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| author | Roger Frank <rfrank@pglaf.org> | 2025-10-14 20:09:27 -0700 |
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| committer | Roger Frank <rfrank@pglaf.org> | 2025-10-14 20:09:27 -0700 |
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diff --git a/38067-h/38067-h.htm b/38067-h/38067-h.htm new file mode 100644 index 0000000..fc302b5 --- /dev/null +++ b/38067-h/38067-h.htm @@ -0,0 +1,4716 @@ +<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN" + "http://www.w3.org/TR/html4/loose.dtd"> +<html> +<head> +<meta http-equiv="Content-Type" content="text/html; charset=ISO-8859-1"> +<title>A Select Collection of Valuable and Curious Arts, and +Interesting Experiments, Which are Well Explained, and Warranted +Genuine, and may be Performed Easily, Safely, and at Little Expense, by +Unknown —A Project Gutenberg eBook</title> +<style type="text/css"> + + body {margin-left: 12%; + margin-right: 12%;} + + p {text-indent: 0em; + text-align: justify; + margin-top: .85em; + margin-bottom: .85em; + line-height: 1.25em;} + + .hang {text-align: justify; + padding-left: 2em; + text-indent: -2em;} + + .item {margin-top: .5em;} + + .ctr {text-align: center;} + + .ralign {text-align: right;} + + .sc {font-variant: small-caps;} + + .sig {margin-left: 53%; + text-align: left;} + + .indent {margin-left: 10%;} + .indent2 {margin-left: 30%; + margin-top: -.75em;} + .indent3 {margin-left: 20%; + margin-top: -.75em;} + + p.dropcap:first-letter {float: left; + padding-right: 3px; + font-size: 250%; + line-height: 83%; + padding-top: 4px;} + + .dcap {text-transform: uppercase;} + + .sidenote {width: 12%; + padding-bottom: .5em; + padding-top: 0em; + padding-left: 0em; + padding-right: .5em; + float: left; + clear: left;} + + .section {margin-top: 2em; + margin-bottom: 2.5em; + text-align: center; + font-size: 108%; + font-weight: bold;} + + .section2 {margin-top: 2em; + text-align: center; + font-size: 108%; + font-weight: bold;} + + .caption {font-weight: bold; + font-size: 95%; + text-align: center; + margin-bottom: 2em; + margin-top: .3em;} + + .figcenter {margin-left: auto; + margin-right: auto; + text-align: center; + margin-bottom: 0em; + margin-top: 2em; + width: auto;} + + h1 {text-align: center; + margin-top: 1em; + margin-bottom: 1em; + line-height: 1.3em; + letter-spacing: 4px;} + + h2, h3, h4, h5, h6 {text-align: center; + margin-top: 1em; + margin-bottom: 1em; + line-height: 1.3em;} + + hr.med {width: 65%; + height: 1px; + margin-top: 2.5em; + margin-bottom: 2.5em;} + + table {margin-left: auto; + margin-right: auto;} + + td {text-align: justify;} + + td.chpt {vertical-align: top; + text-align: right;} + + td.txt {vertical-align: top; + text-align: left; + padding-left: 5px;} + + td.pg {vertical-align: bottom; + text-align: right;} + + td.c {vertical-align: top; + text-align: center;} + + a:link {color:#0000ff; + text-decoration:none;} + a:visited {color:#6633cc; + text-decoration:none;} + + .tn {margin-left: 4em; + margin-right: 4em; + margin-top: .2em; + margin-bottom: .2em; + padding: 10px; + background-color: #f6f2f2; + color: black; + border: dotted black 1px;} + +</style> +</head> +<body> + + +<pre> + +The Project Gutenberg EBook of A Select Collection of Valuable and Curious +Arts and Interesting Experiments,, by Various Unknown + +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: A Select Collection of Valuable and Curious Arts and Interesting Experiments, + Which are Well Explained and Warranted Genuine and may be + Performed Easily, Safely, and at Little Expense. + +Author: Various Unknown + +Release Date: November 20, 2011 [EBook #38067] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK A SELECT COLLECTION OF *** + + + + +Produced by Chris Curnow and the Online Distributed +Proofreading Team at http://www.pgdp.net (This file was +produced from images generously made available by The +Internet Archive) + + + + + + +</pre> + + +<div class="figcenter"> +<img src="images/name.jpg" alt="Curious Arts" width="350" height="43"> +</div> +<br> +<div class="figcenter"> +<img src="images/001.jpg" alt="Sketches of Landscapes" width="266" +height="400"></div> <p class="caption">Sketches of Landscapes.<br> <a href="#31">[See +page 31]</a> +</p> +<br> + +<div class="figcenter"><img src="images/titlepage.jpg" alt="Fitle page" +width="311" height="500" border="1"></div> + +<br> + +<h2> +A SELECT COLLECTION +</h2> + +<h4> +OF VALUABLE AND +</h4> + +<h1> +CURIOUS ARTS, +</h1> + +<h4> +AND +</h4> + +<h3> +INTERESTING EXPERIMENTS, +</h3> + +<h4> +WHICH ARE WELL EXPLAINED AND WARRANTED<br> +GENUINE AND MAY BE PERFORMED EASILY,<br> +SAFELY, AND AT LITTLE EXPENSE. +</h4> +<br> +<p class="ctr"><img src="images/004.jpg" alt="Decoration" width="110" height="25"></p> +<h3> +THIRD EDITION. +</h3> +<p class="ctr"><img src="images/004.jpg" alt="Decoration" width="110" height="25"></p> +<br> +<h4> +CONCORD: +</h4> + +<h4> +PUBLISHED BY RUFUS PORTER. +</h4> + +<h4> +J. B. Moore, Printer.<br> +1826. +</h4> + +<hr class="med"> + + +<p class="ctr"> +<b>Transcriber's Note:</b><br><br>Some of the articles in the Appendix do not +list a price. +</p> +<hr class="med"> + + + +<p class="ralign"> +DISTRICT OF NEW-HAMPSHIRE, to wit. +<br><i>District Clerk's Office.</i> +</p> + + + +<div class="sidenote"> <img src="images/003.jpg" alt="L. S." width="93" height="72"></div> +<p class="dropcap">B<span class="dcap">e</span> it remembered, that on the twenty-second day of October, A.D. +1825, and in the fiftieth year of the Independence of the United +States of America, RUFUS PORTER, of the said District, has deposited +in this Office the title of a book, the right whereof he claims as +proprietor, in the words following, to wit:— +</p> + +<p> +"<i>A Select Collection of valuable and curious Arts and interesting +Experiments, which are well explained and warranted genuine, and may +be performed easily, safely, and at little expense.</i>" +</p> + +<p> +In conformity to the act of the Congress of the United States, +entitled, "An act for the encouragement of learning, by securing the +copies of Maps, Charts and Books, to the Authors and Proprietors of +such copies, during the time therein mentioned;" and also to an act, +entitled, "An act supplementary to an act, entitled, an act for the +encouragement of learning, by securing the copies of Maps, Charts and +Books to the Authors and Proprietors of such copies, during the times +therein mentioned, and extending the benefits thereof to the arts of +designing, engraving and etching historical and other prints." +</p> + +<p class="sig"> +SAMUEL CUSHMAN, +</p> + +<p class="indent2"><i>Clerk of the District of New-Hampshire</i>. +</p> + +<p class="indent"> +A true copy of record:— +</p> + +<p class="indent3"> +Attest, SAMUEL CUSHMAN, <i>Clerk</i>. +</p> + +<hr class="med"> + + + +<p class="section"> +ADVERTISEMENT. +</p> + + +<p> +It is not so much the object of the author, with regard to the various +arts treated of in the following pages, to convey to professed artists, +a more accurate and extensive knowledge of those arts, as to explain +some of the first lines and principles of them, for the advantage of +those, who may be induced to practice them occasionally, either for +profit or amusement. The chemical experiments are such as are calculated +to combine recreation, with improvement in useful knowledge—a knowledge +of some of the leading principles of chemistry.—The true chemical +terms, according to the new nomenclature (which, perhaps, may not be so +readily understood, by some, as the more common and familiar names, but +will be found sufficiently explained in the appendix) have, in this +work, been applied to the various articles occasionally mentioned. Very +few substances have been mentioned, which are generally considered +poisonous, or otherwise dangerous; but it may be proper, however, for +those who may attempt any of the chemical experiments, to proceed with +caution, and carefully avoid the fumes produced by chemical action, +especially in metallic solutions in nitric acid, and sublimation of +mercury. Several articles in this little collection, will probably be +found to contain some improvements, and if it prove as interesting to +others, as a similar work would formerly have been to the author, his +object will have been attained. +</p> + + +<hr class="med"> + + +<p class="section2"> +TABLE OF CONTENTS. +</p> +<p class="ctr"><img src="images/004.jpg" alt="Decoration" width="110" height="25"></p> +<table summary="Contents"> + +<tr> +<td class="chpt"> </td> +<td class="txt"> </td> +<td class="pg"><i>Page.</i></td> +</tr> + +<tr> +<td class="chpt">1.</td> +<td class="txt">Water-proof gilding and silvering,</td> +<td class="pg"><a href="#1">9</a></td> +</tr> + +<tr> +<td class="chpt">2.</td> +<td class="txt">The art of burnish gilding,</td> +<td class="pg"><a href="#2">11</a></td> +</tr> + +<tr> +<td class="chpt">3.</td> +<td class="txt">Ornamental bronze gilding,</td> +<td class="pg"><a href="#3">13</a></td> +</tr> + +<tr> +<td class="chpt">4.</td> +<td class="txt">To enamel picture glasses with gold,</td> +<td class="pg"><a href="#4">15</a></td> +</tr> + +<tr> +<td class="chpt">5.</td> +<td class="txt">To wash iron or steel with gold,</td> +<td class="pg"><a href="#5">15</a></td> +</tr> + +<tr> +<td class="chpt">6.</td> +<td class="txt">To wash brass or copper with silver,</td> +<td class="pg"><a href="#6">16</a></td> +</tr> + +<tr> +<td class="chpt">7.</td> +<td class="txt">To give wood a gold, silver, or copper lustre,</td> +<td class="pg"><a href="#7">17</a></td> +</tr> + +<tr> +<td class="chpt">8.</td> +<td class="txt">To print gold letters on morocco,</td> +<td class="pg"><a href="#8">18</a></td> +</tr> + +<tr> +<td class="chpt">9.</td> +<td class="txt">To dye silk a brilliant gold colour,</td> +<td class="pg"><a href="#9">18</a></td> +</tr> + +<tr> +<td class="chpt">10.</td> +<td class="txt">To dye silk a brilliant silver colour,</td> +<td class="pg"><a href="#10">19</a></td> +</tr> + +<tr> +<td class="chpt">11.</td> +<td class="txt">To silver looking glasses,</td> +<td class="pg"><a href="#11">20</a></td> +</tr> + +<tr> +<td class="chpt">12.</td> +<td class="txt">To write on paper with gold or silver,</td> +<td class="pg"><a href="#12">22</a></td> +</tr> + +<tr> +<td class="chpt">13.</td> +<td class="txt">To make good shining black ink,</td> +<td class="pg"><a href="#13">23</a></td> +</tr> + +<tr> +<td class="chpt">14.</td> +<td class="txt">Blue ink,</td> +<td class="pg"><a href="#14">23</a></td> +</tr> + +<tr> +<td class="chpt">15.</td> +<td class="txt">Red ink,</td> +<td class="pg"><a href="#15">24</a></td> +</tr> + +<tr> +<td class="chpt">16.</td> +<td class="txt">Yellow ink,</td> +<td class="pg"><a href="#16">24</a></td> +</tr> + +<tr> +<td class="chpt">17.</td> +<td class="txt">Green ink,</td> +<td class="pg"><a href="#17">25</a></td> +</tr> + +<tr> +<td class="chpt">18.</td> +<td class="txt">Purple ink,</td> +<td class="pg"><a href="#18">25</a></td> +</tr> + +<tr> +<td class="chpt">19.</td> +<td class="txt">To write in various colours with the same pen, +ink and paper.</td> +<td class="pg"><a href="#19">25</a></td> +</tr> + +<tr> +<td class="chpt">20-26.</td> +<td class="txt">Sympathetic inks for secret correspondence,</td> +<td class="pg"><a href="#20">27</a></td> +</tr> + +<tr> +<td class="chpt">27.</td> +<td class="txt">Luminous ink that will shine in the dark,</td> +<td class="pg"><a href="#27">28</a></td> +</tr> + +<tr> +<td class="chpt">28.</td> +<td class="txt">To make a writing appear and disappear at pleasure,</td> +<td class="pg"><a href="#28">29</a></td> +</tr> + +<tr> +<td class="chpt">29.</td> +<td class="txt">To make a writing vanish and another appear in its place,</td> +<td class="pg"><a href="#29">29</a></td> +</tr> + +<tr> +<td class="chpt">30.</td> +<td class="txt">To restore old writing that is nearly defaced,</td> +<td class="pg"><a href="#30">30</a></td> +</tr> + +<tr> +<td class="chpt">31.</td> +<td class="txt">To paint a picture that will appear and disappear </td> +<td class="pg"><a href="#31">30</a></td> +</tr> + +<tr> +<td class="chpt">32.</td> +<td class="txt">Landscape painting on walls of rooms,</td> +<td class="pg"><a href="#32">31</a></td> +</tr> + +<tr> +<td class="chpt">33.</td> +<td class="txt">To paint in figures for carpets or borders,</td> +<td class="pg"><a href="#33">34</a></td> +</tr> + +<tr> +<td class="chpt">34.</td> +<td class="txt">To paint in imitation of mahogany and maple,</td> +<td class="pg"><a href="#34">35</a></td> +</tr> + +<tr> +<td class="chpt">35.</td> +<td class="txt">The art of painting on glass,</td> +<td class="pg"><a href="#35">36</a></td> +</tr> + +<tr> +<td class="chpt">36.</td> +<td class="txt">Best method of polishing steel,</td> +<td class="pg"><a href="#36">37</a></td> +</tr> + +<tr> +<td class="chpt">37.</td> +<td class="txt">To make letters of blue on polished steel,</td> +<td class="pg"><a href="#37">38</a></td> +</tr> + +<tr> +<td class="chpt">38.</td> +<td class="txt">To preserve the brightness of polished steel,</td> +<td class="pg"><a href="#38">39</a></td> +</tr> + +<tr> +<td class="chpt">39.</td> +<td class="txt">To give steel a temper to cut marble,</td> +<td class="pg"><a href="#39">40</a></td> +</tr> + +<tr> +<td class="chpt">40.</td> +<td class="txt">To wash iron or steel with copper,</td> +<td class="pg"><a href="#40">41</a></td> +</tr> + +<tr> +<td class="chpt">41.</td> +<td class="txt">To give iron the whiteness of silver,</td> +<td class="pg"><a href="#41">42</a></td> +</tr> + +<tr> +<td class="chpt">42.</td> +<td class="txt">To wash iron with tin,</td> +<td class="pg"><a href="#42">42</a></td> +</tr> + +<tr> +<td class="chpt">43.</td> +<td class="txt">To give tin the whiteness and brilliancy of silver,</td> +<td class="pg"><a href="#43">44</a></td> +</tr> + +<tr> +<td class="chpt">44.</td> +<td class="txt">To crystallize tin,</td> +<td class="pg"><a href="#44">44</a></td> +</tr> + +<tr> +<td class="chpt">45.</td> +<td class="txt">To make a gold coloured varnish for tin,</td> +<td class="pg"><a href="#45">45</a></td> +</tr> + +<tr> +<td class="chpt">46.</td> +<td class="txt">To make shellac varnish for japanning,</td> +<td class="pg"><a href="#46">46</a></td> +</tr> + +<tr> +<td class="chpt">47.</td> +<td class="txt">To make the best copal varnish,</td> +<td class="pg"><a href="#47">47</a></td> +</tr> + +<tr> +<td class="chpt">48.</td> +<td class="txt">To make a spirit varnish for maps,</td> +<td class="pg"><a href="#48">48</a></td> +</tr> + +<tr> +<td class="chpt">49.</td> +<td class="txt">To make elastic varnish for umbrellas,</td> +<td class="pg"><a href="#49">49</a></td> +</tr> + +<tr> +<td class="chpt">50.</td> +<td class="txt">To varnish maps and pictures,</td> +<td class="pg"><a href="#50">49</a></td> +</tr> + +<tr> +<td class="chpt">51.</td> +<td class="txt">To make brunswick blacking,</td> +<td class="pg"><a href="#51">50</a></td> +</tr> + +<tr> +<td class="chpt">52.</td> +<td class="txt">To make a print appear on a gold ground,</td> +<td class="pg"><a href="#52">51</a></td> +</tr> + +<tr> +<td class="chpt">53.</td> +<td class="txt">Best method of tracing or copying a picture,</td> +<td class="pg"><a href="#53">52</a></td> +</tr> + +<tr> +<td class="chpt">54.</td> +<td class="txt">The construction and use of a copying machine,</td> +<td class="pg"><a href="#54">53</a></td> +</tr> + +<tr> +<td class="chpt">55.