Young's Demonstrative Translation of Scientific Secrets · Chapter 31. Oriental Painting (3)
This chapter is not translated yet. You are reading the original.
Varnishes of this description are call changing because, when applied to metals such as copper, brass, or tin or silver foil, they give them a more agreeable colour; indeed, the common metals, when coated with them acquired a lustre approaching to that of the precious metals, and hence these varnishes are much employed in manufacturing imitations of gold and silver. Put four ounces of the best gum gamboge into 32 ozs. of spirits of turpentine, 4 ozs. of dragon's blood into the same quantity of spirits of turpentine as the gamboge, and 1 oz. of anatto into 8 ozs. of the same spirits. The three mixtures being made in different vessels, they should then be kept for about a fortnight in a warm place, and as much exposed to the sun a possible; at the end of that time they will be fit for use; and you can procure any tints you wish by making a composition from them, with such proportions of each liquor as practice and the nature of the colour you are desirous of obtaining will point out. Changing varnishes may likewise be employed, with very good effect, for furniture, such as picture frames, &c.—See Lackers.
In using the changing varnish or any of these lackers, for picture frames for instance, lay them over with tin or silver leaf, by means of plaster of Paris glue, or cement of some kind, that the foil may be perfectly adherent to the wood, then apply your varnish; apply as many coats as may suit your taste, and if it be the gold lacker you use it has the appearance of being laid with gold leaf, and if the pale brass lacker, of being laid with brass, &c., and if you use the changing varnish you may make it just what colour you wish, by mixing the three materials in different proportions. For making gold lacker, put into a clean 4 gallon tin 1 lb. ground turmeric, 1-1/2 oz. powdered gamboge, 3-1/2 lbs. powdered gum sandrack, 3/4 lb. shellac, and 2 galls. spirits of wine; after being dissolved and strained add 1 pint of turpentine varnish, receipt No. 112, well mixed, and it is ready for use.
Take 2 galls. spirits of wine, 1 lb. dragon's blood, 3 lbs. Spanish annatto, 3-1/2 lbs. gum sandrack, 2 pints turpentine. Made exactly as the gold lacker.
Take 2 galls. spirits of wine, 3 ozs. cape aloes, cut small, 1 lb. fine pale shellac, 1 oz. gamboge, cut small, no turpentine. Varnish made exactly as before, but observe, that those who make lackers frequently want some paler and some darker and sometimes inclining more to the particular tint of certain of the component ingredients; therefore if a 4 oz. vial of a strong solution of each ingredient be prepared, a lacker of any tint can be prepared at any time as by changing varnish.
This is a fine clear varnish, being harder and less coloured than mastic, while it is as soluble, and may be had at one-tenth the price. Put 6 oz. of gum demar in a bottle with 10 ozs. of spirits of turpentine, and put into another bottle 6 ozs. of gum demar, with 16 ozs. alcohol, when they are dissolved put them together, and you have an excellent cheap varnish which dries quickly and is very clear.
Take 1 oz. of copal, and 1/2 oz. of shellac, powder them well and put them into a bottle or jar containing 1 quart of spirits of wine; place the mixture in a warm place and shake it occasionally, till you see that the gums are completely dissolved, and when strained the varnish is fit for use.
Take 1 lb. of mastic, 4 oz. of gum anima; and 5 lbs. of gum sandrack, put them all together to dissolve, into a vessel containing 2 oz. of rectified spirits of wine, which should be kept in a warm place and frequently shaken till all the gums are quite dissolved; then strain the mixture through a lawn sieve, and it will be fit for use.
Procure a bottle of Canada balsam, which can be had at any druggist's; draw out he cork and set the bottle of balsam at a little distance from the fire, turning it round several times, until the heat has thinned it; then have something that will hold as much as double the quantity of balsam; carry the balsam from the fire, and, while fluid mix it with the same quantity of good turpentine, and shake them together until they are well incorporated. In a few days the varnish is fit for use, particularly if it is poured into a half gallon glass or stone bottle, and kept in a gentle warmth. This varnish is used for maps, prints, charts, drawings, paper, ornaments, &c.
