2 and on the leather1 having sprinkled a little fine whiting1 spread a piece of tin foil of the same size4 ,pour on a few drops of mercury1 and brush it over the tin with a smooth brush1 till every part of the tin becomes bright4 ,then add as much mercury as will lay on the tin1 and upon this lay the glass to be silvered3 on the glass lay another piece of leather1 of the same size1 and on that another board4--,take up the boards with the glass1 and pressing the boards together1 turn them with the glass1 the other side up2 take off the upper board1 and pass the glass with the tin and leather1 between two rollers1 similar to those of a rolling press1 for copper-plate printing2 thus to press out the mercury from between the tin and the glass4 ,then place the glass between the boards again as before1 and place a heavy weight 7which cannot be too heavy1 unless it breaks the glass7 on the upper board1 which must remain two or three days4 ,the glass may then be taken up4 ,the practice of some is1 to lay thin paper on the mercury previous to laying on the glass2 this paper1 being carefully drawn out1 after the glass is laid on1 serves to remove the superfluous mercury1 that the tin may come more nearly in contact with the glass4 ,in this case1 no rollers are used4 ,concave or other fancy glasses may be silvered1 by making an impression with the glass1 in a kind of putty1 made of fine sulphate of lime and water2 and placing the glass in the impression again with the tin foil and mercury1 when the plaster is dry1 and subjecting it to pressure two or three days in that situation4 ,the experiment of silvering glass may be performed by rubbing a drop of mercury on a small piece of tin foil1 and pressing it upon a piece of glass with the finger1 or a piece of soft leather4 ,in this case1 the glass will have acquired the reflective property of a mirror2 and if a similar pressure be continued a few hours1 the tin will adhere permanently4 #ab4 ,,to ,,write ,,on ,,paper ,,with ,,gold ,,or ,,silver4--,make a sizing as strong as will flow freely from the pen1 by dissolving equal quantities of gum-arabic and loaf sugar in water2 write with this on paper and let it dry2 then moisten the paper by breathing on it1 or by holding it over hot water1 and immediately lay pieces of gold or silver leaf on the lines of the writing1 pressing them down gently with a dry hair pencil4 ,otherwise1 brush gold or silver bronze lightly over the writing2 but this will not have so brilliant an appearance4 ,allow the sizing to dry again1 and then brush off the redundant gold or silver with cotton4 ,this writing1 7if performed with leaf gold or silver7 may be burnished with a flint burnisher or a cornelian or blood-stone4 ,gold letters may also be written or drawn with a hair pencil by means of gold bronze1 mixed with weak gum-water1 to which may be added a little solution of soap1 which will make it run more freely4 ,but no preparation of solution of gold has yet been discovered1 which may be easily revived on paper4 #ac4 ,,to ,,make ,,good ,,shining ,,black ,,ink4--,take two ounces of nut-galls in coarse powder2 one ounce of logwood in thin chips2 one ounce of sulphate of iron2 three-fourths of an ounce of gum-arabic2 one-fourth of an ounce of sulphate of copper2 and one-fourth of an ounce of loaf sugar4 ,boil the galls and logwood together in three pints of water1 till the quantity is reduced to one half4 ,then the liquor must be strained through a flannel into a proper vessel1 and the remainder of the ingredients be added to it4 ,the mixture is then to be frequently stirred till the whole is dissolved2 after which it must be left at rest for twenty-four hours4 ,the ink may then be decanted from the gross sediment1 and must be preserved in a glass bottle well corked4 #ad4 ,,blue ,,ink4--,dissolve one ounce of gum-arabic in a pint of water4 ,in a part of this gum-water1 grind a small quantify of best prussian blue2 you may thus bring it to any depth of colour you choose4 ,indigo will answer this purpose very well1 but is not so fine a colour1 nor will it remain suspended so uniformly in the water4 #ae4 ,,red ,,ink4--,in the above mentioned gum-water1 grind very fine1 three parts of vermillion with one of lake or carmine4 ,this is a very perfect colour1 but may require to be shaken up occasionally4 ,to make the common red ink1 such as is used by book binders for ruling1 c4 infuse half a pound of rasped brazil-wood1 for two or three days in a pint of vinegar2 then filter or strain it1 and add one ounce of gum-arabic1 and one ounce of alum4 ,it may afterward be diluted occasionally with water4 #af4 ,,yellow ,,ink4--,steep one ounce of turmeric1 in powder1 in half a gill of alcohol2 let it rest twenty-four hours1 and then add an equal quantity of water2--throw the whole on a cloth1 and express the coloured liquor1 which mix with gum-water4 ,rum or other spirits may be substituted in the place of alcohol4 ,a solution of gamboge in water1 writes a full yellow1 but comes far short of turmeric in brightness4 #ag4 ,,green ,,ink4--,to the tincture of turmeric1 prepared as above1 add a little prussian blue4 ,a variety of tints may be formed1 by varying the proportions of these two ingredients1 and no artificial colour can excel it in beauty4 #ah4 ,,purple ,,ink4--,to the blue ink1 described at #ad1 add some finely ground lake2 or instead of this1 the expressed juice of the deepest coloured beets may be substituted1 but is more liable to fade4 ,with either of these a variety of tints may be formed1 by varying the proportions4 #ai4 ,,to ,,write ,,in ,,various ,,colours ,,with ,,the ,,same ,,pen1 ,,ink ,,and ,,paper4--,take a sheet of white paper1 and wet some parts of it with a solution of sub-carbonate of potass1 which must be diluted with water so as not to appear on the paper when dry4 ,wet some other parts with diluted muriatic acid1 or with juice of lemons4--,some other parts may be wet with a dilute solution of alum2 and others with an infusion of nut-galls 7water in which bruised or pulverized nut-galls have been steeped47 ,none of these preparations must be so strong as to colour the paper any4 ,when these are dry1 take some finely powdered sulphate of iron1 and rub it lightly on some parts of the paper1 that have been wet with the sub-carbonate of potass1 and infusion of galls4 ,then with the juice of violets1 or of the leaves of red cabbage1 write on the paper as usual with a pen4 ,the ink is1 of itself1 a faint purple2 where the paper was wet with acid1 the writing will be bright red2 on the sub-carbonate of potass1 it will take a beautiful green2 on the alum it will be brown2 on the sub-carbonate of potass that was rubbed with powdered sulphate of iron1 it will be deep yellow2 and on the infusion of galls that was rubbed with the powder1 it will be black4--,the juice of violets will sometimes take a brilliant yellow on the alkali if it be very strong4 ,the juice of violets or red cabbage may be kept a long time by means of the addition of a few drops of alcohol2 or the leaves may be dryed by the fire1 and thus may be kept ready for use2 and it is only requisite to steep them in hot water1 in order to prepare the ink at any time4 ,note4--,the yellow ink1 described at #af1 writes a full red where the paper has been wet with the solution of sub-carbonate of potass2 while the solution of sulphate of iron1 which has no colour of itself1 writes a deep yellow on the alkali1 and black on the infusion of galls4 #bj4 ,,sympathetic ,,inks ,,for ,,secret ,,correspondence4--,process #a4--;,dissolve muriate of ammonia in water1 and write2--the writing will be invisible4 ,when you would make the writing appear1 heat the paper by the fire1 and the writing will become black4 #ba4 ,process #b4--,write with a solution of sulphate of iron--the writing will be invisible4 ,dip a feather in an infusion of nut-galls1 and with it wet the paper1 and the writing will become black4 #bb4 ,process #c4--,write with a dilute infusion of galls1--it will be invisible4 ,dip a feather in a solution of sulphate of iron1 and moisten the paper with it and the writing will become black4 #bc4 ,process #d4--,write with a solution of sub-carbonate of potass2 wet this writing with a solution of sulphate of iron1--it will take a deep yellow colour4 #bd4 ,process #e4--,write with a solution of sulphate of copper1--no writing will be visible4 ,wash the paper with a solution of prussiate of potass1--the writing will then get a reddish brown colour4 #be4 ,process #f4--,write with a solution of super-carbonate of soda2--moisten the paper with a solution of sulphate of copper1 and the writing will become green4 #bf4 ,process #g4--,write with diluted nitrate of silver1 and let the writing dry in the dark--it will be invisible2 but expose the paper to the rays of the sun1 and the writing will become black4 #bg4 ,,luminous ,,ink ,,that ,,will ,,shine ,,in ,,the ,,dark4--,to half an ounce of essential oil of cinnamon1 in a phial1 add half a drachm of phosphorus4 ,cork the phial slightly1 and set it1 or suspend it near a fire1 where the heat may be nearly equal to boiling2 continue the heat four or five hours1 shaking the phial frequently1 but cautiously lest any of the oil should escape1 or come in contact with atmospheric air1 in which case it would take fire4 ,the cork should be set sufficiently tight to exclude atmospheric air1 but not so as to prevent the escape of any vapour that might be produced by excess of heat4 ,the phial may be afterward removed from the fire and suffered to cool4 ,with this phosphorised oil1 any letters may be written on paper1 and if carried into a dark room1 will appear very bright1 resembling fire4 ,the phial should be kept corked close1 except when used4 #bh4 ,,to ,,make ,a ,,writing ,,appear ,,and ,,disappear ,,at ,,pleasure4--,dissolve equal parts of sulphate of copper and muriate of ammonia in water1 and write4 ,when you would make the writing appear1 warm the paper gently by the fire2 the writing will appear in a yellow colour2 but as soon as you take the paper into the cold air1 the writing will vanish4 ,this may be often repeated4 #bi4 ,,to ,,make ,a ,,writing ,,vanish ,,and ,,another ,,appear ,,in ,,its ,,place4--,write on paper with a solution of sub-carbonate of potass1--the writing will be invisible4 ,mix together equal parts of solution of sulphate of iron1 and infusion of galls2 write with this mixture 7which is black7 on the same paper4 ,then add to the black liquor a little sulphuric acid1 sufficient to deprive it of colour4 ,wet the paper with this compound2 the acid will discharge the colour from the last writing1 while the alkali of the first1 will precipitate the gallate of iron1 and the writing will become black4 #cj4 ,,to ,,restore ,,old ,,writing ,,that ,,is ,,nearly ,,defaced4--,boil one ounce of powdered nut-galls1 for an hour or more in a pint of white wine2 filter the liquor1 and when cold1 wet the paper with it1 or pass it on the lines with a camel hair pencil1 and the writing will be much revived4 #ca4 ,,to ,,paint ,a ,,picture ,,that ,,will ,,appear ,,and ,,disappear ,,occasionally4--,to half an ounce of nitric acid1 add one drachm of cobalt1 one drachm of muriate of soda1 and two ounces of water2 set it in a sand bath or on warm ashes1 where it must remain five or six hours4 ,then filter the solution1 7which is nitro-muriate of cobalt17 and with it draw the trees1 and shrubbery of a designed picture4 ,then with a solution of oxide of cobalt in acetic acid1 draw some distant mountains1 fences1 c4 and with muriate of copper1 7the compound solution described at #bh17 draw some flowers1 buildings1 c4 ,these will all be invisible when dry2 but warm the paper and the picture will appear in green1 blue and yellow4 ,it will disappear again when the paper becomes cold4 #cb4 ,,landscape ,,painting ,,on ,,walls ,,of ,,rooms4--,dissolve half a pound of glue in a gallon of water1 and with this sizing1 mix whatever colours may be required for the work4 ,strike a line round the room1 nearly breast high2 this is called the horizon line3 paint the walls from the top to within six inches of the horizon line1 with sky blue1 7composed of refined whiting and indigo1 or slip blue17 and at the same time1 paint the space from the horizon line to the blue1 with horizon red1 7whiting1 coloured a little with orange lead and yellow ochre17 and while the two colours are wet1 incorporate them partially1 with a brush4 ,rising clouds may be represented by striking the horizon red colour upon the blue1 before it is dry1 with a large brush4 ,change some sky blue about two shades with slip blue and paint your design for rivers1 lakes or the ocean4 ,change some sky blue one shade with forest green1 7slip blue and chrome yellow17 and paint the most distant mountains and highlands2 shade them while wet1 with blue1 and heighten them with white1 observing always to heighten the side that is towards the principal light of the room4 ,the upper surface of the ocean must be painted as high as the horizon line1 and the distant highlands must rise from ten to twenty inches above it4--,paint the highlands1 islands1 c4 of the second distance1 which should appear from four to six miles distant1 with mountain green1 7two parts sky blue with one of forest green17 heighten them1 while wet1 with sulphur yellow1 7three parts whiting with one of chrome yellow17 and shade with blue-black1 7slip blue and lamp black equal47 ,paint the lands of the first distance1 such as should appear within a mile or two1 with forest green2 heighten with chrome yellow and shade with black2 occasionally incorporating red ochre1 french green or whiting4 ,the nearest part1 or fore ground1 however1 should be painted very bold with yellow ochre1 stone brown1 7red and yellow ochres and lamp black equal17 and black4 ,paint the shores and rocks of the first distance with stone brown2 heighten with horizon red1 shade with black4 ,for those of the second distance1 each colour must be mixed with sky blue4--,the wood lands1 hedges and trees of the second distance are formed by striking a small flat stiff brush end-wise1 7which operation is called bushing1 and is applied to the heightening and shading all trees and shrubbery of any distance17 with mountain green1 deepened a little with slip blue2 with which also the ground work for trees of the first distance is painted2 and with this colour the water may be shaded a little under the capes and islands1 thus representing the reflection of the land in the water4 ,trees of the first distance are heightened with sulphur yellow or french green2 and shaded with blue-black4 ,every object must be painted larger or smaller1 according to the distance at which it is represented2 thus the proper height of trees in the second distance1 is from one to two inches1 and other objects in proportion4 ,those in the first distance from six to ten inches generally2 but those in the fore ground1 which are nearest1 are frequently painted as large as the walls will admit4 ,the colours also for distant objects1 houses1 ships1 c41 must be varied1 being mixed with more or less sky blue1 according to the distance of the object4 ,by these means the view will apparently recede from the eye1 and will have a very striking effect4 #cc4 ,,to ,,paint ,,in ,,figures ,,for ,,carpets ,,or ,,borders4--,take a sheet of pasteboard or strong paper1 and paint thereon with a pencil1 any flower or figure that would be elegant for a border or carpet figure2 then with small gouges and chisels1 or a sharp pen knife1 cut out the figure completely1 that it be represented by apertures cut through the paper4 ,lay this pattern on the ground intended to receive the figure1 whether a floor or painted cloth1 and with a stiff smooth brush1 paint with a quick vibrative motion over the whole figure4--,then take up the paper and you will have