</td> +<td class="txt">To produce the exact likeness of any object instantly,</td> +<td class="pg"><a href="#55">54</a></td> +</tr> + +<tr> +<td class="chpt">56.</td> +<td class="txt">Copper plate engraving,</td> +<td class="pg"><a href="#56">57</a></td> +</tr> + +<tr> +<td class="chpt">57.</td> +<td class="txt">Etching on copper plates,</td> +<td class="pg"><a href="#57">60</a></td> +</tr> + +<tr> +<td class="chpt">58.</td> +<td class="txt">Engraving and scraping in mezzotinto,</td> +<td class="pg"><a href="#58">63</a></td> +</tr> + +<tr> +<td class="chpt">59.</td> +<td class="txt">Etching in aqua-tinta,</td> +<td class="pg"><a href="#59">64</a></td> +</tr> + +<tr> +<td class="chpt">60.</td> +<td class="txt">Copper plate printing,</td> +<td class="pg"><a href="#60">65</a></td> +</tr> + +<tr> +<td class="chpt">61.</td> +<td class="txt">Etching letters and flowers on glass,</td> +<td class="pg"><a href="#61">67</a></td> +</tr> + +<tr> +<td class="chpt">62.</td> +<td class="txt">To print figures with a smooth stone,</td> +<td class="pg"><a href="#62">68</a></td> +</tr> + +<tr> +<td class="chpt">63.</td> +<td class="txt">To cut glass with a piece of iron,</td> +<td class="pg"><a href="#63">69</a></td> +</tr> + +<tr> +<td class="chpt">64.</td> +<td class="txt">Best cement for joining glass,</td> +<td class="pg"><a href="#64">70</a></td> +</tr> + +<tr> +<td class="chpt">65.</td> +<td class="txt">Best cement for joining china or crockery,</td> +<td class="pg"><a href="#65">70</a></td> +</tr> + +<tr> +<td class="chpt">66.</td> +<td class="txt">To make a strong water proof glue,</td> +<td class="pg"><a href="#66">71</a></td> +</tr> + +<tr> +<td class="chpt">67.</td> +<td class="txt">The art of moulding figures in relief,</td> +<td class="pg"><a href="#67">72</a></td> +</tr> + +<tr> +<td class="chpt">68.</td> +<td class="txt">To cast images in plaster,</td> +<td class="pg"><a href="#68">73</a></td> +</tr> + +<tr> +<td class="chpt">69.</td> +<td class="txt">To produce embossed letters on marble,</td> +<td class="pg"><a href="#69">74</a></td> +</tr> + +<tr> +<td class="chpt">70.</td> +<td class="txt">To soften stone,</td> +<td class="pg"><a href="#70">75</a></td> +</tr> + +<tr> +<td class="chpt">71.</td> +<td class="txt">To change wood, apparently, to stone,</td> +<td class="pg"><a href="#71">76</a></td> +</tr> + +<tr> +<td class="chpt">72.</td> +<td class="txt">To render wood, cloth or paper, fire proof</td> +<td class="pg"><a href="#72">77</a></td> +</tr> + +<tr> +<td class="chpt">73-75.</td> +<td class="txt">To produce fire readily,</td> +<td class="pg"><a href="#73">77</a></td> +</tr> + +<tr> +<td class="chpt">76.</td> +<td class="txt">To make super-combustible matches,</td> +<td class="pg"><a href="#76">78</a></td> +</tr> + +<tr> +<td class="chpt">77.</td> +<td class="txt">To make gun powder,</td> +<td class="pg"><a href="#77">79</a></td> +</tr> + +<tr> +<td class="chpt">78.</td> +<td class="txt">To make the common fulminating powder,</td> +<td class="pg"><a href="#78">80</a></td> +</tr> + +<tr> +<td class="chpt">79.</td> +<td class="txt">To make mercurial fulminating powder,</td> +<td class="pg"><a href="#79">80</a></td> +</tr> + +<tr> +<td class="chpt">80.</td> +<td class="txt">To kindle a fire under water,</td> +<td class="pg"><a href="#80">82</a></td> +</tr> + +<tr> +<td class="chpt">81.</td> +<td class="txt">To light a candle by application of ice,</td> +<td class="pg"><a href="#81">82</a></td> +</tr> + +<tr> +<td class="chpt">82.</td> +<td class="txt">To form letters or flowers of real flame,</td> +<td class="pg"><a href="#82">83</a></td> +</tr> + +<tr> +<td class="chpt">83.</td> +<td class="txt">To produce flame of various colours,</td> +<td class="pg"><a href="#83">84</a></td> +</tr> + +<tr> +<td class="chpt">84.</td> +<td class="txt">To make sky rockets and fire wheels,</td> +<td class="pg"><a href="#84">85</a></td> +</tr> + +<tr> +<td class="chpt">85.</td> +<td class="txt">To produce detonating balloons,</td> +<td class="pg"><a href="#85">87</a></td> +</tr> + +<tr> +<td class="chpt">86.</td> +<td class="txt">To prepare a phial that will give light in the dark,</td> +<td class="pg"><a href="#86">89</a></td> +</tr> + +<tr> +<td class="chpt">87.</td> +<td class="txt">To make a person's face appear luminous in the dark,</td> +<td class="pg"><a href="#87">89</a></td> +</tr> + +<tr> +<td class="chpt">88.</td> +<td class="txt">To freeze water in warm weather,</td> +<td class="pg"><a href="#88">90</a></td> +</tr> + +<tr> +<td class="chpt">89.</td> +<td class="txt">To change the colours of animals,</td> +<td class="pg"><a href="#89">91</a></td> +</tr> + +<tr> +<td class="chpt">90.</td> +<td class="txt">To give leather a beautiful metallic lustre,</td> +<td class="pg"><a href="#90">92</a></td> +</tr> + +<tr> +<td class="chpt">91.</td> +<td class="txt">An easy method of extracting the essence of roses,</td> +<td class="pg"><a href="#91">92</a></td> +</tr> + +<tr> +<td class="chpt">92.</td> +<td class="txt">To prepare various kinds of essences,</td> +<td class="pg"><a href="#92">93</a></td> +</tr> + +<tr> +<td class="chpt">93.</td> +<td class="txt">To prepare soda water,</td> +<td class="pg"><a href="#93">94</a></td> +</tr> + +<tr> +<td class="chpt">94-95.</td> +<td class="txt">To produce metallic trees,</td> +<td class="pg"><a href="#94">95</a></td> +</tr> + +<tr> +<td class="chpt">96.</td> +<td class="txt">To tin copper by boiling,</td> +<td class="pg"><a href="#96">96</a></td> +</tr> + +<tr> +<td class="chpt">97.</td> +<td class="txt">A metal that will melt in hot water,</td> +<td class="pg"><a href="#97">96</a></td> +</tr> + +<tr> +<td class="chpt">98.</td> +<td class="txt">Illustration of calico printing,</td> +<td class="pg"><a href="#98">96</a></td> +</tr> + +<tr> +<td class="chpt">99.</td> +<td class="txt">To prepare an imitation of gold bronze,</td> +<td class="pg"><a href="#99">99</a></td> +</tr> + +<tr> +<td class="chpt">100.</td> +<td class="txt">To procure the exhilarating gas,</td> +<td class="pg"><a href="#100">99</a></td> +</tr> + +<tr> +<td class="chpt">101.</td> +<td class="txt">Construction of the galvanic pile or battery,</td> +<td class="pg"><a href="#101">101</a></td> +</tr> + +<tr> +<td class="chpt">102.</td> +<td class="txt">Construction of the oxy-hydrogen blow-pipe,</td> +<td class="pg"><a href="#102">102</a></td> +</tr> + +<tr> +<td class="chpt">103.</td> +<td class="txt">To make a dry phosphorescent powder,</td> +<td class="pg"><a href="#103">104</a></td> +</tr> + +<tr> +<td class="chpt">104.</td> +<td class="txt">Curious experiment of precipitation,</td> +<td class="pg"><a href="#104">105</a></td> +</tr> + +<tr> +<td class="chpt">105.</td> +<td class="txt">To make a beautiful soft glass for jewelry,</td> +<td class="pg"><a href="#105">105</a></td> +</tr> + +<tr> +<td class="chpt">106.</td> +<td class="txt">Composition of various kinds of glass,</td> +<td class="pg"><a href="#106">106</a></td> +</tr> + +<tr> +<td class="chpt">107.</td> +<td class="txt">Composition of various alloys,</td> +<td class="pg"><a href="#107">107</a></td> +</tr> + +<tr> +<td class="chpt">108.</td> +<td class="txt">To produce various kinds of gas,</td> +<td class="pg"><a href="#108">108</a></td> +</tr> + +<tr> +<td class="chpt">109.</td> +<td class="txt">Various chemical tests,</td> +<td class="pg"><a href="#109">110</a></td> +</tr> + +<tr> +<td class="chpt">110.</td> +<td class="txt">To produce a picture instantly,</td> +<td class="pg"><a href="#110">111</a></td> +</tr> + +<tr> +<td class="chpt">111.</td> +<td class="txt">A cheap imitation of silver bronze,</td> +<td class="pg"><a href="#111">112</a></td> +</tr> + +<tr> +<td class="chpt">112.</td> +<td class="txt">To make crayons of various colours,</td> +<td class="pg"><a href="#112">113</a></td> +</tr> + +<tr> +<td class="chpt">113.</td> +<td class="txt">To make hard sealing wax,</td> +<td class="pg"><a href="#113">115</a></td> +</tr> + +<tr> +<td class="chpt">114.</td> +<td class="txt">The art of manufacturing paper hangings,</td> +<td class="pg"><a href="#114">116</a></td> +</tr> + +<tr> +<td class="chpt">115.</td> +<td class="txt">To make elastic blacking for leather,</td> +<td class="pg"><a href="#115">118</a></td> +</tr> + +<tr> +<td class="chpt">116.</td> +<td class="txt">Sundry experiments,</td> +<td class="pg"><a href="#116">119</a></td> +</tr> +</table> + +<hr class="med"> + +<p class="section2"> +CURIOUS ARTS. +</p> +<p class="ctr"><img src="images/004.jpg" alt="Decoration" width="110" +height="25"></p> + +<a name="1"> </a> +<p class="item"> +1. <span class="sc">Water-proof gilding and silvering.</span>—This kind of gilding, +usually termed oil gilding, being the cheapest and most durable, is in +general use for gilding or silvering letters on signs, labels, &c. and +may be performed as follows:—Grind one ounce of white lead and two +ounces of litharge, very fine, in a gill of old linseed oil, and if +convenient, add nearly one-fourth of a gill of old copal varnish, and +half an ounce of stone yellow; but neither of these last, are very +essential ingredients. Expose this composition to the rays of the sun +for a week or more in a broad open vessel, observing, however, to keep +it free from dust. Then pour off the finest part, and dilute it with as +much spirits of turpentine as will make it work freely with a brush or +camel-hair pencil. (Oil that will answer exceedingly well for this +purpose, may sometimes be collected from the top of oil paints that +have been long standing, and may be used directly, without being +exposed to the sun as directed above.) Whatever letters or figures you +would gild, must be first drawn or painted with this sizing, the ground +having been previously painted and varnished; and when the sizing is so +dry as to be hard, but yet remains slightly adhesive, or sticky, lay on +gold or silver leaves smoothly over the whole, pressing them down +gently with a soft ball of cotton. The most convenient manner of +performing this, is to lay the leaves of gold or silver, first on a +piece of deer-skin or glove-leather, and cut them into pieces of a +convenient size, by drawing a smooth (not sharp) edged knife over them. +Then take a small block of wood, of a triangular form, about half an +inch thick, and two inches in diameter, and bind a strip of fine +flannel round the edges;—breathe on this, and press it gently on a +piece of the leaf, which by this may be taken from the leather, and +carried to any part of the sizing where it will best fit, and to which +it will readily adhere: thus the sizing may be readily covered with the +leaf, very little of which will be wasted. Afterward the whole may be +brushed over lightly with cotton, or a soft brush, and the superfluous +gold or silver will be brushed off, leaving the letters or figures +entire. When the work has thus remained two or three days, it may be +rubbed with a piece of silk, which will increase its metallic lustre. +<i>Note.</i>—It is very essential that the varnish of the ground +should be thoroughly dry, that it may not be adhesive in the least +degree, otherwise the leaf will stick where it should not, and +materially injure the work. When plain gilding is required for vanes, +balls, &c. the leaves of gold or silver may be applied to the work +directly from the book, without cutting or dividing them. +</p> + + +<a name="2"> </a> +<p class="item"> +2. <span class="sc">The art of burnish gilding.</span>—Make a sizing by boiling the +skins of beaver and musk rats, (which may be readily procured at a hat +manufactory,) in water, till it is of sufficient strength that by +cooling it will become a stiff jelly; strain the liquor while warm, and +give your work one coat of it with a brush; when this is dry, add a +little fine whiting to the sizing, and give the work one coat of this. +Then add as much whiting as will work freely under the brush, and lay +on five or six coats of this, allowing each a sufficient time to dry. +Smooth the work by wetting it, and rubbing it with a piece of pumice +stone, which should be previously cut and fitted to the moulding or +other work that is to be gilt; afterward, when the work is dry, rub +it with some fine sand paper. Then take some burnish-gold-size (which +is composed of pipe-clay, plumbago, beef tallow and castile soap, but +may be easily procured ready made,) and dilute it with water till it +is of the consistence of very soft putty, and afterward with the +above mentioned sizing till it will flow freely from a brush, and give +the work three successive coats of this; when the last is dry, dip a +camel-hair pencil in a mixture of equal quantities of rum and water, +and with it wet a small part of the work, and immediately, while it is +flowing, lay on a leaf of gold, brushing it down with a very soft, flat +camel-hair brush, with which also, the leaf is usually conveyed from +the book to the sizing; proceed thus till the whole is gilt, and let it +dry. When the work is sufficiently dry to take a fair polish by +burnishing, (which can be only ascertained by applying the burnisher to +different parts of the work occasionally while it is drying,) rub over +the whole carefully with a flint burnisher, or with the tooth of a wolf +or dog, being fixed in a convenient handle, till the whole acquires a +brilliant polish, except such parts as are required to remain in a +rough-gilt state, which parts are usually flatted by a coat of thin +sizing. Such are the principal rules of the art of burnish gilding; but +as this business requires some variation of management, according to +the state of the weather and other circumstances, it may not be +expected that any person should become very expert in the art, without +the advantage of some experience and practice. +</p> + +<a name="3"> </a> +<p class="item"> +3. <span class="sc">Ornamental bronze gilding.</span>—This is performed by means of +gold or silver, reduced to an impalpable powder, called bronze. One +method of preparing it, is to levigate any quantity of gold or silver +leaves on a stone, with some clarified honey; dilute the honey with +clear water, that the bronze may settle; pour off the water and honey, +and add fresh water to the bronze, which, after being thus thoroughly +washed, may be dried on paper, and is ready for use. Another method of +preparing the gold bronze, is to precipitate the gold from its solution +in nitro-muriatic acid, (see 5,) by adding sulphate of iron to the +solution;—then washing it, as directed above. But in general it will +be found much cheaper to buy the bronze ready prepared. The ground for +this work must be varnished with a mixture of copal varnish, with an +equal quantity of old linseed oil; and whatever figures are to be +formed in bronzing, must be represented by holes cut through pieces of +paper. Lay these patterns on the work, when the varnish is so dry as to +be but slightly adhesive, but not press them down any more than is +requisite to keep the paper in its place. Then take a piece of soft +glove-leather, moisten it a little by breathing on it, and dip it in +some dry bronze, and apply it to the figures, beginning at the +edges;—tap the figure gently with the leather, and the bronze will +stick to the varnish according to the pattern. Thus any figure may be +produced in a variety of shades, by applying the bronze more freely to +some parts of the work than to others. If some internal parts of the +figures require to be more distinct than others, they may be wrought by +their peculiar patterns, or may be edged with dark coloured paint. In +some work it may be well to extend the varnish no farther than the +intended figures, in which case, any projecting or branching parts of +the figures, may be drawn with a camel-hair pencil, and the patterns +may in some measure be dispensed with. In either case, the work must +afterwards have one or more coats of copal or shellac varnish. +</p> + +<a name="4"> </a> +<p class="item"> +4. <span class="sc">To enamel picture glasses with gold.