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diff --git a/15622-h/15622-h.htm b/15622-h/15622-h.htm new file mode 100644 index 0000000..4d3176a --- /dev/null +++ b/15622-h/15622-h.htm @@ -0,0 +1,2584 @@ +<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Transitional//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-transitional.dtd"> + +<html xmlns="http://www.w3.org/1999/xhtml"> + <head> + <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" /> + <title> + The Project Gutenberg eBook of A Handbook On Japanning, by William N. Brown. + </title> + <style type="text/css"> +/*<![CDATA[ XML blockout */ +<!-- + p { margin-top: .75em; + text-align: justify; + margin-bottom: .75em; + } + h1,h2,h3,h4,h5,h6 { + text-align: center; /* all headings centered */ + clear: both; + } + hr { width: 33%; + margin-top: 2em; + margin-bottom: 2em; + margin-left: auto; + margin-right: auto; + clear: both; + } + + + body{margin-left: 15%; + margin-right: 15%; + line-height: 1.5em; + } + + .blockquot{margin-left: 5%; margin-right: 5%;} + + .blocktab {margin-left: 15%; margin-right: 10%} + + .center {text-align: center;} + .smcap {font-variant: small-caps;} + + .caption {font-weight: bold;} + + .footnotes {border: dashed 1px;} + .footnote {margin-left: 10%; margin-right: 10%; font-size: 0.9em;} + .footnote .label {position: absolute; right: 80%; text-align: right;} + .fnanchor {vertical-align: super; font-size: .8em; text-decoration: none;} + + // --> + /* XML end ]]>*/ + </style> + </head> +<body> + + +<pre> + +Project Gutenberg's Handbook on Japanning: 2nd Edition, by William N. Brown + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Handbook on Japanning: 2nd Edition + For Ironware, Tinware, Wood, Etc. With Sections on Tinplating and + Galvanizing + + +Author: William N. Brown + +Release Date: April 14, 2005 [EBook #15622] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK HANDBOOK ON JAPANNING: 2ND EDITION *** + + + + +Produced by Jason Isbell, Karen Dalrymple and the Online Distributed +Proofreading Team. + + + + + + +</pre> + + +<h1><a name="Page_-7" id="Page_-7"></a><a name="Page_-6" id="Page_-6"></a><a name="Page_-5" id="Page_-5"></a>A HANDBOOK ON JAPANNING</h1> + +<h2><i>FOR IRONWARE, TINWARE, WOOD, ETC.</i></h2> + +<h2>WITH SECTIONS ON TIN-PLATING AND GALVANIZING<br /><br /><br /></h2> + + +<h4>BY</h4> + +<h2>WILLIAM N. BROWN<br /><br /><br /></h2> + + +<div class="center"><i>SECOND EDITION: REVISED AND ENLARGED WITH THIRTEEN ILLUSTRATIONS</i><br /><br /><br /></div> + + +<div class="center"> +<big>LONDON</big><br /> +<big>SCOTT, GREENWOOD AND SON</big><br /> +"THE OIL AND COLOUR TRADES JOURNAL" OFFICES<br /> +8 BROADWAY, LUDGATE, E.C.<br /> +<br /> +1913<br /> +<br /> +<big>D. VAN NOSTRAND COMPANY</big><br /> +<big>8 WARREN ST., NEW YORK</big><br /> +</div> +<hr style="width: 25%;" /> +<div class="blockquot"><a name="Page_-4" id="Page_-4"></a><i>First Edition under title "A Handbook on Japanning and Enamelling", +1901</i><br /><br /></div> + +<div class="blockquot"><i>Second Edition, Revised and Enlarged, under title "A Handbook on +Japanning"—January, 1913</i></div> + + + +<hr style="width: 65%;" /> +<h2><a name="CONTENTS" id="CONTENTS"></a><a name="Page_-3" id="Page_-3"></a>CONTENTS.</h2> + + +<div class='blockquot'> +<table border="0" cellpadding="4" cellspacing="0" summary="Table of Contents"> +<tr><td colspan="3" align="right">PAGE</td></tr> +<tr><td colspan="3" align="center"><a href="#SECTION_I"><b>SECTION I.</b></a></td></tr> +<tr><td colspan="2" align="left"><a href="#INTRODUCTION">INTRODUCTION.</a></td><td align='right'>1-5</td></tr> +<tr><td> </td><td align="left">Priming or Preparing the Surface to be Japanned</td><td align='right'><a href='#Page_4'>4</a></td></tr> +<tr><td> </td><td align="left">The First Stage in the Japanning of Wood or of Leather without a Priming</td><td align="right"><a href='#Page_5'>5</a></td></tr> +<tr><td> </td></tr> +<tr><td colspan="3" align="center"><a href="#SECTION_II"><b>SECTION II.</b></a></td></tr> +<tr><td colspan="2" align="left"><a href="#JAPAN_GROUNDS">JAPAN GROUNDS.</a></td><td nowrap="nowrap" align="right">6-19</td></tr> +<tr><td> </td><td align="left">White Japan Grounds</td><td align='right'><a href='#Page_7'>7</a></td></tr> +<tr><td> </td><td align="left">Blue Japan Grounds</td><td align="right"><a href='#Page_9'>9</a></td></tr> +<tr><td> </td><td align="left">Scarlet Japan Ground</td><td align="right"><a href='#Page_9'>9</a></td></tr> +<tr><td> </td><td align="left">Red Japan Ground</td><td align='right'><a href='#Page_10'>10</a></td></tr> +<tr><td> </td><td align="left">Bright Pale Yellow Grounds</td><td align='right'><a href='#Page_10'>10</a></td></tr> +<tr><td> </td><td align="left">Green Japan Grounds</td><td align="right"><a href='#Page_10'>10</a></td></tr> +<tr><td> </td><td align="left">Orange-Coloured Grounds</td><td align="right"><a href='#Page_11'>11</a></td></tr> +<tr><td> </td><td align="left">Purple Grounds</td><td align='right'><a href='#Page_11'>11</a></td></tr> +<tr><td> </td><td align="left">Black Grounds</td><td align="right"><a href='#Page_11'>11</a></td></tr> +<tr><td> </td><td align="left">Common Black Japan Grounds on Metal</td><td align="right"><a href='#Page_12'>12</a></td></tr> +<tr><td> </td><td align="left"><a name="Page_-2" id="Page_-2"></a>Tortoise-shell Ground</td><td align="right"><a href='#Page_12'>12</a></td></tr> +<tr><td> </td><td align="left">Painting Japan Work</td><td align="right"><a href='#Page_13'>13</a></td></tr> +<tr><td> </td><td align="left">Varnishing Japan Work</td><td align="right"><a href='#Page_17'>17</a></td></tr> +<tr><td> </td></tr> +<tr><td colspan="3" align="center"><a href="#SECTION_III"><b>SECTION III.</b></a></td></tr> +<tr><td colspan="2" align="left"><a href="#JAPANNING_OR_ENAMELLING_METALS">JAPANNING OR ENAMELLING METALS.</a></td><td nowrap="nowrap" align="right">20-28</td></tr> +<tr><td> </td><td align="left">Enamelling Bedstead Frames and similar large pieces</td><td align="right"><a href='#Page_24'>24</a></td></tr> +<tr><td> </td><td align="left">Japanning Tin, such as Tea-trays and similar goods</td><td align="right"><a href='#Page_25'>25</a></td></tr> +<tr><td> </td><td align="left">Enamelling Old Work</td><td align="right"><a href='#Page_27'>27</a></td></tr> +<tr><td> </td></tr> +<tr><td colspan="3" align="center"><a href="#SECTION_IV"><b>SECTION IV.</b></a></td></tr> +<tr><td colspan="2" align="left"><a href="#THE_ENAMELLING_AND_JAPANNING_STOVE">THE ENAMELLING AND JAPANNING STOVE—PIGMENTS SUITABLE FOR +JAPANNING WITH NATURAL LACQUER—MODERN METHODS OF JAPANNING WITH NATURAL JAPANESE LACQUER.</a></td><td nowrap="nowrap" align="right" valign="bottom">29-48</td></tr> +<tr><td> </td><td align="left">Appliances and Apparatus used in Japanning and Enamelling </td><td align="right"><a href='#Page_29'>29</a></td></tr> +<tr><td> </td><td align="left">Modern Japanning and Enamelling Stoves</td><td align="right"> <a href='#Page_34'>34</a></td></tr> +<tr><td> </td><td align="left">Stoves heated by direct fire </td><td align="right"><a href='#Page_34'>34</a></td></tr> +<tr><td> </td><td align="left">Stoves heated by hot-water pipes </td><td align="right"><a href='#Page_36'>36</a></td></tr> +<tr><td> </td><td align="left">Pigments suitable for Japanning with Natural Lacquer</td><td align="right"><a href='#Page_45'>45</a></td></tr> +<tr><td> </td><td align="left">White Pigments </td><td align="right"><a href='#Page_45'>45</a></td></tr> +<tr><td> </td><td align="left">Red Pigments </td><td align="right"><a href='#Page_46'>46</a></td></tr> +<tr><td> </td><td align="left">Blue Pigment </td><td align="right"><a href='#Page_46'>46</a></td></tr> +<tr><td> </td><td align="left">Yellow Pigments</td><td align="right"><a href='#Page_46'>46</a></td></tr> +<tr><td> </td><td align="left">Green Pigment</td><td align="right"><a href='#Page_46'>46</a></td></tr> +<tr><td> </td><td align="left">Black Pigment</td><td align="right"><a href='#Page_46'>46</a></td></tr> +<tr><td> </td><td align="left"><a name="Page_-1" id="Page_-1"></a>Methods of Application </td><td align="right"><a href='#Page_46'>46</a></td></tr> +<tr><td> </td><td align="left">Modern Methods of Japanning and Enamelling with Natural Japanese Lacquer </td><td align="right"><a href='#Page_47'>47</a></td></tr> +<tr><td> </td></tr> +<tr><td colspan="3" align="center"><a href="#SECTION_V"><b>SECTION V.</b></a></td></tr> +<tr><td colspan="2" align="left"><a href="#COLOURS_FOR_POLISHED_BRASS_MISCELLANEOUS">COLOURS FOR POLISHED BRASS.—MISCELLANEOUS.</a></td><td nowrap="nowrap" align="right">49-57</td></tr> +<tr><td> </td><td align="left">Painting on Zinc or on Galvanized Iron </td><td align="right"><a href='#Page_49'>49</a></td></tr> +<tr><td> </td><td align="left">Bronzing Compositions</td><td align="right"><a href='#Page_49'>49</a></td></tr> +<tr><td> </td><td align="left">Golden Varnish for Metal </td><td align="right"><a href='#Page_51'>51</a></td></tr> +<tr><td> </td><td align="left">Carriage Varnish </td><td align="right"><a href='#Page_51'>51</a></td></tr> +<tr><td> </td><td align="left">Metal Polishes </td><td align="right"><a href='#Page_51'>51</a></td></tr> +<tr><td> </td><td align="left">Black Paints </td><td align="right"><a href='#Page_52'>52</a></td></tr> +<tr><td> </td><td align="left">Black Stain for Iron </td><td align="right"><a href='#Page_53'>53</a></td></tr> +<tr><td> </td><td align="left">Varnishes for Ironwork </td><td align="right"><a href='#Page_55'>55</a></td></tr> +<tr><td> </td></tr> +<tr><td colspan="3" align="center"><a href="#SECTION_VI"><b>SECTION VI.</b></a></td></tr> +<tr><td colspan="2" align="left"><a href="#PROCESSES_FOR_TIN_PLATING">PROCESSES FOR TIN-PLATING.</a></td><td nowrap="nowrap" align="right">58-60</td></tr> +<tr><td> </td><td align="left">Amalgam Process</td><td align="right"><a href='#Page_59'>59</a></td></tr> +<tr><td> </td><td align="left">Immersion Process</td><td align="right"><a href='#Page_59'>59</a></td></tr> +<tr><td> </td><td align="left">Battery Process</td><td align="right"><a href='#Page_59'>59</a></td></tr> +<tr><td> </td><td align="left">Weigler's Process</td><td align="right"><a href='#Page_60'>60</a></td></tr> +<tr><td> </td><td align="left">Hern's Process </td><td align="right"><a href='#Page_60'>60</a></td></tr> +<tr><td> </td></tr> +<tr><td colspan="3" align="center"><a href="#SECTION_VII"><b>SECTION VII.</b></a></td></tr> +<tr><td colspan="2" align="left"><a href="#GALVANIZING">GALVANIZING.</a></td><td nowrap="nowrap" align="right">61-66</td></tr> +<tr><td> </td></tr> +<tr><td colspan="2" align="left"><a href="#INDEX"><b>INDEX.</b></a></td><td nowrap="nowrap" align="right">67-69</td></tr> +</table></div> + + +<hr style="width: 65%;" /> +<h2><a name="Page_0" id="Page_0"></a><a name="Page_1" id="Page_1"></a>HANDBOOK ON JAPANNING.</h2> + + + +<hr style="width: 65%;" /> +<h2><a name="SECTION_I" id="SECTION_I"></a>SECTION I.</h2> + +<h3><a name="INTRODUCTION" id="INTRODUCTION"></a>INTRODUCTION.</h3> + + +<p>Japanning, as it is generally understood in Great Britain, is the art +of covering paper, wood, or metal with a more or less thick coating of +brilliant varnish, and hardening the same by baking it in an oven at a +suitable heat. It originated in Japan—hence its name—where the +natives use a natural varnish or lacquer which flows from a certain +kind of tree, and which on its issuing from the plant is of a creamy +tint, but becomes black on exposure to the air. It is mainly with the +application of "japan" to metallic surfaces that we are concerned in +these pages. Japanning may be said to occupy a position midway between +painting and porcelain enamelling, and a japanned surface differs from +an ordinary painted surface in being far more brilliant, smoother, +harder, and more durable, and also in retaining its gloss permanently, +in not being easily injured by hot water or by being placed near a +fire; while real good japanning is characterised by great lustre and +adhesiveness to the metal to which it has been applied, and its +non-liability to chipping—a fault which, as a rule, stamps the common +article.</p> + +<p><a name="Page_2" id="Page_2"></a>If the English process of japanning be more simple and produces a +less durable, a less costly coating than the Japanese method, yet its +practice is not so injurious to the health. Indeed, it is a moot point +in how far the Japanese themselves now utilize their classical +process, as the coat of natural japan on all the articles exhibited at +the recent Vienna exhibition as being coated with the natural lacquer, +when recovered after six months' immersion in sea water through the +sinking of the ship, was destroyed, although it stood perfectly well +on the articles of some age. In the English method, where necessary, a +priming or undercoat is employed. It is customary to fill up any +uneven surface, any minute holes or pores, and to render the surface +to be japanned uniformly smooth. But such an undercoat or priming is +not always applied, the coloured varnish or a proper japan ground +being applied directly on the surface to be japanned. Formerly this +surface usually, if not always, received a priming coat, and it does +so still where the surface is coarse, uneven, rough, and porous. But +where the surface is impervious and smooth, as in the case of metallic +surfaces, a priming coat is not applied. It is also unnecessary to +apply such a coat in the case of smooth, compact, grained wood. The +reason for using this coating is that it effects a considerable saving +in the quantity of varnish used, and because the matter of which the +priming is composed renders the surface of the body to be varnished +uniform, and fills up all pores, cracks, and other inequalities, and +by its use it is easy after rubbing and water polishing to produce an +even surface on which to apply the varnish. <a name="Page_3" id="Page_3"></a>The previous application +of this undercoat was thus an advantage in the case of coarse, uneven +surfaces that it formed a first and sort of obligatory initial stage +in the process of japanning. This initial coating is still applied in +many instances. But it has its drawbacks, and these drawbacks are +incidental to the nature of the priming coat which consists of size +and whiting. The coats or layers of japan proper, that is of varnish +and pigment applied over such a priming coat, will be continually +liable to crack or peel off with any violent shock, and will not last +nearly so long as articles japanned with the same materials and +altogether in the same way but without the undercoat. This defect may +be readily perceived by comparing goods that have been in use for some +time in the japanning of which an undercoat has been applied with +similar goods in which no such previous coat has been given. Provided +a good japan varnish and appropriate pigments have been used and the +japanning well executed, the coats of japan applied without a priming +never peel or crack or are in any way damaged except by violence or +shock, or that caused by continual ordinary wear and tear caused by +such constant rubbing as will wear away the surface of the japan. But +japan coats applied with a priming coat crack and fly off in flakes at +the slightest concussion, at any knock or fall, more especially at the +edges. Those Birmingham manufacturers who were the first to practise +japanning only on metals on which there was no need for a priming coat +did not of course adopt such a practice. Moreover, they found it +equally unnecessary in the case of papier-mâché and some other goods. +Hence <a name="Page_4" id="Page_4"></a>Birmingham japanned goods wear better than those goods which +receive a priming previous to japanning.