an entire figure on the ground4 ,note4--,if a floor is to be thus painted1 in imitation of a carpet1 the pattern must be perfectly square1 and the figure so designed1 that when several of them come together1 they may completely match each other2 and when different colours are used in the same figure1 they must be kept a little separate from each other1 and wrought with different brushes4 #cd4 ,,to ,,paint ,,in ,,imitation ,,of ,,mahogany ,,and ,,maple4--,first give the work one or two coats of straw coloured paint1 composed of white lead and yellow ochre1 ground in linseed oil1 to which may be added a little fine litharge1 that the paint may the sooner dry2 when this is dry1 rub it smooth with sand-paper4 ,then if mahogany is to be imitated1 stain the work over with boiled linseed oil1 coloured a little with venetian red and burnt terra-de-sienna1 equal quantities4 ,this should be applied with a short stiff brush1 and spread very thin that it may not run1 or drip off4 ,then with terra-de-sienna1 ground very thick in oil1 form the dark shades of the graining according to your design1 with a small flat brush4 ,for this purpose a common sash-brush may be made flat1 by having a small piece of wire1 or wood1 bound on each side near the handle4 ,some of the darker shades may be drawn with burnt umber and black1 ground together1 which may be applied with a camel hair pencil4 ,if any part is to be made very light1 the staining may be wiped off carefully with a ball of cotton4 ,light stripes1 or lines may be produced by drawing a piece of cork or soft wood over the work1 thus taking off or removing the dark colours1 that the original ground may appear4--,to imitate maple1 the work must be stained with yellow ochre1 and burnt umber1 ground together in boiled oil4 ,instead of burnt umber1 terra-de-sienna 7unburnt7 is sometimes used1 but as different kinds1 or parcels of it1 vary in colour1 from yellow to brown1 it may not be depended on uniformly4 ,the birds' eyes and curls are formed by removing the staining from the ground with a piece of stiff leather1 the edges of which are cut in notches so that the several points will touch the work at the same time4 #ce4 ,,the ,,art ,,of ,,painting ,,on ,,glass4--,if the common cakes of water-colours are to be used in this work1 they should be mixed with water in which a little muriate of soda has been dissolved4 ,other paints may be ground in shellac varnish2 or in linseed oil1 but this will not dry so quick4 ,the most proper colours for this work1 on account of their transparency1 are india ink1 or lamp black1 burnt umber1 burnt terra-de-sienna1 lake and gamboge or chrome yellow4 ,these must be laid on very thin1 that they may be the more transparent4 ,set up the glass on its edge1 against a window1 or place a lamp on the opposite side that the light may shine through1 and with a fine hair pencil1 draw the out lines of your design on the glass with black2 afterward shade and paint it with the above mentioned colours1 observing to paint that part of the work first1 which in other painting would be done last4 ,the shading may be performed by laying on two or more coats of the colour1 where you want it darker4 ,if transparency is not required1 a greater variety of colours may be used1 and laid on in full heavy coats4 ,any writing or lettering in this work1 must be written from right to left1 contrary to the usual order4 ,in some pieces1 the body of some of the principal objects1 may be left blank1 so that by placing pieces of silk or paper of different colours1 on the opposite side of the glass the picture will also appear in different colours1 and may be changed from one colour to another at pleasure4 #cf4 ,,best ,,method ,,of ,,polishing ,,steel4--,for this purpose a wheel must be provided that is perfectly round1 and the rim of it covered with deer-skin1 or buff-leather4 ,the diameter of the wheel1 for common purposes may be about two feet2 but for polishing razors1 and some other similar instruments1 the wheel should not be more than five or six inches in diameter1 and two inches thick4 ,the steel must first be ground smooth as possible on a common1 or fine grained stone2 it may then be applied to the polishing wheel1 which must be turned with such velocity that the surface1 or rim1 may move at the rate of from forty to sixty feet in a second2 and the leather must frequently have a powder applied1 called crocus of iron1 which is prepared by calcining sulphate of iron in a crucible till it becomes a fine red oxide resembling rust4 ,for ordinary work1 the leather may be moistened with olive oil1 that it may the better retain the powder2 but it will give a more perfect polish if kept dry4 ,if any perfectly plain surfaces1 such as mirrors are to be polished1 they must be applied to the sides of a wheel1 and not to the edge or rim1 in the manner of other work4 #cg4 ,,to ,,make ,,letters ,,or ,,flowers ,,of ,,blue1 ,,on ,,polished ,,steel4--,hold the steel over a charcoal fire till it becomes blue2--let it cool4 ,then with equal parts of rosin and bees wax1 melted together1 coloured a little with lamp black1 and diluted with spirits of turpentine1 so as to work freely with a camel hair pencil1 draw any letters or figures on the steel1 while it is a little warm4 ,when the steel has become cold1 wash it over with muriatic acid1 diluted with two parts water1 to one of acid2 thus take off the blue colour1 and then wash it with clear water4 ,afterward the varnish1 being warmed a little1 may be readily washed off with spirits of turpentine1 and the letters or flowers will remain blue4 ,note4--,if letters are formed of polished steel with this varnish1 and the body of the metal be also covered with it1 except a small space round the letters1 and then bathed with muriatic acid1 the space round the letters1 will become a dull iron colour1 while the letters and the body of the steel will retain their polished surface and brilliancy4 #ch4 ,,to ,,preserve ,,the ,,brightness ,,of ,,polished ,,steel4--,grind an ounce of native plumbago1 7such as is used for making lead pencils17 very fine in a gill of spirits of turpentine2 then add an ounce of clean bees wax2 apply a gentle heat1 till the wax is melted1 and continue stirring it till it is nearly cold4 ,brush over the steel with this composition1 and when the spirits have evaporated1 rub the work hard with a piece of glove leather1 and wipe off nearly all the wax1 that the metal may retain its brightness4 ,this may be applied to iron or steel in machinery1 or other work1 and will be found to answer a much better purpose than oil1 as it is less liable to collect dust from the atmosphere1 and is1 in general1 much more durable4 #ci4 ,,to ,,give ,,steel ,a ,,temper ,,to ,,cut ,,marble4--,no temper can be given to steel1 in which hardness is combined with tenacity1 more than in that given to files1 at the file manufactories1 which is accomplished by the following process4--,to boiling water1 add about twice as much finely ground muriate of soda1 as the water will dissolve1 and as much rye flour as will1 with the other1 make a thick paste2 lay a coat of this paste over the steel1 7which must be ground1 or filed previous to tempering17 and subject it to a full red heat1 in a fire of charcoal1 mixed with about a third part of animal coal1 7coal of bones1 horns1 leather1 c47 and then suddenly plunge it three or four feet deep1 in exceeding cold water4 ,by thus immersing the steel rather deep in the water there is a double advantage2 for the water which becomes heated1 by contact with the steel1 will rise and its place be supplied continually by fresh cold water2 and at the same time1 the pressure of the water on the coating of paste1 will make it adhere more closely to the steel while it is cooling4 ,the paste may then be shelled off1 and the steel will be found as bright as before1 or at least1 will not have been essentially oxydized by the operation4 #dj4 ,,to ,,wash ,,iron ,,or ,,steel ,,with ,,copper4--,dissolve sulphate of copper in water1 in the proportion of one to three2 wash the iron or steel with it1 and it will instantly be covered with reduced copper4 ,this is best performed by applying the solution with a brush1 which must be followed directly with a sponge of clear water4 ,in this manner any letters or figures may be drawn with a camel-hair pencil1 or a pen1 and if it be on polished steel1 the letters or flowers will assume the brilliancy of the steel and appear like highly polished copper4 ,it may sometimes be requisite to cleanse the metal by washing it with diluted muriatic acid1 that the copper may adhere the more readily4 ,if the steel thus ornamented1 be held over a charcoal fire1 the copper figures become blue first2 and when the steel becomes blue1 the copper takes a gold colour2 but is restored again to its original colour1 by diluted muriatic acid4 #da4 ,,to ,,give ,,iron ,,the ,,whiteness ,,of ,,silver4--,to nitric acid1 diluted with an equal quantity of water1 add as much mercury as the acid will dissolve2 then add to the solution1 three or four times as much water1 and having given the iron a coat of copper1 as directed in the last experiment1 brush it over in the same manner with the diluted nitrate of mercury2 its appearance will be equal1 if not superior to that of real silver4 ,in this manner any common1 or rough iron work1 may be apparently silvered at a most insignificant expense4 #db4 ,,to ,,wash ,,iron ,,with ,,tin4--,small pieces of iron may be tinned1 after being filed bright1 by washing them with a saturated solution of muriate of ammonia in water and dipping them1 while moist1 in a vessel of melted tin4 ,if the iron is of such form as cannot be conveniently filed1 it may be immersed in nitric acid1 diluted with as much water as acid2 when the acid begins to act sensibly on every part1 it may be washed with water1 and then with the muriate of ammonia1 and if a little fine rosin be sprinkled on it previous to dipping it in the tin1 it may be an advantage4 ,the iron must remain in the tin till it becomes nearly as hot as the tin1 otherwise it will be coated too thick4 ,muriatic acid may sometimes be used1 instead of muriate of ammonia1 and if the iron is not filed1 it will answer a better purpose4 ,the inside of cast iron vessels may be tinned as follows3 ,cleanse the iron by scouring or rubbing it with a sharp grained stone1 keeping the iron wet with diluted nitric acid4 ,as the most prominent parts of the iron will be first brightened by the stone1 the acid will also commence its action on the same parts1 which will very much facilitate the work1 while the hollows1 and deeper parts of the surface1 will remain untouched till the iron is nearly smooth4 ,when this is accomplished1 wash the iron with water1 and then with clear muriatic acid2 turn the vessel over to drain off the superfluous acid2 then set it upright1 and fill it with melted tin1 which must be poured in cautiously1 directly on the bottom of the vessel first1 and the stream of tin increased till the vessel is full2 then pour out the tin suddenly1 and invert the vessel till it is cold4 ,sheets of iron are tinned1 in the manufactories of tin plate1 by immersing the sheets1 endwise1 in a pot of melted tin1 the top of which is covered with about two inches depth of tallow4 ,this tallow answers a better purpose1 after it has become brown by use1 than it does at first4 ,the only preparation of the iron sheets is1 to scour them perfectly clean and bright4 #dc4 ,,to ,,give ,,tin ,,the ,,whiteness ,,and ,,brilliancy ,,of ,,silver4--,to an ounce of nitric acid1 diluted with an equal quantity of water1 add nearly an ounce of mercury1 or as much as the acid will dissolve4 ,when this is dissolved1 add to the solution1 gradually1 half an ounce of sulphuric acid2 this will precipitate the mercury in the form of a white powder2 when this has subsided1 pour off the acid and add clear water2 thus wash the powder from the acid1 then pour off the water1 and while the precipitate is moist1 7or if it be suffered to dry1 it may be again moistened with water17 rub it over the tin with a piece of glove leather4--,then wash the tin with water1 and when it is dry1 rub it pretty hard with a piece of fine woollen cloth2 it will resemble polished silver4 #dd4 ,,to ,,give ,,tin ,a ,,changeable ,,crystalline ,,appearance4--,cleanse the tin by washing it with warm soap and water1 and rinse it in clear water4 ,then heat the tin to the temperature of bare sufferance to the hand1 and pour on it1 or apply with a brush or sponge1 a mixture of one ounce of muriatic acid1 with one fourth of an ounce of sulphuric acid1 and two ounces of water2 then immediately wash the tin in clear water4 ,another method is1 to apply in the same manner a solution of two ounces of muriate of soda1 in four ounces of water1 with one ounce of nitric acid4 ,in either case1 if the crystalline figures are not bold enough1 the operation may be repeated4 ,if a very small figure is required1 the tin may be heated nearly to flowing1 and plunged into cold water1 slightly acidulated with nitric and muriatic acids4 ,if a little solder is drawn over the tin with a hot iron or copper1 in such manner as to form a cross1 or circle1 and the opposite side of the tin be afterwards crystallized1 it will have a beautiful effect4 #de4 ,,to ,,make ,a ,,gold ,,coloured ,,varnish ,,for ,,tin4--,to half a pint of alcohol1 in a flask1 add one ounce of gum-shellac1 and half an ounce of turmeric1 both in powder2 set the flask in a warm place1 frequently shaking it1 for twelve hours or more2 then filter or strain off the liquor1 which may be occasionally diluted with new rum4--,if a colour is required resembling dutch gold1 a small quantity of dragon's blood may be added1 or substituted in the place of turmeric4--,when this varnish is used1 it must be applied to the work freely and flowing1 and must not be brushed or rubbed while it is drying4 ,one or more coats of this varnish 7or laquer as it is sometimes called7 may be laid on the work1 as the colour is required to be deeper or lighter4 ,note4--,to make a rose coloured varnish1 proceed as above directed1 only substitute one-fourth of an ounce of the best lake1 finely ground1 in the place of turmeric4 ,a transparent blue varnish may also be made by means of prussian blue2 and purple or green1 by adding a little blue to the gold1 or rose coloured varnishes4 ,these laquers are frequently employed for washing silver bronzed ornaments1 to give them the appearance of gold or copper4 #df4 ,,to ,,make ,,shellac ,,varnish ,,for ,,japanning4--,to one quart of the best alcohol1 add half a pound of the thinnest and most transparent gum-shellac2 mix and shake these together1 and let them stand in a warm place for two or three days2 then strain the varnish through a fine flannel1 and bottle it4 ,shellac varnish is used for japanning lamps1 tea trays1 c4 ,any of the colours commonly used for oil painting1 may be ground in this varnish and should be applied to the work with a smooth brush1 and in a warm place2 and the work to be japanned1 should be perfectly dry and warm4 ,note4--,most of the writers on the subject of japanning1 have recommended seed-lac varnish2 but it is a fact1 though not so generally known as it ought to be1 that shellac and seed-lac are the same substance2 the only difference is1 that shellac is in a more clarified and refined state1 than that which is called seed-lac4 #dg4 ,,to ,,make ,,the ,,best ,,copal ,,varnish4--,take one pound of gum-copal1 and melt in a flask over a brisk fire of charcoal2 at the same time in another flask1 boil1 or heat to the point of boiling1 one pint of linseed oil2 as soon as the gum is melted1 take it from the fire1 and add the hot oil in small quantities1 at the same time stirring or shaking it till they are thoroughly incorporated4 ,allow the mixture to cool