</span>—The glass must first +be washed perfectly clean and dried; then damp it by breathing on it, +or wet it with the tongue, and immediately lay on a leaf of gold, and +brush it down smooth. When this is dry, draw any letters or flowers on +the gold with Brunswick blacking, (see 51) and when dry, the +superfluous gold may be brushed off with cotton, leaving the figures +entire. Afterward the whole may be covered with blacking, or painted in +any colour, while the gold figures will appear to advantage on the +opposite side of the glass. This work may be elegantly shaded by +scratching through the gold with a small steel instrument, (in the end +of which many sharp points are formed,) previous to laying on the +blacking. Oil paints of any kind may be substituted in the place of the +blacking, but will not dry so quick. +</p> + +<a name="5"> </a> +<p class="item"> +5. <span class="sc">To wash iron or steel with gold.</span>—Mix together in a phial, +one part of nitric acid, with two parts of muriatic acid, and add as +much fine gold as the acid will dissolve. For this purpose gold leaf is +the most convenient, as it will be the most readily dissolved. (This +solution is called the nitro-muriate of gold.) Pour over this solution, +cautiously, about half as much sulphuric ether;—shake the mixture, and +then allow it to settle. The ether will take the gold from the acid, +and will separate itself from it also, and form an upper stratum in the +phial. Carefully pour off this auriferous ether into another phial, and +cork it close. Wash any piece of steel or iron with this ether, and +immediately plunge it in cold water, and it will have acquired a coat +of pure gold. With this also, any flowers or letters may be drawn or +written, even with a pen, and will appear perfectly gilt. The steel or +iron should afterward be heated as much as it will bear without +changing colour, and if the steel be previously polished, the beauty of +the gilding may be much increased by burnishing with a cornelian or +blood stone. +</p> + + +<a name="6"> </a> +<p class="item"> +6. <span class="sc">To wash brass or copper with silver.</span>—To half an ounce of +nitric acid in a phial, add one ounce of water, and one fourth of an +ounce of good silver. It will soon be dissolved, and if the acid and +metal are both pure, the solution, (which is called nitrate of silver) +will be transparent and colourless. Add to this a solution of nearly +two drachms of muriate of soda, in any quantity of water; this will +precipitate the silver in a white opaque mass. Pour off the water with +the acid, and add to the silver an equal quantity of super-tartrate +of potass, thus forming a soft paste;—dip a piece of soft leather in +his paste, and rub it on the metal to be silvered; continue rubbing +it till it is nearly dry; then wash it with water, and polish by +rubbing it hard with a piece of dry leather. Another method is, to add +sub-carbonate of potass to the nitrate of silver, as long as ebulition +ensues; then the acid is poured off, and the precipitate, (which is +white at first, but becomes green when dry,) is mixed with double its +quantity of muriate of soda, and super-tartrate of potass. With this +composition, being moistened, the metal is rubbed over, &c. +</p> + + +<a name="7"> </a> +<p class="item"> +7. <span class="sc">To give wood a gold, silver, or copper lustre.</span>—Grind about +two ounces of white beach sand in a gill of water, in which half an +ounce of gum-arabic has been dissolved, and brush over the work with +it. When this is dry, the work may be rubbed over with a piece of gold, +silver or copper, and will in a measure, assume their respective +colours and brilliancy. This work may be polished by a flint burnisher, +but should not be varnished. +</p> + + +<a name="8"> </a> +<p class="item"> +8. <span class="sc">To print gold letters on morocco.</span>—First wet the morocco +with the whites of eggs; when this is dry, rub the work over with a +little olive oil, and lay on gold leaves. Then take some common +printing types, and heat them to the temperature of boiling water, and +impress the letters on the gold;—rub the whole with a piece of +flannel, and the superfluous gold will come off, leaving the letters +handsomely gilt. Another method is, to strew powdered rosin over the +morocco previous to laying on the leaf; the heat of the types melts the +rosin, which occasions the gold to adhere in the impressions, while the +other may be brushed off. +</p> + + +<a name="9"> </a> +<p class="item"> +9. <span class="sc">To dye silk a brilliant gold colour.</span>—Take any quantity of +nitro-muriate of gold, (see 5) and evaporate by exposing it to a gentle +heat in a glass tumbler or phial; the gold will form itself in crystals +on the bottom and sides of the vessel; collect these crystals and +dissolve them in ten times their weight of pure water. Then put a gill +of water into a common flask, and add one ounce of granulated zinc, and +one-fourth of an ounce of sulphuric acid. Hydrogen gas will be evolved, +and rise through the neck of the flask, which must not be stopped. +Immerse a piece of white silk in the above mentioned aqueous solution +of gold, and expose it, while wet, to the current of gas as it rises +from the flask; the gold will soon be revived, and the silk will become +beautifully and permanently gilt. Any letters or flowers may be drawn +on the silk with a camel-hair pencil dipped in the solution, and on +being exposed to the action of the gas, will be revived and shine with +metallic brilliancy. <i>Note.</i>—The silk must be kept moist with +water till the gold is revived. Zinc may be prepared for the above +purpose, by melting it, and stirring it continually with a stick or +iron rod while it is cooling; or it may be pulverized with a hammer as +soon as it becomes solid. +</p> + + +<a name="10"> </a> +<p class="item"> +10. <span class="sc">To dye silk a brilliant silver colour.</span>—Proceed as +directed in the last experiment, only use the nitrate of silver, (see +6) instead of nitro-muriate of gold. The process of crystalizing, +re-dissolving, &c. is the same. But the crystals of silver differ in +colour, being white, whereas those produced from gold are yellow. If a +jar, or box be filled with hydrogen gas, and the silk suspended in it, +the action of the gas, and consequently the revivification of the +metals will be more uniform. For small figures, however, it may be as +well to fix a stopper in the flask, having a small orifice through it, +that the gas may be thrown with some force on the silk, and will have a +more certain effect. A solution of muriate of tin may be managed in a +similar manner, but none of these solutions can be thus revived on +paper. +</p> + + +<a name="11"> </a> +<p class="item"> +11. <span class="sc">To silver looking glasses.</span>—Lay on a smooth board, a piece +of soft deer-skin leather, rather larger than the glass that is to be +silvered; and on the leather, having sprinkled a little fine whiting, +spread a piece of tin foil of the same size. Pour on a few drops of +mercury, and brush it over the tin with a smooth brush, till every part +of the tin becomes bright. Then add as much mercury as will lay on the +tin, and upon this lay the glass to be silvered: on the glass lay +another piece of leather, of the same size, and on that another +board.—Take up the boards with the glass, and pressing the boards +together, turn them with the glass, the other side up; take off the +upper board, and pass the glass with the tin and leather, between two +rollers, similar to those of a rolling press, for copper-plate +printing; thus to press out the mercury from between the tin and the +glass. Then place the glass between the boards again as before, and +place a heavy weight (which cannot be too heavy, unless it breaks the +glass) on the upper board, which must remain two or three days. The +glass may then be taken up. The practice of some is, to lay thin paper +on the mercury previous to laying on the glass; this paper, being +carefully drawn out, after the glass is laid on, serves to remove the +superfluous mercury, that the tin may come more nearly in contact with +the glass. In this case, no rollers are used. Concave or other fancy +glasses may be silvered, by making an impression with the glass, in a +kind of putty, made of fine sulphate of lime and water; and placing the +glass in the impression again with the tin foil and mercury, when the +plaster is dry, and subjecting it to pressure two or three days in that +situation. The experiment of silvering glass may be performed by +rubbing a drop of mercury on a small piece of tin foil, and pressing it +upon a piece of glass with the finger, or a piece of soft leather. In +this case, the glass will have acquired the reflective property of a +mirror; and if a similar pressure be continued a few hours, the tin +will adhere permanently. +</p> + + +<a name="12"> </a> +<p class="item"> +12. <span class="sc">To write on paper with gold or silver.</span>—Make a sizing as +strong as will flow freely from the pen, by dissolving equal quantities +of gum-arabic and loaf sugar in water; write with this on paper and let +it dry; then moisten the paper by breathing on it, or by holding it +over hot water, and immediately lay pieces of gold or silver leaf on +the lines of the writing, pressing them down gently with a dry hair +pencil. Otherwise, brush gold or silver bronze lightly over the +writing; but this will not have so brilliant an appearance. Allow the +sizing to dry again, and then brush off the redundant gold or silver +with cotton. This writing, (if performed with leaf gold or silver) may +be burnished with a flint burnisher or a cornelian or blood-stone. Gold +letters may also be written or drawn with a hair pencil by means of +gold bronze, mixed with weak gum-water, to which may be added a little +solution of soap, which will make it run more freely. But no +preparation of solution of gold has yet been discovered, which may be +easily revived on paper. +</p> + + +<a name="13"> </a> +<p class="item"> +13. <span class="sc">To make good shining black ink.</span>—Take two ounces of +nut-galls in coarse powder; one ounce of logwood in thin chips; one +ounce of sulphate of iron; three-fourths of an ounce of gum-arabic; +one-fourth of an ounce of sulphate of copper; and one-fourth of an +ounce of loaf sugar. Boil the galls and logwood together in three pints +of water, till the quantity is reduced to one half. Then the liquor +must be strained through a flannel into a proper vessel, and the +remainder of the ingredients be added to it. The mixture is then to be +frequently stirred till the whole is dissolved; after which it must be +left at rest for twenty-four hours. The ink may then be decanted from +the gross sediment, and must be preserved in a glass bottle well +corked. +</p> + + +<a name="14"> </a> +<p class="item"> +14. <span class="sc">Blue ink.</span>—Dissolve one ounce of gum-arabic in a pint of +water. In a part of this gum-water, grind a small quantify of best +prussian blue; you may thus bring it to any depth of colour you choose. +Indigo will answer this purpose very well, but is not so fine a colour, +nor will it remain suspended so uniformly in the water. +</p> + + +<a name="15"> </a> +<p class="item"> +15. <span class="sc">Red ink.</span>—In the above mentioned gum-water, grind very +fine, three parts of vermillion with one of lake or carmine. This is a +very perfect colour, but may require to be shaken up occasionally. To +make the common red ink, such as is used by book binders for ruling, +&c. infuse half a pound of rasped brazil-wood, for two or three days in +a pint of vinegar; then filter or strain it, and add one ounce of +gum-arabic, and one ounce of alum. It may afterward be diluted +occasionally with water. +</p> + + +<a name="16"> </a> +<p class="item"> +16. <span class="sc">Yellow ink.</span>—Steep one ounce of turmeric, in powder, in +half a gill of alcohol; let it rest twenty-four hours, and then add an +equal quantity of water;—throw the whole on a cloth, and express the +coloured liquor, which mix with gum-water. Rum or other spirits may be +substituted in the place of alcohol. A solution of gamboge in water, +writes a full yellow, but comes far short of turmeric in brightness. +</p> + + +<a name="17"> </a> +<p class="item"> +17. <span class="sc">Green ink.</span>—To the tincture of turmeric, prepared as +above, add a little prussian blue. A variety of tints may be formed, by +varying the proportions of these two ingredients, and no artificial +colour can excel it in beauty. +</p> + + +<a name="18"> </a> +<p class="item"> +18. <span class="sc">Purple ink.</span>—To the blue ink, described at 14, add some +finely ground lake; or instead of this, the expressed juice of the +deepest coloured beets may be substituted, but is more liable to fade. +With either of these a variety of tints may be formed, by varying the +proportions. +</p> + + +<a name="19"> </a> +<p class="item"> +19. <span class="sc">To write in various colours with the same pen, ink and +paper.</span>—Take a sheet of white paper, and wet some parts of it with +a solution of sub-carbonate of potass, which must be diluted with water +so as not to appear on the paper when dry. Wet some other parts with +diluted muriatic acid, or with juice of lemons.—Some other parts may +be wet with a dilute solution of alum; and others with an infusion of +nut-galls (water in which bruised or pulverized nut-galls have been +steeped.) None of these preparations must be so strong as to colour the +paper any. When these are dry, take some finely powdered sulphate of +iron, and rub it lightly on some parts of the paper, that have been wet +with the sub-carbonate of potass, and infusion of galls. Then with the +juice of violets, or of the leaves of red cabbage, write on the paper +as usual with a pen. The ink is, of itself, a faint purple; where the +paper was wet with acid, the writing will be bright red; on the +sub-carbonate of potass, it will take a beautiful green; on the alum it +will be brown; on the sub-carbonate of potass that was rubbed with +powdered sulphate of iron, it will be deep yellow; and on the infusion +of galls that was rubbed with the powder, it will be black.—The juice +of violets will sometimes take a brilliant yellow on the alkali if it +be very strong. The juice of violets or red cabbage may be kept a long +time by means of the addition of a few drops of alcohol; or the leaves +may be dryed by the fire, and thus may be kept ready for use; and it is +only requisite to steep them in hot water, in order to prepare the ink +at any time. <i>Note.</i>—The yellow ink, described at 16, writes a +full red where the paper has been wet with the solution of +sub-carbonate of potass; while the solution of sulphate of iron, which +has no colour of itself, writes a deep yellow on the alkali, and black +on the infusion of galls. +</p> + + +<a name="20"> </a> +<p class="item"> +20. <span class="sc">Sympathetic inks for secret correspondence.