Take a 1/2 oz. of the best black sealing wax, pound it well, and put it into a 4 oz. vial, containing 2 ozs. of rectified spirits of wine; place it in a sand-bath or near a moderate fire till the wax is dissolved, then lay it on warm, with a fine soft hairbrush, before a fire or in the sun. It gives a good stiffness to old straw hats, and a beautiful gloss equal to new. It likewise resists wet.
111. VARNISH FOR VIOLINS &c.
Take 1 gallon of rectified spirits of wine, 12 ozs. of mastic, and 1 pint of turpentine varnish; put them altogether in a tin can, and keep it in a very warm place, shaking it occasionally till it is perfectly dissolved; then strain it, and it is fit for use. If you find it necessary, you may dilute it with turpentine varnish. This varnish is also very useful for furniture of plumtree, mahogany, or rosewood.
Take 5 lbs. of clear good resin, pound it well, and put it into 1 gallon of oil of turpentine; boil the mixture over a stove till the resin is perfectly dissolved, and when cool, it will be fit for use.
Put 48 lbs. asphaltum into an iron pot, and boil for four hours; during the first two hours, introduce 7 lbs. litharge, 3 lbs. dried copperas, and 10 gallons boiled oil; add 1/8 lb. run of dark gum, with 2 gallons hot oil; after pouring the oil and gum, continue the boiling two hours, or until it will roll into hard pills like Japan; when cool, thin it off with three gallons of turpentine, or until it is of proper consistence. This varnish is intended principally for the iron work of coaches and other carriages.
Take 1/2 lb. of india rubber, 1 gallon of spirits of turpentine; dissolve enough to make it into a jelly by keeping it almost new milk warm; then take equal quantities of good linseed oil, (in a hot state,) and the above mixture, incorporate them well on a slow fire, and it is fit for use.
Break 1/2 cake (which is about 1 ounce) of white wax into an earthen pan, and just cover it with oil of turpentine; place a board over the pan to keep out the air; let it stand for 24 hours or until formed into a paste; then in another pan, mix 1 lb. of best ivory black with neatsfoot oil, until it assumes a thick consistency; then mix the contents of both pans together. It may be reduced with spirits of turpentine. Bottle, and it is fit for use.
Take oil vitriol, 2 ozs., tanners oil, 5 ozs., ivory black, 2 lbs., molasses, 5 ozs; mix the oil and vitriol together, let it stand a day, then add the ivory black, the molasses, and the white of an egg; mix well, and it is ready for use.
Take 1 pint of camphene, and put into it all the india rubber it will dissolve, 1 pint currier's oil, 7 lbs. tallow, and 2 ozs. of lampblack; mix thoroughly by heat. This is a nice thing for old harness and carriage tops, as well as for boots and shoes.
Take of alcohol, 1 gallon; white turpentine, 1-1/2 lbs.; gum shellac 1-1/2 lbs.; venice turpentine, 1 gill; let these stand in a jug in the sun, or by a stove, until the gums are dissolved; then add sweet oil, 1 gill; lampblack, 2 oz., and you have a varnish that will not crack when the harness is twisted like the old shellac varnish. It is good also for boots and shoes, looking well, and turns water.
Take of asphaltum, 2 lbs.; boiled linseed oil, 1/2 pint; spirits of turpentine, 1 gallon; mix the two first in an iron pot, boil slowly until the asphaltum is melted, then take it some distance from the fire, cool a little, and add the turpentine (avoiding ignition) before it cools too much, and it is finished.
Take 1 pint best spirits of wine, 1 pint raw linseed oil, 1 pint spirits of turpentine; mix all three together, and shake well before use. Apply with a rubber of cotton wool covered with a piece of clean old white cotton cloth. Apply slightly and you will be astonished at the effect. Old furniture that is scratched, soiled, or stained, if the wood is not torn up, being polished with this, has the appearance of new.
Take of olive oil 1/2 a pint, oils of rosemary and origanum, of each 1/8 of an oz. Mix well and apply rather freely.