below the boiling point of water1 and then add nearly a quart of spirits of turpentine2--cork the flask slightly1 and expose it for a few days to the rays of the sun1 which will make it work more smooth and shining4 ,if a larger quantity is to be made1 a copper boiler1 that is small at the top will answer to melt the gum in4 ,for ordinary or coarse work1 a larger proportion of oil and a little rosin may be added4 ,if oil is used in which red lead and litharge 7in the proportion of half a pound of each to a gallon of oil7 have been previously boiled1 the varnish will the sooner dry4 #dh4 ,,to ,,make ,a ,,spirit ,,varnish ,,for ,,pictures ,,and ,,fancy ,,boxes4--,to a pint of alcohol1 in a flask1 add four ounces of gum-mastic1 and one ounce of gum-sandarac1 both in powder2 expose the mixture to a gentle heat1 sufficient to produce a slight ebulition for a few minutes1 frequently shaking it1 and the gums will be dissolved2 strain the varnish through a fine flannel1 bottle and cork it4 ,some recommend the addition of venice turpentine1 by means of which1 a small quantity of gum-copal1 finely powdered1 may also be dissolved1 but as venice turpentine contains a portion of spirits of turpentine1 it renders the varnish too penetrating for many purposes2 and even the gum-sandarac may be omitted without any essential disadvantage4 ,this varnish should be a little warm when used4 #di4 ,,to ,,make ,,elastic ,,varnish ,,for ,,umbrellas1 ,,or ,,hat ,,cases4--,to a pint of spirits of turpentine1 in a flask1 add one ounce of gum-elastic1 cut into very small pieces2 put in the cork slightly and set the flask in a warm place1 where the heat may not be equal to that of boiling water1 till the gum-elastic is dissolved1 which may be effected in four or five hours4 ,then strain the solution through a strong linen or cotton cloth1 and add half a pint of boiled linseed oil4 ,note4--,a larger proportion of gum-elastic may be dissolved1 and a less quantity of oil added1 by which means the varnish will be more elastic1 but will not have so smooth and permanent a gloss4 #ej4 ,,to ,,varnish ,,maps ,,and ,,pictures4--,take a piece of linen1 or cotton cambric1 rather larger than the map or picture to be varnished1 and draw it straight upon a frame of convenient size1 and confine it at the edges by small tacks or nails4 ,lay a thin coat of fine rye flour paste on this1 and on the back of the paper that is to be varnished2 lay the paper on the cambric and press them together till the paper adheres firmly in every part4 ,when this is dry1 give the face of the print two or three coats of a strong solution of gum-arabic in water1 allowing each sufficient time to become perfectly dry4 ,this sizing must be applied with a large smooth brush1 and must be spread over the work very quickly1 and with as little brushing as possible4 ,afterwards1 give the work one or more coats of the varnish described at #dh4 ,note4--,very small prints may not require to be pasted on cambric2 and if the paper be very thick1 the varnish may be applied without the previous sizing4 ,ising-glass1 7which may be readily dissolved in boiling water7 is sometimes added to the gum-arabic1 and increases the strength of the sizing1 but is somewhat less transparent than pure gum-arabic4 ,a more simple method of varnishing prints1 is to size them with a solution of loaf sugar1 and finish with a solution of rosin in spirits of turpentine4 #ea4 ,,to ,,make ,,brunswick ,,blacking ,,for ,,picture ,,glasses4--,take one pound of gum-asphaltum and melt it over a slow fire2 then take it from the fire and add spirits of turpentine in small quantities1 stirring it briskly till it is of the consistence of varnish4 ,as there is some danger of its taking fire when the spirits of turpentine is added1 it may be well to be provided with a piece of wet flannel1 to throw over it if that should happen4 ,when it is nearly cold1 strain it through a flannel1 and bottle it for use4 ,this blacking is used for bordering picture glasses1 and is probably the most perfect black in nature4 ,it is water proof and dries very quick4 #eb4 ,,to ,,make ,a ,,print ,,appear ,,on ,a ,,gold ,,ground4--,dilute venice turpentine with spirits of turpentine till it works freely with a camel-hair pencil2 lay a coat of this varnish on any part of a print or picture1 observing to keep the pencil within the lines1 that the varnish may not spread beyond4 ,then lay a coat of the varnish on the same part of the back of the paper and lay on a leaf of gold over the varnished part2 press down the gold very gently with cotton1 and the varnish having rendered the paper transparent1 the face of the picture will appear as if those parts were printed in gold4 ,by this varnish 7which is less liable to spread in the paper than oil7 pictures may be so prepared1 that the colours of various parts of them1 may be varied and changed at pleasure1 by placing pieces of silk or paper of different colours on the back of them4 #ec4 ,,best ,,method ,,of ,,tracing ,,or ,,copying ,a ,,picture4--,perhaps the most simple method of copying the outlines of a picture1 is to place the picture against a window1 with the paper over it1 on which the copy is to be drawn2 the principal lines of the picture will be seen through the other paper1 and may readily be traced with a lead pencil4 ,but the usual manner of copying1 in landscape painting1 and which will answer for pictures of any size1 is to rub over the back of the picture with plumbago1 or red ochre2 then lay the picture on the ground that is to receive the copy1 and trace the lines with a smooth pointed steel1 or piece of hard wood4 ,the ground will thus be very accurately and distinctly marked1 by the plumbago or ochre adhering to the ground in the lines that are traced4 ,when several copies are to be taken from the same pattern1 7which frequently occurs in ornamental painting17 the outlines of the first copy may be perforated with some pointed instrument1 so that being laid on the other grounds that are to receive the copies1 and brushed over with a little fine dry whiting1 or red ochre1 7as the case may require7 the whiting or ochre will penetrate the perforated lines of the pattern1 and thus mark the ground on which it is laid4 #ed4 ,,the ,,construction ,,and ,,use ,,of ,a ,,copying ,,machine4--,take two strips of wood1 which may be about three feet long1 one inch wide1 and one-fourth of an inch thick2 lay them on a table1 parallel to each other1 and eighteen inches apart4 ,across these1 lay three other strips1 which must be eighteen inches long1 that each end of each piece may rest on one of the longer strips4 ,two of these must lie across the opposite ends of the longer pieces1 and the other across the centre1 thus forming two squares4 ,drive a pin through the ends of the short pieces1 or confine them by rivets to the others1 but not so as to prevent their playing circularly on the rivets4 ,then drive a pin or pivot through the centre of the middle cross-bar into the table1 or board on which the work lies4 ,in one end of one of the long strips 7which may project a little over the cross-bar7 fix a lead pencil1 with the point downward1 so that it may bear lightly on the board2 and under this pencil1 place the paper that is to receive the copy4 ,and in the opposite end of the other piece1 fix a smooth iron point1 in a manner similar to that of the pencil1 and under this point place the picture that is to be copied4 ,then with the iron point1 carefully trace the lines of the picture1 and the pencil in the opposite corner will move in a transverse direction1 and draw the same picture very accurately on the other paper4 ,if you fix the pencil half way between its former place and the middle cross-bar1 and remove the pivot to a point that is directly in a line with the pencil and the iron point1 it will give a copy in exact proportion1 but only one fourth part as large as the picture that is copied4 ,thus the copy may be decreased or increased to any size1 and still retain its regular proportions4 ,in this manner1 painting on wood or canvas may be copied1 which could not readily be done in any other way4 #ee4 ,,to ,,produce ,,the ,,exact ,,likeness ,,of ,,any ,,object1 ,,instantly ,,on ,,paper4--,this may be readily effected by laying the paper on a table1 and holding a double convex lens 7a common sun-glass7 over it1 and then placing a mirror over the lens1 in an oblique position so as to face partly downward1 and partly towards the object that is to be represented4 ,the rays of light passing from the object to the mirror1 will be reflected downward through the lens1 and produce the likeness of the object in full colours on the paper4 ,this experiment may be easily made in the evening1 by reflecting the flame of a candle in this manner1 which will appear very brilliant on the paper4 ,but in order to render the reflection of an object distinctly visible by day light1 it may be requisite to exclude nearly all the light from the paper1 except what falls through the lens4 ,in all cases1 the lens must be placed at a distance above the paper1 according to its focus1 or the distance at which it would contract the rays of the sun to the smallest point4 ,a very convenient camera obscura1 for drawing landscapes1 or even portraits may be constructed as follows3 ,make a box of boards1 in the form of a regular cube1 being one foot in length1 breadth and height2 bore a hole of one inch diameter1 through the centre of the top2 and on this1 fix a double convex lens1 the focus of which must reach the bottom of the box4 ,make an aperture of about six inches in length1 and one in breadth1 through one side of the box at the top1 by shaving off1 or hollowing the edge in such manner that when you put your face to the aperture to look into the box1 it will exclude all the light except what falls through the lens4 ,make a hole through each end of the box1 near the bottom1 large enough to put in the hands1 with paper and pencil4 ,on the top of the box1 on the right and left sides of the lens1 fix two pieces of boards1 which may be about four inches high1 eight inches long1 and three inches distant from each other4 ,between these boards1 fix a piece of looking glass1 three inches square1 and facing from you2 the lower edge of the glass1 being near the lens1 on the side towards you2 and the upper edge inclining towards you about thirty degrees from a perpendicular4 ,directly over1 and nearly four inches above the lens1 place another mirror1 the centre of which must face directly towards the lower edge of the first4 ,cover the glass-box so as to exclude all the light from the glasses except what falls on them horizontally from objects directly in front of you1 and place a sheet of paper on the bottom of the box inside4 ,the rays of light1 passing from objects in front1 will be reflected from the first mirror to the second1 and from the second1 through the lens to the paper1 where you will have a perfect similitude of the objects in view1 in full colours1 and true perspective1 and may trace them on the paper1 with a pencil or pen4 #ef4 ,,copper-,,plate ,,engraving4--,for this purpose1 provide a plate of copper1 rather larger than the design that is to be engraved1 and may be about one sixteenth of an inch thick2 planish by rubbing it1 first1 directly length-wise1 and afterwards breadth-wise with a piece of pumice-stone1 which may be dipped occasionally in a mixture of one part nitric acid1 with six or seven parts water4--,then wash the copper with clear water1 and rub it with an oil stone that has a plane surface2 and then polish it with a piece of charcoal1 that has been ignited to redness and quenched in cold water4 ,afterwards burnish the copper by rubbing it with polished steel4 ,lay a piece of transparent paper on the design that is to be engraved1 and trace the principal lines with a lead pencil2--then brush over the copy or tracing with dry red ochre1 and having rubbed the copper plate with a piece of bees-wax1 lay the red side of the tracing on the plate2 then with a smooth iron point1 trace the same lines again1 that they may thus be transferred to the plate by means of the red ochre and wax4 ,take up the paper and trace the lines on the plate with a needle1 thus scoring the lines slightly on the copper4 ,then warm the plate and wipe off the wax1 or wash it off with spirits of turpentine1 and rub the plate with fine dry whiting4 ,the next instrument to proceed with is the graver2 consisting of a blade of steel about three inches long1 which is fixed in a convenient handle like an awl4 ,the form of the graver should be triangular1 or between a triangle and lozenge1 having two sides plane and the other round or swelled2 and should taper regularly from the handle to the point1 or nearly so1 but the point must be ground off obliquely so that the edge may extend a little farther than the back2 and the edge should rise a little rounding towards the point4 ,it is very essential that the edge and point of the graver should be kept very sharp4 ,the manner of holding the graver1 is to take the handle into the hollow of the hand1 pressing it with three fingers1 on one side1 and the thumb on the other1 and extend the fore finger on the back of the blade towards the point4--,the edge of the graver must rest on the plate1 and its motion when cutting must be endwise in all cases2 though there evidently might be a graver constructed1 which might1 in some cases1 be handled in a manner more similar to that of a pen or pencil4 ,a graver of a square form may also be requisite1 for cutting large and broad lines occasionally4 ,in proceeding to engrave the plate1 begin with the outlines1 observing to press harder or lighter on the graver1 as the lines require to be larger or smaller1 and finish each line with the same motion if possible1 without taking the graver off the plate4 ,having cut the outlines1 proceed to fill up1 and shade the work discretionally1 according to the design4 ,it may be requisite1 after part of the work is engraved1 to scrape it lightly with the edge of the graver1 to take off any roughness1 that may have been formed on the part engraved4 ,if after finishing the design1 any part appears to have been improperly executed1 such parts may be erased by the burnisher1 and may be re-engraved with the requisite amendments4 #eg4 ,,etching ,,on ,,copper ,,plates4--,melt together two ounces of bees-wax1 and one ounce of venice turpentine1 and when the wax is melted and boils1 add by small quantities1 two ounces of gum-asphaltum1 stirring the mixture briskly at the same time2 and when the mixture is well incorporated1 take it from the fire1 let it cool a little1 and then pour it into warm water1 and by working it with the hands1 form it into balls of about an inch in diameter1 and wrap each of them in a piece of taffety1 or thin silk4 ,then1 having prepared and polished a plate of copper1 as directed for copper-plate engraving1 warm the plate sufficiently to melt the balls of wax varnish1 and rub one of them over it1 till every part of the polished side is covered with the varnish2 then with a ball of cotton1 wrapped or tied up in taffety1 beat every part of the varnished plate gently1 while the varnish is yet flowing1 that it may spread the more even and uniformly4 ,then hold the plate in a horizontal position1 with the varnished side down1 and hold the flame of a wax candle under it1 or a small roll of paper that has been dipped in melted wax1 and thus blacken the varnish while the plate is yet warm enough to keep it in a melted state4 ,when the varnish has become sufficiently and uniformly black1 let the plate cool1 and having drawn the design on transparent paper1 rub over the face of it with chalk2 then wipe off most of the chalk with a piece of flannel1 lay the chalked side on the varnish1 and trace the lines1 somewhat minutely1 with a