</span>—<i>Process +1.</i>—Dissolve muriate of ammonia in water, and write;—the writing +will be invisible. When you would make the writing appear, heat the +paper by the fire, and the writing will become black. +</p> + + +<p> </p> +<p class="item"> +21. <i>Process 2.</i>—Write with a solution of sulphate of iron—the +writing will be invisible. Dip a feather in an infusion of nut-galls, +and with it wet the paper, and the writing will become black. +</p> + + +<p> </p> +<p class="item"> +22. <i>Process 3.</i>—Write with a dilute infusion of galls,—it will +be invisible. Dip a feather in a solution of sulphate of iron, and +moisten the paper with it and the writing will become black. +</p> + + +<p> </p> +<p class="item"> +23. <i>Process 4.</i>—Write with a solution of sub-carbonate of +potass; wet this writing with a solution of sulphate of iron,—it will +take a deep yellow colour. +</p> + + +<p> </p> +<p class="item"> +24. <i>Process 5.</i>—Write with a solution of sulphate of copper,—no +writing will be visible. Wash the paper with a solution of prussiate of +potass,—the writing will then get a reddish brown colour. +</p> + + +<p> </p> +<p class="item"> +25. <i>Process 6.</i>—Write with a solution of super-carbonate of +soda;—moisten the paper with a solution of sulphate of copper, and the +writing will become green. +</p> + + +<p> </p> +<p class="item"> +26. <i>Process 7.</i>—Write with diluted nitrate of silver, and let +the writing dry in the dark—it will be invisible; but expose the paper +to the rays of the sun, and the writing will become black. +</p> + + +<a name="27"> </a> +<p class="item"> +27. <span class="sc">Luminous ink that will shine in the dark.</span>—To half an +ounce of essential oil of cinnamon, in a phial, add half a drachm of +phosphorus. Cork the phial slightly, and set it, or suspend it near a +fire, where the heat may be nearly equal to boiling; continue the heat +four or five hours, shaking the phial frequently, but cautiously lest +any of the oil should escape, or come in contact with atmospheric air, +in which case it would take fire. The cork should be set sufficiently +tight to exclude atmospheric air, but not so as to prevent the escape +of any vapour that might be produced by excess of heat. The phial may +be afterward removed from the fire and suffered to cool. With this +phosphorised oil, any letters may be written on paper, and if carried +into a dark room, will appear very bright, resembling fire. The phial +should be kept corked close, except when used. +</p> + + +<a name="28"> </a> +<p class="item"> +28. <span class="sc">To make a writing appear and disappear at +pleasure.</span>—Dissolve equal parts of sulphate of copper and muriate +of ammonia in water, and write. When you would make the writing appear, +warm the paper gently by the fire; the writing will appear in a yellow +colour; but as soon as you take the paper into the cold air, the +writing will vanish. This may be often repeated. +</p> + + +<a name="29"> </a> +<p class="item"> +29. <span class="sc">To make a writing vanish and another appear in its +place.</span>—Write on paper with a solution of sub-carbonate of +potass,—the writing will be invisible. Mix together equal parts of +solution of sulphate of iron, and infusion of galls; write with this +mixture (which is black) on the same paper. Then add to the black +liquor a little sulphuric acid, sufficient to deprive it of colour. Wet +the paper with this compound; the acid will discharge the colour from +the last writing, while the alkali of the first, will precipitate the +gallate of iron, and the writing will become black. +</p> + + +<a name="30"> </a> +<p class="item"> +30. <span class="sc">To restore old writing that is nearly defaced.</span>—Boil one +ounce of powdered nut-galls, for an hour or more in a pint of white +wine; filter the liquor, and when cold, wet the paper with it, or pass +it on the lines with a camel hair pencil, and the writing will be much +revived. +</p> + + +<a name="31"> </a> +<p class="item"> +31. <span class="sc">To paint a picture that will appear and disappear +occasionally.</span>—To half an ounce of nitric acid, add one drachm of +cobalt, one drachm of muriate of soda, and two ounces of water; set it +in a sand bath or on warm ashes, where it must remain five or six +hours. Then filter the solution, (which is nitro-muriate of cobalt,) +and with it draw the trees, and shrubbery of a designed picture. Then +with a solution of oxide of cobalt in acetic acid, draw some distant +mountains, fences, &c. and with muriate of copper, (the compound +solution described at 28,) draw some flowers, buildings, &c. These will +all be invisible when dry; but warm the paper and the picture will +appear in green, blue and yellow. It will disappear again when the +paper becomes cold. +</p> + +<a name="32"> </a> +<p class="item"> +32. <span class="sc">Landscape painting on walls of rooms.</span>—Dissolve half a +pound of glue in a gallon of water, and with this sizing, mix whatever +colours may be required for the work. Strike a line round the room, +nearly breast high; this is called the horizon line: paint the walls +from the top to within six inches of the horizon line, with sky blue, +(composed of refined whiting and indigo, or slip blue,) and at the same +time, paint the space from the horizon line to the blue, with horizon +red, (whiting, coloured a little with orange lead and yellow ochre,) +and while the two colours are wet, incorporate them partially, with a +brush. Rising clouds may be represented by striking the horizon red +colour upon the blue, before it is dry, with a large brush. Change some +sky blue about two shades with slip blue and paint your design for +rivers, lakes or the ocean. Change some sky blue one shade with forest +green, (slip blue and chrome yellow,) and paint the most distant +mountains and highlands; shade them while wet, with blue, and heighten +them with white, observing always to heighten the side that is towards +the principal light of the room. The upper surface of the ocean must be +painted as high as the horizon line, and the distant highlands must +rise from ten to twenty inches above it.—Paint the highlands, islands, +&c. of the second distance, which should appear from four to six miles +distant, with mountain green, (two parts sky blue with one of forest +green,) heighten them, while wet, with sulphur yellow, (three parts +whiting with one of chrome yellow,) and shade with blue-black, (slip +blue and lamp black equal.) Paint the lands of the first distance, such +as should appear within a mile or two, with forest green; heighten with +chrome yellow and shade with black; occasionally incorporating red +ochre, french green or whiting. The nearest part, or fore ground, +however, should be painted very bold with yellow ochre, stone brown, +(red and yellow ochres and lamp black equal,) and black. Paint the +shores and rocks of the first distance with stone brown; heighten with +horizon red, shade with black. For those of the second distance, each +colour must be mixed with sky blue.—The wood lands, hedges and trees +of the second distance are formed by striking a small flat stiff brush +end-wise, (which operation is called bushing, and is applied to the +heightening and shading all trees and shrubbery of any distance,) with +mountain green, deepened a little with slip blue; with which also the +ground work for trees of the first distance is painted; and with this +colour the water may be shaded a little under the capes and islands, +thus representing the reflection of the land in the water. Trees of the +first distance are heightened with sulphur yellow or french green; and +shaded with blue-black. Every object must be painted larger or smaller, +according to the distance at which it is represented; thus the proper +height of trees in the second distance, is from one to two inches, and +other objects in proportion. Those in the first distance from six to +ten inches generally; but those in the fore ground, which are nearest, +are frequently painted as large as the walls will admit. The colours +also for distant objects, houses, ships, &c., must be varied, being +mixed with more or less sky blue, according to the distance of the +object. By these means the view will apparently recede from the eye, +and will have a very striking effect. +</p> + + +<a name="33"> </a> +<p class="item"> +33. <span class="sc">To paint in figures for carpets or borders.</span>—Take a sheet +of pasteboard or strong paper, and paint thereon with a pencil, any +flower or figure that would be elegant for a border or carpet figure; +then with small gouges and chisels, or a sharp pen knife, cut out the +figure completely, that it be represented by apertures cut through the +paper. Lay this pattern on the ground intended to receive the figure, +whether a floor or painted cloth, and with a stiff smooth brush, paint +with a quick vibrative motion over the whole figure.—Then take up the +paper and you will have an entire figure on the ground. +<i>Note.</i>—If a floor is to be thus painted, in imitation of a +carpet, the pattern must be perfectly square, and the figure so +designed, that when several of them come together, they may completely +match each other; and when different colours are used in the same +figure, they must be kept a little separate from each other, and +wrought with different brushes. +</p> + + +<a name="34"> </a> +<p class="item"> +34. <span class="sc">To paint in imitation of mahogany and maple.</span>—First give +the work one or two coats of straw coloured paint, composed of white +lead and yellow ochre, ground in linseed oil, to which may be added a +little fine litharge, that the paint may the sooner dry; when this is +dry, rub it smooth with sand-paper. Then if mahogany is to be imitated, +stain the work over with boiled linseed oil, coloured a little with +venetian red and burnt terra-de-sienna, equal quantities. This should +be applied with a short stiff brush, and spread very thin that it may +not run, or drip off. Then with terra-de-sienna, ground very thick in +oil, form the dark shades of the graining according to your design, +with a small flat brush. For this purpose a common sash-brush may be +made flat, by having a small piece of wire, or wood, bound on each side +near the handle. Some of the darker shades may be drawn with burnt +umber and black, ground together, which may be applied with a camel +hair pencil. If any part is to be made very light, the staining may be +wiped off carefully with a ball of cotton. Light stripes, or lines may +be produced by drawing a piece of cork or soft wood over the work, thus +taking off or removing the dark colours, that the original ground may +appear.—To imitate maple, the work must be stained with yellow ochre, +and burnt umber, ground together in boiled oil. Instead of burnt umber, +terra-de-sienna (unburnt) is sometimes used, but as different kinds, or +parcels of it, vary in colour, from yellow to brown, it may not be +depended on uniformly. The birds' eyes and curls are formed by removing +the staining from the ground with a piece of stiff leather, the edges +of which are cut in notches so that the several points will touch the +work at the same time. +</p> + + +<a name="35"> </a> +<p class="item"> +35. <span class="sc">The art of painting on glass.</span>—If the common cakes of +water-colours are to be used in this work, they should be mixed with +water in which a little muriate of soda has been dissolved. Other +paints may be ground in shellac varnish; or in linseed oil, but this +will not dry so quick. The most proper colours for this work, on +account of their transparency, are india ink, or lamp black, burnt +umber, burnt terra-de-sienna, lake and gamboge or chrome yellow. These +must be laid on very thin, that they may be the more transparent. Set +up the glass on its edge, against a window, or place a lamp on the +opposite side that the light may shine through, and with a fine hair +pencil, draw the out lines of your design on the glass with black; +afterward shade and paint it with the above mentioned colours, +observing to paint that part of the work first, which in other painting +would be done last. The shading may be performed by laying on two or +more coats of the colour, where you want it darker. If transparency is +not required, a greater variety of colours may be used, and laid on in +full heavy coats. Any writing or lettering in this work, must be +written from right to left, contrary to the usual order. In some +pieces, the body of some of the principal objects, may be left blank, +so that by placing pieces of silk or paper of different colours, on the +opposite side of the glass the picture will also appear in different +colours, and may be changed from one colour to another at pleasure. +</p> + + +<a name="36"> </a> +<p class="item"> +36. <span class="sc">Best method of polishing steel.</span>—For this purpose a wheel +must be provided that is perfectly round, and the rim of it covered +with deer-skin, or buff-leather. The diameter of the wheel, for common +purposes may be about two feet; but for polishing razors, and some +other similar instruments, the wheel should not be more than five or +six inches in diameter, and two inches thick. The steel must first be +ground smooth as possible on a common, or fine grained stone; it may +then be applied to the polishing wheel, which must be turned with such +velocity that the surface, or rim, may move at the rate of from forty +to sixty feet in a second; and the leather must frequently have a +powder applied, called crocus of iron, which is prepared by calcining +sulphate of iron in a crucible till it becomes a fine red oxide +resembling rust. For ordinary work, the leather may be moistened with +olive oil, that it may the better retain the powder; but it will give a +more perfect polish if kept dry. If any perfectly plain surfaces, such +as mirrors are to be polished, they must be applied to the sides of a +wheel, and not to the edge or rim, in the manner of other work. +</p> + + +<a name="37"> </a> +<p class="item"> +37. <span class="sc">To make letters or flowers of blue, on polished +steel.</span>—Hold the steel over a charcoal fire till it becomes +blue;—let it cool. Then with equal parts of rosin and bees wax, melted +together, coloured a little with lamp black, and diluted with spirits +of turpentine, so as to work freely with a camel hair pencil, draw any +letters or figures on the steel, while it is a little warm. When the +steel has become cold, wash it over with muriatic acid, diluted with +two parts water, to one of acid; thus take off the blue colour, and +then wash it with clear water. Afterward the varnish, being warmed a +little, may be readily washed off with spirits of turpentine, and the +letters or flowers will remain blue. <i>Note.</i>—If letters are +formed of polished steel with this varnish, and the body of the metal +be also covered with it, except a small space round the letters, and +then bathed with muriatic acid, the space round the letters, will +become a dull iron colour, while the letters and the body of the steel +will retain their polished surface and brilliancy. +</p> + + +<a name="38"> </a> +<p class="item"> +38. <span class="sc">To preserve the brightness of polished steel.