Take 4-1/2 lbs. white bar soap, 1 quart rain water, 1 gill of beef's gall, and 1 gill spirits of turpentine; cut the soap thin, and boil five minutes, stir while boiling, and colour with 1/2 oz. of vermillion; scent with oil of rose or almonds. 10 cents worth will positively make $6 worth of soap.
Take of castor oil, 6-1/2 pints; alcohol, 1-1/2 pint; citronella and lavender oils, of each 2 ozs.; mix and shake well, and it is ready for use.
Take of sweet oil, 8 ozs.; cantharides and oil of lemon, of each 60 drops; alkanet sufficient to colour it.
Take 1 quart olive oil, 2-1/2 ozs. alcohol, 1-1/2 ozs. rose oil; after this tie 1 oz. of chipped alkanet root in 3 or 4 little muslin bags, and let them lie in the oil until a pretty red is manifested, then change them to other oil. do not press them.
Take of good sweet lard oil, 1 quart; bergamot, 1 ounce; mix well together.
Take of ox marrow, 4 ozs.; white wax, 1 oz.; nice fresh lard, 6 ozs; mix and melt; when cool, add 1-1/2 ozs. oil of bergamot, and mix well.
Take oils of rosemary and lemon, of each, 1/4 oz.; oils of bergamot and lavender, of each, 1/8 oz.; oil of cinnamon, 8 drops; oils of cloves and rose, of each 15 drops; best alcohol, 2 quarts; mix and shake 2 or 3 times a day for a week. This will be better if deoderized, or cologne alcohol is used.
Take of soft soap, 12 lbs.; (that made of olive oil is best,) common salt, 9 lbs.; mix and boil for 2 hours, run it into bars, or as you want it, and you will have 7-1/2 lbs. of soap. Add a little resin when you melt it over. Scent with fragrant oil if you wish to do so.
Take of lime water 1 teacupful, spirits of turpentine 2 teaspoonsful, resin 1/2 lb., sal. soda 1-1/2 lbs., of bar shop soap 4 lbs.; melt and boil all together to a proper consistency, then pour into moulds.
In a pint of spirits of wine dissolve 2 oz. of seed lac, and 2 oz. of resin. The principal use of this polish is for the carved parts of cabinet work, such as standards, pillars, claws, &c. It should be laid on warm, and it will be still better; but all moisture and dampness should be carefully avoided.
Take 1 oz. of shellac, 1/4 oz. of gum-arabic, and 1/4 oz. of gum copal; bruise them well, and sift them through a piece of muslin, then put them along with a pint of spirits of win into a closely corked vessel, place it in a very warm situation, and shake it frequently every day till the gums are dissolved, then strain through a piece of muslin, and keep it corked for use.
Put 2 ozs. of gum benjamin, 1/4 oz. of gum sandrac, and 1/4 oz. of gum anima, into a pint of spirits of wine, in a closely stopped bottle, place the bottle either in a sand bath, or in hot water, till the gums are dissolved, then strain off the mixture, shake it up with a 1/4 of a gill of the best clear poppy oil, and put by for use.
Put 2 drachms of shellac, and 2 drachms of gum benjamin, into 1/2 pint of the very best rectified spirits of wine, in a bottle closely corked; keep the bottle in a warm place, and shake it frequently till the gums are dissolved, when cold shake up with it 2 teaspoonsful of the best clear poppy oil, and it will be fit for use. This polish may be applied with great advantage after any of those mentioned in the foregoing receipts have been used. It removes the defects existing in them, increasing their lustre and durability, and gives the surface a most brilliant appearance.
Take of borax, 10 parts; sal-ammoniac, 1 part; grind or pound them roughly together, then fuse them in a metal pot over a close fire, taking care to continue the heat until all spume has disappeared from the surface, when the liquid appears clear, the composition is ready to be poured out to cool and concrete; afterward being ground to a fine powder. To use this composition, the steel to be welded is raised to a heat, which may be expressed by bright yellow, it is then dipped among the welding powder, and again placed in the fire until it attains the same degree of heat as before, it is then ready to be placed under the hammer.