smooth round pointed needle4 ,then take up the paper1 and proceed to scoring the lines in the varnish4 ,for this purpose you must be provided with several needles of different sizes1 and fixed in handles1 which may be about four inches long1 and nearly half an inch in diameter1 and the needle may project three fourths of an inch from the handle4 ,some of these may be ground a little flat on one side1 and others may be round1 but taper more abruptly at the point4 ,these needles may be held1 and managed much the same as a pen4 ,begin scoring with the out lines1 observing to cut completely through the varnish1 but it is not requisite to scratch the copper1 except in making very heavy lines1 when it cannot well be avoided4 ,having finished scoring the varnish according to the design1 fix a border of wax 7composed of two parts bees-wax and one of venice turpentine7 round the work1 on the margin of the plate4 ,this border may be about half an inch high1 and must be fixed to the plate while warm4 ,then pour on as much nitric acid1 diluted with an equal quantity of water1 as the plate with the border will contain4 ,in about fifteen minutes pour off the acid1 and examine whether it has sufficiently corroded any part of the work2 if so1 lay a mixture of warm tallow and linseed oil over such parts with a hair pencil1 and again pour on the acid4 ,in half an hour more the acid may be poured off1 and the plate being warmed1 the border may be removed1 and the varnish may be wiped off with a piece of linen cloth2--the plate may then be washed with olive oil1 and cleansed as before with dry fine whiting4 ,note--,different artists use a variety of different preparations of varnish for the purpose of etching4 ,in some old recipes1 virgin wax1 calcined asphaltum1 gum mastic1 amber1 colophony1 greek pitch1 burgundy pitch1 black pitch1 resin1 shoe makers' wax1 c4 c4 are mentioned4 ,but it is believed that the above described varnish1 while it is much more simple1 will answer equally as well for young practitioners2 and it is not expected that any will attempt very nice work1 without further information than they could expect to obtain from the sketches in this little collection4 #eh4 ,,engraving ,,and ,,scraping ,,in ,,mezzotinto4--,having prepared a plate of copper1 proceed to score it so full of lines1 cross-lines and diagonal lines1 that when they are filled with ink1 the plate may appear quite black4 ,for this purpose an instrument will be requisite that is fashioned similar to a chisel1 the round or sloping side being scored or filed near the point1 with lines or notches very near to each other1 so as to form a set of sharp uniform teeth at the edge2 this instrument is called a cradle1 and should be a little round at the corners4 ,this cradle must be moved over the plate1 in the manner of a graver1 scoring the plate uniformly in various directions4 ,when the scoring is finished1 take a scraper1 which may be similar to a knife1 having two edges1 and sloping on each side towards the point2 with this1 scrape off the roughness of the plate1 in such places as is required to be the lightest in the print2 such parts as require to be shaded partially1 may not be scraped so deep1 while the points that are to be the brightest may be burnished quite smooth with the polished end of a piece of steel1 about the size of a large nail1 and some of the heaviest out-lines may be cut with a graver4 ,thus any portraits or other figures may be formed on the plate1 with due proportion of light and shade1 and will1 if properly-managed1 give an impression on paper1 equal in elegance to any that might be produced by other means4 #ei4 ,,etching ,,in ,,aqua-,,tinta4--,polish the plate of copper1 the same as for engraving2 moisten the plate with water and sift on finely powdered rosin and gum-asphaltum1 so as to nearly cover the plate2 then warm the plate sufficient to make the powder adhere1 but not to melt it entirely4 ,transfer the design to the plate1 and cover such parts as are intended to remain white1 with a varnish composed of bees wax and linseed oil1 which may be coloured a very little with black1 and must be applied to the work1 while warm1 with a camel hair pencil4 ,then fix a border of wax round the plate1 and pour on diluted nitric acid4 ,in about one minute1 pour off the acid1 and wash the plate with clear water1 but without effecting the varnish2--dry the plate1 and apply the varnish to such parts of the design as are intended to have but a faint shade2 then apply the acid for a minute or two longer4 ,thus proceed biting in1 and stopping out alternately1 till every part of the design has acquired its proper shade4 ,but if any part requires a darker shade than the ground1 the powdered rosin may be removed from such parts with a scraper4 ,when the plate has become sufficiently corroded1 the varnish may be washed off with oil1 or spirits of turpentine1 and the plate may be cleansed with whiting4 #fj4 ,,copper-,,plate ,,printing4--,the paper on which impressions from a copper-plate are to be taken1 should be moistened1 or wet down two or three days previous to printing2 this is performed by dipping the sheets in water severally1 and then laying them all together under a heavy weight till they are used4 ,when the paper is ready1 the copper-plate may be warmed over a chafing dish of coals1 and the engraved side completely covered and all the lines filled with common printing ink1 or ink made of ,frankfort black1 finely ground in old linseed oil4 ,this may be done by means of a printing ball1 or the ink may be spread on the plate with a smooth stiff brush4 ,the plate may then be wiped with a piece of linen or cotton cloth1 and afterward with the hand1 being passed slowly but hardly over the plate to take off all the ink except what remains in the lines of the engraving2 to accomplish which more effectually1 the hand may be rubbed occasionally with dry whiting4 ,when the plate is thoroughly cleaned of the redundant ink1 it may be laid on the table of a rolling press1 and having a sheet of the moistened paper laid upon the face of it1 and a piece of fine broad-cloth over the paper1 the whole may be passed through the press4 ,then on taking up the paper1 it will be found to have received a black impression from the plate1 according to the engraving or etching1 and the plate may be again carried to the fire1 to be blacked again as before4 ,this is the usual manner of printing2 but when a rolling press is not at hand1 the plate and moistened paper may by other means1 be pressed hard and firmly together1 and the paper will have received the impression equally as fair4 ,any of the colours1 commonly used in oil painting1 being ground very thick in oil may be substituted for ink in copper-plate printing4 ,the plate1 after being used1 should be wiped clean with a piece of flannel1 moistened with olive oil4 #fa4 ,,etching ,,letters ,,or ,,flowers ,,on ,,glass4--,select a piece of glass that is thick and straight1 and lay a coat of melted bees-wax on the fairest side2 then with a needle1 pen-knife1 or any other convenient pointed instrument1 trace any design1 or picture1 which being placed under the glass1 may be seen through the wax2 or form any letters or figures on the glass1 carefully cutting or scoring quite through the wax1 and making the lines large or small as occasion may require4 ,then warm a piece of the wax1 so as to form it into a roll1 about one fourth of an inch in diameter2 lay this roll round the work upon the glass1 and press it down so as to make it adhere to the glass1 thus forming a border4 ,then take some finely powdered fluate of lime1 and strew it evenly over the glass1 on the waxed side1 that it may fill all the lines in the wax2 and then gently pour upon it1 so as not to displace the powder1 as much sulphuric acid1 diluted with thrice its weight of water1 as is sufficient to cover the powdered fluate of lime4 ,let every thing remain in this state for three hours2 then pour off the mixture1 and clean the glass by washing it with spirits of turpentine4 ,the figures which were scored in the wax1 will be found engraven on the glass2 while the parts which the wax covered1 will be uncorroded4--,this glass plate may be charged with ink1 7or any thick oil paint7 and impressions may be taken from it on paper1 the same as from copper plates1 only caution is requisite1 that the glass be not broken by the pressure4 ,note4--,the fluoric acid1 which is partly absorbed by the water1 in the above process1 being very corrosive1 should not be suffered to touch the hands1 nor any valuable vessel whatever4 #fb4 ,,to ,,print ,,figures ,,with ,a ,,smooth ,,stone4--,take a piece of marble or slate1 and form a smooth plane surface on one side1 and on this1 paint any letters or figures with common oil paint of any colour4 ,when this is dry1 wet the stone with water1 which will not adhere to the painted figures1 especially if the paints were mixed with old linseed oil1 that will produce a sharp gloss4 ,then apply a printer's ink-ball to the plane surface1 by which means the dry painted figures will be covered with the ink1 while the bare surface of the stone1 being wet1 will not be blackened or affected by it4 ,press the figured surface upon some moistened paper1 and it will give a fair impression of the painted figures1 on the paper4 ,the block of stone must be then dipped in the water1 and again inked as before1 ,thus many impressions may be taken with a tolerable degree of accuracy4 #fc4 ,,to ,,cut ,,glass ,,with ,a ,,piece ,,of ,,iron4--,draw with a pencil on paper1 any pattern to which you would have the glass conform2 place the pattern under the glass1 holding both together in the left hand1 7for the glass must not rest on any plane surface27 then take a common spike or some similar piece of iron1--heat the point of it to redness1 and apply it to the edge of the glass2 draw the iron slowly forward1 and the edge of the glass will immediately crack2 continue moving the iron slowly over the glass1 tracing the pattern1 and the chink in the glass will follow at the distance of about half an inch1 in every direction according to the motion of the iron4 ,it may sometimes be found requisite1 however1 especially in forming corners1 to apply a wet finger to the opposite side of the glass4 ,tumblers and other glasses may be cut or divided very fancifully by similar means4 ,the iron must be reheated as often as the crevice in the glass ceases to follow4 #fd4 ,,best ,,cement ,,for ,,joining ,,glass4--,if the glass is not likely to be exposed to moisture1 the pieces may be joined by a solution of equal parts of gum-arabic and loaf sugar in water2 or if these are not at hand1 the white of an egg may answer nearly as well4 ,but a strong water proof cement that is equally transparent1 may be made by digesting finely powdered gum-copal1 in thrice its weight of sulphuric ether till it is dissolved4 ,this solution may be applied to the edges of the broken glass1 with a camel hair pencil1 and the pieces must be put together immediately and pressed close till they adhere4 #fe4 ,,best ,,cement ,,for ,,joining ,,china ,,or ,,crockery4--,heat a piece of chalk to a full red heat in a fire2 and while this is heating1 take the white of an egg1 and mix and beat together with it1 one fourth of its weight of pondered or scraped cheese1 7such as is most void of cream1 or oily matter is preferable7 or the curd that is formed by adding vinegar to skimmed milk2--take the chalk from the fire1 and before it is cold1 reduce it to powder1 and add as much of it to the mixture as will form a thick paste1 and beat them anew all together1 and use the composition immediately4 ,when this is dry1 it will resist1 in a great measure1 either heat or moisture4 ,a semi-transparent cement1 suitable for china ware1 may be made by gently boiling the flour of rice with water4 #ff4 ,,to ,,make ,a ,,strong ,,water ,,proof ,,glue4--,dissolve common glue in water in the usual way1 and dip into it some clean paper1 sufficient to take up an ounce or more of the glue4 ,when the paper is nearly dry1 roll it up1 or cut it into strips and put them into a wide mouthed phial or flask1 with about four ounces of alcohol2 suspend this over a fire so as to boil it gently for an hour1 having the cork set in slightly to prevent its taking fire1 but not so as to prevent the vapour entirely4 ,then take out the paper 7the only use of which is to give the glue more surface for the action of the alcohol7 and add one ounce of gum-shellac in powder2 continue the heat1 often shaking the mixture till the shellac is dissolved4 ,then evaporate it to the proper consistence for use4 ,note4--,many experiments have been made1 in order to discover some aqueous size1 that when dry1 would resist moisture3 and some have recommended skimmed milk1 and others vinegar as a menstruum for the glue4 ,but it does not appear from trial1 that either of these are but very little better for this purpose than water2 nor is it probable that any similar composition of size will resist moisture much better than common glue1 especially if it be mixed with sulphate of lime1 or some similar substance by way of support4 #fg4 ,,the ,,art ,,of ,,moulding ,,figures ,,in ,,relief4--,mix together and temper with a solution of gum-arabic in water1 one part of clean1 sifted wood-ashes1 and two parts of fine sulphate of lime4 ,knead this composition on a board1 till it has the consistence of putty4 ,press a ball of this putty on any medal1 coin or carved work in relief1 7which must be previously oiled7 and let it dry2 then take off the mould thus formed1 and oil the part that has received the impression of the figure1 with olive oil2--make a small orifice through the mould1 from the centre1 or deepest part of the impression2 also1 pare off the border of the mould1 to within half an inch of the impressed figure4 ,then lay a small piece of the putty on the board and press the mould down hard upon it1 that it may not only fill the mould1 but that the redundant part may be pressed out beyond the border of the mould3 raise the mould a little and blow through the orifice1 to detach the new moulded figure from the mould4 ,thus any number of figures may be readily produced1 suitable for ornamenting chimney pieces1 or mouldings1 and which will be very hard when dry1 and may be painted with any coloured oil paints1 which will also preserve them from moisture4 #fh4 ,,to ,,cast ,,images ,,in ,,plaster4--,for this purpose a model of the figure that is to be cast1 must be provided1 and suspended by a rod or staff1 one inch in diameter1 and fixed in the top of the head4 ,this model may be made of wood1 chalk1 or any other substance that is smooth1 and sufficiently cohesive to support itself4 ,this being prepared1 mix fine sulphate of lime with water1 to the consistence of soft putty1 and having brushed some olive oil over the model1 cover it completely with the plaster1 which must be applied1 and spread over it with the hands1 to the depth of two inches or more4 ,when the plaster is nearly dry1 divide it into several parts with a thin blade1 so as to take it off from the model without breaking any part4 ,when the several parts of the mould are dry1 oil them inside and put them together as before1 and bind them with pieces of tape or twine2 set the mould upright1 and fill it with a fresh mixture of sulphate of lime and water1 of as much consistence as may be poured in through the aperture at the head4 ,this plaster should be poured into the mould as quick as possible after being mixed2 otherwise it would become too stiff1 and be spoiled4 ,the plaster in the mould will soon cohere1 so that the mould may be taken off1 and the figures may be set up to dry2 and the mould being oiled and put together again1 is ready for another cast4 #fi4 ,,to ,,produce ,,embossed ,,letters1 ,,or ,,figures ,,on ,,marble4--,take some of the coloured varnish described at #cg1 and with a hair pencil1 draw the letters1 c4 on the marble1 7which should be previously well polished17 and also cover with the varnish1 every part of the face of the marble that is to remain plain4 ,lay the marble in a horizontal position and make a border of oil putty round it1 and pour on muriatic acid to the depth of half an inch on the marble4 ,when ebulition ceases1 the acid may be drained off1 and the work examined2 and if the letters are not sufficiently prominent1 a fresh quantity of the acid may be added4 ,when the work has been thus corroded to the depth required1 the varnish may be washed off with spirits of turpentine4 ,the acid that has been thus employed need not be lost1 for a muriate of lime being thus formed1 may be crystallized by a slight evaporation1 and preserved for other purposes2 or by the addition of a small quantity of sulphuric acid a sulphate of lime is precipitated1 and the muriatic may be poured off and be used again for the same or a similar purpose4 #gj4 ,,to ,,soften ,,stone4--,marble or granite may be deprived in some measure1 of the property of cohesion by being heated red hot and then quenched in oil4 ,in this case1 the carbonic acid which constitutes the cohesive property of the stone1 is expelled by the heat2 and the vacuum thus produced in its pores1 are in some measure1 filled by the oil by the pressure of the atmosphere2 by which means the stone acquires a texture quite different from what it had previously4 ,this however1 is not often applied to any valuable purpose4 #ga4 ,,to ,,change ,,wood ,,apparently1 ,,to ,,stone4--,provide a block1 or plank of soft wood1 of the dimensions required1 and give it two or three coats of linseed oil1 allowing each to dry4 ,then having prepared some pieces of marble or granite as directed in the last experiment1 pulverize them to a gross powder2 brush over the wood with a heavy coat of copal varnish 7see #dg7 mixed with an equal quantity of venice turpentine2 let this rest about an hour1 and then strew the stone powder over every part of it1 so as to cover the surface completely4 ,if marble is to be imitated1 the powder of different colours1 especially the white and blue1 may be prepared separately1 and may be strewed on the work in such shades as will appear the most natural4 ,granite may also be crossed or striped occasionally with streaks of a coarser grain1 which will give it a very deceptive effect4 ,when the varnish is thus covered with stone1 a heavy roller1 or round log of wood1 having a blanket folded and wrapped round it1 should be rolled over the work1 that the larger grains1 7which of course will be the most exposed17 may the more firmly adhere4 ,in this manner1 a very perfect imitation of stone may be given1 and the wood thus prepared will be exceedingly durable1 and will answer for many purposes1 as well as real stone4 #gb4 ,,to ,,render ,,wood1 ,,cloth ,,or ,,paper ,,fire-,,proof4--,dissolve one ounce of alum1 half an ounce of sub-borate of soda and half an ounce of cherry tree gum1 in half a pint of vinegar4 ,dip any cloth or pieces of paper1 or wood1 in this mixture and let them dry2--they cannot afterwards be ignited so as to blaze1 but may be considered safe with regard to their taking fire by accident4 ,note4--,though this composition is a very powerful preventive against fire1 it is too complex for common use1 and has too much colour for white cloths or papers2 but a solution of one ounce of sub-borate of soda in a pint of water is very transparent and harmless1 and will answer in most cases nearly as well4 #gc4 ,,to ,,produce ,,fire ,,readily4--,process #a4 ,mix together gently but intimately1 two or three grains of chlorate of potass1 and an equal quantity of loaf sugar1 both previously reduced to fine powder3--dip the end of a strip of glass1 or a straw in sulphuric acid1 and with it gently touch the powder1--it will instantly burst into flame4 #gd4 ,process #b4--,upon one drachm of spirits of turpentine1 in a glass1 pour an equal quantity of a mixture of three parts of nitric1 with one of sulphuric acid4 ,instantaneous inflammation1 accompanied by the production of a large quantity of black smoke1 will be the result4 #ge4 ,,process #c4--,take a piece of phosphorus of the size of a pin's head1 and wrap it in a piece of dry brown paper3 rub the paper with a piece of wood1 or any hard body1 and it will instantly inflame4 ,note4--,in handling phosphorus1 it is proper to have a piece of paper or cloth intervene between the stick of phosphorus and the fingers2 and the phosphorus should be kept under water except when wanted for use4 #gf4 ,,to ,,make ,,super-,,combustible ,,matches4--,prepare any number of small strips or splinters of pine or other light wood1 which may be about two inches in length and one twelfth of an inch in diameter2 dip one end of each in melted sulphur to the depth of one fourth of an inch4 ,when they are cold1 scrape off most of the sulphur1 and dip the ends of them slightly in a paste made of ten parts of chlorate of potass1 five parts of loaf sugar and one part of red lead1 mixed and ground together in alcohol4 ,afterwards they may be readily ignited or kindled at any time by application of the smallest quantity of sulphuric acid4 ,for this purpose1 the ends of them may be dipped or rather barely touched to the acid in a phial1 or1 which is a better way1 a strip of glass1 or even wood may be dipped in the acid and applied to the match4 #gg4 ,,to ,,make ,,gun ,,powder4--,pulverize separately1 five drachms of nitrate of potass1 one of sulphur1 and one of newly burnt charcoal4 ,mix them together with a little water1 so as to make the compound into a dough2 form this dough into rolls of the size of a small wire1 which may be done by rolling small quantities between two boards4 ,lay a few of these rolls together1 and cut them into very small grains1 and place them on a sheet of paper1 in a warm place1 to dry4 ,the dough may be prevented sticking to the board while rolling it1 by rubbing on the board1 a little of the dry compound powder4 ,when the grains are thoroughly dry1 they are ready for use or experiment4 ,on the same principle1 gun powder is manufactured on the large scale1 but then the several parts of the operation1 are performed by machinery1 otherwise it would be a very expensive commodity4 #gh4 ,,to ,,make ,,the ,,common ,,fulminating ,,powders4--,grind and mix intimately1 three parts of nitrate of potass1 with two of sub-carbonate of potass1 and one of sulphur4 ,if half a drachm of this compound be placed on a shovel1 and held over a gentle fire1 it will soon explode with a loud report4 ,it is not1 however1 attended with any danger4 ,if two grains of chlorate of potass in powder and one of sulphur be mixed together1 and wrapped in a piece of strong paper1 and the paper be then struck with a hammer1 it will also explode with detonation4 ,this experiment may require some caution4 ,note4--,the percussion powder1 such as is used for priming the patent percussion rifles1 is composed of chlorate of potass1 and flour of sulphur1 with a trifling proportion of charcoal and loaf sugar1 being made into a paste or dough with alcohol1--then grained and dried4 #gi4 ,,to ,,make ,,the ,,mercurial ,,fulminating ,,powder4--,dissolve half an ounce of mercury in three ounces of nitric acid1 assisting the solution by a gentle heat4 ,when the solution is cold1 pour it upon an equal quantity of strong alcohol previously introduced into a flask1 and apply a moderate heat till effervescence is excited4 7,do not forget that the mercurial solution must be poured upon the alcohol1 and not the alcohol upon the solution47 ,a white fume will soon begin to undulate on the surface of the liquor1 and flow through the neck of the flask1 and a white powder will be gradually precipitated4 ,as soon as any precipitate ceases to fall1 quickly pour the contents of the flask on a filter2 wash the powder with pure water1 and cautiously dry it by a heat not exceeding that of boiling water4 ,the immediate washing the powder is material1 because it is liable to the re-action of the nitric acid2 and while any of that acid adheres to it1 it is very subject to be decomposed by the action of light4 ,this powder1 if very pure and nicely made1 explodes by percussion1 or a moderate degree of heat4 ,experiment4--,place one-fourth of a grain of this powder1 between the ends of two slips of paste-board1 and paste1 or bind them firmly together2--hold the ends of the slips over the flame of a candle1 and as soon as it becomes warm1 it will explode with a loud report4 ,this composition is less dangerous than the fulminating compounds of gold or silver1 as it never explodes spontaneously2 but yet it cannot be handled with too much caution4 ,note4--,the silver powder1 or fulminating silver1 with which torpedoes and waterloo crackers are charged1 is prepared in a similar manner2 pure silver being dissolved instead of mercury1 but it is too dangerous to be trifled with4 #hj4 ,,to ,,kindle ,a ,,fire ,,under ,,water4--,put into a deep wine-glass1 that is small at the bottom1 three or four bits of phosphorus1 about the size of flax seeds1 and two or three times the quantity of chlorate of potass1 in grains or crystals1 and fill the glass nearly full of water4 ,then place the end of a tobacco-pipe stem directly on1 or over the chlorate and phosphorus1 and pour nearly a tea-spoon full of sulphuric acid into the bowl of the pipe1 that it may fall directly on the phosphorus2 a violent action will ensue1 and the phosphorus will burn vividly1 with a very curious light under the water4 #ha4 ,,to ,,light ,a ,,candle ,,by ,,application ,,of ,,ice4--,attach to the wick of a candle1 a small piece1 or globule of potassium 7the metallic base of potass7 of the size of a small shot4 ,apply an icicle or point of ice to the metal1 and it will instantly inflame4 ,note4--,this curious substance1 which has the peculiar property of being ignited by coming in contact with ice or water1 has been lately discovered by ,sir ,humphrey ,davy4 ,it is produced by making pure potass a part of the circuit of a powerful ,voltaic battery4 ,it cannot be preserved but by being kept immersed in naptha1 a kind of oil of which oxygen is not a constituent4 #hb4 ,,to ,,form ,,letters ,,or ,,flowers ,,of ,,real ,,flame4--,provide a tin chest of about eighteen inches in length1 equal in height and one inch in breadth4 ,chalk any design1 of letters or flowers on the face of this chest1 and pierce each line with rows of small holes1 which should be about half an inch distant from each other4--,make an aperture at the top1 through which pour about a pint of a mixture of rum and spirits of turpentine4 ,place two or three lamps under the bottom of the chest 7which must be raised a little from the floor for that purpose7 to warm the spirits1 but not so as to cause them to boil4 ,stop the aperture at the top and after eight or ten minutes 7which time should be allowed for the vapour to expel the atmospheric air1 which otherwise would cause an explosion7 apply the flame of a lamp to the pierced lines2--in an instant1 all the lines will be covered with flame1 which will continue till the spirits are exhausted4 #hc4 ,,to ,,produce ,,flame ,,of ,,various ,,colours4--,this may be effected by mixing certain substances with burning alcohol1 or by applying them with the point of a pen-knife1 to the wick of a burning lamp or candle4 ,thus a beautiful rose or carmine coloured flame may be produced by muriate of strontia3 this is prepared by dissolving carbonate of strontia in muriatic acid1 and evaporating it to dryness4 ,the preparation for an orange colour1 is muriate of lime2 7a solution of marble in muriatic acid1 evaporated to crystallization7 which should be exposed to a moderate heat till it is deprived of its water of crystallization and falls to powder4 ,a fine green tinge is produced by acetate of copper1 or boracic acid2 which last is procured by adding sulphuric acid to a solution of borate of soda 7in hot water7 till it has a sensibly acid taste2 as it cools1 the boracic acid is deposited in crystals on the sides of the vessel4 ,camphor gives to flame a blue colour2 and nitrate of strontia 7prepared the same as the muriate7 a purple4 ,a brilliant yellow may also be produced by muriate of soda4 ,any of these preparations being reduced to powder1 may be ignited with three or four times their weight of alcohol1 which should be previously warmed2 and if the vessel that contains it be kept heated also1 the combustion will be the more brilliant4 #hd4 ,,to ,,make ,,sky-,,rockets ,,and ,,fire ,,wheels4--,grind and mix together1 7dry7 one pound of gun powder1 two ounces of sulphur1 two ounces of nitrate of potass1 and four ounces of newly burnt charcoal4 ,then make several strong paper cases or cartridges1 by wrapping some strong paper 7being moistened with paste17 fifteen or twenty times round a mould made of wood1 which may be one inch in diameter1 and ten inches in length4 ,one end of this mould must be made smaller1 being only one fourth of an inch in diameter for the space of an inch of its length4 ,the paper must be drawn up close round this neck1 and strongly bound with twine1 being thus brought to a shape similar to the neck of a phial4 ,this neck is called the choke of the cartridge4 ,take the paper from the mould1 and proceed in the same manner with another4 ,when a sufficient number of cartridges are thus made and dry1 place one of them in a socket which it will fill up closely1 and then fill the cartridge with the above described compound powder1 which must be thrown into the cartridge in small quantities1 and each several quantity must be rammed or beat down very hard1 with a suitable sized rammer and mallet4 ,in filling the cartridge1 small quantities of any of the flame-colouring preparations1 described in the preceding article1 may be added occasionally4 ,when the cartridge is nearly full1 some small balls of cotton1 dipped in spirits of turpentine1 may be added1 to produce the appearance called stars4--,these also1 may have some muriate of strontia1 or boracic acid strewed on them4 ,then place a circular piece of thick paste board on the materials in the cartridge1 having a small hole through it1 communicating with the powder below2 lay upon this1 half an ounce of fine gun powder1 and fold the paper down upon it from all sides1 cementing the folds firmly with glue1 thus giving the end of the cartridge a conical form4 ,then bore a hole about two thirds of the length of the cartridge from the choke with a gimblet or bit4 ,fill this hole 7which must be as large as the choke1 but tapering towards the other end7 with fine gun powder1 to the choke1 and fill the choke with the compound1 the outside of which may be moistened a little1 the better to keep it in its place4 ,finish the others in the same manner1 and keep them in a warm dry place till used4 ,they are then to be lashed firmly to the end of a light pine rod1 with the choke towards the opposite end4 ,the length of the rod1 should be about nine times that of the cartridge4 ,the rocket then being elevated by the rod1 and being ignited at the choke1 the compound inside burning intensely1 acts upon the air1 and causes it to ascend4 ,the cartridges for fire wheels1 are prepared in the same manner1 but are generally smaller2 and instead of being lashed to a rod1 they are lashed to the arms of a wheel1 in such manner1 that a violent rotary motion is produced by their combustion4 #he4 ,,to ,,produce ,,detonating ,,balloons4--,moisten and compress a bladder till no air remains in it1 and tie the neck of it upon a perforated cork2 set the cork in a flask containing the materials for producing hydrogen gas 7see #i47 ,thus convey into the bladder a quantity of the gas1 and then remove the