</span>—Grind an +ounce of native plumbago, (such as is used for making lead pencils,) +very fine in a gill of spirits of turpentine; then add an ounce of +clean bees wax; apply a gentle heat, till the wax is melted, and +continue stirring it till it is nearly cold. Brush over the steel with +this composition, and when the spirits have evaporated, rub the work +hard with a piece of glove leather, and wipe off nearly all the wax, +that the metal may retain its brightness. This may be applied to iron +or steel in machinery, or other work, and will be found to answer a +much better purpose than oil, as it is less liable to collect dust from +the atmosphere, and is, in general, much more durable. +</p> + + +<a name="39"> </a> +<p class="item"> +39. <span class="sc">To give steel a temper to cut marble.</span>—No temper can be +given to steel, in which hardness is combined with tenacity, more than +in that given to files, at the file manufactories, which is +accomplished by the following process.—To boiling water, add about +twice as much finely ground muriate of soda, as the water will +dissolve, and as much rye flour as will, with the other, make a thick +paste; lay a coat of this paste over the steel, (which must be ground, +or filed previous to tempering,) and subject it to a full red heat, in +a fire of charcoal, mixed with about a third part of animal coal, (coal +of bones, horns, leather, &c.) and then suddenly plunge it three or +four feet deep, in exceeding cold water. By thus immersing the steel +rather deep in the water there is a double advantage; for the water +which becomes heated, by contact with the steel, will rise and its +place be supplied continually by fresh cold water; and at the same +time, the pressure of the water on the coating of paste, will make it +adhere more closely to the steel while it is cooling. The paste may +then be shelled off, and the steel will be found as bright as before, +or at least, will not have been essentially oxydized by the operation. +</p> + + +<a name="40"> </a> +<p class="item"> +40. <span class="sc">To wash iron or steel with copper.</span>—Dissolve sulphate of +copper in water, in the proportion of one to three; wash the iron or +steel with it, and it will instantly be covered with reduced copper. +This is best performed by applying the solution with a brush, which +must be followed directly with a sponge of clear water. In this manner +any letters or figures may be drawn with a camel-hair pencil, or a pen, +and if it be on polished steel, the letters or flowers will assume the +brilliancy of the steel and appear like highly polished copper. It may +sometimes be requisite to cleanse the metal by washing it with diluted +muriatic acid, that the copper may adhere the more readily. If the +steel thus ornamented, be held over a charcoal fire, the copper figures +become blue first; and when the steel becomes blue, the copper takes a +gold colour; but is restored again to its original colour, by diluted +muriatic acid. +</p> + + +<a name="41"> </a> +<p class="item"> +41. <span class="sc">To give iron the whiteness of silver.</span>—To nitric acid, +diluted with an equal quantity of water, add as much mercury as the +acid will dissolve; then add to the solution, three or four times as +much water, and having given the iron a coat of copper, as directed in +the last experiment, brush it over in the same manner with the diluted +nitrate of mercury; its appearance will be equal, if not superior to +that of real silver. In this manner any common, or rough iron work, may +be apparently silvered at a most insignificant expense. +</p> + + +<a name="42"> </a> +<p class="item"> +42. <span class="sc">To wash iron with tin.</span>—Small pieces of iron may be +tinned, after being filed bright, by washing them with a saturated +solution of muriate of ammonia in water and dipping them, while moist, +in a vessel of melted tin. If the iron is of such form as cannot be +conveniently filed, it may be immersed in nitric acid, diluted with as +much water as acid; when the acid begins to act sensibly on every part, +it may be washed with water, and then with the muriate of ammonia, and +if a little fine rosin be sprinkled on it previous to dipping it in the +tin, it may be an advantage. The iron must remain in the tin till it +becomes nearly as hot as the tin, otherwise it will be coated too +thick. Muriatic acid may sometimes be used, instead of muriate of +ammonia, and if the iron is not filed, it will answer a better purpose. +The inside of cast iron vessels may be tinned as follows: Cleanse the +iron by scouring or rubbing it with a sharp grained stone, keeping the +iron wet with diluted nitric acid. As the most prominent parts of the +iron will be first brightened by the stone, the acid will also commence +its action on the same parts, which will very much facilitate the work, +while the hollows, and deeper parts of the surface, will remain +untouched till the iron is nearly smooth. When this is accomplished, +wash the iron with water, and then with clear muriatic acid; turn the +vessel over to drain off the superfluous acid; then set it upright, and +fill it with melted tin, which must be poured in cautiously, directly +on the bottom of the vessel first, and the stream of tin increased till +the vessel is full; then pour out the tin suddenly, and invert the +vessel till it is cold. Sheets of iron are tinned, in the manufactories +of tin plate, by immersing the sheets, endwise, in a pot of melted tin, +the top of which is covered with about two inches depth of tallow. This +tallow answers a better purpose, after it has become brown by use, than +it does at first. The only preparation of the iron sheets is, to scour +them perfectly clean and bright. +</p> + + +<a name="43"> </a> +<p class="item"> +43. <span class="sc">To give tin the whiteness and brilliancy of silver.</span>—To an +ounce of nitric acid, diluted with an equal quantity of water, add +nearly an ounce of mercury, or as much as the acid will dissolve. When +this is dissolved, add to the solution, gradually, half an ounce of +sulphuric acid; this will precipitate the mercury in the form of a +white powder; when this has subsided, pour off the acid and add clear +water; thus wash the powder from the acid, then pour off the water, and +while the precipitate is moist, (or if it be suffered to dry, it may be +again moistened with water,) rub it over the tin with a piece of glove +leather.—Then wash the tin with water, and when it is dry, rub it +pretty hard with a piece of fine woollen cloth; it will resemble +polished silver. +</p> + + +<a name="44"> </a> +<p class="item"> +44. <span class="sc">To give tin a changeable crystalline appearance.</span>—Cleanse +the tin by washing it with warm soap and water, and rinse it in clear +water. Then heat the tin to the temperature of bare sufferance to the +hand, and pour on it, or apply with a brush or sponge, a mixture of one +ounce of muriatic acid, with one fourth of an ounce of sulphuric acid, +and two ounces of water; then immediately wash the tin in clear water. +Another method is, to apply in the same manner a solution of two ounces +of muriate of soda, in four ounces of water, with one ounce of nitric +acid. In either case, if the crystalline figures are not bold enough, +the operation may be repeated. If a very small figure is required, the +tin may be heated nearly to flowing, and plunged into cold water, +slightly acidulated with nitric and muriatic acids. If a little solder +is drawn over the tin with a hot iron or copper, in such manner as to +form a cross, or circle, and the opposite side of the tin be afterwards +crystallized, it will have a beautiful effect. +</p> + + +<a name="45"> </a> +<p class="item"> +45. <span class="sc">To make a gold coloured varnish for tin.</span>—To half a pint +of alcohol, in a flask, add one ounce of gum-shellac, and half an ounce +of turmeric, both in powder; set the flask in a warm place, frequently +shaking it, for twelve hours or more; then filter or strain off the +liquor, which may be occasionally diluted with new rum.—If a colour is +required resembling dutch gold, a small quantity of dragon's blood may +be added, or substituted in the place of turmeric.—When this varnish +is used, it must be applied to the work freely and flowing, and must +not be brushed or rubbed while it is drying. One or more coats of this +varnish (or laquer as it is sometimes called) may be laid on the work, +as the colour is required to be deeper or lighter. <i>Note.</i>—To +make a rose coloured varnish, proceed as above directed, only +substitute one-fourth of an ounce of the best lake, finely ground, in +the place of turmeric. A transparent blue varnish may also be made by +means of prussian blue; and purple or green, by adding a little blue to +the gold, or rose coloured varnishes. These laquers are frequently +employed for washing silver bronzed ornaments, to give them the +appearance of gold or copper. +</p> + + +<a name="46"> </a> +<p class="item"> +46. <span class="sc">To make shellac varnish for japanning.</span>—To one quart of +the best alcohol, add half a pound of the thinnest and most transparent +gum-shellac; mix and shake these together, and let them stand in a warm +place for two or three days; then strain the varnish through a fine +flannel, and bottle it. Shellac varnish is used for japanning lamps, +tea trays, &c. Any of the colours commonly used for oil painting, may +be ground in this varnish and should be applied to the work with a +smooth brush, and in a warm place; and the work to be japanned, should +be perfectly dry and warm. <i>Note.</i>—Most of the writers on the +subject of japanning, have recommended seed-lac varnish; but it is a +fact, though not so generally known as it ought to be, that shellac and +seed-lac are the same substance; the only difference is, that shellac +is in a more clarified and refined state, than that which is called +seed-lac. +</p> + + +<a name="47"> </a> +<p class="item"> +47. <span class="sc">To make the best copal varnish.</span>—Take one pound of +gum-copal, and melt in a flask over a brisk fire of charcoal; at the +same time in another flask, boil, or heat to the point of boiling, one +pint of linseed oil; as soon as the gum is melted, take it from the +fire, and add the hot oil in small quantities, at the same time +stirring or shaking it till they are thoroughly incorporated. Allow the +mixture to cool below the boiling point of water, and then add nearly a +quart of spirits of turpentine;—cork the flask slightly, and expose it +for a few days to the rays of the sun, which will make it work more +smooth and shining. If a larger quantity is to be made, a copper +boiler, that is small at the top will answer to melt the gum in. For +ordinary or coarse work, a larger proportion of oil and a little rosin +may be added. If oil is used in which red lead and litharge (in the +proportion of half a pound of each to a gallon of oil) have been +previously boiled, the varnish will the sooner dry. +</p> + + +<a name="48"> </a> +<p class="item"> +48. <span class="sc">To make a spirit varnish for pictures and fancy boxes.</span>—To +a pint of alcohol, in a flask, add four ounces of gum-mastic, and one +ounce of gum-sandarac, both in powder; expose the mixture to a gentle +heat, sufficient to produce a slight ebulition for a few minutes, +frequently shaking it, and the gums will be dissolved; strain the +varnish through a fine flannel, bottle and cork it. Some recommend the +addition of venice turpentine, by means of which, a small quantity of +gum-copal, finely powdered, may also be dissolved, but as venice +turpentine contains a portion of spirits of turpentine, it renders the +varnish too penetrating for many purposes; and even the gum-sandarac +may be omitted without any essential disadvantage. This varnish should +be a little warm when used. +</p> + + +<a name="49"> </a> +<p class="item"> +49. <span class="sc">To make elastic varnish for umbrellas, or hat cases.</span>—To a +pint of spirits of turpentine, in a flask, add one ounce of +gum-elastic, cut into very small pieces; put in the cork slightly and +set the flask in a warm place, where the heat may not be equal to that +of boiling water, till the gum-elastic is dissolved, which may be +effected in four or five hours. Then strain the solution through a +strong linen or cotton cloth, and add half a pint of boiled linseed +oil. <i>Note.</i>—A larger proportion of gum-elastic may be dissolved, +and a less quantity of oil added, by which means the varnish will be +more elastic, but will not have so smooth and permanent a gloss. +</p> + + +<a name="50"> </a> +<p class="item"> +50. <span class="sc">To varnish maps and pictures.</span>—Take a piece of linen, or +cotton cambric, rather larger than the map or picture to be varnished, +and draw it straight upon a frame of convenient size, and confine it +at the edges by small tacks or nails. Lay a thin coat of fine rye +flour paste on this, and on the back of the paper that is to be +varnished; lay the paper on the cambric and press them together till +the paper adheres firmly in every part. When this is dry, give the +face of the print two or three coats of a strong solution of +gum-arabic in water, allowing each sufficient time to become perfectly +dry. This sizing must be applied with a large smooth brush, and must +be spread over the work very quickly, and with as little brushing as +possible. Afterwards, give the work one or more coats of the varnish +described at 48. <i>Note.</i>—Very small prints may not require to be +pasted on cambric; and if the paper be very thick, the varnish may be +applied without the previous sizing. Ising-glass, (which may be +readily dissolved in boiling water) is sometimes added to the +gum-arabic, and increases the strength of the sizing, but is somewhat +less transparent than pure gum-arabic. A more simple method of +varnishing prints, is to size them with a solution of loaf sugar, and +finish with a solution of rosin in spirits of turpentine. +</p> + + +<a name="51"> </a> +<p class="item"> +51. <span class="sc">To make brunswick blacking for picture glasses.</span>—Take one +pound of gum-asphaltum and melt it over a slow fire; then take it from +the fire and add spirits of turpentine in small quantities, stirring it +briskly till it is of the consistence of varnish. As there is some +danger of its taking fire when the spirits of turpentine is added, it +may be well to be provided with a piece of wet flannel, to throw over +it if that should happen. When it is nearly cold, strain it through a +flannel, and bottle it for use. This blacking is used for bordering +picture glasses, and is probably the most perfect black in nature. It +is water proof and dries very quick. +</p> + + +<a name="52"> </a> +<p class="item"> +52. <span class="sc">To make a print appear on a gold ground.