</p> + + +<div class="center"><span class="smcap">Priming or Preparing the Surface to be Japanned.</span><br /></div> + +<p>The usual priming, where one is applied, consists of Paris white +(levigated whiting) made into a thin paste with size. The size should +be of a consistency between the common double size and glue, and mixed +with as much Paris white as will give it a good body so that it will +hide the surface on which it is applied. But in particular work +glovers' or parchment size instead of common size is used, and this is +still further improved by the addition of one-third of isinglass, and +if the coat be not applied too thickly it will be much less liable to +peel or crack. The surface should be previously prepared for this +priming by being well cleaned and by being brushed over with hot size +diluted with two-thirds of water, that is provided the size be of the +usual strength. The priming is then evenly and uniformly applied with +a brush and left to dry. On a fairly even surface two coats of priming +properly applied should suffice. But if it will not take a proper +water polish, owing to the uneven surface not being effectually filled +up, one or more additional coats must be applied. Previous to the last +coat being applied, the surface should be smoothed by fine glass +paper. When the last coat of priming is dry the water polish is +applied. This is done by passing a fine wet rag or moistened sponge +over the surface until the whole appears uniformly smooth and even. +The priming is now complete and <a name="Page_5" id="Page_5"></a>the surface ready to take the japan +ground or the coloured varnish.</p> + + +<div class="center"><span class="smcap">The First Stage in the Japanning of Wood or of Leather Without a +Priming.</span><br /></div> + +<p>[The leather is first securely stretched on a frame or board.] In this +case, that is when no priming coat is previously applied, the best way +to prepare the surface is to apply three coats of coarse varnish (1 +lb. seed-lac, 1 lb rosin to 1 gallon methylated spirit, dissolve and +filter). This varnish, like all others formed from methylated spirits, +must be applied in a warm place and all dampness should be avoided, +for either cold or moisture chills it and thus prevents it taking +proper hold of the surface on which it is applied. When the work is +prepared thus, or by the priming made of size and whiting already +described, the japan proper is itself applied.</p> + + + +<hr style="width: 65%;" /> +<h2><a name="SECTION_II" id="SECTION_II"></a><a name="Page_6" id="Page_6"></a>SECTION II.</h2> + +<h3><a name="JAPAN_GROUNDS" id="JAPAN_GROUNDS"></a>JAPAN GROUNDS.</h3> + + +<p>The japan ground properly so called consists of the varnish and +pigment where the whole surface is to be of one simple colour, or of +the varnish, with or without pigment, on which some painting or other +form of decoration is afterwards to be applied. It is best to form +this ground with the desired pigment incorporated with shellac +varnish, except in the case of a white japan ground which requires +special treatment, or when great brilliancy is a desideratum and other +methods must be adopted. The shellac varnish for the japan ground is +best prepared as follows: shellac 1<sup>1</sup>/<sub>4</sub> lb., methylated spirits 1 +gallon. Dissolve in a well-corked vessel in a warm place and with +frequent shaking. After two or three days the shellac will be +dissolved. It is then recommended to filter the solution through a +flannel bag, and when all that will come through freely has done so +the varnish should be run into a proper sized vessel and kept +carefully corked for use. The bag may then be squeezed with the hand +till the remainder of the fluid varnish is forced through it, and this +if fairly clear may be used for rough purposes or added to the next +batch. Pigments of any nature whatever may be used with the shellac +varnish to give <a name="Page_7" id="Page_7"></a>the desired tint to the ground, and where necessary +they may be mixed together to form any compound colour, such as blue +and yellow to form green. The pigments used for japan grounds should +all be previously ground very smooth in spirits of turpentine, so +smooth that the paste does not grate between the two thumb nails, and +then only are they mixed with the varnish. This mixture of pigment and +varnish vehicle should then be spread over the surface to be japanned +very carefully and very evenly with a camel-hair brush. As metals do +not require a priming coat of size and whiting, the japan ground may +be applied to metallic surfaces forthwith without any preliminary +treatment except thorough cleansing, except in the cases specially +referred to further on. On metallic surfaces three to four coats are +applied, and in the interval between each coat the articles must be +stoved in an oven heated to from 250° to 300° F.</p> + + +<div class="center"><span class="smcap">White Japan Grounds.</span><br /></div> + +<p>The formation of a perfectly white japan ground and of the first +degree of hardness has always been difficult to attain in the art of +japanning, as there are few or no substances that can be so dissolved +as to form a very hard varnish coat without being so darkened in the +process as to quite degrade or spoil the whiteness of the colour. The +following process, however, is said to give a composition which yields +a very near approach to a perfect white ground: Take flake white or +white lead washed and ground up with the sixth of its weight of starch +and then dried, temper it properly for spreading with mastic varnish +made <a name="Page_8" id="Page_8"></a>thus: Take 5 oz. of mastic in powder and put it into a proper +vessel with 1 lb. of spirits of turpentine; let them boil at a gentle +heat till the mastic be dissolved, and, if there appear to be any +turbidity, strain off the solution through flannel. Apply this +intimate and homogeneous mixture on the body to be japanned, the +surface of which has been suitably prepared either with or without the +priming, then varnish it over with five or six coats of the following +varnish: Provide any quantity of the best seed-lac and pick out of it +all the clearest and whitest grains, take of this seed-lac <sup>1</sup>/<sub>2</sub> lb. and +of gum anime <sup>3</sup>/<sub>4</sub> lb., pulverize the mixture to a coarse powder and +dissolve in a gallon of methylated spirits and strain off the clear +varnish. The seed-lac will give a slight tint to this varnish, but it +cannot be omitted where the japanned surface must be hard, though +where a softer surface will serve the purpose the proportion of +seed-lac may be diminished and a little turpentine oleo-resin added to +the gum anime to take off the brittleness. A very good varnish +entirely free from brittleness may, it is said, be formed by +dissolving gum anime in old nut or poppy oil, which must be made to +boil gently when the gum is put into it. After being diluted with +turps the white ground may be applied in this varnish, and then a coat +or two of the varnish itself may be applied over it. These coats, +however, take a long time to dry, and, owing to its softer nature, +this japanned surface is more readily injured than that yielded by the +shellac varnish.</p> + +<p>According to Mr. Dickson, "the old way of making a cream enamel for +stoving (a white was supposed to be impossible) was to mix ordinary +tub white lead with <a name="Page_9" id="Page_9"></a>the polishing copal varnish and to add a modicum +of blue to neutralize the yellow tinge, stove same in about 170°F. and +then polish as before described". "This," continues Mr. Dickson, +"would at the best produce but a very pale blue enamel or a cream. It +was afterwards made with flake white or dry white lead ground in turps +only and mixed with the polishing copal varnish with the addition of +tints as required, by which means a white of any required character +could be produced."</p> + + +<div class="center"><span class="smcap">Blue Japan Grounds.</span><br /></div> + +<p>Authorities state that these may be formed from bright Prussian blue +or verditer glazed over with Prussian blue or of smalt. By bright +Prussian blue possibly a genuine Prussian blue toned down to a sky +blue with white lead is meant, and by verditer the variety known as +refiners' blue verditer, and as to smalt it must not be forgotten that +it changes its colour in artificial light. Be that as it may, the +pigment may be mixed with the shellac varnish according to the +instructions already given, but as the shellac will somewhat injure +the tone of the pigment by imparting a yellow tinge to it where a +bright true blue is required, the directions already given as regards +white grounds must be carried out.</p> + + +<div class="center"><span class="smcap">Scarlet Japan Ground.</span><br /></div> + +<p>Vermilion is the best pigment to use for a scarlet japan ground, and +its effect will be greatly enhanced by glazing it over with carmine or +fine lake. If, <a name="Page_10" id="Page_10"></a>however, the highest degree of brightness be required +the white varnish must be used. Vermilion must be stoved at a very +gentle heat.</p> + + +<div class="center"><span class="smcap">Red Japan Ground.</span><br /></div> + +<p>The basis of this japan ground is made up with madder lake ground in +oil of turpentine, this constitutes the first ground; when this is +perfectly dry a second coat of lake and white in copal varnish is +applied, and the last coat is made up of lake in a mixture of copal +varnish and turpentine varnish.</p> + + +<div class="center"><span class="smcap">Bright Pale Yellow Grounds.</span><br /></div> + +<p>Orpiment or King's yellow may be used, and the effect is enhanced by +dissolving powdered turmeric root in the methylated spirits from which +the upper or polishing coat is made, which methylated spirits must be +strained from off the dregs before the seed-lac is added to it to form +the varnish. The seed-lac varnish is not so injurious to yellow +pigments as it is to the tone of some other pigments, because, being +tinged a reddish yellow, it does little more than intensify or deepen +the tone of the pigment.</p> + + +<div class="center"><span class="smcap">Green Japan Grounds.</span><br /></div> + +<p>Green japan grounds are produced by mixing Prussian blue or distilled +verdigris with orpiment, and the effect is said to be extremely +brilliant by applying them on a ground of leaf gold. Any of them may +be used with good seed-lac varnish, for reasons already given. Equal +parts by weight of rosin, precipitated rosinate of copper, and +coal-tar solvent naphtha will <a name="Page_11" id="Page_11"></a>give a varnish which, when suitably +thinned and the coats stoved at a heat below 212° F., will give a +green japan second to none as a finishing coat as regards purity of +tone at least. To harden it and render it more elastic half of the +rosin might be replaced by equal weights of a copal soluble in solvent +naphtha and boiled linseed oil, so that the mixture would stand thus: +rosinate of copper 1 lb., rosin <sup>1</sup>/<sub>2</sub> lb., boiled oil <sup>1</sup>/<sub>4</sub> lb., hard +resin (copal) <sup>1</sup>/<sub>4</sub> lb., solvent naphtha 1 lb. When heated to a high +temperature this rosinate of copper varnish yields a magnificent ruby +bronze coloration, especially on glass. Verdigris dissolves in +turpentine, and successful attempts might be made to make a green +japan varnish from it on the lines indicated for rosinate of copper.</p> + + +<div class="center"><span class="smcap">Orange-coloured Grounds.</span><br /></div> + +<p>Orange-coloured grounds may be formed by mixing vermilion or red lead +with King's yellow, or orange lake or red orpiment (? realgar) will +make a brighter orange ground than can be produced by any mixture.</p> + + +<div class="center"><span class="smcap">Purple Grounds.</span><br /></div> + +<p>Purple grounds may be produced by the admixture of lake or vermilion +with Prussian blue. They may be treated as the other coloured grounds +as regards the varnish vehicle.</p> + + +<div class="center"><span class="smcap">Black Grounds.</span><br /></div> + +<p>Black grounds may be formed either from lamp black or ivory black, but +ivory black is preferable to lamp black, and possibly carbon black or +gas black to <a name="Page_12" id="Page_12"></a>either. These may be always applied with the shellac +varnish as a vehicle, and their upper or polishing coats may consist +of common seed-lac varnish. But the best quality of ivory black ground +in the best super black japan yields, after suitable stoving, a very +excellent black indeed, the purity of tone of which may be improved by +adding a little blue in the grinding.</p> + + +<div class="center"><span class="smcap">Common Black Japan Grounds On Metal.</span><br /></div> + +<p>Common black japan grounds on metal by means of heat are procured in +the following manner: The surface to be japanned must be coated over +with drying oil, and when it is moderately dry must be put into a +stove of such heat as will change the oil black without burning it. +The stove should not be too hot when the oil is put into it nor the +heat increased too fast, either which error would make it blister, but +the slower the heat is increased and the longer it is continued, +provided it be restrained within a due degree, the harder will be the +coat of japan. This kind of japan requires no polish, having received +from the heat, when properly regulated, a sufficiently bright surface.</p> + + +<div class="center"><span class="smcap">Tortoise-Shell Ground.</span><br /></div> + +<p>This beautiful ground, produced by heat, is valued not only for its +hardness and its capacity to stand a heat greater than that of boiling +water, but also for its fine appearance. It is made by means of a +varnish prepared thus: Take one gallon of good linseed oil and half a +pound of umber, boil them together until the oil becomes very brown +and thick, strain it then through a coarse cloth and set it again to +boil, in which <a name="Page_13" id="Page_13"></a>state it must be continued until it acquires a +consistency resembling that of pitch; it will then be fit for use. +Having thus prepared the varnish, clean well the surface which is to +be japanned; then apply vermilion ground in shellac varnish or with +drying oil, very thinly diluted with oil of turpentine, on the places +intended to imitate the more transparent parts of the tortoise-shell. +When the vermilion is dry, brush the whole over with the black varnish +thinned to the right consistency with oil of turpentine. When set and +firm put the work into a stove where it may undergo a very strong +heat, which must be continued a considerable time, for three weeks or +even a month so much the better. This ground may be decorated with +painting and gilding in the same way as any other varnished surface, +which had best be done after the ground has been hardened, but it is +well to give a second annealing at a very gentle heat after it has +been finished. A very good black japan may be made by mixing a little +japan gold size with ivory or lamp-black, this will develop a good +gloss without requiring to be varnished afterwards.