Take good clear white course sand, 3 parts; refined solton, 1 part; fosterine, 1 part; rock salt 1 part; borax, 1 part; mix all together. Take 2 pieces of cast iron, heat them in a moderate charcoal fire, occasionally taking them out while heating, and dipping them into the composition, until they are of a proper heat to weld, then at once lay them on the anvil, and gently hammer them together, and if done carefully by one who understands welding iron, you will have them nicely welded together. One man prefers heating the metal, then cooling it in the water of common beans, and heating it again for welding.
Take of clean borings or turning of cast iron, 16 parts; of sal-ammoniac, 2 parts; and flour of sulphur, 1 part; mix them well together on a mortar, and keep them dry. When required for use, take 1 part of the mixture, and 20 parts of clean borings, mix thoroughly, and add a sufficient quantity of water. Note.—A little grindstone added improves the cement.
This is the conversion of the surface of wrought iron into steel, for the purpose of adapting it to receive a polish, or to bear friction, &c. The best method in the world of effecting this is by heating the iron to cherry red in a close vessel, in contact with carbonacious material, and then plunging it into cold water. Bones, leather, hoofs, and horns of animals, are best for this purpose, after having been burnt or roasted, so that they can be pulverized. Soot is very frequently used; it answers, but not so well.
Either of the following simple methods will make iron or steel as soft as lead: 1. Anoint it all over with tallow, temper it in a gentle charcoal fire, and let it cool of itself. 2. Take a little clay, cover your iron with it, temper in a charcoal fire. 3. When the iron or steel is red hot, strew hellebore on it. 4. Quench the iron or steel in the juice, or water, of common beans.
Melt 1 part of block tin, and when in a state of fusion, add 2 parts of lead; if a small quantity of this, when melted, is poured upon the table, there will, if it be good, arise little bright stars upon it. Resin should be used with this solder.
Take 4 parts of pewter, 1 of tin, and 1 of bismuth, melt them together, and run them into thin slips. Resin is also employed in using this solder.
The best solder for iron is good tough brass, with a little borax.
Take of brass, 6 parts; zinc, 1 part; tin, 1 part; melt all together, mix well, and pour out to cool.
Silver, 19 parts; copper, 1 part; brass, 2 parts; melt all together.
Fuse together 2 parts of copper, and 1 of zinc.
Fuse together 5 parts of silver, and 1 part of brass.
147. GOLD SOLDER No. 1
Take of gold, 4 parts; silver, 3 parts; copper 1 part; and zinc, 1 part.
148. GOLD SOLDER No. 2
Take of gold, 3 parts; silver, 3 parts; copper, 1 part; zinc, 1/2 part.
149. GOLD SOLDER No. 3
Take of gold, 2 parts; silver, 3 parts; copper, 1 part; and zinc 1/2 a part.
The gold, silver, and copper must be fused in a crucible before the zinc is added, or else you cannot keep them in the vessel while heating. When all are completely fused, they must be well stirred, and run into bars. Solder No. 1 is for gold 16 carats and upwards; No. 2 is for that 14 carats fine; and No. 3 for lower qualities. If more zinc is added, it will fuse at a lower heat, but the colour is not so good.
Fuse together 16 parts of copper, 7 of platinum, and 1 of zinc. When steel is alloyed with 1/500 part of platinum, or with 1/500 part of silver, it is rendered much harder, more malleable, and better adapted for all kinds of cutting instruments. Note.—In making alloys, care must be taken to have the more infusible metals melted first, and afterwards add the others.
Take 4 parts of brass, and 4 parts of tin; when fused add 4 parts of metallic bismuth, and 4 parts of metallic antimony. This composition is added at discretion to metallic tin, according to the quality you wish to make.
Melt together 8 parts of copper and a half part of arsenic.
Melt together 4 parts of tin and 1 part of lead.
Melt together 100 parts of tin and 17 of antimony.
Melt together 9 parts of lead, 2 of antimony and one of bismuth. This metal is very useful in filling small defects in iron castings, &c.
Melt together 9 parts of tin, 1 of antimony, 1 of bismuth, and 1 of lead.
This metal, or alloy, very closely resembles platinum. Melt together 8 parts of brass and 5 parts of zinc.
Melt together 40.4 parts of copper, 31.6 parts of nickel, 25.4 of zinc, and 2.6 of iron.