cork to another flask1 containing two or three ounces of black oxide of manganese1 moistened with sulphuric acid1 sufficient to form with it a soft paste2 apply the heat of a lamp1 and oxygen gas will be evolved1 and will also rise through the neck of the flask2 in this manner1 convey into the bladder1 nearly half as much oxygen gas1 as it previously contained of hydrogen4 ,then tie the stem of a tobacco-pipe in the neck of the bladder1 and dip the bowl of the pipe in a solution of soap in water1 7soap-suds7 and compress the bladder a little1 so as to swell a bubble from the bowl of the pipe2--shake off the bubble1 which being lighter than atmospheric air will naturally rise1 or float horizontally in the air4 ,if the flame of a candle be brought in contact with one of these balloons1 or floating bubbles1 it will explode with a violent detonation1 resembling the report of a pistol4 ,if this compound gas be forced into the water1 so as to form several bubbles on the surface1 and flame be then applied to them1 a volley of explosions will be the result4 ,caution is requisite in these experiments1 that the fire be not communicated to the bladder1 as such an explosion might not be safe4 #hf4 ,,to ,,prepare ,a ,,phial ,,that ,,will ,,give ,,light ,,in ,,the ,,dark4--,fill a small phial about one third full of olive oil2 add to this a piece of phosphorus equal to one tenth of the weight of the oil4 ,cork the phial and wrap it in paper to exclude the light1 and set it1 or suspend it in a warm place1 but where the heat may not be equal to that of boiling water1 till the phosphorus appears to be dissolved4 ,this phial may be carried in the pocket1 and whenever the cork is started in the night1 the phial will evolve light enough to show the hour on a watch4 #hg4 ,,to ,,make ,a ,,person',s ,,face ,,appear ,,luminous ,,in ,,the ,,dark4--,prepare some phosphorized oil1 7as directed #bg17 and rub it over the face4 ,this oil1 though it appears luminous in the dark has not power to burn any thing1 so that it may be rubbed on the face or hands without danger2 and the appearance thereby produced1 is most hideously frightful4 ,all the parts of the face that have been rubbed1 appear to be covered with a luminous bluish flame1 and the mouth and eyes appear as black spots4--,the luminous appearance may also be repeatedly heightened1 by the friction of a handkerchief1 being rubbed over the luminous part4 #hh4 ,,to ,,freeze ,,water ,,in ,,warm ,,weather4--,draw a thread through a small glass tube2 close one end and then fill the tube with water4 ,mix together equal parts of nitrate of ammonia and water1 and immerse the tube in this mixture4 ,the water in the tube will be frozen immediately1 and may be drawn out by the thread4 ,the same effect may be produced by a mixture of one part muriate of ammonia1 one part nitrate of potass1 and three parts of water4 ,for these experiments1 the above mentioned salts should be fresh1 dry and finely pulverized previous to mixing2 the mixture should be made in a tin vessel that is coated inside with bees-wax1 and has a flannel wrapper round the outside1 and the tube should be immersed quickly1 as soon as the ingredients are mixed4 ,to produce a greater1 or intense degree of cold1 a small vessel of water is first set in one of those freezing mixtures till it becomes very cold1 and then the due proportion of the salts are added to that1 and the tube1 c4 immersed in it4 ,the water in the tube may also be frozen1 by continually bathing the outside of it with sulphuric ether3 the evaporation of the ether1 carries off the caloric of fluidity1 and the water congeals4 #hi4 ,,to ,,change ,,the ,,colours ,,of ,,animals4--,any black1 or dark coloured spots on some animals1 especially horses1 may be effectually changed to white1 by means of any substance that will chafe or blister the skin2 thus a white spot of any shape may be produced on a black horse1 by shaving off the hair from the part that is to be thus marked1 and applying a plaster of spanish flies1 or of quick lime moistened with vinegar2 this plaster must be cut to the size and form required for the mark1 and must be kept bound on1 till the skin is blistered1 or nearly so4 ,the next coat of hair will infallibly be white4 ,white spots can be changed to black or brown1 only by means of oils or grease4 ,bacon fat has been recommended for this purpose1 but if the oil or fat of a bear can be procured1 it will prove more efficacious1 as this fat is well known to have a remarkable tendency to darken the colour of animals and even complexions4 ,but either of these1 and in fact1 many other kinds1 will answer this purpose if properly applied1 and frequently repeated4 #ij4 ,,to ,,give ,,leather ,a ,,beautiful ,,metallic ,,lustre4--,levigate one ounce of soft lead-coloured plumbago1 and an equal quantity 7in bulk7 of lamp-black1 in a gill of alcohol2 then add half an ounce of loaf sugar1 moistened with water and grind all together4 ,the leather must first be brushed over smoothly with this composition1 and when dry1 it must be brushed hard and quickly with a dry smooth brush2 or may be rubbed with a piece of woollen cloth4 ,this blacking will be found useful for some ornamental purposes1 but may be rather too brilliant for boots and shoes4 ,this composition1 however1 may be mixed occasionally with other kinds of blacking1 and will tend to increase their brightness4 #ia4 ,,an ,,easy ,,method ,,of ,,extracting ,,the ,,essence ,,of ,,roses4--,take the leaves of roses1 and pound or bruise them3 then stratify them with an equal weight of muriate of soda1 in a glazed earthern vessel3--when thus filled to the top1 cover it well1 and set it in the cellar1 and let it remain at rest a month or more4 ,afterwards1 strain off the essence therefrom1 through a strong cloth by pressure4 ,the essence thus procured1 is quite equal if not superior for culinary purposes1 to that which is procured by distillation4 #ib4 ,,to ,,prepare ,,various ,,kinds ,,of ,,essences4--,the manner of extracting the essential oils1 being attended with considerable expense of preparations1 of stills1 c4 a particular description of the process1 would not1 it is presumed1 be sufficiently interesting to warrant its insertion4 ,but the manner of reducing the oils to the state in which they are more generally sold1 and is distinguished by the term essences is as follows4 ,to half a pint of alcohol1 add one ounce of any of the essential oils1 7lemon1 cinnamon1 foxberry1 peppermint1 c47 and shake them together2 set the mixture in a warm place for a few minutes1 and if then any opaque or milky appearance remains1 a little more alcohol must be added4 ,when this has become clear1 it may be diluted occasionally with new rum4 ,the essences of foxberry and cinnamon are coloured with a few drops of tincture of red saunders2 and the essence of lemon1 with tincture of turmeric4 #ic4 ,,to ,,prepare ,,soda ,,water4--,only two articles are requisite for this preparation2 one of which is super-carbonate of soda1 or of potass 7sal eratus17 and the other is citric or tartaric acid4 ,the super-carbonates are formed by passing a stream of carbonic acid gas 7which is produced by adding muriatic acid to pulverized marble7 through a solution of soda or potass in water2--then evaporating till it crystallizes4 ,citric acid is prepared from the juice of lemons2 and tartaric acid 7which is more generally employed7 is procured from super-tartrate of potass4 ,but these being common articles of commerce1 a more minute description of the process of preparing them1 may not1 in this place1 be expedient4 ,the compound called soda powders1 consists of about ten grains of either of the super-carbonates1 with an equal quantity of either of the acids1 in each paper2 this compound being dissolved in a glass of water1 produces violent effervescence1 and if drank off at the time1 gives the water a smart and agreeable acid taste4 ,the salt and acid1 if mixed in powder1 must be kept perfectly dry2 otherwise1 they would act on each other1 and soon be spoiled4 ,on this account1 they are frequently prepared in separate papers1 and sold by sets4 ,soda water is similarly prepared on the larger scale2 the salts and acid being put into a cask of water1 which is so confined1 that the carbonic acid can have no other vent than by forcing out the water through a pipe fixed for the purpose with a tube1 c4 #id4 ,,to ,,produce ,,metallic ,,trees4 ,process #a4--,mix one part of a saturated solution of nitrate of silver1 with twenty parts of pure water1 and pour the mixture upon two parts of mercury in a phial4 ,after some time 7the mercury being left standing quietly17 the branches and the figure of a tree1 formed of brilliant silver1 will appear to grow from the mercury in a very beautiful manner4 ,the silver in solution being thus robbed of its oxygen by the metallic mercury1 and consequently precipitated4 #ie4 ,process #b4--;,dissolve two drachms of acetate of lead1 in six ounces of water2 filter the solution1 and pour it into a clean wide phial4 ,then suspend a granule of zinc1 by a thread or wire fastened to the cork of the phial1 in the middle of the solution1 and place the phial where it will not be disturbed4 ,after a few hours the lead1 being de-oxydized by the zinc1 will be precipitated on the zinc1 in the shape of leaves1 which will have a very brilliant appearance4 #if4 ,,to ,,tin ,,copper ,,by ,,boiling4--,boil half a pound of granulated tin1 and six ounces of super tartrate of potass in three pints of water2 when they have boiled half an hour1 put in any piece of copper ware1 and continue the boiling fifteen minutes longer4 ,the copper may then be taken out1 and will have been handsomely coated with tin4 #ig4 ,a ,,metal ,,that ,,will ,,melt ,,in ,,hot ,,water4--,melt together eight parts of bismuth1 five of lead and three of tin4 ,this alloy1 though hard and brilliant1 when cold1 is so easily fusible that it may be melted on a paper1 being held over the flame of a candle4 ,tea spoons may be made of this compound metal1 which may be melted by putting them in a cup of hot tea4 #ih4 ,,illustration ,,of ,,calico ,,printing4--,it frequently occurs1 that substances of different colours1 or even without colour1 by coming in contact1 produce colours very different from that of either of the ingredients when separate2 thus1 if a sheet of paper be striped in one direction with a hair pencil dipped in a solution of sub-carbonate of potass2 and then crossed with a solution of sulphuric acid1 diluted with five times as much water1 it will be colourless2 but dip it in a mixture of a weak solution of sulphate of iron1 and infusion of nut galls1 and it will instantly become a beautiful plaid2 the ground being purple1 striped one way with black and crossed with white4 ,if a similar paper be striped with sub-carbonate of potass1 and crossed with infusion of galls1 and afterward dipped in a solution of sulphate of iron1 it will become purple1 yellow1 black and white4 ,dip a piece of white calico in a cold solution of sulphate of iron and let it dry4 ,then imprint any figures upon it with a strong solution of colourless citric acid1 and let this dry also4 ,if the piece be then well washed in warm water1 and afterwards boiled in a decoction of log-wood1 the ground will be dyed either a slate or a black colour1 according to the strength of the metallic solution1 while the printed figures will remain beautifully white4 ,stain some parts of a sheet of paper a purple brown1 with a mixture of infusion of galls and sulphate of iron2 stain other parts green with a mixture of tinctures of turmeric and litmus2 stain other parts purple with juice of red cabbage2 other parts red with tincture of litmus and muriatic acid2 other parts yellow with tincture of turmeric2 wash the remainder of the sheet with a solution of sulphate of iron1 which will remain white4 ,then print1 or draw with a camel-hair pencil1 any figure or figures on every part of the paper1 with a solution of sub-carbonate of potass4 ,on the purple brown1 the figure will be black2 on the green it will be purple2 on the purple it will be green2 on the red it will be blue2 on the yellow1 red2 and on the white1 it will take a yellow colour4 ,thus the figure will appear in colors different from the ground in every part4 ,immerse a piece of white cotton in a solution of sulphate of iron--it will remain white2 dip another piece in tincture of turmeric1 it will take a yellow2 wet another piece with juice of red cabbage1 containing also1 a few drops of muriatic acid1--it will be red2 dye another piece green1 by immersing it in a mixture of tincture of turmeric and litmus2 and another1 purple by a mixture of infusion of galls and sulphate of iron4 ,let them dry2 then immerse them all together in a solution of sub-carbonate of potass4 ,the white will be changed to a yellow2 the yellow to a red2 the red to green2 the green to purple2 and the purple to black2 and it is not improbable that some black might be materially changed or bleached by the same simple solution4 #ii4 ,,to ,,prepare ,,an ,,imitation ,,of ,,gold ,,bronze4--,melt two ounces of tin1 and mix with it one ounce of mercury2 when this is cold pulverize it and add one ounce of muriate of ammonia1 and one ounce of sulphur1 and grind them all together4 ,put the compound in a flask and heat it in a clear fire 7carefully avoiding the fumes7 till the mercury sublimes1 and rises in vapour4 ,when the vapour ceases to rise1 take the glass from the fire4 ,a flaky gold colored powder will remain in the flask1 which may be applied to ornamental work in the manner of gold bronze1 of which it is a tolerable imitation4 #ajj4 ,,to ,,procure ,,the ,,exhilarating ,,gas4--,put a quantity of nitrate of ammonia into a flask1 and apply the heat of a lamp1 which must be gentle1 and well regulated4 ,the salt will in a short time liquify1 and must then be kept quietly simmering1 avoiding violent ebullition4 ,the gas will be evolved1 and rise through the neck of the flask1 and may be collected in a bladder containing a small quantity of water1 and should be allowed to stand a few hours1 and shifted into another bladder1 or silk varnished bag before it is used4 ,though this gas is not fitted to support life1 yet it may be respired for a short time1 and the effects produced by it upon the animal frame1 are its most extraordinary properties4 ,the effects of this gas1 are in general1 highly pleasurable1 and resemble those attendant on the agreeable period of intoxication4 ,exquisite sensations of pleasure2 an irresistible propensity to laughter2 a rapid flow of vivid ideas2 a strong incitement to muscular motion1 are the ordinary feelings produced by it4 ,and what is exceedingly remarkable1 is1 that the intoxication thus produced1 instead of being succeeded by the debility subsequent to intoxication by ardent spirits1 does1 on the contrary1 generally render the person who takes it1 cheerful and high spirited for the remainder of the day4 #aja4 ,,construction ,,of ,a ,,galvanic ,,pile ,,or ,,battery4--,procure fifty or more thin plates of copper1 and the same number of plates of zinc1 all of which may be about the size of a dollar1 but not so thick4 ,the copper and zinc plates1 may be either cast in moulds1 or may be cut out of rolled plates of the metals4 ,in addition to the plates of copper and zinc1 it is necessary to be provided with an equal number of pieces of woollen cloth1 rather smaller than the metallick plates in size4 ,let these be soaked in a solution of muriate of soda1 till they have thoroughly imbibed it2 then take them out of the solution1 and squeeze them gently1 to force out the superabundant water4 ,then1 having provided a circular piece of wood1 rather larger than the plates1 cover it with tin foil1 and on this lay a plate of zinc1 upon that a plate of copper1 and then a piece of