</span>—Dilute venice +turpentine with spirits of turpentine till it works freely with a +camel-hair pencil; lay a coat of this varnish on any part of a print or +picture, observing to keep the pencil within the lines, that the +varnish may not spread beyond. Then lay a coat of the varnish on the +same part of the back of the paper and lay on a leaf of gold over the +varnished part; press down the gold very gently with cotton, and the +varnish having rendered the paper transparent, the face of the picture +will appear as if those parts were printed in gold. By this varnish +(which is less liable to spread in the paper than oil) pictures may be +so prepared, that the colours of various parts of them, may be varied +and changed at pleasure, by placing pieces of silk or paper of +different colours on the back of them. +</p> + + +<a name="53"> </a> +<p class="item"> +53. <span class="sc">Best method of tracing or copying a picture.</span>—Perhaps the +most simple method of copying the outlines of a picture, is to place +the picture against a window, with the paper over it, on which the copy +is to be drawn; the principal lines of the picture will be seen through +the other paper, and may readily be traced with a lead pencil. But the +usual manner of copying, in landscape painting, and which will answer +for pictures of any size, is to rub over the back of the picture with +plumbago, or red ochre; then lay the picture on the ground that is to +receive the copy, and trace the lines with a smooth pointed steel, or +piece of hard wood. The ground will thus be very accurately and +distinctly marked, by the plumbago or ochre adhering to the ground in +the lines that are traced. When several copies are to be taken from the +same pattern, (which frequently occurs in ornamental painting,) the +outlines of the first copy may be perforated with some pointed +instrument, so that being laid on the other grounds that are to receive +the copies, and brushed over with a little fine dry whiting, or red +ochre, (as the case may require) the whiting or ochre will penetrate +the perforated lines of the pattern, and thus mark the ground on which +it is laid. +</p> + + +<a name="54"> </a> +<p class="item"> +54. <span class="sc">The construction and use of a copying machine.</span>—Take two +strips of wood, which may be about three feet long, one inch wide, and +one-fourth of an inch thick; lay them on a table, parallel to each +other, and eighteen inches apart. Across these, lay three other strips, +which must be eighteen inches long, that each end of each piece may +rest on one of the longer strips. Two of these must lie across the +opposite ends of the longer pieces, and the other across the centre, +thus forming two squares. Drive a pin through the ends of the short +pieces, or confine them by rivets to the others, but not so as to +prevent their playing circularly on the rivets. Then drive a pin or +pivot through the centre of the middle cross-bar into the table, or +board on which the work lies. In one end of one of the long strips +(which may project a little over the cross-bar) fix a lead pencil, with +the point downward, so that it may bear lightly on the board; and under +this pencil, place the paper that is to receive the copy. And in the +opposite end of the other piece, fix a smooth iron point, in a manner +similar to that of the pencil, and under this point place the picture +that is to be copied. Then with the iron point, carefully trace the +lines of the picture, and the pencil in the opposite corner will move +in a transverse direction, and draw the same picture very accurately on +the other paper. If you fix the pencil half way between its former +place and the middle cross-bar, and remove the pivot to a point that is +directly in a line with the pencil and the iron point, it will give a +copy in exact proportion, but only one fourth part as large as the +picture that is copied. Thus the copy may be decreased or increased to +any size, and still retain its regular proportions. In this manner, +painting on wood or canvas may be copied, which could not readily be +done in any other way. +</p> + + +<a name="55"> </a> +<p class="item"> +55. <span class="sc">To produce the exact likeness of any object, instantly on +paper.</span>—This may be readily effected by laying the paper on a +table, and holding a double convex lens (a common sun-glass) over it, +and then placing a mirror over the lens, in an oblique position so as +to face partly downward, and partly towards the object that is to be +represented. The rays of light passing from the object to the mirror, +will be reflected downward through the lens, and produce the likeness +of the object in full colours on the paper. This experiment may be +easily made in the evening, by reflecting the flame of a candle in this +manner, which will appear very brilliant on the paper. But in order to +render the reflection of an object distinctly visible by day light, it +may be requisite to exclude nearly all the light from the paper, except +what falls through the lens. In all cases, the lens must be placed at a +distance above the paper, according to its focus, or the distance at +which it would contract the rays of the sun to the smallest point. A +very convenient camera obscura, for drawing landscapes, or even +portraits may be constructed as follows: Make a box of boards, in the +form of a regular cube, being one foot in length, breadth and height; +bore a hole of one inch diameter, through the centre of the top; and on +this, fix a double convex lens, the focus of which must reach the +bottom of the box. Make an aperture of about six inches in length, and +one in breadth, through one side of the box at the top, by shaving off, +or hollowing the edge in such manner that when you put your face to the +aperture to look into the box, it will exclude all the light except +what falls through the lens. Make a hole through each end of the box, +near the bottom, large enough to put in the hands, with paper and +pencil. On the top of the box, on the right and left sides of the lens, +fix two pieces of boards, which may be about four inches high, eight +inches long, and three inches distant from each other. Between these +boards, fix a piece of looking glass, three inches square, and facing +from you; the lower edge of the glass, being near the lens, on the side +towards you; and the upper edge inclining towards you about thirty +degrees from a perpendicular. Directly over, and nearly four inches +above the lens, place another mirror, the centre of which must face +directly towards the lower edge of the first. Cover the glass-box so as +to exclude all the light from the glasses except what falls on them +horizontally from objects directly in front of you, and place a sheet +of paper on the bottom of the box inside. The rays of light, passing +from objects in front, will be reflected from the first mirror to the +second, and from the second, through the lens to the paper, where you +will have a perfect similitude of the objects in view, in full colours, +and true perspective, and may trace them on the paper, with a pencil or +pen. +</p> + + +<a name="56"> </a> +<p class="item"> +56. <span class="sc">Copper-plate engraving.</span>—For this purpose, provide a plate +of copper, rather larger than the design that is to be engraved, and +may be about one sixteenth of an inch thick; planish by rubbing it, +first, directly length-wise, and afterwards breadth-wise with a piece +of pumice-stone, which may be dipped occasionally in a mixture of one +part nitric acid, with six or seven parts water.—Then wash the copper +with clear water, and rub it with an oil stone that has a plane +surface; and then polish it with a piece of charcoal, that has been +ignited to redness and quenched in cold water. Afterwards burnish the +copper by rubbing it with polished steel. Lay a piece of transparent +paper on the design that is to be engraved, and trace the principal +lines with a lead pencil;—then brush over the copy or tracing with dry +red ochre, and having rubbed the copper plate with a piece of bees-wax, +lay the red side of the tracing on the plate; then with a smooth iron +point, trace the same lines again, that they may thus be transferred to +the plate by means of the red ochre and wax. Take up the paper and +trace the lines on the plate with a needle, thus scoring the lines +slightly on the copper. Then warm the plate and wipe off the wax, or +wash it off with spirits of turpentine, and rub the plate with fine dry +whiting. The next instrument to proceed with is the graver; consisting +of a blade of steel about three inches long, which is fixed in a +convenient handle like an awl. The form of the graver should be +triangular, or between a triangle and lozenge, having two sides plane +and the other round or swelled; and should taper regularly from the +handle to the point, or nearly so, but the point must be ground off +obliquely so that the edge may extend a little farther than the back; +and the edge should rise a little rounding towards the point. It is +very essential that the edge and point of the graver should be kept +very sharp. The manner of holding the graver, is to take the handle +into the hollow of the hand, pressing it with three fingers, on one +side, and the thumb on the other, and extend the fore finger on the +back of the blade towards the point.—The edge of the graver must rest +on the plate, and its motion when cutting must be endwise in all cases; +though there evidently might be a graver constructed, which might, in +some cases, be handled in a manner more similar to that of a pen or +pencil. A graver of a square form may also be requisite, for cutting +large and broad lines occasionally. In proceeding to engrave the plate, +begin with the outlines, observing to press harder or lighter on the +graver, as the lines require to be larger or smaller, and finish each +line with the same motion if possible, without taking the graver off +the plate. Having cut the outlines, proceed to fill up, and shade the +work discretionally, according to the design. It may be requisite, +after part of the work is engraved, to scrape it lightly with the edge +of the graver, to take off any roughness, that may have been formed on +the part engraved. If after finishing the design, any part appears to +have been improperly executed, such parts may be erased by the +burnisher, and may be re-engraved with the requisite amendments. +</p> + + +<a name="57"> </a> +<p class="item"> +57. <span class="sc">Etching on copper plates.</span>—Melt together two ounces of +bees-wax, and one ounce of venice turpentine, and when the wax is +melted and boils, add by small quantities, two ounces of gum-asphaltum, +stirring the mixture briskly at the same time; and when the mixture is +well incorporated, take it from the fire, let it cool a little, and +then pour it into warm water, and by working it with the hands, form it +into balls of about an inch in diameter, and wrap each of them in a +piece of taffety, or thin silk. Then, having prepared and polished a +plate of copper, as directed for copper-plate engraving, warm the plate +sufficiently to melt the balls of wax varnish, and rub one of them over +it, till every part of the polished side is covered with the varnish; +then with a ball of cotton, wrapped or tied up in taffety, beat every +part of the varnished plate gently, while the varnish is yet flowing, +that it may spread the more even and uniformly. Then hold the plate in +a horizontal position, with the varnished side down, and hold the flame +of a wax candle under it, or a small roll of paper that has been dipped +in melted wax, and thus blacken the varnish while the plate is yet warm +enough to keep it in a melted state. When the varnish has become +sufficiently and uniformly black, let the plate cool, and having drawn +the design on transparent paper, rub over the face of it with chalk; +then wipe off most of the chalk with a piece of flannel, lay the +chalked side on the varnish, and trace the lines, somewhat minutely, +with a smooth round pointed needle. Then take up the paper, and proceed +to scoring the lines in the varnish. For this purpose you must be +provided with several needles of different sizes, and fixed in handles, +which may be about four inches long, and nearly half an inch in +diameter, and the needle may project three fourths of an inch from the +handle. Some of these may be ground a little flat on one side, and +others may be round, but taper more abruptly at the point. These +needles may be held, and managed much the same as a pen. Begin scoring +with the out lines, observing to cut completely through the varnish, +but it is not requisite to scratch the copper, except in making very +heavy lines, when it cannot well be avoided. Having finished scoring +the varnish according to the design, fix a border of wax (composed of +two parts bees-wax and one of venice turpentine) round the work, on the +margin of the plate. This border may be about half an inch high, and +must be fixed to the plate while warm. Then pour on as much nitric +acid, diluted with an equal quantity of water, as the plate with the +border will contain. In about fifteen minutes pour off the acid, and +examine whether it has sufficiently corroded any part of the work; if +so, lay a mixture of warm tallow and linseed oil over such parts with a +hair pencil, and again pour on the acid. In half an hour more the acid +may be poured off, and the plate being warmed, the border may be +removed, and the varnish may be wiped off with a piece of linen +cloth;—the plate may then be washed with olive oil, and cleansed as +before with dry fine whiting. <i>Note</i>—Different artists use a +variety of different preparations of varnish for the purpose of +etching. In some old recipes, virgin wax, calcined asphaltum, gum +mastic, amber, colophony, greek pitch, burgundy pitch, black pitch, +resin, shoe makers' wax, &c. &c. are mentioned. But it is believed that +the above described varnish, while it is much more simple, will answer +equally as well for young practitioners; and it is not expected that +any will attempt very nice work, without further information than they +could expect to obtain from the sketches in this little collection. +</p> + + +<a name="58"> </a> +<p class="item"> +58. <span class="sc">Engraving and scraping in mezzotinto.</span>—Having prepared a +plate of copper, proceed to score it so full of lines, cross-lines and +diagonal lines, that when they are filled with ink, the plate may +appear quite black. For this purpose an instrument will be requisite +that is fashioned similar to a chisel, the round or sloping side being +scored or filed near the point, with lines or notches very near to each +other, so as to form a set of sharp uniform teeth at the edge; this +instrument is called a cradle, and should be a little round at the +corners. This cradle must be moved over the plate, in the manner of a +graver, scoring the plate uniformly in various directions. When the +scoring is finished, take a scraper, which may be similar to a knife, +having two edges, and sloping on each side towards the point; with +this, scrape off the roughness of the plate, in such places as is +required to be the lightest in the print; such parts as require to be +shaded partially, may not be scraped so deep, while the points that are +to be the brightest may be burnished quite smooth with the polished end +of a piece of steel, about the size of a large nail, and some of the +heaviest out-lines may be cut with a graver. Thus any portraits or +other figures may be formed on the plate, with due proportion of light +and shade, and will, if properly-managed, give an impression on paper, +equal in elegance to any that might be produced by other means. +</p> + + +<a name="59"> </a> +<p class="item"> +59. <span class="sc">Etching in aqua-tinta.