Melt together 3 parts copper, 1 of zinc, and a little tin.
Melt together 8 parts of copper, and 1 part of zinc.
Take of platina 8 parts, of silver 4 parts, copper 12 parts, melt all together.
Take of block tin 100 parts, metallic antimony 8 parts, bismuth 1 part, and 4 parts of copper; melt all together.
Dr. Harmsteadt's imitation of gold, which is stated not only to resemble gold in colour, but also in specific gravity and ductility, consists of 16 parts of platinum, 7 parts of copper, and 1 of zinc, put in a crucible, covered with charcoal powder, and melted into a mass.
Imitation of pure silver, so perfect in its resemblance that no chemist living can tell it from pure virgin silver. It was obtained from a German chemist now dead; he used it for unlawful purposes to the amount of thousands, and yet the metal is so perfect that he was never discovered. It is all melted together in a crucible, here it is: 1/4 oz. of copper, 2 oz. of brass, 3 oz. of pure silver, 1 oz. of bismuth, 2 ozs. of saltpetre, 2 ozs. of common salt, 1 oz. of arsenic, and 1 oz. of potash.
Take copper, zinc, and silver, in equal proportions, and melt them together, and mould into the forms you desire, and bring the same to a nearly white heat; now lay on the thing that you would take the impression of, and press it with sufficient force, and you will find that you have a perfect and beautiful impression. All of the above metals should be melted under a coat of powdered charcoal.
To 1 lb. of wood ashes, add 2 lbs. of quicklime; put them into a quart of water, let the whole boil till reduced to one third, then dip a feather in, and if, on drawing it out, the plume should come off, it is a proof that it is boiled enough, if not, let it boil a little longer; when it is settled filter it off, and in the liquor thus strained put in shavings of horn; let them soak for three days, and, first anointing your hands with oil, work the horn into a mass, and print or mould it into any shape you please.
If you wish to take the impression of any coin, medal, &c., previously anoint it with oil, then lay the horn shavings over it in its softened state; when dry the impression will be sunk into the horn, and this will serve as a mould to reproduce, either by plaster of Paris, putty and glue, or isinglass and ground egg shells, the exact resemblance of the coin or medal.
Make isinglass and strong brandy into a paste, with powder of egg shells, very finely ground; you may give it what colour you please, but cast it warm into your mould, which you previously oil over; leave the figure in the mould till dry, and you will find, on taking it out, that it bears a very strong resemblance to ivory.
Put some gold leaf, with a little honey or thick gum water, (whenever I speak of gum I mean gum arabic,) into an earthen mortar, and pound the mixture till the gold is reduced to very small particles; then wash out the honey or gum repeatedly with warm water, and the gold will be left behind in a state of powder, which, when dried, is fit for use.
Another, and perhaps better method of preparing gold powder is to heat a prepared amalgam of gold in a clean open crucible, (an amalgam of any metal is formed by a mixture of quicksilver with that metal) continuing a very strong heat till all the mercury has evaporated, stirring the amalgam all the while with a glass rod; when the mercury has entirely left the gold, grind the remainder in a Wedgewood's mortar, with a little water, and when dried it will be fit for use. The subliming the mercury is, however, a process injurious to the health.
For yellow gold, dissolve in water 6 ozs. of saltpetre, 2 ozs. of copperas, 1 oz. of white vitriol, and 1 oz. of alum. If wanted redder, add a small portion of blue vitriol.
Dissolve in water a mixture consisting of 1-1/2 oz. of saltpetre; vitriol and sal-ammoniac, 1-1/4 oz. of each, and 1 oz. verdigris.
Take 1-1/2 oz. of red ochre in fine powder, the same quantity of calcined verdigris, 1/2 oz. of calcined borax, and 4 oz. of melted yellow wax; the verdigris must be calcined, or else, by the heat applied in melting the wax, the vinegar becomes so concentrated as to corrode the surface, and make it appear speckled. These last three are colours for heightening compositions.