moistened cloth2 next a plate of zinc1 c4 ,continue this arrangement of zinc1 copper and cloth1 till all the pieces that have been provided are laid on4 ,as the pile began with zinc1 it must be concluded with copper4 ,this pile may be braced occasionally with strips of glass to prevent its being overthrown1 ,fix the end of a piece of metallic wire1 in contact with the base1 and lay the end of another piece upon the top of the pile2 if thus1 the opposite ends of the wire be brought in contact with each other1 or if they are connected by any conducting body1 so as to form a circuit of conductors1 the pile will afford a constant and powerful current of the galvanic fluid through them for many hours4 ,if the hands be moistened1 and one of them applied to each of the wires1 a shock will be received4 ,gold and other metals have been melted1 and even burnt2 and potass1 soda and lime have been reduced to their respective metallic states1 by being made to form part of a galvanic circuit4 ,when the pile is not in use1 it should be taken down1 which will preserve it from wear1 and the plates will require to be cleansed occasionally1 which may be easily done by diluted muriatic acid4 #ajb4 ,,construction ,,of ,,the ,,oxy-,,hydrogen ,,blow-,,pipe4--,this useful instrument consists of a cubical vessel1 made of tin plate1 being from ten to twenty inches in length1 breadth and height4 ,the inside is divided into four equal apartments1 by two partitions1 crossing each other in the centre4 ,the two front apartments are covered at the top1 and each of them have a tube fixed in the front side1 near the top1 with a stopcock4 ,the other apartments are open at the top1 and communicate with those in front1 by a small aperture near the bottom of each4 ,these apartments being all filled with water1 those in front are filled1 the one with oxygen1 and the other with hydrogen gas1 which is done by forcing the gases into them through the tubes in front1 which causes the water to recede through the aperture at the bottom1 and consequently1 part of the water is forced over the top of the other apartments2 or rather1 may run off through small tubes1 fixed for the purpose1 near the top1 similar to those in front4 ,when the front apartments are filled with the gases1 7which may be known by the bubbling in the others7 the tubes are stopped1 and two leaden pipes are fixed in them1 the opposite ends of which1 are so placed1 that the two streams of gas1 when expelled from the gas holders1 may come in contact very near the ends of the pipes4 ,when the tubes are open1 the pressure of the water will expel the gases1 and will consequently settle1 and must be replenished1 so as to keep the apartments nearly full4 ,when the two streams of gas are ignited at the point of contact1 a flame is produced of sufficient intensity to burn gold1 silver1 copper or tin1 with a very brilliant combustion4 #ajc4 ,,to ,,make ,a ,,dry ,,phosphorescent ,,powder4--,take some thick oyster shells1 wash them1 and calcine by keeping them red hot in an open fire for half an hour3 then1 select the clearest and whitest parts1 and reduce them to powder4 ,mix three parts of this powder1 with one of the flour of sulphur2 fill a crucible with this compound1 pressing or beating it down as hard and solid as may be1 without breaking the crucible4 ,set the crucible in the fire1 and heat it moderately at first1 but increase the heat gradually for an hour1 in which time it must approach nearly to a white heat4 ,then let it cool1 and again select from the mass1 the whitest and purest parts1 which must be preserved in a phial with a glass stopper4 ,this powder has the peculiar property of imbibing the rays of the sun in the day time1 and emitting them again in the night2 or if the phial containing it1 be exposed for a few minutes to the direct rays of the sun and then carried into a dark room1 light enough will be evolved to render it distinctly visible4 #ajd4 ,,curious ,,experiment ,,of ,,precipitation4--,set five glasses on the table1 and nearly fill one of them with a solution of sulphate of iron2 and another with a solution of sulphate of copper2 a third with a solution of nitrate of bismuth2 pour into the fourth1 a solution of nitro-muriate of cobalt1 and into the fifth a solution of acetate of lead1 or sulphate of zinc4 ,these liquid solutions may all be diluted so as to be colourless4 ,then pour into each glass1 a few drops of a colourless solution of prussiate of potass4 ,the contents of the first glass will be instantly changed to a full blue colour2 those of the second to a reddish brown2 those of the third1 to a yellow2 the fourth to a green1 and the fifth to a white4 ,thus five distinct colours will be given1 by the addition of one colourless solution4 #aje4 ,,to ,,make ,a ,,beautiful ,,soft ,,glass ,,for ,,jewelry4--,take six ounces of clean fine white sand1 three ounces of red lead1 three ounces of pure sub-carbonate of potass1 one ounce of nitrate of potass1 half an ounce of borate of soda1 and two drachms of arsenic2 mix and pound them all together4 ,put the compound in a crucible1 and set it in a common fire1 often stirring it with an iron rod1 till it is well melted1 and becomes transparent4 ,this compound will liquify very easily without any great heat1 if the sand is fine1 7which sometimes requires to be ground or pounded in a glass or flint mortar17 and if it be kept melted awhile1 will become beautifully transparent1 and may be cast or blown in the manner of other glass4 ,this glass may be changed to a red or ruby colour1 by adding and fusing together with it1 a small quantity of finely powdered precipitate of gold1 7gold precipitated from solution in nitro-muriatic acid by the addition of tin47 ,it may be also changed to blue by the addition of zaffre1 7an ore of cobalt17 and magnesia3 a green colour may be given by a precipitate of copper2 and yellow by calcined iron1 and white by calcined bones4 ,this subject is treated of largely in the ,handmaid of the ,arts1 to which1 for further information on the subject1 the reader is referred4 #ajf4 ,,composition ,,of ,,various ,,kinds ,,of ,,glass4--,the best flint glass is composed of #abi lbs4 of white sand1 #ej lbs4 of red lead1 #dj lbs4 of sub-carbonate of potass1 #bj lbs4 of nitrate of potass1 and #e oz4 of magnesia4 ,the best crown glass is composed of #fj lbs4 of white sand1 #cj lbs4 of sub-carbonate of potass1 #ae lbs4 of nitrate of potass1 #a lb4 of borate of soda and #a_/b lb4 of arsenic4 ,the composition of common green window glass1 is #abj lbs4 of white sand1 #cj lbs4 of sub-carbonate of potass1 #fj lbs4 of wood ashes1 #bj lbs4 of muriate of soda and #e lbs4 of arsenic4 ,the composition for looking glass plates1 is #fj lbs4 of clean white sand1 #be lbs4 of purified sub-carbonate of potass1 #ae lbs4 of nitrate of potass1 and #g lbs4 of borate of soda4 ,common green bottle glass is made from #bjj lbs4 of wood ashes1 and #ajj lbs4 of sand4 ,the materials for making glass1 is first reduced to powder2 then mixed and exposed to a strong heat1 in suitable pots and furnaces1 till the whole mass liquifies and becomes thoroughly commixed and transparent4 #ajg4 ,,composition ,,of ,,various ,,alloys4--,brass is composed of two parts of copper to one of zinc2 or copper and calamine1 7an ore of zinc17 equal quantities4 ,pinchbeck consists of from five to ten parts copper1 and one of zinc4 ,bell metal is composed of three parts copper and one of tin4 ,gun metal1 nine parts copper and one of tin4 ,tombac1 sixteen parts copper1 one part zinc and one of tin4 ,the composition of pewter is seven pounds of tin1 one of lead1 four ounces of copper and two of zinc4 ,that of type-metal is nine parts lead1 two parts antimony and one of bismuth4 ,solder1 two parts of lead with one of tin4 ,queen's metal1 nine parts of tin1 one of bismuth1 one of antimony and one of lead4 ,jewel gold is composed of twenty-five parts gold1 four parts silver1 and seven parts fine copper4 ,in forming metallic compounds or alloys1 it is proper to melt such of the ingredients as are the least fusible first1 and afterwards add the others1 stirring them briskly till they are thoroughly commixed4 #ajh4 ,,to ,,produce ,,various ,,kinds ,,of ,,gas4--,to three or four ounces of pulverized chalk or marble1 moistened in a flask1 with an equal quantity of water1 add one ounce of sulphuric acid2--carbonic acid gas will be evolved in abundance1 and will rise through the neck of the flask1 and may be conducted by pipes1 to any proper receiver4 ,instead of the marble or chalk1 substitute granulated zinc2--in this case hydrogen gas will be evolved2 but this may require a larger proportion of water4 ,pour sulphuric acid upon a similar quantity of dry muriate of soda2--muriatic acid gas will be rapidly evolved4 ,proceed in the same manner with a similar quantity of black oxide of manganese1--apply the heat of a lamp1 and oxygen gas will be produced4 ,put into the flask1 two or three ounces of lean beef1 cut into small pieces2 pour over them one ounce of nitric acid diluted with three ounces of water2 apply the heat of a lamp1 and nitrogen gas will be liberated4 ,powder separately1 equal quantities of muriate of ammonia and newly burnt lime2 put them together into a flask and apply gentle heat2 ammoniacal gas will be evolved4 ,pour an ounce of nitric acid1 diluted with five times its weight of water1 upon one ounce of shreds or turnings of copper2 nitrous gas will be rapidly evolved4 ,grind three parts of muriate of soda with two parts of black oxide of manganese2 introduce this mixture into the flask1 and add two parts of sulphuric acid1 diluted with an equal quantity of water2 apply a gentle heat and chlorine gas will be evolved4 ,note4--,when either of the last mentioned gases are produced1 great caution is requisite that they do not escape into the room1 in any considerable quantity1 as their action on the lungs is exceedingly injurious4 #aji4 ,,various ,,chemical ,,tests4--,when water is suspected to hold any foreign substance in solution1 various means may be used to detect and ascertain the quality of the substances combined2 thus1 acids may be detected by immersing in the water1 a slip of litmus colored paper1 which1 if acid be present1 will be changed to red4 ,in the same manner1 alkalies may be detected by a strip of turmeric yellow paper1 which will be also changed to red by alkalies4 ,these tests are sensible to the presence of an acid or alkali in the proportion of one to ten thousand4 ,iron may be detected by a drop of infusion of galls1 which will give to the water 7if iron be present7 a brown tinge4 ,a drop of sulphuric acid1 precipitates barites in the form of a white powder4 ,clear transparent lime-water 7water in which lime has been slaked and then suffered to settle7 will indicate the presence of carbonic acid by a milky whiteness4 ,on the same principle1 a solution of super-carbonate of potass will detect lime4 ,a few drops of nitrate of silver will instantly discover muriatic acid1 by a white flaky precipitate4 ,muriatic acid1 consequently1 is a good test for silver4 ,acetate of lead1 in solution1 is a test for sulphureted hydrogen1 which occasions a precipitate of a black colour4 ,nitrate of mercury is an excellent test for ammonia1 one part of which1 with #cj1jjj parts of water is indicated by a blackish yellow tinge on adding the test4 ,liquid ammonia is a very sensible test for copper1 with which it strikes a fine blue colour4 ,nitro-muriate of gold will discover the presence of tin1 by a beautiful purple precipitate4 ,nitro-muriate of tin is1 on the same principle1 an excellent test for gold4 #aaj4 ,,to ,,produce ,a ,,picture ,,instantly1 ,,in ,a ,,variety ,,of ,,colours4--,paint any picture on paper in the usual way1 only instead of colours1 use the following substitutes3 for green1 use a solution of nitro-muriate of cobalt1 for blue1 a solution of sulphate of iron--for yellow1 a solution of nitrate of bismuth--and for a brown1 a solution of sulphate of copper4 ,any of these solutions may be more or less diluted1 as the respective parts of the picture are to be light or dark1 but none of them must be strong enough to colour the paper4 ,this pictture is invisible3 but when it is required to appear1 the paper may be tacked up on the wall1 and having a glass of the transparent solution of prussiate of potass 7which by sight cannot be distinguished from clear water7 dashed suddenly upon it1 the picture will instantly appear in its full colours4 ,a similar effect may be produced1 by drawing the picture with infusion of galls1 and sub-carbonate of potass2 this is revived by a solution of sulphate of iron1 and appears in a yellow and a brown colour4 #aaa4 ,a ,,cheap ,,imitation ,,of ,,silver ,,bronze4--,put into a crucible1 an ounce of pure tin1 and set it on a fire to melt2 when it begins to melt1 add to it an equal quantity of bismuth1 and stir the mixture with an iron rod till the whole is entirely melted and incorporated4 ,take the crucible then from the fire1 and after the melted composition has become a little cooler1 but while it is yet in a fluid state1 pour into it gradually1 an ounce of mercury1 stirring it at the same time1 that the mercury may be thoroughly conjoined with the other ingredients4 ,when the whole is thus commixed1 pour the mass out of the crucible on a stone1 where1 as it cools1 it will take the form of an amalgam1 or metallic paste2 which will be easily bruised into a flaky powder1 and may then be applied to sized figures in the manner of gold or silver bronze1 or may be tempered with gum-water1 and applied to the work with a brush or camel-hair pencil2 and if properly secured with varnish or laquers will be even more durable than either silver leaf or silver bronze4 #aab4 ,,to ,,make ,,crayons ,,of ,,various ,,colours4--,crayons or pastils consist of various coloured pigments or paints1 formed into sticks or rolls for the purpose of drawing and shading with them in the manner of lead pencils4 ,but that they may be of uniform texture or hardness1 different ingredients and materials require some variation in the management4 ,to make white crayons1 nothing more is requisite than to mix superfine or refined whiting with alcohol1 to the consistence of soft putty2 form it into rolls of a convenient length and size and let them dry3 or the whiting may be mixed with water and a sufficient quantity of burnt or calcined sulphate of lime to give the crayons a sufficient degree of hardness when dry4 ,a great variety of elegant light colours may be formed by adding to the whiting prepared as above1 small quantities of any of the coloured pigments4 ,the most proper colors for crayons are lamp-black1 prussian blue1 burnt umber1 burnt terra-de-sienna1 red ochre1 vermilion1 lake1 rose-pink1 chrome yellow1 yellow ochre and mineral green4 ,many other handsome greens are formed by mixing chrome yellow with prussian blue1 varying the proportions2 and purples are produced by mixing rose pink or lake with blue4 ,prussian blue and lake being each naturally of a binding nature1 require only to be ground in water2 but red ochre and vermilion should be ground in alcohol1 or may have some quantity of the sulphate of lime mixed with them4 ,any of these colours may be mixed in any proportion with whiting or with each other1 each compound having a sufficient proportion of the sulphate of lime1 to give it a proper degree of hardness and strength when dry4 ,the proper length for crayons is from two to three inches1 and the size about the same as that of a tobacco-pipe stem4 ,it is customary in making crayons1 to have at hand a large piece of chalk with a plane surface1 on which to lay the crayons as soon as they are rolled2 the chalk absorbs a part of the moisture1 which makes them dry the sooner and without cracking4 #aac4 ,,to ,,make ,,hard ,,sealing ,,wax1 ,,of ,,various ,,colours4--,take of gum-shellac and rosin each two ounces2 and of gum-mastic one ounce2 reduce them to powder and mix and melt them together over a gentle fire4 ,then if a red colour is required1 add to the mixture one ounce of fine vermilion2 for a black colour1 add half an ounce of a mixture of lamp black with rum2 for a blue1 half an ounce of white lead with one fourth of an ounce of prussian blue2 which should be previously ground together dry4 ,to give a green colour1 add finely ground verdegris2 a yellow is produced by chrome yellow or gamboge2 and white1 by adding pure white lead to the mixture4 ,when the desired colour is formed by the mixture and incorporation of any of the above mentioned colouring ingredients1 take out a part of the mixture1 sufficient to form a stick or roll of the usual size1 and roll it between two smooth metallic plates1 which should also be previously warmed to prevent the wax from becoming too hard4 ,when the stick is reduced to a proper size1 flatten it a little and let it cool4 ,proceed in the same manner with the rest of the composition2 afterward hold each stick severally over a fire of charcoal1 turning it quickly till the surface of the wax is completely melted1 by which means the sticks will have acquired a very smooth and shining polish at the surface1 which they will retain when cold again4 ,if a softer wax is required1 a small quantity of bees-wax and of linseed oil may be added to the above composition1 or may be substituted in the place of the gum-mastic4 #aad4 ,,the ,,art ,,of ,,manufacturing ,,paper ,,hangings4--,this business1 which has been usually1 though improperly termed paper staining1 consists principally in stamping or painting various figures in water colours on paper4 ,the paper for this purpose is formed into long strips or rolls1 by pasting the edges of several sheets together4 ,the edges of the sheets should not lap on each other more than half an inch1 and the usual length of a roll is about nine yards4 ,these rolls are first painted plain with a large brush2 the paint is composed of refined whiting with some colouring ingredient1 being ground in water and tempered with a sufficient quantity of glue to prevent it from rubbing off2 when a new design or figure is to be introduced1 several colours are prepared1 i4e4 as many as are required in such design1 and with these the design is painted on a sheet of paper4 ,the paper is then laid on a smooth birch or maple board1 and such parts of the paper as contain the colour that was last applied in the drawing 7which is usually the white7 are completely cut out1 with a sharp pen-knife1 and the parts thus cut out1 are pasted down upon the board1 immediately1 in the places and positions they occupied in the design4 ,the sheet is then removed to another board1 and another colour is cut out in the same manner2 thus the several colours are distributed in their proper arrangements on as many different boards4 ,each board is then cut away with chisels and gouges1 to the depth of a fourth1 or an eighth of an inch1 in every part except where the pieces of paper are fixed4 ,these boards or prints are supported by other thin pieces1 which are fixed firmly on the backs of them by screws1 in such manner that the grain of one1 crosses that of the other1 and thus prevents their warping4 ,they have also cleats or pins attached to them which serve as handles4 ,a trough is provided1 a little larger than the prints1 of one inch in depth1 and having a smooth bottom1 on which is laid three or four pieces of fine flannel or cassimere1 each of which is at least as large as the prints4 ,then some of the colour with which the first part of the design was painted1 is spread upon the cloth with a brush2 and upon this1 the print containing the corresponding parts of the figure1 is pressed1 7the pieces of paper having been previously scraped off27 the print being thus charged with the colour1 is placed upon one end of a roll of the prepared paper1 which is laid on a table for that purpose1 and is pressed down hard by a lever or screw4 ,it is then returned to the trough1 and again charged with the colour1 and again impressed on the paper at a proper distance above the other impression4 ,in this manner several rolls are printed with one colour4 ,then the next colour in the design is applied to the paper in the same manner by another print2--a third colour by a third print and so on till the paper is completely printed with every colour in the design1 each in its proper place4 ,these prints should be washed and kept dry for future use4 ,a variety of figures may be produced with the same print1 by varying the colours4 #aae4 ,,to ,,make ,,elastic ,,blacking ,,for ,,leather4--,dilute one ounce of gum-asphaltum with a pint of spirits of turpentine1 in the manner described at #ea2--put this into a flask1 and add one ounce of gum-elastic cut into very small pieces1 and half an ounce of gum-shellac previously reduced to powder4 ,suspend the flask unstopped over a fire of charcoal1 or set it in a sand bath where it may boil gently till the quantity is reduced to a gill2 then strain it through a flannel1 and when nearly cold1 bottle and cork it4 ,the leather should be thoroughly blackened with some liquid blacking and waxed over slightly with bees-wax before the elastic blacking is applied4 ,if the blacking should be too thick1 it may again be diluted with spirits of turpentine4 ,it should be warmed when applied1 and the work may require several coats1 and a considerable time for each to dry4 ,any of the above mentioned gums may also be dissolved in sulphuric ether1 and thus produce a fine drying varnish1 but the preparation is much more difficult as the volatile nature of the ether will not admit of much heat1 whereby to facilitate the solution4 #aaf4 ,,sundry ,,experiments4--,rub together a little dry powdered alum1 and acetate of lead2 both will become fluid4 ,to a saturated solution of muriate of lime1 add a saturated solution of sub-carbonate of potass1 7both transparent liquids17 the mixture will be nearly solid4 ,rub together a little pure white calomel 7sublimed mercury7 and pure white ammonia 7being moistened27 both will become intensely black4 ,fill a flask nearly half full of water1 and apply heat till it boils2 take it from the fire and 7when it has done boiling7 cork it2 pour cold water upon the flask1 and the water inside will re-commence boiling4 ,fill a glass with water1 and lay a piece of paper upon the top of it2 place your hand upon the paper1 and invert the glass2 the hand may be removed and the glass may be suspended in that position by a thread1 and the water will not be spilled4 ,expose a piece of ice to the action of 7cold7 muriatic gas2 the ice will be instantly melted4 ,drop a piece of phosphuret of lime1 into a glass of water2 bubbles will soon rise1 and on reaching the surface of the water will spontaneously explode4 ,apply the end of a roll of brimstone to a hot bar of iron2 a part of the iron will be instantly melted1 and will fall4 ,write with diluted sulphuric acid1 on paper that has been coloured brown by a mixture of sulphate of iron1 and infusion of galls2 the writing will be white4 ,moisten the under lip1 and lay upon it a piece of silver money1 7not less than a twenty cent piece7 with the edge of it beneath the tongue2 lay a piece of zinc1 of nearly an equal size1 upon the tongue1 and bring the edges of the pieces of metal into contact2 you will instantly drop the money4 ,appendix4 ,a catalogue of the various articles mentioned in the preceding pages1 with the prices1 explanations1 c4 -- ,the articles which have this mark 99 prefixed may be procured at #ace1 ,washington-street1 ,boston4 ,,acetate ,,of ,,cobalt1 produced by digesting the oxide of cobalt in strong vinegar1 ,cts4 99 ,,acetate ,,of ,,lead1 7sugar of lead7 procured by dissolving white lead in vinegar1 and evaporating1 oz4 #f 99 ,,acetic ,,acid1 vinegar concentrated by distillation1 pt4 #be 99 ,,alcohol1 rectified spirit of wine1 pt4 #be 99 ,,alum1 sulphate of alumine and potass1 oz4 #c 99 ,,ammonia1 7hartshorn7 a volatile alkali1 oz4 #ab 99 ,,antimony1 a dark porous metal1 oz4 #f 99 ,,bees ,,wax1 a yellowish resinous substance procured from honey1 or honey combs1 oz4 #f 99 ,,bismuth1 7tin glass7 a reddish white metal1 oz4 #ab 99 ,,boracic ,,acid1 procured by adding sulphuric acid to a hot solution of borax2 the acid crystallizes1 oz4 #ajj 99 ,,brazil-,,wood1 7red-wood17 lb4 #f 99 ,,borate ,,of ,,soda1 ,,or ,,sub-,,borate ,,of ,,soda1 7borax7 is brought from the ,east-,indies in an impure state called tincal1 oz4 #f ,,burnish ,,gold-,,size1 and ,,burnishers1 may be had of ,bittle and ,cooper1 ,pemberton's-hill1 ,boston1 prices various1 99 ,,camphor1 obtained from a species of laurel tree1 oz4 #ab 99 ,,carbonate ,,of ,,copper1 7,french green7 produced by adding a solution of super-carbonate of soda1 to a hot solution of sulphate of copper1 lb4 #ej 99 ,,carbonate ,,of ,,lead1 7white lead7 is formed by exposing thin sheets of lead to the vapour of vinegar1 after which they abstract the carbonic acid from the atmosphere1 lb4 #af 99 ,,carbonate ,,of ,,strontia1 a native mineral1 oz4 #ej ,,carbonate ,,of ,,lime1 7marble1 chalk7 a native earth1 99 ,,chlorate ,,of ,,potass1 procured by passing a current of chlorine gas through a solution of pearl-ash1 oz4 #ajj 99 ,,chrome ,,yellow1 a pigment1 is formed by the combination of a metallic substance with the chromic acid1 oz4 #ab 99 ,,cobalt1 7,zaffre7 a metal of a reddish grey colour2 when exposed to a gentle heat1 it becomes oxidized and takes the form of a black powder1 oz4 #ej 99 ,,citric ,,acid1 procured from lemons1 limes1 c41 oz4 #ge 99 ,,calomel1 white sublimate of mercury1 oz4 #bj 99 ,,dragon',s ,,blood1 a red mucilage extracted from a plant1 oz4 #aj 99 ,,fluate ,,of ,,lime1 7fluor spar7 is found in abundance in ,derbyshire1 ,england1 its acid constituent has the peculiar property of dissolving glass1 lb4 #ej 99 ,,frankfort ,,black1 which takes its name from ,frankfort1 in ,germany1 is manufactured from the lees of wine1 oz4 #ab 99 ,,gamboge1 a yellow opaque gum1 or mucilage1 oz4 #af 99 ,,glue1 7gelatine7 a jelly procured from skins of animals1 lb4 #be 99 ,,gold ,,bronze1 gold in fine powder1 pwt4 #ge 99 ,,gold ,,leaf1 thin laminas of gold1 book #de 99 ,,gum-,,arabic1 a mucilaginous substance that exudes from certain trees in ,arabia1 oz4 #f 99 ,,gum-,,asphaltum1 a bitumen1 or mineral pitch1 oz4 #h 99 ,,gum-,,copal1 a hard transparent resin1 lb4 #dj 99 ,,gum-,,elastic1 7indian rubber1 caoutchouc7 exudes from trees in the ,west-,indies1 oz4 #h 99 ,,gum-,,sandarac1 a resin1 similar to rosin but much harder1 lb4 #ajj 99 ,,gum-,,shellac1 a compound1 resinous substance1 procured from the nests1 or cells of an insect1 oz4 #f 99 ,,gum-,,mastic1 a hard1 transparent resin1 lb4 #ajj 99 ,,ising-,,glass1 a kind of transparent glue procured from various kinds of fish1 oz4 #be 99 ,,lake1 7drop lake7 a rose coloured pigment1 prepared from brazil wood1 oz4 #bjj 99 ,,lead1 a brown heavy metal1 lb4 #ab ,,lime1 an oxide of calcium1 is procured by calcining lime stone1 marble or chalk1 99 ,,linseed ,,oil1 is expressed from ground flaxseed1 pt4 #ae 99 ,,litharge1 7gold litharge7 an oxide of lead1 oz4 #d 99 ,,litmus1 a blue colouring vegetable1 oz4 #aj 99 ,,mercury1 7quick silver7 a metal that remains fluid in the common temperature of the atmosphere1 oz4 #h 99 ,,muriate ,,of ,,ammonia1 7sal ammoniac7 is formed by adding muriatic acid to liquid ammonia1 evaporating1 c41 oz4 #f ,,muriate ,,of ,,soda1 7culinary salt7 is procured by evaporating the water of the ocean1 99 ,,muriate ,,of ,,strontia1 procured by dissolving native carbonate of strontia1 in muriatic acid1 and evaporating1 oz4 #ge ,,muriate ,,of ,,lime1 formed by evaporating a solution of marble in muriatic acid1 99 ,,muriatic ,,acid1 7marine acid1 spirit of salt7 is extracted from sea-salt1 oz4 #ab 99 ,,nitrate ,,of ,,ammonia1 procured by dissolving carbonate of ammonia 7common smelling salts7 in nitric acid1 oz4 #bj 99 ,,nitrate ,,of ,,potass1 7nitre1 salt-petre7 may be procured by adding nitric acid to a solution of sub-carbonate of potass1 and crystallizing by evaporation1 oz4 #c 99 ,,nitrate ,,of ,,strontia1 procured the same as the muriate1 oz4 #ge 99 ,,nitric ,,acid1 7aquafortis7 is obtained by distilling two parts of sulphuric acid1 together with one part of salt-petre1 oz4 #ab 99 ,,nut ,,galls1 are formed on the leaves of a species of oak1 oz4 #f 99 ,,olive ,,oil1 7sweet oil17 oz4 #c 99 ,,oil ,,of ,,cinnamon1 extracted from cinnamon by distillation1 oz4 #ge 99 ,,oil ,,of ,,rosemary1 procured also by distillation1 oz4 #be 99 ,,orange ,,lead1 a scarlet pigment similar to red lead1 oz4 #c 99 ,,oxide ,,of ,,manganese1 a black powder consisting of a metal combined with oxygen1 oz4 #aj 99 ,,phosphorus1 a simple substance procured from bones2 its greatest peculiarity is extraordinary combustibility1 oz4 #bjj 99 ,,phosphuret ,,of ,,lime1 a combination of lime and phosphorus1 oz4 #bjj 99 ,,plumbago1 7black lead7 a carburet of iron1 lb4 #af 99 ,,potassium1 the metallic base of potass1 may be readily obtained from pearl ash by any one who has a galvanic apparatus1 99 ,,prussiate ,,of ,,iron1 7prussian blue7 may be formed by adding prussiate of potass1 to a solution of copperas1 oz4 #be 99 ,,prussiate ,,of ,,potass1 a combination of potass and prussic acid1 oz4 #ej 99 ,,pumice ,,stone1 lb4 #ab 99 ,,red ,,lead1 7minium7 is obtained by melting lead in an open vessel1 and exposing it in that state to the action of the atmospheric air1 oz4 #c 99 ,,red ,,ochre1 7spanish brown7 a native oxide of iron1 lb4 #f 99 ,,rosin1 the resinous part of turpentine1 lb4 #f 99 ,,silver ,,bronze1 pwt4 #ej 99 ,,silver ,,leaf1 book #cj 99 ,,slip ,,blue1 7wet blue7 an aqueous preparation of prussian blue1 lb4 #cj 99 ,,spirits ,,of ,,turpentine1 7oil of turpentine7 is procured by distilling common or crude turpentine2 the residuum is rosin1 pt4 #ab 99 ,,sub-,,acetate ,,of ,,copper1 7verdigris17 oz4 #c 99 ,,sub-,,carbonate ,,of ,,potass1 7pearlash7 potass refined by calcination1 lb4 #ab 99 ,,sulphate ,,of ,,copper1 7blue vitriol1 roman vitriol17 oz4 #c 99 ,,sulphate ,,of ,,iron1 7copperas1 green vitriol17 oz4 #f ,,sulphate ,,of ,,lime1 7plaister of paris1 alabaster1 gypsum17 99 ,,sulphate ,,of ,,zinc1 7white vitriol17 oz4 #c 99 ,,sulphur 7brimstone7 is generally found combined with ores of metals1 oz4 #c 99 ,,sulphuric ,,acid1 7oil of vitriol7 the condensed vapour of burning sulphur1 oz4 #af 99 ,,sulphuric ,,ether1 procured by distilling alcohol with sulphuric acid1 oz4 #be 99 ,,super ,,carbonate ,,of ,,potass 7sal eratus7 is formed by passing a current of carbonic acid gas1 through a solution of pearl ash1 oz4 #c 99 ,,super ,,carbonate ,,of ,,soda1 may be prepared in the same manner from the sub-carbonate1 oz4 #ab 99 ,,super ,,tartrate ,,of ,,potass 7cream of tartar7 is found encrusted on the sides of casks in which wine has been kept1 oz4 #d 99 ,,tartaric ,,acid1 procured from cream of tartar1 oz4 #ab 99 ,,terra-,,de-,,sienna1 an oxide of iron that becomes dark red by burning1 oz4 #f 99 ,,tin1 7grain1 or granulated tin17 oz4 #ab 99 ,,tin ,,foil1 metallic tin rolled to thin laminas or sheets like paper1 oz4 #ab 99 ,,turmeric1 the root of a vegetable1 oz4 #c 99 ,,umber1 a brown earth that becomes nearly black by burning1 oz4 #c 99 ,,venice ,,turpentine1 oz4 #f 99 ,,vermilion1 a sulphuret of mercury1 is sometimes found native1 but may be procured by grinding sulphur and mercury together1 and heating them1 first in an open vessel1 till the mixture takes a violet colour2 and afterward in a flask or matrass1 oz4 #ab 99 ,,whiting1 7,spanish white7 refined1 lb4 #ab 99 ,,yellow ,,ochre1 7spruce yellow7 an oxide of iron1 lb4 #ab 99 ,,zinc 7spelter7 a metal of which1 with copper1 brass is made1 oz4 #c