</p> + + +<div class="center"><span class="smcap">Painting Japan Work.</span><br /></div> + +<p>Japan work should be painted with real "enamel paints," that is with +paints actually ground in varnish, and in that case all pigments may +be used and the peculiar disadvantages, which attend several pigments +with respect to oil or water, cease with this class of vehicle, for +they are secured by it when properly handled from the least danger of +changing or fading. The preparation of pigments for this purpose +<a name="Page_14" id="Page_14"></a>consists in bringing them to a due state of fineness by grinding them +on a stone with turpentine. The best varnish for binding and +preserving the pigments is shellac. This, when judiciously handled, +gives such a firmness and hardness to the work that, if it be +afterwards further secured with a moderately thick coat of seed-lac +varnish, it will be almost as hard and durable as glass. The method of +painting in varnish is, however, far more tedious than with an oil or +water vehicle. It is, therefore, now very usual in japan work for the +sake of dispatch, and in some cases in order to be able to use the +pencil (brush) more freely, to apply the colours in an oil vehicle +well diluted with turps. This oil (or japanners' gold size) may be +made thus: Take 1 lb. of linseed oil and 4 oz. of gum anime, set the +oil in a proper vessel and then add the gum anime powder, stirring it +well until the whole is mixed with the oil. Let the mixture continue +to boil until it appears of a thick consistence, then strain the whole +through a coarse cloth and keep it for use. The pigments are also +sometimes applied in a gum-water vehicle, but work so done, it has +been urged, is not nearly so durable as that done in varnish or oil. +However, those who formerly condemned the practice of japanning +water-coloured decorations allowed that amateurs, who practised +japanning for their amusement only and thus might not find it +convenient to stock the necessary preparations for the other methods, +might paint with water-colours. If the pigments are ground in an +aqueous vehicle of strong isinglass size and honey instead of gum +water the work would not be much inferior to that executed with other +vehicles. Water-colours are sometimes applied on a <a name="Page_15" id="Page_15"></a>ground of gold +after the style of other paintings, and sometimes so as to produce an +embossed effect. The pigments in this style of painting are ground in +a vehicle of isinglass size corrected with honey or sugar-candy. The +body with which the embossed work is raised is best formed of strong +gum water thickened to a proper consistency with armenian bole and +whiting in equal parts, which, being laid on in the proper figures and +repaired when dry, may be then painted with the intended pigments in +the vehicle of isinglass size or in the general manner with shellac +varnish. As to the comparative value of pigments ground in water and +ground in oil, that is between oil-colours and water-colours in +enamelling and japanning, there seems to have been a change of opinion +for some time back, especially as regards the enamelling of slate. The +marbling of slate (to be enamelled) in water-colours is a process +which Mr. Dickson says well repays study. It is greatly developed in +France and Germany. The process is a quick one and the pigments are +said to stand well and to maintain their pristine hue, yet if many +strikingly natural effects result from the use of this process, its +use has not spread in Great Britain, being confined wholly and solely +to the marbling of slate (except in the case of wall-paper which is +water-marbled in a somewhat similar way).</p> + +<p>"In painting in oil-colour," says Mr. Dickson, "the craftsman trusts +largely to his badger-hair brush to produce his effects of softness +and marbly appearance; but in painting in water-colours, this +softness, depth, and marbly appearance are produced mostly by the +<a name="Page_16" id="Page_16"></a>colour placed upon the surface, and left entirely untouched by badger +or any other brush. The colour drying quickly, does not allow much +time for working, and when dry it cannot be touched without spoiling +the whole of the work. The difference first of all between painting in +water and in oil colour, is that a peculiar grain exists with painting +in water that it is absolutely impossible to get in oil. The charm of +a marble is, I think, its translucency as much as its beautiful +colour; it is to that translucency (for in marble fixed we have no +transparency) that it owes its softness of effect, which makes marble +of such decorative value. This translucency can only be obtained by +thin glazes of colour, by which means each succeeding glaze only +partly covers the previous one, the character of the marble being thus +produced. This is done sometimes in oil-colour in a marvellous manner, +but even the best of oil-painting in marble cannot stand the +comparison of water-colour, and it is only by comparison that any +accurate judgment can be formed of any work. The production of marbles +in water-colour has a depth, softness, and stoniness that defies +oil-painting, and in some cases will defy detection unless by an +expert of marbles. It may be that first of all the materials employed +are more in keeping with the real material, as no oil enters into the +composition of real marble, and by using the medium of water we thus +start better, but the real secret is that by using water as a medium +the colours take an entirely different effect. In painting in +water-colour greys of any tint or strength can be obtained suitable +for the production of a marble of greyish ground, by pure white, +tinted as required, <a name="Page_17" id="Page_17"></a>being applied of different thicknesses of colour, +all the modulations of tone being obtained by the difference in the +thickness of the colour applied."</p> + + +<div class="center"><span class="smcap">Varnishing Japan Work.</span><br /></div> + +<p>Varnishing is the last and the finishing process in japanning. It +consists in (1) applying, and (2) polishing the outer coats of +varnish, which are equally necessary whether the plain japan ground be +painted on or not. This is best done in a general way with common +seed-lac varnish, except on those occasions where other methods have +been shown to be more expedient, and the same reasons, which decide as +to the propriety of using the different varnishes as regards the +colours of the ground, hold equally with those of the painting, for +where brightness is a material point and a tinge of yellow would +injure it, seed-lac must give way to the whiter resins; but where +hardness and tenacity are essential it must be adhered to, and where +both are necessary a mixed varnish must be used. This mixed varnish +should be made from the picked seed-lac as directed in the case of the +white japan grounds. The common seed-lac varnish may be made thus: +Take 1<sup>1</sup>/<sub>2</sub> lb. of seed-lac and wash it well in several waters, then +dry it and powder it coarsely and put it with a gallon of methylated +spirits into a Bohemian glass flask so that it be not more than +two-thirds full. Shake the mixture well together and place the flask +in a gentle heat till the seed-lac appears to be dissolved, the +shaking being in the meantime repeated as often as may be convenient; +then pour off all the clear and strain the remainder through a coarse +cloth. The <a name="Page_18" id="Page_18"></a>varnish so prepared must be kept for use in a well-corked +glass vessel. The whiter seed-lac varnishes are used in the same +manner as the common, except as regards the substances used in +polishing, which, where a pure white or the greater clearness or +purity of other pigments is in question, should be itself white, while +the browner sorts of polishing dust, as being cheaper and doing their +business with greater dispatch, may be used in other cases. The pieces +of work to be varnished should be placed near the fire or in a warm +room and made perfectly dry, and then the varnish may be applied with +a flat camel-hair brush made for the purpose. This must be done very +rapidly, but with great care; the same place should not be passed +twice over in laying on one coat if it can possibly be avoided. The +best way of proceeding is to begin in the middle and pass the brush to +one end, then with another stroke from the middle pass it to the other +end, taking care that before each stroke the brush be well supplied +with varnish; when one coat is dry another must be laid over it in +like manner, and this must be continued five or six times. If on trial +there be not a sufficient thickness of varnish to bear the polish +without laying bare the painting or ground colour underneath more +varnish must be applied. When a sufficient number of coats of varnish +is so applied the work is fit to be polished, which must be done in +common work by rubbing it with a piece of cloth or felt dipped in +tripoli or finely ground pumice-stone. But towards the end of the +rubbing a little oil of any kind must be used with the powder, and +when the work appears sufficiently bright and glossy it should <a name="Page_19" id="Page_19"></a>be +well rubbed with the oil alone to clean it from the powder and to give +it a still greater lustre. In the case of white grounds, instead of +the tripoli, fine putty or whiting should be used, but they should be +washed over to prevent the danger of damaging the work from any sand +or any other gritty matter that may happen to be mixed with them. It +greatly improves all kinds of japan work to harden the varnish by +means of heat, which, in every degree that can be applied short of +what would burn or calcine the matter, tends to give it a firm and +strong texture where metals form the body; therefore a very hot stove +may be used, and the stoving may be continued for a considerable time, +especially if the heat be gradually increased. But where wood or +papier-mâché is in question, heat must be applied with great caution.</p> + + + +<hr style="width: 65%;" /> +<h2><a name="Page_20" id="Page_20"></a><a name="SECTION_III" id="SECTION_III"></a>SECTION III.</h2> +<h3><a name="JAPANNING_OR_ENAMELLING_METALS" id="JAPANNING_OR_ENAMELLING_METALS"></a>JAPANNING OR ENAMELLING METALS.</h3> + + +<p>In japanning metals, all good work of which should be stoved, they +have to be first thoroughly cleaned, and then the japan ground applied +with a badger or camel-hair brush or other means, very carefully and +evenly. Metals usually require from three to five coats, and between +each application must be dried in an oven heated from 250° to 300° +F.—about 270° being the average. It has already been seen that the +best grounds for japanning are formed of shellac varnish, the +necessary pigments for colouring being added thereto, being mixed with +the shellac varnish after they have been ground into a high degree of +smoothness and fineness in spirits of turpentine. In japanning it is +best to have the oven at rather a lower temperature, increasing the +heat after the work has been placed in the oven. When a sufficient +number of coats have been laid on—which will usually be two only—the +work must be polished by means of a piece of cloth or felt dipped in +tripoli or finely powdered pumice-stone. For white grounds fine putty +powder or whiting must be employed, a final coat being afterwards +given, and the work stoved again. The last coat of all is one of +varnish. And here, as a preliminary remark, it is <a name="Page_21" id="Page_21"></a>advisable that all +enamels and japans should be purchased ready-made, as any attempt to +make such is almost sure to end in disaster, while, owing to the fact +that such are only required for small jobs; it would involve too much +trouble and would not pay. It is for this reason that few japan +recipes are given, as, although many are available, they do not always +turn out as suitable for the purpose as could be desired, in addition +to which the ready-made articles can be purchased at a very reasonable +price and are much better prepared. The operator should procure his +enamels a shade or two lighter than he desires to see in the finished +article, allowing the chemical action due to the stoving to tone the +colours down. Another necessity is to keep the enamel thoroughly well +mixed by well stirring it every time it is used, as if this is not +done the actual colouring matter is apt to sink to the bottom, the +ultimate result being that streaky work is produced in consequence of +this indifferent mixing of the enamelling materials.</p> + +<p>It is hardly necessary to state that all japanning or enamelling work +must be done in a room or shop absolutely free from dust or dirt, and +as far away as possible from any window or other opening leading to +the open air, for two reasons—one being that the draught therefrom +may cool the oven or stove, and the other that the air may convey +particles of dust into the enamelling shop. In fact, it cannot be too +much impressed upon the workmen that one of the primary secrets of +successful enamelling is absolute cleanliness; consequently all +precautions must be taken to ensure that the enamel is perfectly free +from <a name="Page_22" id="Page_22"></a>grit and dust, and it must be so kept by frequent straining +through fine muslin, flannel, or similar material. The work having +been thoroughly cleaned and freed from all grease and other foreign +matter, it must be suspended or held immediately over the pan +elsewhere referred to, and the enamel poured on with an ordinary iron +ladle, or covered by means of the brush. When it has been permitted to +drain thoroughly, the work should be hung on the hooks on the rods in +the oven as seen in the explanatory sketch, care being observed that +no portion of the work is in such a position that any superfluous +enamel cannot easily drain off—in other words, the work must lie or +hang that it is always, as it were, on the slant. Always bear in mind +when shutting the oven door to do so gently, as if a slam is indulged +in all the gas jets will be blown out, and an explosion would probably +result.