</span>—Polish the plate of copper, the +same as for engraving; moisten the plate with water and sift on finely +powdered rosin and gum-asphaltum, so as to nearly cover the plate; then +warm the plate sufficient to make the powder adhere, but not to melt it +entirely. Transfer the design to the plate, and cover such parts as are +intended to remain white, with a varnish composed of bees wax and +linseed oil, which may be coloured a very little with black, and must +be applied to the work, while warm, with a camel hair pencil. Then fix +a border of wax round the plate, and pour on diluted nitric acid. In +about one minute, pour off the acid, and wash the plate with clear +water, but without effecting the varnish;—dry the plate, and apply the +varnish to such parts of the design as are intended to have but a faint +shade; then apply the acid for a minute or two longer. Thus proceed +biting in, and stopping out alternately, till every part of the design +has acquired its proper shade. But if any part requires a darker shade +than the ground, the powdered rosin may be removed from such parts with +a scraper. When the plate has become sufficiently corroded, the varnish +may be washed off with oil, or spirits of turpentine, and the plate may +be cleansed with whiting. +</p> + + +<a name="60"> </a> +<p class="item"> +60. <span class="sc">Copper-plate printing.</span>—The paper on which impressions +from a copper-plate are to be taken, should be moistened, or wet down +two or three days previous to printing; this is performed by dipping +the sheets in water severally, and then laying them all together under +a heavy weight till they are used. When the paper is ready, the +copper-plate may be warmed over a chafing dish of coals, and the +engraved side completely covered and all the lines filled with common +printing ink, or ink made of Frankfort black, finely ground in old +linseed oil. This may be done by means of a printing ball, or the ink +may be spread on the plate with a smooth stiff brush. The plate may +then be wiped with a piece of linen or cotton cloth, and afterward with +the hand, being passed slowly but hardly over the plate to take off all +the ink except what remains in the lines of the engraving; to +accomplish which more effectually, the hand may be rubbed occasionally +with dry whiting. When the plate is thoroughly cleaned of the redundant +ink, it may be laid on the table of a rolling press, and having a sheet +of the moistened paper laid upon the face of it, and a piece of fine +broad-cloth over the paper, the whole may be passed through the press. +Then on taking up the paper, it will be found to have received a black +impression from the plate, according to the engraving or etching, and +the plate may be again carried to the fire, to be blacked again as +before. This is the usual manner of printing; but when a rolling press +is not at hand, the plate and moistened paper may by other means, be +pressed hard and firmly together, and the paper will have received the +impression equally as fair. Any of the colours, commonly used in oil +painting, being ground very thick in oil may be substituted for ink in +copper-plate printing. The plate, after being used, should be wiped +clean with a piece of flannel, moistened with olive oil. +</p> + + +<a name="61"> </a> +<p class="item"> +61. <span class="sc">Etching letters or flowers on glass.</span>—Select a piece of +glass that is thick and straight, and lay a coat of melted bees-wax on +the fairest side; then with a needle, pen-knife, or any other +convenient pointed instrument, trace any design, or picture, which +being placed under the glass, may be seen through the wax; or form any +letters or figures on the glass, carefully cutting or scoring quite +through the wax, and making the lines large or small as occasion may +require. Then warm a piece of the wax, so as to form it into a roll, +about one fourth of an inch in diameter; lay this roll round the work +upon the glass, and press it down so as to make it adhere to the glass, +thus forming a border. Then take some finely powdered fluate of lime, +and strew it evenly over the glass, on the waxed side, that it may fill +all the lines in the wax; and then gently pour upon it, so as not to +displace the powder, as much sulphuric acid, diluted with thrice its +weight of water, as is sufficient to cover the powdered fluate of lime. +Let every thing remain in this state for three hours; then pour off the +mixture, and clean the glass by washing it with spirits of turpentine. +The figures which were scored in the wax, will be found engraven on the +glass; while the parts which the wax covered, will be uncorroded.—This +glass plate may be charged with ink, (or any thick oil paint) and +impressions may be taken from it on paper, the same as from copper +plates, only caution is requisite, that the glass be not broken by the +pressure. <i>Note.</i>—The fluoric acid, which is partly absorbed by +the water, in the above process, being very corrosive, should not be +suffered to touch the hands, nor any valuable vessel whatever. +</p> + + +<a name="62"> </a> +<p class="item"> +62. <span class="sc">To print figures with a smooth stone.</span>—Take a piece of +marble or slate, and form a smooth plane surface on one side, and on +this, paint any letters or figures with common oil paint of any colour. +When this is dry, wet the stone with water, which will not adhere to +the painted figures, especially if the paints were mixed with old +linseed oil, that will produce a sharp gloss. Then apply a printer's +ink-ball to the plane surface, by which means the dry painted figures +will be covered with the ink, while the bare surface of the stone, +being wet, will not be blackened or affected by it. Press the figured +surface upon some moistened paper, and it will give a fair impression +of the painted figures, on the paper. The block of stone must be then +dipped in the water, and again inked as before, Thus many impressions +may be taken with a tolerable degree of accuracy. +</p> + + +<a name="63"> </a> +<p class="item"> +63. <span class="sc">To cut glass with a piece of iron.</span>—Draw with a pencil on +paper, any pattern to which you would have the glass conform; place the +pattern under the glass, holding both together in the left hand, (for +the glass must not rest on any plane surface;) then take a common spike +or some similar piece of iron,—heat the point of it to redness, and +apply it to the edge of the glass; draw the iron slowly forward, and +the edge of the glass will immediately crack; continue moving the iron +slowly over the glass, tracing the pattern, and the chink in the glass +will follow at the distance of about half an inch, in every direction +according to the motion of the iron. It may sometimes be found +requisite, however, especially in forming corners, to apply a wet +finger to the opposite side of the glass. Tumblers and other glasses +may be cut or divided very fancifully by similar means. The iron must +be reheated as often as the crevice in the glass ceases to follow. +</p> + + +<a name="64"> </a> +<p class="item"> +64. <span class="sc">Best cement for joining glass.</span>—If the glass is not likely +to be exposed to moisture, the pieces may be joined by a solution of +equal parts of gum-arabic and loaf sugar in water; or if these are not +at hand, the white of an egg may answer nearly as well. But a strong +water proof cement that is equally transparent, may be made by +digesting finely powdered gum-copal, in thrice its weight of sulphuric +ether till it is dissolved. This solution may be applied to the edges +of the broken glass, with a camel hair pencil, and the pieces must be +put together immediately and pressed close till they adhere. +</p> + + +<a name="65"> </a> +<p class="item"> +65. <span class="sc">Best cement for joining china or crockery.</span>—Heat a piece +of chalk to a full red heat in a fire; and while this is heating, take +the white of an egg, and mix and beat together with it, one fourth of +its weight of pondered or scraped cheese, (such as is most void of +cream, or oily matter is preferable) or the curd that is formed by +adding vinegar to skimmed milk;—take the chalk from the fire, and +before it is cold, reduce it to powder, and add as much of it to the +mixture as will form a thick paste, and beat them anew all together, +and use the composition immediately. When this is dry, it will resist, +in a great measure, either heat or moisture. A semi-transparent cement, +suitable for china ware, may be made by gently boiling the flour of +rice with water. +</p> + + +<a name="66"> </a> +<p class="item"> +66. <span class="sc">To make a strong water proof glue.</span>—Dissolve common glue +in water in the usual way, and dip into it some clean paper, sufficient +to take up an ounce or more of the glue. When the paper is nearly dry, +roll it up, or cut it into strips and put them into a wide mouthed +phial or flask, with about four ounces of alcohol; suspend this over a +fire so as to boil it gently for an hour, having the cork set in +slightly to prevent its taking fire, but not so as to prevent the +vapour entirely. Then take out the paper (the only use of which is to +give the glue more surface for the action of the alcohol) and add one +ounce of gum-shellac in powder; continue the heat, often shaking the +mixture till the shellac is dissolved. Then evaporate it to the proper +consistence for use. <i>Note.</i>—Many experiments have been made, in +order to discover some aqueous size, that when dry, would resist +moisture: and some have recommended skimmed milk, and others vinegar as +a menstruum for the glue. But it does not appear from trial, that +either of these are but very little better for this purpose than water; +nor is it probable that any similar composition of size will resist +moisture much better than common glue, especially if it be mixed with +sulphate of lime, or some similar substance by way of support. +</p> + + +<a name="67"> </a> +<p class="item"> +67. <span class="sc">The art of moulding figures in relief.</span>—Mix together and +temper with a solution of gum-arabic in water, one part of clean, +sifted wood-ashes, and two parts of fine sulphate of lime. Knead this +composition on a board, till it has the consistence of putty. Press a +ball of this putty on any medal, coin or carved work in relief, (which +must be previously oiled) and let it dry; then take off the mould thus +formed, and oil the part that has received the impression of the +figure, with olive oil;—make a small orifice through the mould, from +the centre, or deepest part of the impression; also, pare off the +border of the mould, to within half an inch of the impressed figure. +Then lay a small piece of the putty on the board and press the mould +down hard upon it, that it may not only fill the mould, but that the +redundant part may be pressed out beyond the border of the mould: raise +the mould a little and blow through the orifice, to detach the new +moulded figure from the mould. Thus any number of figures may be +readily produced, suitable for ornamenting chimney pieces, or +mouldings, and which will be very hard when dry, and may be painted +with any coloured oil paints, which will also preserve them from +moisture. +</p> + + +<a name="68"> </a> +<p class="item"> +68. <span class="sc">To cast images in plaster.</span>—For this purpose a model of +the figure that is to be cast, must be provided, and suspended by a rod +or staff, one inch in diameter, and fixed in the top of the head. This +model may be made of wood, chalk, or any other substance that is +smooth, and sufficiently cohesive to support itself. This being +prepared, mix fine sulphate of lime with water, to the consistence of +soft putty, and having brushed some olive oil over the model, cover it +completely with the plaster, which must be applied, and spread over it +with the hands, to the depth of two inches or more. When the plaster is +nearly dry, divide it into several parts with a thin blade, so as to +take it off from the model without breaking any part. When the several +parts of the mould are dry, oil them inside and put them together as +before, and bind them with pieces of tape or twine; set the mould +upright, and fill it with a fresh mixture of sulphate of lime and +water, of as much consistence as may be poured in through the aperture +at the head. This plaster should be poured into the mould as quick as +possible after being mixed; otherwise it would become too stiff, and be +spoiled. The plaster in the mould will soon cohere, so that the mould +may be taken off, and the figures may be set up to dry; and the mould +being oiled and put together again, is ready for another cast. +</p> + + +<a name="69"> </a> +<p class="item"> +69. <span class="sc">To produce embossed letters, or figures on marble.</span>—Take +some of the coloured varnish described at 37, and with a hair pencil, +draw the letters, &c. on the marble, (which should be previously well +polished,) and also cover with the varnish, every part of the face of +the marble that is to remain plain. Lay the marble in a horizontal +position and make a border of oil putty round it, and pour on muriatic +acid to the depth of half an inch on the marble. When ebulition +ceases, the acid may be drained off, and the work examined; and if the +letters are not sufficiently prominent, a fresh quantity of the acid +may be added. When the work has been thus corroded to the depth +required, the varnish may be washed off with spirits of turpentine. The +acid that has been thus employed need not be lost, for a muriate of +lime being thus formed, may be crystallized by a slight evaporation, +and preserved for other purposes; or by the addition of a small +quantity of sulphuric acid a sulphate of lime is precipitated, and the +muriatic may be poured off and be used again for the same or a similar +purpose. +</p> + + +<a name="70"> </a> +<p class="item"> +70. <span class="sc">To soften stone.</span>—Marble or granite may be deprived in +some measure, of the property of cohesion by being heated red hot and +then quenched in oil. In this case, the carbonic acid which constitutes +the cohesive property of the stone, is expelled by the heat; and the +vacuum thus produced in its pores, are in some measure, filled by the +oil by the pressure of the atmosphere; by which means the stone +acquires a texture quite different from what it had previously. This +however, is not often applied to any valuable purpose. +</p> + + +<a name="71"> </a> +<p class="item"> +71. <span class="sc">To change wood apparently, to stone.