Mosaic gold, or aurum mosaicum, is used for inferior articles. It is prepared in the following manner: 1 lb. of tin is melted in a crucible, and 1/2 lb. of purified quicksilver added to it; when this mixture is cold, it is reduced to powder, and ground with 1/2 lb. of sal-ammoniac, and 7 ozs. of flower of sulphur, till the whole is thoroughly mixed; they are then calcined in a mattrass, and the sublimation of the other ingredients leaves the tin converted into the aurum mosaicum, which is found at the bottom of the glass, like a mass of bright flakey gold powder. Should any black or discoloured particles appear, they must be removed. The sal-ammoniac used here must be very white and clear, and the mercury quite pure and unadulterated. When a shade of deeper red is required, it can easily be obtained by grinding a very small quantity of red lead along with the above materials.
A gilding powder is sometimes made from Dutch gold, which is sold in books at a very low price. This is treated in the same way as the real gold leaf in making the true gold powder. It is necessary, when this inferior powder is used, to cover the gilding with a coat of clear varnish, otherwise it soon loses its metallic appearance. The same remark applies, though to a less degree, to Mosaic gilding.
This is prepared by dissolving filings or slips of copper with nitrous acid in a receiver. When the acid is saturated, the slips are to be removed; or, if filings be employed, the solution is to be poured off from what remains undissolved; small bars are then put in, which will precipitate the copper from the saturated acid, in a powder of the peculiar appearance and colour of copper, and the liquid being poured from the powder, this is to be washed clean of the crystals by repeated levigations.
The size used by painters for most sorts of common work is prepared by boiling in water pieces of parchment, and of the skins of animals and fins of fish, and evaporating the solution to a proper consistency. It only differs, however, from a solution of glue containing fewer foreign ingredients, and in not being so strong.
Take of white soap and white wax, each half an ounce, of water two pints; boil them together for a short time in a clean vessel. This varnish is to be applied when cold, by means of a soft brush. It does not sink in, it readily dries, and its effect may be heightened by lightly using a silk pocket handkerchief.
This art is nothing but a species of painting, but far from being of the most delicate kind. The principal ingredients made use of in it are the true gold powder, the German gold, the aurum mosaicum, and copper powder, (all above described.) The choice of these powders is, of course, to be determined by the degree of brilliancy you wish to obtain. The powder is mixed with strong gum water or isinglass, and laid on with a brush or pencil; and when not so dry as to have still a certain clamminess, a piece of soft leather wrapped round the finger, is dipped in the powder and rubbed over the work; when the work has been all covered with the bronze, it must be left to dry, and any loose powder then cleared away by a hair pencil.
This may be effected by a process somewhat differing from the above, Prussian blue, patent yellow, raw amber, lamp-black, and pipe clay are ground separately with water on a stone, and as much of them as will make a good colour put into a small vessel three-fourths full of size. This mixture is found to succeed best on using about half as much more pipe clay as of any of the other ingredients. The wood being previously cleaned and smoothed, and coated with a mixture of clean size and lamp-black, receives a new coating with the above compound twice successively, having allowed the first to dry. Afterwards the bronze powder is to be laid on with a pencil, and the whole burnished or cleaned anew, observing to repair the parts which may be injured by this operation; next, the work must be coated over with a thin lather of castile soap, which will take off the glare of the burnishing, and afterwards be carefully rubbed with a woollen cloth. The superfluous powder may be rubbed off when dry.
The subject should be heated to a greater degree than the hand can bear; and German gold, mixed with a small quantity of spirit of wine varnish, spread over it with a pencil; should the iron be already polished, you must heat it well and moisten it with a linen rag dipped in vinegar.
There is a method of bronzing casts of plaster of Paris analogous to that which we have above given for bronzing wood, but it is not in much repute. Such figures may be beautifully varnished by means of Dr. John's varnish, receipt No. 178. Casts of plaster of Paris may be made by receipt No. 167.
Dissolve in an iron kettle, one part of pearl-ash in about 8 parts of water; add one part of shell-lac, and heat the whole to ebullition. When the lac is dissolved, cool the solution, and impregnate it with chlorine, till the lac is all precipitated. The precipitate is white, but its colour deepens by washing and consolidation; dissolved in alcohol, lac bleached by the above process yields a varnish which is as free from colour as any copal varnish.