</p> + +<p>Should the job in hand be a large one, it will be found as well to get +a cheaper enamel for the first coat, but if the work is only a small +job, it will not be necessary to have more than one enamel, of which a +couple of coats at least will be required. When the first coat has +thoroughly dried and hardened, the surface will have to be thoroughly +rubbed till it is perfectly smooth with tripoli powder and fine +pumice-stone, and afterwards hand-polished with rotten-stone and putty +powder. And here it may be remarked that the finer the surface is got +up with emery powder and other polishing agents the better will be the +enamelling and ultimate finish. The rubbing down being finished, +another coat of enamel must be applied and the work baked as before, +care being always taken to keep the <a name="Page_23" id="Page_23"></a>enamel in a sufficiently fluid +condition as to enable it to flow and run off the work freely. It can +easily be thinned with a little paraffin. A third coat will frequently +be advisable, as it improves the finish.</p> + +<p>In enamelling cycles, it is well to hang the front forks crown +uppermost when they are undergoing the final baking, and it is +advisable to bear in mind that wheels require an enamel that will +stove at a lower temperature than is called for for other parts of the +machine. Some japanners advocate the fluid being put on with camel-or +badger-hair brushes, and for the best descriptions of work, final +coats, and such like, I agree with them; but this is a detail which +can be left to the operator's own fancy, the class of work, etc.; but +I would remind him that applying enamel with a brush requires much +care and a certain amount of "knack". It is something like successful +lacquering in brasswork—it looks very simple, but is not. Each +succeeding coat of japan gives a more uniform and glossy surface, and +for this reason it may, in some cases, be necessary to repeat the +operation no fewer than half a dozen times, the final coat being +generally a layer of clear varnish only, to add to the lustre.</p> + +<p>Care must be taken for light-coloured japans or enamels not to have +the temperature sufficiently high to scorch, or the surface will be +discoloured, as they require a lower temperature for fixing than the +dark japans, which, provided the article is not likely to be injured +by the heat, are usually dried at a somewhat high temperature. The +preceding instructions apply only to the best descriptions of work.</p> + +<p>When pouring enamel by means of the ladle over <a name="Page_24" id="Page_24"></a>pieces of work, do not +agitate the liquid too much—at the same time taking care to keep it +well mixed—so as to form air bubbles, as this will cause trouble, and +in pouring over the work do it with an easy and gentle and not too +hurried a motion. In japanning curved pieces, such as mud-guards, +etc., in hanging up the work in the oven see that the liquid does not +run to extremities and there form ugly blots or blotches of enamel.</p> + +<p>When white or other light tones are used for japanning they are mixed +with japanners' varnish, and these require more careful heating in the +oven or stove than darker tints or brown or black.</p> + +<div class="center"><a name="Fig_1" id="Fig_1"></a> +<img src="images/032a.jpg" width="519" height="341" alt="Fig. 1.—Trough for Dipping Bedstead Frames and other +Large Work." title="" /><br /> +<b><span class="smcap">Fig.</span> 1.—Trough for Dipping Bedstead Frames and other +Large Work.</b><br /><br /> +</div> + + +<div class="center"><span class="smcap">Enamelling Bedstead Frames and Similar Large Pieces.</span><br /></div> + +<p>At <a href="#Fig_1">Fig. 1</a> is shown a trough in which large pieces, such as bedsteads, +bicycle frames, etc., are dipped or <a name="Page_25" id="Page_25"></a>immersed. For the first-mentioned +class of work such high finish is not required as for bicycles, and +consequently the enamel need not be applied with a brush, nor will it +be necessary to rub down the work between each coat, but instead the +pieces can be literally dipped in the tank of liquid, then allowed to +drain on to the dripping-board—the superfluous enamel thus finding +its way back into the trough or tank, the dripped articles being +afterwards placed in the oven to harden. The trough must be of +sufficient dimensions to allow the pieces of work to be completely +immersed, and the dripping-board should be set at an angle of about +45°.</p> + +<p>Bedstead frames will never require more than two coats and the +commoner class of goods only one. I would not advise the tradesman in +a small way of business to go to the expense of a trough, etc., as it +calls for much more room than is ordinarily available, but if he has +the necessary plant for bicycle work he can, of course, do an +occasional job of the other kind.</p> + + +<div class="center"><span class="smcap">Japanning Tin, such as Tea-trays and Similar Goods.</span><br /></div> + +<p>For japanning sheet-iron articles, which are really tin goods, such as +tea-trays and similar things, first scour them well with a piece of +sandstone, which will effectually remove all the scales and make the +surface quite smooth. Then give the metal a coating of vegetable +black, which must be mixed with super black japan varnish, thinned +with turps, and well strained. Only a small quantity of this varnish +is necessary, as it will dry dead. The article must then be placed in +the stove to harden at a temperature of 212° F., there to <a name="Page_26" id="Page_26"></a>remain for +from ten to twelve hours. When taken out of the stove, the articles +must be allowed to get cold, after which they must be given a coat of +super black japan, which, if necessary, must be thinned with turps, a +stiff, short bristle brush being employed, and the varnish put on +sparingly, so that it will not "run" when it gets warm. Two coats of +this varnish on top of the vegetable black coating are usually +sufficient, when done properly, but a third coating much improves the +work, and from ten to twelve hours' hardening will be necessary +between each coating. The small lumps which will be more or less +certain to arise will require to be rubbed down between each +application by a small and smooth piece of pumice-stone.</p> + +<p>If it is desired to add gold or bronze bands or any kind of floral or +other kind of fancy decorations, these are painted on, after the +ground japanning has been done, in japanners' gold size, and then the +gold leaf is applied, or the bronze or other metal powder is dusted +on, after which the objects so treated are again placed in the stove, +where they will not require to be kept near so long as for ordinary +japanning. After they have been removed, the gilt or bronzed portions +must be treated with a protecting coat of white spirit varnish. +Transfers can be applied in the same way.</p> + +<p>Tinned iron goods are the most largely japanned, and for these brown +and black colours are principally employed. Both are obtained by the +use of brown japan, the metal having a preliminary coating of black +paint when black is required. Only one coating of brown japan is given +to cheap goods, but for better articles two or more are applied. For +these it is <a name="Page_27" id="Page_27"></a>possible that a final dressing with pumice-stone, then +with rotten-stone, and rubbed with a piece of felt or cloth, or even +the palm of the hand, may be necessary, but as a rule not.</p> + +<p>Large numbers of articles of the above description, such as tea-trays, +tea-canisters, cash-boxes, coal-boxes, and similar goods, are japanned +at Birmingham, and it is to such that the preceding instructions +apply.</p> + + +<div class="center"><span class="smcap">Enamelling Old Work.</span><br /></div> + +<p>In all cases of re-enamelling old work, it is absolutely necessary to +remove all traces of the first enamelling, and if this has been well +done in the first instance, it will prove no mean job. The best way to +clean the work is to soak it in a strong "lye" of hot potash, when the +softened enamel can be wiped or brushed off—this latter method being +pursued in the more intricate and ungetatable portions of the work. +New work, which has not been enamelled, can be treated in the same way +for the removal of all grease, stains, finger-marks, etc., and too +much attention cannot be paid to the initial preparation of the +surface of the metal, to have it thoroughly even and smooth, as it +adds so much to the ultimate finish and appearance of the work. Plenty +of labour must be bestowed before the final coat, as any blemish will +show through this finishing, and so mar what would otherwise be a +highly satisfactory bit of work. In all kinds of bicycle work, whether +new or old, the most satisfactory results are obtained by the +application of at least two, and sometimes four or five, successive +coats of good but thin enamel, as this will impart the necessary +<a name="Page_28" id="Page_28"></a>perfect coat, combined with durability, a high finish, and a good +colour. A good enamel should be sufficiently hard, so as not to be +scratched on the merest touch or rubbing. It will, of course, be +understood that no solder-work must be put into the stove, or the +pieces will separate. Should any of this work be discovered, the +pieces must be taken apart, and then brazed together before being +enamelled, and put in the stove.</p> + + + +<hr style="width: 65%;" /> +<h2><a name="SECTION_IV" id="SECTION_IV"></a><a name="Page_29" id="Page_29"></a>SECTION IV.</h2> + +<h3><a name="THE_ENAMELLING_AND_JAPANNING_STOVE" id="THE_ENAMELLING_AND_JAPANNING_STOVE"></a>THE ENAMELLING AND JAPANNING STOVE—PIGMENTS SUITABLE FOR JAPANNING +WITH NATURAL LACQUER—MODERN METHODS OF JAPANNING WITH NATURAL +JAPANESE LACQUER.</h3> + + +<div class="center"><span class="smcap">Appliances and Apparatus used in Japanning and Enamelling.</span><br /></div> + +<p>Besides the various enamels or japans and varnishes of various +colourings and the stove, which will be found described and +illustrated, together with the trough, in other pages, the worker will +need some iron pots or cauldrons in which to boil the potash "lye" for +the cleansing, more particularly, of old work, some iron ladles both +for this work and for pouring the japan on the articles to be covered +therewith, a few badger tools and brushes for small fine work, some +hooks for the stove, a pair of pliers, a few bits of broom handle cut +into short lengths and made taper, so as to fit into the tubes, etc., +of bicycles and other work, so as to keep the hands as free from the +japan as possible, some emery powder, pumice-stone powder, tripoli, +putty powder, whiting, and a piece of felt or cloth. If he is also +doing any common work, a stumpy brush of bristles and a soft leather +will also be requisite, together with a file or two. These will about +comprise the whole of the articles required, not very expensive, all +of which will really not be required by a beginner.</p> + +<p><a name="Page_30" id="Page_30"></a>Owing largely to the strides made in the cycle trade enamelling is +stoved by means of gas, and of this a plentiful supply is necessary. +Enamelling stoves may really be described as hot-air cupboards or +ovens, and for a stove which will answer most requirements—say one of +6 feet by 6 feet by 3<sup>1</sup>/<sub>2</sub> feet—six rows of atmospheric burners will +be necessary to heat it, while it will be also advisable to fix pipes +of 1<sup>1</sup>/<sub>4</sub> inch internal diameter from the gas meter to the stove. The +atmospheric burners can be made from the requisite number of pieces of +1<sup>1</sup>/<sub>4</sub>-inch gas tube 3<sup>1</sup>/<sub>2</sub> feet in length, one end of each being +stopped, and having <sup>1</sup>/<sub>3</sub>-inch holes drilled therein at intervals of +about 1 inch, the other end being left open for the insertion of +ordinary <sup>3</sup>/<sub>8</sub>-inch brass gas taps. Another plan preferred by some +japanners is to have three rows of burners the full length of the +stove, which, under some circumstances, due to structural conditions, +will be found more suitable. Anyway, whatever the position of the +stove, allowance must be made for a temperature up to 400° F. to be +raised. In old-fashioned ovens the heat is applied by means of +external flues, in which hot air or steam is circulated, but this +system is generally unsatisfactory, the supply of heat having to be +controlled by dampers or stop-cocks, and this has given place to the +gas apparatus. Another simple form of oven, though not one which I +shall recommend, is a species of sheet-iron box, which is encased by +another and larger box of the same shape, so placed that from 2 to 3 +inches of interspace exists between the two boxes. To this interspace +heat is applied, and a flue will have to be affixed to this apparatus +to carry off the vapours which arise <a name="Page_31" id="Page_31"></a>from the enamel or japan. For +amateur or intermittent jobbing work the oven illustrated in <a href="#Fig_2">Figs. 2</a> +and <a href="#Fig_3">3</a> is about as good as any, though to guard against fire it would +be as well to have a course of brickwork beneath the oven, while if +this is not possible on account of want of height, a sheet or so of +zinc or iron will help to mitigate the danger. It is also advisable, +if the apartment is a low-pitched one, to have a sheet of iron or zinc +suspended by four corner chains from the ceiling in order to protect +this from firing through the heat from the enamelling oven. Of course, +it will be understood that every portion of the stove must be put +together with rivets, no soldered work being permissible.</p> + +<div class="center"><a name="Fig_2" id="Fig_2"></a> +<img src="images/039a.jpg" width="218" height="412" alt="Fig. 2.—Door of Oven when Shut." title="" /><br /> +<b><span class="smcap">Fig.</span> 2.—Door of Oven when Shut.</b><br /><br /> +</div> + +<p>To those who wish to construct their own stove, it will be found that +the framework can be shaped out of 1-inch angle iron, the panels or +walls being constructed of sheet-iron of about 18 gauge, the whole +being riveted together. The front will be occupied in its entire space +by a door, which will require to be hung on strong iron hinges, and +the framework of this door should be constructed of 1 inch by <sup>1</sup>/<sub>4</sub> inch +iron—a rather <a name="Page_32" id="Page_32"></a>stouter material will really be no disadvantage—to +which the sheet-iron plates must be riveted. In the centre of the door +must be cut a slit, say 1<sup>1</sup>/<sub>2</sub> inches by 9 inches, which will require +to be covered with mica or talc behind which must be placed the +thermometer, so as it can be seen during the process of stoving, +without the necessity of opening the door, which, of course, more or +less cools the oven. And, by the way, this thermometer must register +higher than the highest temperature the oven is capable of reaching. +Above is shown a sketch of the stove, interior and exterior, which +will give an idea of what a japanner's stove is like.</p> + +<div class="center"><a name="Fig_3" id="Fig_3"></a> +<img src="images/040a.jpg" width="469" height="395" alt="Fig. 3—Showing Stove when Open, and Back of Door." title="" /> +<br /><b><span class="smcap">Fig.</span> 3—Showing Stove when Open, and Back of Door.</b><br /><br /> +</div> + +<p>Inside the stove it will be necessary to fix rows of <a name="Page_33" id="Page_33"></a>iron rods, some +four inches from the top, from which to suspend the work, or +angle-iron ledges can be used on which the rods or bars can be fixed, +these arrangements being varied according to the particular +description of work, individual fancy, or other circumstances. Large S +hooks are about the handiest to use. A necessary adjunct of the stove +is a pan, which can be made by any handy man or tinworker, which +should be made to fit the bottom of the stove above the gas jets, it +being arranged that it rests on two side ledges, or along some rods. +One a couple of inches in depth will be found sufficient, and it will +repay its cost in the saving of enamel, it being possible with its use +to enamel a bicycle with as little as a gallon of enamel. Some workmen +have the tray made with a couple of hinged side flaps, to turn over +and cover up the pan when not in use, but this is a matter of fancy. +Of course, they must always be covered up when not in use. For those +who would prefer to use Bunsen burners, I show at <a href="#Fig_4">Fig. 4</a> a sketch of +the best to employ, these having three rows of holes in each.</p> + +<div class="center"><a name="Fig_4" id="Fig_4"></a> +<img src="images/041a.jpg" width="398" height="121" alt="Fig. 4.—Bunsen Burner." title="" /><br /> +<b><span class="smcap">Fig.</span> 4.—Bunsen Burner.</b><br /><br /> +</div> + +<p>When brick ovens are employed they must be lined with sheet-iron, and +in these very rare circumstances where gas is not available, the stove +can be heated with coal or wood, which will, of course, involve a +total alteration in the structural arrangements. I have not <a name="Page_34" id="Page_34"></a>given the +details here, as I do not think the necessity will ever arise for +their use, and for the same reason I have refrained from giving the +particulars for heating by steam and electricity, or the other methods +which have been adopted by various workers, as there is no question +but that a gas stove or oven, as described, is about the best and +handiest for jobbers or amateurs.</p> + + +<div class="center"><span class="smcap">Modern Japanning and Enamelling Stoves.</span><br /></div> + +<p>The modern japanning and enamelling stove consists of a compartment +capable of being heated to any desired temperature, say 100° to 400° +F., and at the same time, except as regards ventilation, capable of +being hermetically sealed so as to prevent access of dust, soot, and +dirt of all kinds to mar the beauty and lustre of the object being +enamelled or japanned. Such a stove may be heated—</p> + +<p>1. By a direct coal, coke, wood, peat, or gas fire (which surrounds +the inner isolated chamber) (<a href="#Fig_5">Fig. 5</a>).</p> + +<p>2. By heated air.</p> + +<p>3. By steam or hot-water pipes, coils of which circulate round the +interior of the stove or under the floor.</p> + +<p>Such ovens may be either permanent, that is, built into masonry, or +portable.</p> + +<div class="center"><a name="Fig_5" id="Fig_5"></a> +<img src="images/043a.jpg" width="516" height="459" alt="Fig. 5.—Greuzburg's Japanning Oven." title="" /><br /> +<b><span class="smcap">Fig.</span> 5.—Greuzburg's Japanning Oven.</b><br /><br /> +</div> + +<p>1. <i>Stoves heated by direct fire.</i>—These were, of course, the form in +which japanning ovens were constructed somewhat after the style of a +drying kiln. <a href="#Fig_5">Fig. 5</a>, Greuzburg's japanning oven heated on the outside +by hot gases from furnace. The oven is built into brickwork, and the +hot gases circulate in the flues between the brickwork and the oven, +and its erection and the arrangement of the heating <a name="Page_35" id="Page_35"></a>flues are a +bricklayer's job. Coke containing much sulphur is objectionable as a +fuel for enamel stoves Mr. Dickson emphasizes this very forcibly. He +says: "In the days when stoves were heated by coke furnaces, and the +heat distributed by the flues, the principal trouble was the escape of +fumes of sulphur which caused dire disaster to all the enamels by +entering into their composition and preventing their ever drying, not +to speak of hardening. I have known enamels to be in the stoves with +heat to 270° for two and three days, and then be soft. The sulphur +also caused the enamels to crack in a peculiar manner, much like a +crocodile skin, and work so affected could never be made +<a name="Page_36" id="Page_36"></a>satisfactory, for here again we come back to the first principle, +that if the foundation be not good, the superstructure can never be +permanent. The enamels, being permeated with sulphur and other +products from the coke, could never be made satisfactory, and the only +way was to clean it all off. The other principal troubles are the +blowing of the work in air bubbles, which is caused mainly by the heat +being too suddenly applied to the articles, but these are very small +matters to the experienced craftsman."</p> + +<div class="center"><a name="Fig_6" id="Fig_6"></a> +<img src="images/044a.jpg" width="164" height="417" alt="Fig. 6." title="" /><br /> +<b><span class="smcap">Fig.</span> 6.</b><br /><br /> +</div> + +<p>2. <i>Stoves heated by hot-water pipes.</i>—Let us first of all consider +the principle on which these are constructed. In Perkins' apparatus +for conveying heat through buildings by the circulation of water in +small-bore hot-water pipes an endless tube or pipe is employed, the +surface of which is occasionally increased by spiral or other turnings +where the heat is to be given off or acquired: the annexed figure may +serve to illustrate this principle; it represents a strong +wrought-iron tube of about one inch diameter completely filled with +water; the spiral A passes through a furnace where it is highly +heated, and the water is consequently put into motion in the direction +of the arrows; the boiling of the water or formation of <a name="Page_37" id="Page_37"></a>steam is +prevented by the pressure, whence the necessity of the extreme +perfection and strength of the tube. B represents a second coil which +is supposed to be in an apartment where the heat is to be given out. C +is a screw stopper by which the water may be occasionally replenished. +By this form of apparatus the water may be heated to 300° or 400°, or +even higher, so as occasionally to singe paper. A larger tube and +lower temperature are, however, generally preferable.<a name="FNanchor_1_1" id="FNanchor_1_1"></a><a href="#Footnote_1_1" class="fnanchor">[1]</a></p> + +<div class="center"><a name="Fig_7" id="Fig_7"></a> +<img src="images/045a.jpg" width="546" height="445" alt="Fig. 7.—Enamelling Stove—in a Tin-plate Printing +Factory—heated by Perkins' Hot-water Pipes." title="" /><br /> +<b><span class="smcap">Fig.</span> 7.—Enamelling Stove—in a Tin-plate Printing +Factory—heated by Perkins' Hot-water Pipes.</b><br /><br /> +</div> + +<p><a name="Page_38" id="Page_38"></a>The principle of Perkins' invention has, during the last eighty +years, i.e. since the date of the invention in 1831, been very +extensively applied not only for the heating of buildings of every +description, but it has also been utilized for numerous industrial +purposes which require an atmosphere heated up to 600° F. The +principle lends itself specially to the design of apparatus for +raising and maintaining heat evenly and uniformly, and also very +economically for such purposes as enamelling, japanning, and +lacquering.</p> + +<p>The distinctive feature of this apparatus when applied to moderate +temperatures lies in the adoption of a closed system of piping of +small bore, a certain portion of which is wound into a coil and placed +in a furnace situated in any convenient position outside the drying +chamber or hot closet. The circulation is thus hermetically sealed and +so proportioned that while a much higher temperature can be attained +than is possible with a system of pipes open to the atmosphere, yet a +certain and perfectly safe maximum cannot by any possibility be +exceeded.</p> + +<p>The efficiency of the apparatus increases within certain limits in +proportion to the pressure employed, which fact explains the +exceedingly economical results obtained, while the fact that, owing to +the high temperature used, a small-bore pipe can be made more +effective than the larger pipes used in any open system, accounts for +the lower first cost of the Perkins' apparatus.</p> + +<div class="center"><a name="Page_39" id="Page_39"></a><a name="Fig_8" id="Fig_8"></a> +<img src="images/047a.jpg" width="563" height="291" alt="Fig. 8.—Japanning and Enamelling Oven Heated by Single +Hot-water Pipes sealed at both ends with Furnace in Rear." title="" /><br /> +<b><span class="smcap">Fig.</span> 8.—Japanning and Enamelling Oven Heated by Single +Hot-water Pipes sealed at both ends with Furnace in Rear.</b><br /><br /> +</div> + +<div class="center"><a name="Page_40" id="Page_40"></a><a name="Fig_9" id="Fig_9"></a> +<img src="images/048a.jpg" width="551" height="409" alt="Fig. 9—Japanning and Enamelling Oven For Bedstead, +Ironmongery, Cash-box, and Lamp Factories." title="" /><br /> +<b><span class="smcap">Fig.</span> 9—Japanning and Enamelling Oven For Bedstead, +Ironmongery, Cash-box, and Lamp Factories.</b><br /><br /> +</div> + +<div class="center"><a name="Page_41" id="Page_41"></a><a name="Fig_10" id="Fig_10"></a> +<img src="images/049a.jpg" width="552" height="405" alt="Fig. 10.—Japanning and Enamelling Stove for parts of +Sewing Machines." title="" /><br /> +<b><span class="smcap">Fig.</span> 10.—Japanning and Enamelling Stove for parts of +Sewing Machines.</b><br /><br /> +</div> + +<p>It will be seen from the various illustrations that the articles to be +treated are absolutely isolated from actual contact with the fire or +the fire gases and other impurities which must be an objection to all +methods of heating by means which are not of a purely mechanical +nature. This principle not only recommends itself as scientifically +correct and suited to the purpose in view, but is also a very simple +and practical one. It affords the means of applying the heat at the +point where it is required to do the work without unduly heating +parts where heat is unnecessary; it secures absolute uniformity, +perfect continuity, and the highest possible fuel economy.</p> + +<div class="center"><a name="Page_42" id="Page_42"></a><a name="Fig_11" id="Fig_11"></a> +<img src="images/050a.jpg" width="556" height="392" alt="Fig. 11.—Japanning and Enamelling Stove for +Iron-Bedsteads and Household Ironmongery with Truck on Rails." title="" /><br /> +<b><span class="smcap">Fig.</span> 11.—Japanning and Enamelling Stove for +Iron-Bedsteads and Household Ironmongery with Truck on Rails.</b><br /><br /> +</div> + +<div class="center"><a name="Page_43" id="Page_43"></a><a name="Fig_12" id="Fig_12"></a> +<img src="images/051a.jpg" width="556" height="406" alt="Fig. 12—Permanent Japanning and Enamelling Stove for +Kitchen Utensils built in Masonry." title="" /><br /> +<b><span class="smcap">Fig.</span> 12—Permanent Japanning and Enamelling Stove for +Kitchen Utensils built in Masonry.</b><br /><br /> +</div> + +<p><a name="Page_44" id="Page_44"></a>The nature of the work to be executed in the different classes and +various sizes of stoves vary so greatly and indefinitely that only by +careful attention to the special requirements of each case, on the +part of the designers and constructors, is it possible to obtain the +most satisfactory results.</p> + +<p>The arrangement of fixing the pipes round the lower walls of the room +in this form of stove is somewhat cumbersome, but in a roomy stove +this slight drawback is not felt quite so much. However, it seems a +good principle to leave every inch of internal space available for the +goods to be enamelled or japanned, This principle is carried out to +the letter in the other form of stoves described and illustrated in +the sequel.</p> + +<p>The figure shows a section through single chamber japanning and +enamelling oven heated by hot-water pipes (steel) closed at both ends +and partially filled with water which always remains sealed up +therein, and never evaporates until the pipes require to be refilled.</p> + +<p>This stove may be heated (1) by hot-water pipes (iron), (2) by +super-heated water, (3) by steam, but only to 80° C. The different +compartments may be heated to uniform or to different temperatures +with hot water; the stoke-hole is at the side and thus quite separated +from the stove proper.</p> + +<p>The ovens must be on the ground floor, so that the super-heated steam +from the basement may be available.</p> + +<p><a name="Page_45" id="Page_45"></a>The great drawback to the use of gas for heating japanning and +enamelling stoves is the great cost of coal gas.</p> + +<div class="center"><a name="Fig_13" id="Fig_13"></a> +<img src="images/053a.jpg" width="479" height="463" alt="Fig. 13.—Portable Gas Heated Japanning and Enamelling +Stove fitted with Shelves, Thermometer, etc." title="" /><br /> +<b><span class="smcap">Fig.</span> 13.—Portable Gas Heated Japanning and Enamelling +Stove fitted with Shelves, Thermometer, etc.</b><br /><br /> +</div> + + +<div class="center"><span class="smcap">Pigments Suitable for Japanning with Natural Lacquer.</span><br /></div> + +<p><i>White Pigments.</i>—Barium sulphate and bismuth oxychloride. These two +are used for the white lacquer or as a body for coloured lacquers. +When the lacquer is to be dried at a high temperature barium sulphate +is preferable, but when it is dried at an ordinary temperature bismuth +oxychloride is better. Since the lacquer is originally of a brown +colour the white lacquer is not <a name="Page_46" id="Page_46"></a>pure white, but rather greyish or +yellowish. Many white pigments, such as zinc oxide, zinc sulphide, +calcium carbonate, barium carbonate, calcium sulphate, lead white, +etc., turn brown to black, and no white lacquer can be obtained with +them.</p> + +<p><i>Red Pigments.</i>—Vermilion and red oxide of iron. These two are used +for the red lacquer, but vermilion should be stoved at a low +temperature.</p> + +<p><i>Blue Pigment.</i>—Prussian blue.</p> + +<p><i>Yellow Pigments.</i>—Cadmium sulphide, lead chromate and orpiment.</p> + +<p><i>Green Pigment.</i>—Chromium oxide (? Guignet's green).</p> + +<p><i>Black Pigment.</i>—Lamp black. This is one of the pigments for black +lacquer, but does not give a brilliant colour, therefore it is better +to prepare the black lacquer by adding iron powder or some compound of +iron to the lacquer.</p> + +<p>Various mixed colours are obtained by mixing some of the +above-mentioned pigments.</p> + +<p>Examples of application are as follows:—</p> + +<p>(1) <i>Golden Yellow.</i>—Finished lacquer, 10 parts; gamboge, 1 to 3; +solvent, 5. If utensils are lacquered with this thin lacquer and dried +for about 2 hours in an air-oven at a temperature of 120° C. a +beautiful hard coating of golden colour is obtained.</p> + +<p>(2) <i>Black.</i>—Black lacquer, 10 parts; solvent 2 to 4. Utensils +lacquered with this lacquer are dried for about an hour at 130° to +140° C.</p> + +<p>(3) <i>Red.</i>—Vermilion, 10 parts; finished lacquer, 4; solvent, 2. This +lacquer is dried for about an hour at 130° to 140° C.</p> + +<p><a name="Page_47" id="Page_47"></a>(4) <i>Khaki or Dirty Yellow.</i>—Barium sulphate, 100 parts; chromic +oxide, 3; finished lacquer, 20 to 25; solvent, 15. This lacquer is +dried for about half an hour at 160° C.</p> + +<p>(5) <i>Green.</i>—Barium sulphate, 100 parts; chromic oxide, 20 to 50; +finished lacquer, 40 to 50; solvent, 20. This is dried for about 10 +minutes at 160° C.</p> + +<p>(6) <i>Yellow.</i>—Barium sulphate, 100 parts; lead chromate, 40; finished +lacquer, 40; solvent, 20. This is dried for about 15 minutes at 150° +C.</p> + +<p>Almost all pigments other than the above-mentioned are blackened by +contact with lacquer or suspend its drying quality.</p> + +<p>Several organic lakes can be used for coloured lacquers, that is to +say, Indian yellow, thioflavin, and auramine lake for a yellow +lacquer; fuchsine, rhodamine, and chloranisidin lake for a red; +diamond sky blue, and patent nileblue lake for a blue; acid green, +diamond green, brilliant milling green, vert-methyl lake, etc., for a +green; methyl violet, acid violet, and magenta lake for a violet; +phloxine lake for a pink. These lakes, however, are decomposed more or +less on heating and fail to give proper colours when dried at a high +temperature.</p> + + +<div class="center"><span class="smcap">Modern Methods of Japanning and Enamelling with Natural Japanese +Lacquer.</span><br /></div> + +<p>Urushiol, the principal constituent of Japanese lacquer, does not +according to the Japanese investigator, Kisaburo Miryama, dry by +itself at ordinary temperatures, but can be dried with ease at a +temperature above 96° C. In the same way, lacquer <a name="Page_48" id="Page_48"></a>that has been +heated to a temperature above 70° C. and has entirely lost its drying +quality can be easily dried at a high temperature. In this method of +japanning the higher the temperature is, the more rapidly does the +drying take place; for instance, a thin layer of urushiol, or lacquer, +hardens within 5 hours at 100° C., within 30 minutes at 150° C., and +within 10 minutes at 180° C. Japanning at a high temperature with +natural lacquer does not require the presence of the enzymic +nitrogenous matter in the lacquer, and gives a transparent coating +which is quite hard and resistant to chemical and mechanical action; +in these respects it is distinguished from that dried at an ordinary +temperature. During the drying, oxygen is absorbed from the atmosphere +and at the same time a partial decomposition takes place.</p> + +<p>This method of japanning has its application in lacquering metal work, +glass, porcelain, earthenware, canvas, papier-mâché, etc.; because the +drying is affected in a short time, and the coating thus obtained is +much more durable than the same obtained by the ordinary method.</p> + +<p>For practical purposes it is better to <i>thin the lacquer with +turpentine oil or other solvent</i> in order to facilitate the lacquering +and lessen the drying time of the lacquer. Since the lacquer-coating +turns brown at a high temperature, lacquers of a light colour should +be dried at 120° to 150° C.; and even those of a deep colour must not +be heated above 180° C. <i>Most pigments are blackened by lacquer; +therefore the varieties of coloured lacquers are very limited.</i></p> + +<div class="footnotes"><h3>FOOTNOTES:</h3> + +<div class="footnote"><p><a name="Footnote_1_1" id="Footnote_1_1"></a><a href="#FNanchor_1_1"><span class="label">[1]</span></a> A question has been raised concerning the safety of +Perkins' apparatus, not merely as relates to the danger of explosion, +but also respecting that of high temperature; and it has been asserted +that the water may be so highly heated in the tubes as to endanger the +charring and even inflammation of paper, wood, and other substances in +their contact or vicinity: such no doubt might be the case in an +apparatus expressly intended for such purposes, but in the apparatus +as constructed by Perkins, with adequate dampers and safety valves, +and used with common care, no such result can ensue. Paper bound round +an iron tube is not affected till the temperature exceeds 400°; from +420° to 444° it becomes brown or slightly singed; sulphur does not +inflame below 540°.</p></div> +</div> + + +<hr style="width: 65%;" /> +<h2><a name="SECTION_V" id="SECTION_V"></a><a name="Page_49" id="Page_49"></a>SECTION V.</h2> + +<h3><a name="COLOURS_FOR_POLISHED_BRASS_MISCELLANEOUS" id="COLOURS_FOR_POLISHED_BRASS_MISCELLANEOUS"></a>COLOURS FOR POLISHED BRASS—MISCELLANEOUS.</h3> + + +<div class="center"><span class="smcap">Painting on Zinc or on Galvanized Iron.</span><br /></div> + +<p>Painting on zinc or galvanized iron is facilitated by employing a +mordant of 1 quart of chloride of copper, 1 of nitrate of copper, and +1 of sal-ammoniac, dissolved in 64 parts of water. To thin mixture add +1 part of commercial hydrochloric acid. This is brushed over the zinc, +and dries a dull-grey colour in from twelve to twenty-four hours, +paint adhering perfectly to the surface thus formed.</p> + + +<div class="center"><span class="smcap">Bronzing Compositions.</span><br /></div> + +<p>The following are the formulæ for a variety of baths, designed to +impart to polished brass various colours. The brass objects are put +into boiling solutions composed of different salts, and the intensity +of the shade obtained is dependent upon duration of the immersion. +With a solution composed of sulphate of copper, 120 grains; +hydrochlorate of ammonia, 30 grains; and water 1 quart, greenish +shades are obtained. With the following solution, all the shades of +brown, from orange-brown to cinnamon, are obtained: chlorate of +potash, 150 grains; sulphate of copper, 150 grains; and water, 1 +quart. The following solution gives the brass first a rosy tint, and +then colours it violet and <a name="Page_50" id="Page_50"></a>blue: sulphate of copper, 435 grains; +hyposulphite of soda, 300 grains; cream of tartar, 150 grains; and +water, 1 pint. Upon adding to this solution ammoniacal sulphate of +iron, 300 grains, and hyposulphite of soda, 300 grains, there are +obtained, according to the duration of the immersion, yellowish, +orange, rosy, and then bluish shades. Upon polarizing the ebullition, +the blue tint gives way to yellow, and finally to a pretty grey. +Silver, under the same circumstances, becomes very beautifully +coloured. After a long ebullition in the following solution, we obtain +a yellow-brown shade, and then a remarkable fire-red: chlorate of +potash, 75 grains; carbonate of nickel, 30 grains; salt of nickel, 75 +grains; and water, 10 oz. The following solution gives a beautiful +dark-brown colour: chlorate of potash, 75 grains; salt of nickel, 150 +grains; and water, 10 oz. The following gives in the first place, a +red, which passes to blue, then to pale lilac, and finally to white: +orpiment, 75 grains; crystallized sal-sodæ, 150 grains; and water, 10 +oz. The following gives a yellow-brown: salt of nickel, 75 grains; +sulphate of copper, 75 grains; chlorate of potash, 75 grains; and +water, 10 oz. On mixing the following solutions, sulphur separates, +and the brass becomes covered with iridescent crystallizations: (1) +cream of tartar, 75 grains; sulphate of copper, 75 grains; and water, +10 oz. (2) Hyposulphite of soda, 225 grains; and water, 5 oz. Upon +leaving the brass objects immersed in the following mixture, contained +in corked vessels, they at length acquire a very beautiful blue +colour: hepar of sulphur, 75 grains; ammonia, 75 grains; and water, 4 +oz.</p> + + +<div class="center"><span class="smcap"><a name="Page_51" id="Page_51"></a>A Golden Varnish for Metal.</span></div> + +<p>Take 2 oz. of gum sandarach, 1 oz. of litharge of gold, and 4 oz. of +clarified linseed oil, which boil in a glazed earthenware vessel till +the contents appear of a transparent yellow colour. This will make a +good varnish for the final coating for enamelled and japanned goods.</p> + + +<div class="center"><span class="smcap">Carriage Varnish.</span><br /></div> + +<p>The following is used for the wheels, springs, and carriage parts of +coaches and other vehicles: Take of pale African copal 8 lb.; fuse, +and add 2<sup>1</sup>/<sub>2</sub> gallons of clarified linseed oil; boil until very +stringy, then add <sup>1</sup>/<sub>4</sub> lb. each of dry copperas and litharge; boil, and +thin with 5<sup>1</sup>/<sub>2</sub> gallons of turpentine; then mix while hot with the +following varnish, and immediately strain the mixture into a covered +vessel. Gum anime, 8 lb.; clarified linseed oil, 2<sup>1</sup>/<sub>2</sub> gallons; <sup>1</sup>/<sub>4</sub> lb. each of dried sugar of lead and litharge; boil, and thin with +5<sup>1</sup>/<sub>2</sub> gallons of turpentine; and mix it while hot as above directed. +Of course these quantities will only do for big jobs, and as it has to +do with metal, it has been thought advisable to include the formula in +this handbook.</p> + + +<div class="center"><span class="smcap">Metal Polishes.</span><br /></div> + +<p>The active constituent of all metal polishes is generally chalk, +rouge, or tripoli, because these produce a polish on metallic +surfaces. The following recipes give good polishing soaps:—</p> + +<p>(1) 20 to 25 lb. liquid soap is intimately mixed <a name="Page_52" id="Page_52"></a>with about 80 lb. of +Swedish chalk and <sup>1</sup>/<sub>2</sub> lb. Pompeiian red. (2) 25 lb. liquid coco-nut +oil soap is mixed with 2 lb. tripoli, and 1 lb. each alum, tartaric +acid, and white lead. (3) 25 lb. liquid coco-nut oil soap is mixed +with 5 lb. rouge and 1 lb. ammonium carbonate. (4) 24 lb. coco-nut oil +are saponified with 12 lb. soda lye of 38° to 40° B., after which 3 +lb. rouge, 3 lb. water, and 32 grammes ammonia are mixed in. Good +recipes for polishing pomades are as follows: (1) 5 lb. lard and +yellow vaseline is melted and mixed with 1 lb. fine rouge. (2) 2 lb. +palm oil and 2 lb. vaseline are melted together, and then 1 lb. rouge, +400 grains tripoli, and 20 grains oxalic acid are stirred in. (3) 4 +lb. fatty petroleum and 1 lb. lard are heated and mixed with 1 lb. of +rouge. The polishing pomades are generally perfumed with essence of +myrbane. Polishing powders are prepared as follows: (1) 4 lb. +magnesium carbonate, 4 lb. chalk, and 7 lb. rouge are intimately +mixed. (2) 4 lb. magnesium carbonate are mixed with 150 grains fine +rouge. An excellent and harmless polishing water is prepared by +shaking together 250 grains floated chalk, 1 lb. alcohol, and 20 +grains ammonia. Gilded articles are most readily cleansed with a +solution of 5 grains borax in 100 parts water, by means of a sponge or +soft brush. The articles are then washed in pure water, and dried with +a soft linen rag. Silverware is cleansed by rubbing with a solution of +sodium hyposulphite.</p> + + +<div class="center"><span class="smcap">Black Paints.</span><br /></div> + +<p>Carbon, in one form or another, is the base of all black pigments. By +far the most common of these, as <a name="Page_53" id="Page_53"></a>used in structural plants, is +graphite. Other black pigments are lamp-black (including carbon black) +and bone-black, the former being produced in many grades, varying in +price from twopence to half a crown per pound. Bone-black, which is +refuse from the sugar-house black, varies in the percentage of carbon +contained, which is usually about 10 or 12 per cent, the remainder +being the mineral matter originally present in the bone, and +containing 3 or 4 per cent of carbonate, whilst most of the remainder +is phosphate of lime. Lamp-black is an absolutely impalpable powder, +which having a small amount of greasy matter in it, greatly retards +the drying of the oil with which it may be mixed. For this reason it +is not used by itself, but is added in small quantity to other paints, +which it affects by changing their colour, and probably their +durability. For example, it is a common practice to add it to red +lead, in order to tone down its brilliant colour, and also to correct +the tendency it has to turn white, due to the conversion of the red +oxide of lead into the carbonate.</p> + + +<div class="center"><span class="smcap">Black Stain for Iron.</span><br /></div> + +<p>For colouring iron and steel a dead black of superior appearance and +permanency, the following is a good formula: 1 part bismuth chloride, +2 parts mercury bi-chloride, 1 part copper chloride, 6 parts +hydrochloric acid, 5 parts alcohol, and 50 parts lamp-black, these +being all well mixed. To use this preparation successfully—the +article to be blacked or bronzed being first made clean and free from +grease—it is applied with a swab or brush, or, better still, the +object may be dipped <a name="Page_54" id="Page_54"></a>into it; the liquid is allowed to dry on the +metal, and the latter is then placed in boiling water, the temperature +being maintained for half an hour. If, after this, the colour is not +so dark as is desired, the operation has simply to be repeated, and +the result will be found satisfactory. After obtaining the desired +degree of colour, the latter is fixed, as well as much improved +generally, by placing for a few minutes in a bath of boiling oil, or +by coating the surface with oil, and heating the object till the oil +is completely driven off The intense black obtained by this method is +admirable.</p> + +<p>Another black coating for ironwork, which is really a lacquer, is +obtained by melting ozokerite, which becomes a brown resinous mass, +with a melting-point at 140° F. The melted mass is then further heated +to 212° F., the boiling-point of water. The objects to be lacquered +are scoured clean by rubbing with dry sand, and are dipped in the +melted mass. They are then allowed to drip, and the ozokerite is +ignited by the objects being held over a fire. After the ozokerite has +burned away, the flame is extinguished, and the iron acquires a firmly +adhering black coating, which resists atmospheric influences, as well +as acids and alkalies. If the black iron vessels are to contain +alkaline liquids, the above operation is repeated.</p> + +<p>A good cheap stock black paint or varnish for ironwork is prepared, as +follows: Clear (solid) wood tar, 10 lb.; lamp black or mineral black, +1<sup>1</sup>/<sub>4</sub> b.; oil of turpentine, 5<sup>1</sup>/<sub>2</sub> quarts. The tar is first heated in +a large iron pot to boiling-point, or nearly so, and the heat is +continued for about 4 hours. The pot is then removed from the fire out +of doors, and while still warm, <a name="Page_55" id="Page_55"></a>and not hot, the turpentine, mixed +with the black, is stirred in. If the varnish is too thick to dry +quickly, add more turpentine. Benzine can be used instead of +turpentine, but the results are not so good. Asphaltum is preferable +to the cheap tar.</p> + +<p>To make another good black varnish for ironwork, take 8 lb. of +asphaltum and fuse it in an iron kettle, then add 2 gallons of boiled +linseed oil, 1 lb. of litharge, <sup>1</sup>/<sub>2</sub> lb. of sulphate of zinc (add these +slowly, or the mixture will boil over), and boil them for about 3 +hours. Then, add 1<sup>1</sup>/<sub>2</sub> lb. of dark gum amber, and boil for 2 hours +longer, or until the mass will become quite thick when cool. After +this it should be thinned with turpentine to the proper consistency.</p> + + +<div class="center"><span class="smcap">Varnishes for Ironwork.</span><br /></div> + +<p>A reliable authority gives the following as a very good recipe for +ironwork varnish. Take 2 lb. of tar oil, <sup>1</sup>/<sub>2</sub> lb. of pounded resin, and +<sup>1</sup>/<sub>2</sub> lb. of asphaltum, and dissolve together, and then mix while hot in +an iron kettle, taking all care to prevent the flames getting into +contact with the mixture. When cold the varnish is ready for +application to outdoor ironwork. Another recipe is to take 3 lb. of +powdered resin, place it in a tin or iron vessel, and add thereto +2<sup>1</sup>/<sub>2</sub> pints of spirits of turpentine, which well shake, and then let +it stand for a day or two, giving it an occasional shake. Then add to +it 5 quarts of boiled oil, shake it thoroughly well all together, +afterwards letting it stand in a warm room till it gets clear. The +clear portion can then be drawn off and used, or reduced with spirits +of turpentine till <a name="Page_56" id="Page_56"></a>of the requisite consistency. For making a varnish +suitable for iron patterns, take sufficient oil of turpentine for the +purpose of the job in hand, and drop into it, drop by drop, some +strong commercial oil of vitriol, when the acid will cause a dark +syrupy precipitate in the oil of turpentine, and continue to add the +drops of vitriol till the precipitate ceases to act, after which pour +off the liquid and wash the syrupy mass with water, when it will be +ready for use. When the iron pattern is to be varnished, it must be +heated to a gentle degree, the syrupy product applied, and then the +article allowed to dry.</p> + +<p>A fine black varnish suitable for the covering of broken places in +sewing machines and similar articles, where the japanned surface has +become injured or scratched, can be made by taking some fine +lamp-black or ivory-black, and thoroughly mixing it with copal +varnish. The black must be in a very fine powder, and to mix the more +readily it should be made into a pasty mass with turpentine. For the +ordinary repairing shop this will be found very handy.</p> + +<p>The following is a simple way for tarring sheet-iron pipes to prevent +rusting. The sections as made should be coated with coal tar, and then +filled with light wood shavings, and the latter set alight. The effect +of this treatment will be to render the iron practically proof against +rust for an indefinite period, rendering future painting unnecessary. +It is important, of course, that the iron should not be made too hot, +or kept hot for too long a time, lest the tar should be burnt off.</p> + +<p>The following is a varnish for iron and steel given by a recognized +authority: 5 parts of camphor and <a name="Page_57" id="Page_57"></a>elemi, 15 parts of sandarach, and +10 parts of clear grains of mastic, are dissolved in the requisite +quantity of alcohol, and applied cold.</p> + +<p>Another good black enamel for small articles can be made by mixing 1 +lb. of asphaltum with 1 lb. of resin in 4 lb. of tar oil, well heating +the whole in an iron vessel before applying.</p> + +<p>A good brown japan can be prepared by separately heating equal +quantities of amber and asphaltum, and adding to each one-half the +quantity by weight of boiled linseed oil. Both compounds are then +mixed together. Copal resin may be substituted for the amber, but it +is not so durable. Oil varnish made from amber is highly elastic. If +it is used to protect tin-plate printing, when the plates after +stoving have been subsequently rolled so as to distort the letters, +the varnish has in no way suffered, and its surface remains unbroken.</p> + +<p>A bronzing composition for coating iron consists of 120 parts mercury, +10 parts tin, 20 parts green vitriol, 120 parts water, and 15 parts +hydrochloric acid of 1.2 specific gravity.</p> + + + +<hr style="width: 65%;" /> +<h2><a name="SECTION_VI" id="SECTION_VI"></a><a name="Page_58" id="Page_58"></a>SECTION VI.</h2> + +<h3><a name="PROCESSES_FOR_TIN_PLATING" id="PROCESSES_FOR_TIN_PLATING"></a>PROCESSES FOR TIN-PLATING.</h3> + + +<p>In these days of making everything look what it is not, perhaps the +best and cheapest substitute for silver as a white coating for table +ware, culinary vessels, and the many articles requiring such a +coating, is pure tin. It does not compare favourably with silver in +point of hardness or wearing qualities, but it costs very much less +than silver, is readily applied, and can be easily kept clean and +bright. In tinning hollow ware on the inside the metal article is +first thoroughly cleansed by pickling it in dilute muriatic or +sulphuric acid and then scouring it with fine sand. It is then heated +over a fire to about the melting-point of tin, sprinkled with powdered +resin, and partly filled with melted pure grain tin covered with resin +to prevent its oxidation. The vessel is then quickly turned and rolled +about in every direction, so as to bring every part of the surface to +be covered in contact with the molten metal. The greater part of the +tin is then thrown out and the surface rubbed over with a brush of tow +to equalize the coating; and if not satisfactory the operation must be +repeated. The vessels usually tinned in this manner are of copper and +brass, but with a little care in cleaning and manipulating, iron can +<a name="Page_59" id="Page_59"></a>also be satisfactorily tinned by this means. The vessels to be tinned +must always be sufficiently hot to keep the metal contained in them +thoroughly fused. This is covering by contact with melted tin.</p> + +<p>The amalgam process is not so much used as it was formerly. It +consists in applying to the clean and dry metallic surface a film of a +pasty amalgam of tin with mercury, and then exposing the surface to +heat, which volatilizes the latter, leaving the tin adhering to the +metal.</p> + +<p>The immersion process is the best adapted to coating articles of brass +or copper. When immersed in a hot solution of tin properly prepared +the metal is precipitated upon their surfaces. One of the best +solutions for this purpose is the following:—</p> + + +<div class='blockquot'> +<table border="0" cellpadding="4" cellspacing="0" summary="Solution for coating articles with tin"> +<tr><td width="200" align='left'>Ammonia alum</td><td align='left'>17<sup>1</sup>/<sub>4</sub> oz.</td></tr> +<tr><td align='left'>Boiling</td><td align='left'>12<sup>1</sup>/<sub>2</sub> lb.</td></tr> +<tr><td align='left'>Protochloride of tin</td><td align='left'>1 oz.</td></tr> +</table></div> + +<p>The articles to be tinned must be first thoroughly cleansed, and then +kept in the hot solution until properly whitened. A better result will +be obtained by using the following bath, and placing the pieces in +contact with a strip of clean zinc, also immersed:—</p> + + +<div class='blockquot'> +<table border="0" cellpadding="4" cellspacing="0" summary="Bath for articles to be tinned"> +<tr><td width="200" align='left'>Bitartrate of potassium</td><td align='left'>14</td><td>oz.</td></tr> +<tr><td align='left'>Soft water</td><td align='left'>24</td><td> "</td></tr> +<tr><td align='left'>Protochloride of tin</td><td align='left'>1</td><td> "</td></tr> +</table></div> + +<p>It should be boiled for a few minutes before using.</p> + +<p>The following is one of the best solutions for plating with tin by the +battery process:—</p> + + +<div class='blockquot'> +<table border="0" cellpadding="4" cellspacing="0" summary="Solution for plating tin"> +<tr><td width="200" align='left'>Potassium pyrophosphate</td><td align='left'>12</td><td align='left'>oz.</td></tr> +<tr><td align='left'>Protochloride of tin</td><td align='left'>4<sup>1</sup>/<sub>2</sub></td><td> "</td></tr> +<tr><td align='left'>Water</td><td align='left'>20</td><td align='left'> "</td></tr> +</table></div> + +<p><a name="Page_60" id="Page_60"></a>The anode or feeding-plate used in this bath consists of pure Banca +tin. This plate is joined to the positive (copper or carbon) pole of +the battery, while the work is suspended from a wire connected with +the negative (zinc) pole. A moderately strong battery is required, and +the work is finished by scratch-brushing.</p> + +<p>In Weigler's process a bath is prepared by passing washed chlorine gas +into a concentrated aqueous solution of stannous chloride to +saturation, and expelling excess of gas by warming the solution, which +is then diluted with about ten volumes of water, and filtered, if +necessary. The articles to be plated are pickled in dilute sulphuric +acid, and polished with fine sand and a scratch-brush, rinsed in +water, loosely wound round with zinc wire or tape, and immersed in the +bath for ten or fifteen minutes at ordinary temperatures. The coating +is finished with the scratch-brush and whiting. By this process +cast-or wrought-iron, steel, copper, brass, and lead can be tinned +without a separate battery. The only disadvantage of the process is +that the bath soon becomes clogged up with zinc chloride, and the tin +salt must be frequently removed. In Hern's process a bath composed +of—</p> + + +<div class='blockquot'> +<table border="0" cellpadding="4" cellspacing="0" summary="Bath for Hern's process"> +<tr><td width="200" align='left'>Tartaric acid</td><td align='right'>2</td><td>oz.</td></tr> +<tr><td align='left'>Water</td><td align='right'>100</td><td> "</td></tr> +<tr><td align='left'>Soda</td><td align='right'>3</td><td> "</td></tr> +<tr><td align='left'>Protochloride of tin</td><td align='right'>3</td><td> "</td></tr> +</table></div> + +<p>is employed instead of the preceding. It requires a somewhat longer +exposure to properly tin articles in this than in Weigler's bath. +Either of these baths may be used with a separate battery.</p> + + + +<hr style="width: 65%;" /> +<h2><a name="SECTION_VII" id="SECTION_VII"></a><a name="Page_61" id="Page_61"></a>SECTION VII.</h2> + +<h3><a name="GALVANIZING" id="GALVANIZING"></a>GALVANIZING.</h3> + + +<p>Galvanizing, as a protecting surface for large articles, such as enter +into the construction of bridges, roofs, and shipwork, has not quite +reached the point of appreciation that possibly the near future may +award to it. Certain fallacies existed for a long time as to the +relative merits of the dry or molten and the wet or electrolytical +methods of galvanizing. The latter was found to be costly and slow, +and the results obtained were erratic and not satisfactory, and soon +gave place to the dry or molten bath process, as in practice at the +present day; but the difficulty of management in connexion with large +baths of molten material, and the deterioration of the bath, and other +mechanical causes, limit the process to articles of comparatively +small size and weight. The electro deposition of zinc has been subject +to many patents, and the efforts to introduce it have been lamentable +in both a mechanical and financial sense. Most authorities recommend a +current density of 18 or 20 ampères per square foot of cathode +surface, and aqueous solutions of zinc sulphate, acetate or chloride, +ammonia, chloride or tartrate, as being the most suitable for +deposition. Electrolytes made by adding caustic potash or soda to <a name="Page_62" id="Page_62"></a>a +suitable zinc salt have been found to be unworkable in practice on +account of the formation of an insoluble zinc oxide on the surface of +the anode and the resultant increased electrical resistance; the +electrolytes are also constantly getting out of order, as more metal +is taken out of the solution than could possibly be dissolved from the +anodes by the chemicals set free on account of this insoluble scale or +furring up of the anodes, which sometimes reaches one-eighth of an +inch in thickness. To all intents and purposes the deposits obtained +from acid solutions under favourable circumstances are fairly adhesive +when great care has been exercised to thoroughly scale and clean the +surface to be coated, which is found to be the principal difficulty in +the application of any electro-chemical process for copper, lead, or +tin, as well as for zinc, and that renders even the application of +paint or other brush compounds to futile unless honestly complied +with. Unfortunately these acid zinc coatings are of a transitory +nature, Their durability being incomparable with hot galvanizing, as +the deposit is porous and retains some of the acid salts, which cause +a wasting of the zinc, and consequently the rusting of the iron or +steel. Castings coated with acid zinc rust comparatively quickly, even +when the porosity has been reduced by oxidation, aggravated no doubt +by some of the corroding agents—sal-ammoniac, for instance—being +forced into the pores of the metal. Other matters of serious moment in +the electro-zincing process, apart from the slowness of the operation, +were the uncertain nature, thickness, and extent of the coating on +articles of irregular shape, and the formation of loose, dark-coloured +patches on the work; <a name="Page_63" id="Page_63"></a>the unhealthy and non-metallic look and want of +brilliancy and the lustre prevented engineers and the trade from +accepting the process or its results, except for the commoner articles +of use. To obviate any tendency of the paint to peel off from the zinc +surface, as it generally manifests a disposition to do, it is +recommended to coat all the zinc surfaces, previous to painting them, +with the following compound: 1 part chloride of copper, 1 part nitrate +of copper, 1 part sal-ammoniac, dissolved in 61 parts of water, and +then add 1 part commercial hydrochloric acid. When the zinc is brushed +over with this mixture it oxidizes the surface, turns black, and dries +in from twelve to twenty-four hours, and may then be painted over +without any danger of peeling. Another and more quickly applied +coating consists of, bi-chloride of platinum, 1 part dissolved in 10 +parts of distilled water, and applied either by a brush or sponge. It +oxidizes at once, turns black, and resists the weak acids, rain, and +the elements generally.</p> + +<p>Zinc surfaces, after a brief exposure to the air, become coated with a +thin film of oxide—insoluble in water—which adheres tenaciously, +forming a protective coating to the underlying zinc. So long as the +zinc surface remains intact, the underlying metal is protected from +corrosive action, but a mechanical or other injury to the zinc coating +that exposes the metal beneath, in the presence of moisture causes a +very rapid corrosion to be started, the galvanic action being changed +from the zinc positive to zinc negative, and the iron, as the positive +element in the circuit, is corroded instead of the zinc. When +galvanized iron is <a name="Page_64" id="Page_64"></a>immersed in a corrosive liquid, the zinc is +attacked in preference to the iron, provided both the exposed parts of +the iron and the protected parts are immersed in the liquid. The zinc +has not the same protective quality when the liquid is sprinkled over +the surface and remains in isolated drops. Sea air, being charged with +saline matters, is very destructive to galvanized surfaces, forming a +soluble chloride by its action. As zinc is one of the metals most +readily attacked by acids, ordinary galvanized iron is not suitable +for positions where it is to be much exposed to an atmosphere charged +with acids sent into the air by some manufactories, or to the +sulphuric acid fumes found in the products of combustion of rolling +mills, iron, glass, and gas works, etc., and yet we see engineers of +note covering-in important buildings with corrugated and other sheets +of iron, and using galvanized iron tie rods, angles, and other +constructive shapes in blind confidence of the protective power of the +zinc coating; also in supreme indifference as to the future +consequences and catastrophes that arise from their unexpected +failure. The comparative inertia of lead to the chemical action of +many acids has led to the contention that it should form as good, if +not a better, protection of iron than zinc, but in practice it is +found to be deficient as a protective coating against corrosion. A +piece of lead-coated iron placed in water will show decided evidences +of corrosion in twenty-four hours. This is to be attributed to the +porous nature of the coating, whether it is applied by the hot or wet +(acid) process. The lead does not bond to the plate as well as either +of the other metals—zinc, tin, copper, or any alloys of them. <a name="Page_65" id="Page_65"></a>The +following table gives the increase in weight of different articles due +to hot galvanizing:—</p> + + +<div class="blocktab"> +<table border="1" cellpadding="10" cellspacing="0" rules="groups" summary="Increased weight due to hot galvanizing"> +<thead> +<tr> + <td align='left'></td><td align='left'>Description of Article</td> + <td align='left'>Weight of Zinc per Square foot</td> + <td align='center'>Percentage<br />of Increase of<br /> Weight</td> +</tr> +</thead> +<tbody> +<tr> + <td align='left'></td><td align='left'>Thin sheet-iron</td> + <td align='center'>1.196 oz.</td> + <td align='center'>18.2</td> +</tr> +<tr> + <td align='left'></td><td align='left'><sup>5</sup>/<sub>16</sub>-in. plates</td> + <td align='center'>1.76 "</td> + <td align='center'> 2.0</td> +</tr> +<tr> + <td align='left'></td><td align='left'>4-in. cut nails</td> + <td align='center'>2.19 "</td> + <td align='center'> 6.72</td> +</tr> +<tr> + <td align='left'></td><td align='left'><sup>7</sup>/<sub>8</sub>-in. die bolt and nut</td> + <td align='center'>approximately 1.206 oz.</td> + <td align='center'> 1.00</td> +</tr> +</tbody> +</table></div> + +<p>Tin is often added to the hot bath for the purpose of obtaining a +smoother surface and larger facets, but it is found to shorten the +life of the protective coating very considerably.</p> + +<p>A portion of a zinc coating applied by the hot process was found to be +very brittle, breaking when attempts were made to bend it; the average +thickness of the coating was .015 inch. An analysis gave the following +result: tin, 2.20; iron, 3.78; arsenic, a trace; zinc (by difference), +94.02. A small quantity of iron is dissolved from all the articles +placed in the molten zinc bath, and a dross is formed amounting in +many cases to 25 per cent of the whole amount of zinc used. The +zinc-iron alloy is very brittle, and contains by analysis 6 per cent +of iron, and is used to cast small art ornaments from. A hot +galvanizing plant, having a bath capacity of 10 feet by 4 feet by +4<sup>1</sup>/<sub>2</sub> feet outside dimensions, and about 1 inch in thickness, will +hold 28 tons of zinc. With equal amounts of zinc per unit of area, the +zinc coating put on by the cold process is more resistant to the +corroding action of a saturated solution of copper sulphate than is +the <a name="Page_66" id="Page_66"></a>case with steel coated by the ordinary hot galvanizing process; +or, to put it in another form, articles coated by the cold process +should have an equally long life under the same conditions of exposure +that hot galvanized articles are exposed to, and with less zinc than +would be necessary in the ordinary hot process. The hardness of a zinc +surface is a matter of some importance. With this object in view +aluminium has been added from a separate crucible to the molten zinc +at the moment of dipping the article to be zinced, so as to form a +compound surface of zinco-aluminium, and to reduce the ashes formed +from the protective coverings of sal-ammoniac, fat, glycerine, etc. +The addition of the aluminium also reduces the thickness of the +coating applied. Cold and hot galvanized plates appear to stand +abrasion equally well. Both pickling and hot galvanizing reduce the +strength, distort and render brittle iron and steel wires of small +sections.</p> + + +<div class="center"><span class="smcap">The End.</span><br /></div> + + + + + +<hr style="width: 65%;" /> +<h2><a name="Page_67" id="Page_67"></a><a name="INDEX" id="INDEX"></a>INDEX.</h2> + + +<p> +<b>A</b><br /> +<br /> +Amalgam process in tin-plating, <a href='#Page_59'>59</a>.<br /> +Appliances and apparatus used in japanning and enamelling, <a href='#Page_29'>29</a>.<br /> +<br /> +<br /> +<b>B</b><br /> +<br /> +Battery process in tin-plating, <a href='#Page_59'>59</a>.<br /> +Black grounds, <a href='#Page_11'>11</a>.<br /> +—— japan grounds on metal, common, <a href='#Page_12'>12.</a><br /> +—— paints, <a href='#Page_52'>52</a>.<br /> +—— pigment, <a href='#Page_46'>46</a>.<br /> +—— stain for iron, <a href='#Page_53'>53</a>.<br /> +—— varnish for sewing machines, <a href='#Page_56'>56</a>.<br /> +Blue japan grounds, <a href='#Page_9'>9</a>.<br /> +—— pigment, <a href='#Page_46'>46</a>.<br /> +Brass, polished, colours for, <a href='#Page_49'>49</a>-<a href='#Page_57'>57</a>.<br /> +Brick ovens, <a href='#Page_33'>33</a>.<br /> +Bright pale yellow grounds, <a href='#Page_10'>10</a>.<br /> +Bronzing composition, <a href='#Page_49'>49</a>.<br /> +Brown japan, <a href='#Page_57'>57</a>.<br /> +Bunsen burner, <a href='#Page_33'>33</a>.<br /> +<br /> +<br /> +<b>C</b><br /> +<br /> +Carriage varnish, <a href='#Page_51'>51</a>.<br /> +Colours for polished brass, <a href='#Page_49'>49</a>.<br /> +Common black japan grounds on metal, <a href='#Page_12'>12</a>.<br /> +Composition for bronzing, <a href='#Page_49'>49</a>.<br /> +Cream enamel, <a href='#Page_8'>8</a>.<br /> +<br /> +<br /> +<b>E</b><br /> +<br /> +Enamelling and japanning stoves, <a href='#Page_29'>29</a>-<a href='#Page_46'>46</a>.<br /> +—— —— —— —— heated by direct fire, <a href='#Page_34'>34</a>.<br /> +—— —— —— —— heated by hot-water pipes, <a href='#Page_36'>36</a>.<br /> +—— or japanning metals, <a href='#Page_20'>20</a>-<a href='#Page_28'>28</a>.<br /> +—— old work, <a href='#Page_27'>27</a>.<br /> +<br /> +<br /> +<b>F</b><br /> +<br /> +First stage in the japanning of wood, <a href='#Page_5'>5</a>.<br /> +—— —— in the japanning of leather, without a priming, <a href='#Page_5'>5</a>.<br /> +<br /> +<br /> +<b>G</b><br /> +<br /> +Galvanized iron, painting on, <a href='#Page_49'>49</a>.<br /> +Galvanizing, <a href='#Page_61'>61</a>-<a href='#Page_66'>66</a>.<br /> +Golden varnish for metal, <a href='#Page_51'>51</a>.<br /> +Green japan grounds, <a href='#Page_10'>10</a>.<br /> +—— pigment, <a href='#Page_46'>46</a>.<br /> +Ground, red japan, <a href='#Page_10'>10</a>.<br /> +—— scarlet japan, <a href='#Page_9'>9</a>.<br /> +—— tortoise-shell, <a href='#Page_12'>12</a>.<br /> +Grounds, black, <a href='#Page_11'>11</a>.<br /> +—— black japan, <a href='#Page_12'>12</a>.<br /> +—— blue japan, <a href='#Page_9'>9</a>.<br /> +—— bright pale yellow, <a href='#Page_10'>10</a>.<br /> +—— green japan, <a href='#Page_10'>10</a>.<br /> +—— japan, <a href='#Page_6'>6</a>-<a href='#Page_19'>19</a>.<br /> +—— orange-coloured, <a href='#Page_11'>11</a>.<br /> +—— purple, <a href='#Page_11'>11</a>.<br /> +—— white japan, <a href='#Page_7'>7</a><br /> +<br /> +<br /> +<b>H</b><br /> +<br /> +Heating stoves by direct fire, <a href='#Page_34'>34</a>.<br /> +—— —— by hot-water pipes, <a href='#Page_36'>36</a>.<br /> +Hern's process in tin-plating, <a href='#Page_60'>60</a>.<br /> +<br /> +<br /> +<b>I</b><br /> +<br /> +Immersion process in tin-plating, <a href='#Page_59'>59</a>.<br /> +Iron, black stain for, <a href='#Page_53'>53</a>.<br /><a name="Page_68" id="Page_68"></a> +—— galvanized, painting on, <a href='#Page_49'>49</a>.<br /> +Ironwork, varnishes for, <a href='#Page_55'>55</a>.<br /> +<br /> +<br /> +<b>J</b><br /> +<br /> +Japan, brown, <a href='#Page_57'>57</a>.<br /> +—— ground, red, <a href='#Page_10'>10</a>.<br /> +—— —— scarlet, <a href='#Page_9'>9</a>.<br /> +—— grounds, <a href='#Page_6'>6</a>-<a href='#Page_19'>19</a>.<br /> +—— —— black, <a href='#Page_12'>12</a>.<br /> +—— —— blue, <a href='#Page_9'>9</a>.<br /> +—— —— green, <a href='#Page_10'>10</a>.<br /> +—— —— white, <a href='#Page_7'>7</a>.<br /> +—— work, painting, <a href='#Page_13'>13</a>.<br /> +—— —— varnishing, <a href='#Page_17'>17</a>.<br /> +Japanese gold size, <a href='#Page_14'>14</a>.<br /> +Japanese lacquer, <a href='#Page_47'>47</a>.<br /> +Japanning and enamelling stoves, <a href='#Page_34'>34</a>.<br /> +—— —— —— —— heated by direct fire, <a href='#Page_34'>34</a>.<br /> +—— —— —— —— heated by hot-water pipes, <a href='#Page_36'>36</a>.<br /> +—— leather without a priming, first stage, <a href='#Page_5'>5</a>.<br /> +—— or enamelling metals, <a href='#Page_20'>20</a>-<a href='#Page_28'>28</a>.<br /> +—— tin, <a href='#Page_25'>25</a>.<br /> +—— wood, first stage, <a href='#Page_5'>5</a>.<br /> +<br /> +<br /> +<b>L</b><br /> +<br /> +Lacquer, Japanese, <a href='#Page_47'>47</a>.<br /> +<br /> +<br /> +<b>M</b><br /> +<br /> +Metal, golden varnish for, <a href='#Page_51'>51</a>.<br /> +—— polishes, <a href='#Page_51'>51</a>.<br /> +Metals, japanning or enamelling, <a href='#Page_20'>20</a>-<a href='#Page_28'>28</a>.<br /> +Modern japanning and enamelling stoves, <a href='#Page_34'>34</a>.<br /> +<br /> +<br /> +<b>N</b><br /> +<br /> +Natural Japanese lacquer, <a href='#Page_47'>47</a>.<br /> +—— lacquer, <a href='#Page_45'>45</a>.<br /> +<br /> +<br /> +<b>O</b><br /> +<br /> +Oil vehicle, <a href='#Page_14'>14</a>.<br /> +Old work, enamelling, <a href='#Page_27'>27</a>.<br /> +Orange-coloured grounds, <a href='#Page_11'>11</a>.<br /> +<br /> +<br /> +<b>P</b><br /> +<br /> +Painting japan work, <a href='#Page_13'>13</a>.<br /> +—— on galvanized iron, <a href='#Page_49'>49</a>.<br /> +—— —— zinc, <a href='#Page_49'>49</a>.<br /> +Paints, black, <a href='#Page_52'>52</a>.<br /> +Pigments suitable for japanning with natural lacquer, <a href='#Page_45'>45</a>.<br /> +—— black, <a href='#Page_46'>46</a>.<br /> +—— blue, <a href='#Page_46'>46</a>.<br /> +—— green, <a href='#Page_46'>46</a>.<br /> +—— red, <a href='#Page_46'>46</a>.<br /> +—— white, <a href='#Page_45'>45</a>.<br /> +—— yellow, <a href='#Page_46'>46</a>.<br /> +Polished brass, colours for, <a href='#Page_49'>49</a>.<br /> +Preparing the surface to be japanned, <a href='#Page_4'>4</a>.<br /> +Priming the surface to be japanned, <a href='#Page_4'>4</a>.<br /> +Processes for tin-plating, <a href='#Page_58'>58</a>.<br /> +Purple grounds, <a href='#Page_11'>11</a>.<br /> +<br /> +<br /> +<b>R</b><br /> +<br /> +Red japan ground, <a href='#Page_10'>10</a>.<br /> +—— pigments, <a href='#Page_46'>46</a>.<br /> +<br /> +<br /> +<b>S</b><br /> +<br /> +Scarlet japan ground, <a href='#Page_9'>9</a>.<br /> +Sewing machines, black varnish for, <a href='#Page_56'>56</a>.<br /> +Shellac varnish, <a href='#Page_6'>6</a>.<br /> +Stoves, modern japanning and enamelling, <a href='#Page_34'>34</a>.<br /> +Stove, the enamelling and japanning, <a href='#Page_29'>29</a>-<a href='#Page_45'>45</a>.<br /> +Surface to be japanned, priming or preparing the, <a href='#Page_4'>4</a>.<br /> +<br /> +<br /> +<b>T</b><br /> +<br /> +Tin, japanning, <a href='#Page_25'>25</a>.<br /> +Tin-plating, colours for, <a href='#Page_58'>58</a>.<br /> +Tin-plating, amalgam process, <a href='#Page_59'>59</a>.<br /><a name="Page_69" id="Page_69"></a> +—— battery process, <a href='#Page_59'>59</a>.<br /> +—— Hern's process, <a href='#Page_60'>60</a>.<br /> +—— immersion process, <a href='#Page_59'>59</a>.<br /> +—— Weigler's process, <a href='#Page_60'>60</a>.<br /> +Tortoise-shell ground, <a href='#Page_12'>12</a>.<br /> +<br /> +<br /> +<b>U</b><br /> +<br /> +Urushiol, <a href='#Page_47'>47</a>.<br /> +<br /> +<br /> +<b>V</b><br /> +<br /> +Varnish, carriage, <a href='#Page_51'>51</a>,<br /> +—— for iron and steel, <a href='#Page_57'>57</a>.<br /> +—— for metal, golden, <a href='#Page_51'>51</a>.<br /> +—— shellac, <a href='#Page_6'>6</a>.<br /> +Varnishes for iron work, <a href='#Page_55'>55</a>.<br /> +Varnishing japan work, <a href='#Page_17'>17</a>.<br /> +<br /> +<br /> +<b>W</b><br /> +<br /> +Weigler's process of tin-plating, <a href='#Page_60'>60</a>.<br /> +White japan grounds, <a href='#Page_7'>7</a>.<br /> +—— pigments, <a href='#Page_45'>45</a>.<br /> +Wood, first stage in the japanning of, <a href='#Page_5'>5</a>.<br /> +<br /> +<br /> +<b>Y</b><br /> +<br /> +Yellow grounds, bright pale, <a href='#Page_10'>10</a>.<br /> +—— pigments, <a href='#Page_46'>46</a>.<br /> +<br /> +<br /> +<b>Z</b><br /> +<br /> +Zinc, painting on, <a href='#Page_49'>49</a>.<br /> +<br /> +<br /></p> + +<h4>ABERDEEN: THE UNIVERSITY PRESS</h4> + +<hr style='width: 65%;' /> + + +<h1><a name="Page_70" id="Page_70"></a>ENAMELS AND ENAMELLING</h1> +<hr style='width: 15%;' /> +<h2><b>An Introduction to the Preparation and Application of all kinds of +Enamels for Technical and Artistic Purposes.</b></h2> + +<div class="center">TRANSLATED FROM THE GERMAN OF<br /><br /></div> +<div class="center"><big>PAUL RANDAU.</big></div> + +<h3><i>Second and Enlarged Edition.</i></h3> + +<h3><i>Demy 8vo. 194 Pages.</i></h3> +<hr style='width: 15%;' /> +<h3>Price 10s. 6d. net. (Post Free, 10s. 10d. Home; 11s. Abroad.)</h3> +<hr style='width: 15%;' /> + +<span style="margin-left: 12em;"><b>Published by</b></span> +<h2>SCOTT, GREENWOOD & SON,</h2> +<div class="center">8 BROADWAY, LUDGATE, LONDON, E.C.</div> + +<hr style='width: 65%;' /> + +<h1><a name="Page_71" id="Page_71"></a>THE MANUFACTURE OF VARNISHES.</h1> +<hr style='width: 15%;' /> +<h5>BY</h5> + +<h2><i>J.G. McINTOSH.</i></h2> + +<h3>Based on and including the work of</h3> +<h3>ACH. LIVACHE.</h3> +<hr style='width: 15%;' /> +<h3>IN THREE VOLUMES.</h3> + +<div class="blockquot">VOLUME I.—OIL CRUSHING, REFINING AND BOILING, THE MANUFACTURE OF +LINOLEUM, PRINTING AND LITHOGRAPHIC INKS, AND INDIA-RUBBER +SUBSTITUTES. Demy 8vo. 150 pp. 29 Illustrations. Price 75. 6d. net. +(Post free, 7s. 10d. home; 8s. abroad.)<br /><br /> + +VOLUME II.—VARNISH MATERIALS AND OIL-VARNISH MAKING. Demy 8vo. 70 +Illustrations. 220 pp. Price 10s. 6d. net. (Post free, 10s. 10d. home; +11s. 3d. abroad.)<br /><br /> + +VOLUME III.—SPIRIT VARNISHES AND SPIRIT VARNISH MATERIALS. Demy 8vo. +64 Illustrations. 464 pp. Price 12s. 6d. net. 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