</span>—Provide a block, or +plank of soft wood, of the dimensions required, and give it two or +three coats of linseed oil, allowing each to dry. Then having prepared +some pieces of marble or granite as directed in the last experiment, +pulverize them to a gross powder; brush over the wood with a heavy coat +of copal varnish (see 47) mixed with an equal quantity of venice +turpentine; let this rest about an hour, and then strew the stone +powder over every part of it, so as to cover the surface completely. If +marble is to be imitated, the powder of different colours, especially +the white and blue, may be prepared separately, and may be strewed on +the work in such shades as will appear the most natural. Granite may +also be crossed or striped occasionally with streaks of a coarser +grain, which will give it a very deceptive effect. When the varnish is +thus covered with stone, a heavy roller, or round log of wood, having a +blanket folded and wrapped round it, should be rolled over the work, +that the larger grains, (which of course will be the most exposed,) may +the more firmly adhere. In this manner, a very perfect imitation of +stone may be given, and the wood thus prepared will be exceedingly +durable, and will answer for many purposes, as well as real stone. +</p> + + +<a name="72"> </a> +<p class="item"> +72. <span class="sc">To render wood, cloth or paper fire-proof.</span>—Dissolve one +ounce of alum, half an ounce of sub-borate of soda and half an ounce of +cherry tree gum, in half a pint of vinegar. Dip any cloth or pieces of +paper, or wood, in this mixture and let them dry;—they cannot +afterwards be ignited so as to blaze, but may be considered safe with +regard to their taking fire by accident. <i>Note.</i>—Though this +composition is a very powerful preventive against fire, it is too +complex for common use, and has too much colour for white cloths or +papers; but a solution of one ounce of sub-borate of soda in a pint of +water is very transparent and harmless, and will answer in most cases +nearly as well. +</p> + + +<a name="73"> </a> +<p class="item"> +73. <span class="sc">To produce fire readily.</span>—<i>Process 1.</i> Mix together +gently but intimately, two or three grains of chlorate of potass, and +an equal quantity of loaf sugar, both previously reduced to fine +powder:—dip the end of a strip of glass, or a straw in sulphuric acid, +and with it gently touch the powder,—it will instantly burst into +flame. +</p> + + +<p> </p> +<p class="item"> +74. <i>Process 2.</i>—Upon one drachm of spirits of turpentine, in a +glass, pour an equal quantity of a mixture of three parts of nitric, +with one of sulphuric acid. Instantaneous inflammation, accompanied by +the production of a large quantity of black smoke, will be the result. +</p> + + +<p> </p> +<p class="item"> +75. <span class="sc">Process 3.</span>—Take a piece of phosphorus of the size of a +pin's head, and wrap it in a piece of dry brown paper: rub the paper +with a piece of wood, or any hard body, and it will instantly inflame. +<i>Note.</i>—In handling phosphorus, it is proper to have a piece of +paper or cloth intervene between the stick of phosphorus and the +fingers; and the phosphorus should be kept under water except when +wanted for use. +</p> + + +<a name="76"> </a> +<p class="item"> +76. <span class="sc">To make super-combustible matches.</span>—Prepare any number of +small strips or splinters of pine or other light wood, which may be +about two inches in length and one twelfth of an inch in diameter; dip +one end of each in melted sulphur to the depth of one fourth of an +inch. When they are cold, scrape off most of the sulphur, and dip the +ends of them slightly in a paste made of ten parts of chlorate of +potass, five parts of loaf sugar and one part of red lead, mixed and +ground together in alcohol. Afterwards they may be readily ignited or +kindled at any time by application of the smallest quantity of +sulphuric acid. For this purpose, the ends of them may be dipped or +rather barely touched to the acid in a phial, or, which is a better +way, a strip of glass, or even wood may be dipped in the acid and +applied to the match. +</p> + + +<a name="77"> </a> +<p class="item"> +77. <span class="sc">To make gun powder.</span>—Pulverize separately, five drachms of +nitrate of potass, one of sulphur, and one of newly burnt charcoal. Mix +them together with a little water, so as to make the compound into a +dough; form this dough into rolls of the size of a small wire, which +may be done by rolling small quantities between two boards. Lay a few +of these rolls together, and cut them into very small grains, and place +them on a sheet of paper, in a warm place, to dry. The dough may be +prevented sticking to the board while rolling it, by rubbing on the +board, a little of the dry compound powder. When the grains are +thoroughly dry, they are ready for use or experiment. On the same +principle, gun powder is manufactured on the large scale, but then the +several parts of the operation, are performed by machinery, otherwise +it would be a very expensive commodity. +</p> + + +<a name="78"> </a> +<p class="item"> +78. <span class="sc">To make the common fulminating powders.</span>—Grind and mix +intimately, three parts of nitrate of potass, with two of sub-carbonate +of potass, and one of sulphur. If half a drachm of this compound be +placed on a shovel, and held over a gentle fire, it will soon explode +with a loud report. It is not, however, attended with any danger. If +two grains of chlorate of potass in powder and one of sulphur be mixed +together, and wrapped in a piece of strong paper, and the paper be then +struck with a hammer, it will also explode with detonation. This +experiment may require some caution. <i>Note.</i>—The percussion +powder, such as is used for priming the patent percussion rifles, is +composed of chlorate of potass, and flour of sulphur, with a trifling +proportion of charcoal and loaf sugar, being made into a paste or dough +with alcohol,—then grained and dried. +</p> + + +<a name="79"> </a> +<p class="item"> +79. <span class="sc">To make the mercurial fulminating powder.</span>—Dissolve half +an ounce of mercury in three ounces of nitric acid, assisting the +solution by a gentle heat. When the solution is cold, pour it upon an +equal quantity of strong alcohol previously introduced into a flask, +and apply a moderate heat till effervescence is excited. (Do not forget +that the mercurial solution must be poured upon the alcohol, and not +the alcohol upon the solution.) A white fume will soon begin to +undulate on the surface of the liquor, and flow through the neck of the +flask, and a white powder will be gradually precipitated. As soon as +any precipitate ceases to fall, quickly pour the contents of the flask +on a filter; wash the powder with pure water, and cautiously dry it by +a heat not exceeding that of boiling water. The immediate washing the +powder is material, because it is liable to the re-action of the nitric +acid; and while any of that acid adheres to it, it is very subject to +be decomposed by the action of light. This powder, if very pure and +nicely made, explodes by percussion, or a moderate degree of heat. +<i>Experiment.</i>—Place one-fourth of a grain of this powder, between +the ends of two slips of paste-board, and paste, or bind them firmly +together;—hold the ends of the slips over the flame of a candle, and +as soon as it becomes warm, it will explode with a loud report. This +composition is less dangerous than the fulminating compounds of gold or +silver, as it never explodes spontaneously; but yet it cannot be +handled with too much caution. <i>Note.</i>—The silver powder, or +fulminating silver, with which torpedoes and waterloo crackers are +charged, is prepared in a similar manner; pure silver being dissolved +instead of mercury, but it is too dangerous to be trifled with. +</p> + + +<a name="80"> </a> +<p class="item"> +80. <span class="sc">To kindle a fire under water.</span>—Put into a deep wine-glass, +that is small at the bottom, three or four bits of phosphorus, about +the size of flax seeds, and two or three times the quantity of chlorate +of potass, in grains or crystals, and fill the glass nearly full of +water. Then place the end of a tobacco-pipe stem directly on, or over +the chlorate and phosphorus, and pour nearly a tea-spoon full of +sulphuric acid into the bowl of the pipe, that it may fall directly on +the phosphorus; a violent action will ensue, and the phosphorus will +burn vividly, with a very curious light under the water. +</p> + + +<a name="81"> </a> +<p class="item"> +81. <span class="sc">To light a candle by application of ice.</span>—Attach to the +wick of a candle, a small piece, or globule of potassium (the metallic +base of potass) of the size of a small shot. Apply an icicle or point +of ice to the metal, and it will instantly inflame. <i>Note.</i>—This +curious substance, which has the peculiar property of being ignited by +coming in contact with ice or water, has been lately discovered by Sir +Humphrey Davy. It is produced by making pure potass a part of the +circuit of a powerful Voltaic battery. It cannot be preserved but by +being kept immersed in naptha, a kind of oil of which oxygen is not a +constituent. +</p> + + +<a name="82"> </a> +<p class="item"> +82. <span class="sc">To form letters or flowers of real flame.</span>—Provide a tin +chest of about eighteen inches in length, equal in height and one inch +in breadth. Chalk any design, of letters or flowers on the face of this +chest, and pierce each line with rows of small holes, which should be +about half an inch distant from each other.—Make an aperture at the +top, through which pour about a pint of a mixture of rum and spirits of +turpentine. Place two or three lamps under the bottom of the chest +(which must be raised a little from the floor for that purpose) to warm +the spirits, but not so as to cause them to boil. Stop the aperture at +the top and after eight or ten minutes (which time should be allowed +for the vapour to expel the atmospheric air, which otherwise would +cause an explosion) apply the flame of a lamp to the pierced lines;—in +an instant, all the lines will be covered with flame, which will +continue till the spirits are exhausted. +</p> + + +<a name="83"> </a> +<p class="item"> +83. <span class="sc">To produce flame of various colours.</span>—This may be effected +by mixing certain substances with burning alcohol, or by applying them +with the point of a pen-knife, to the wick of a burning lamp or candle. +Thus a beautiful rose or carmine coloured flame may be produced by +muriate of strontia: this is prepared by dissolving carbonate of +strontia in muriatic acid, and evaporating it to dryness. The +preparation for an orange colour, is muriate of lime; (a solution of +marble in muriatic acid, evaporated to crystallization) which should be +exposed to a moderate heat till it is deprived of its water of +crystallization and falls to powder. A fine green tinge is produced by +acetate of copper, or boracic acid; which last is procured by adding +sulphuric acid to a solution of borate of soda (in hot water) till it +has a sensibly acid taste; as it cools, the boracic acid is deposited +in crystals on the sides of the vessel. Camphor gives to flame a blue +colour; and nitrate of strontia (prepared the same as the muriate) a +purple. A brilliant yellow may also be produced by muriate of soda. Any +of these preparations being reduced to powder, may be ignited with +three or four times their weight of alcohol, which should be previously +warmed; and if the vessel that contains it be kept heated also, the +combustion will be the more brilliant. +</p> + + +<a name="84"> </a> +<p class="item"> +84. <span class="sc">To make sky-rockets and fire wheels.</span>—Grind and mix +together, (dry) one pound of gun powder, two ounces of sulphur, two +ounces of nitrate of potass, and four ounces of newly burnt charcoal. +Then make several strong paper cases or cartridges, by wrapping some +strong paper (being moistened with paste,) fifteen or twenty times +round a mould made of wood, which may be one inch in diameter, and ten +inches in length. One end of this mould must be made smaller, being +only one fourth of an inch in diameter for the space of an inch of its +length. The paper must be drawn up close round this neck, and strongly +bound with twine, being thus brought to a shape similar to the neck of +a phial. This neck is called the choke of the cartridge. Take the paper +from the mould, and proceed in the same manner with another. When a +sufficient number of cartridges are thus made and dry, place one of +them in a socket which it will fill up closely, and then fill the +cartridge with the above described compound powder, which must be +thrown into the cartridge in small quantities, and each several +quantity must be rammed or beat down very hard, with a suitable sized +rammer and mallet. In filling the cartridge, small quantities of any of +the flame-colouring preparations, described in the preceding article, +may be added occasionally. When the cartridge is nearly full, some +small balls of cotton, dipped in spirits of turpentine, may be added, +to produce the appearance called stars.—These also, may have some +muriate of strontia, or boracic acid strewed on them. Then place a +circular piece of thick paste board on the materials in the cartridge, +having a small hole through it, communicating with the powder below; +lay upon this, half an ounce of fine gun powder, and fold the paper +down upon it from all sides, cementing the folds firmly with glue, thus +giving the end of the cartridge a conical form. Then bore a hole about +two thirds of the length of the cartridge from the choke with a gimblet +or bit. Fill this hole (which must be as large as the choke, but +tapering towards the other end) with fine gun powder, to the choke, and +fill the choke with the compound, the outside of which may be moistened +a little, the better to keep it in its place. Finish the others in the +same manner, and keep them in a warm dry place till used. They are then +to be lashed firmly to the end of a light pine rod, with the choke +towards the opposite end. The length of the rod, should be about nine +times that of the cartridge. The rocket then being elevated by the rod, +and being ignited at the choke, the compound inside burning intensely, +acts upon the air, and causes it to ascend. The cartridges for fire +wheels, are prepared in the same manner, but are generally smaller; and +instead of being lashed to a rod, they are lashed to the arms of a +wheel, in such manner, that a violent rotary motion is produced by +their combustion. +</p> + + +<a name="85"> </a> +<p class="item"> +85. <span class="sc">To produce detonating balloons.</span>—Moisten and compress a +bladder till no air remains in it, and tie the neck of it upon a +perforated cork; set the cork in a flask containing the materials for +producing hydrogen gas (see 9.) Thus convey into the bladder a quantity +of the gas, and then remove the cork to another flask, containing two +or three ounces of black oxide of manganese, moistened with sulphuric +acid, sufficient to form with it a soft paste; apply the heat of a +lamp, and oxygen gas will be evolved, and will also rise through the +neck of the flask; in this manner, convey into the bladder, nearly half +as much oxygen gas, as it previously contained of hydrogen. Then tie +the stem of a tobacco-pipe in the neck of the bladder, and dip the bowl +of the pipe in a solution of soap in water, (soap-suds) and compress +the bladder a little, so as to swell a bubble from the bowl of the +pipe;—shake off the bubble, which being lighter than atmospheric air +will naturally rise, or float horizontally in the air. If the flame of +a candle be brought in contact with one of these balloons, or floating +bubbles, it will explode with a violent detonation, resembling the +report of a pistol. If this compound gas be forced into the water, so +as to form several bubbles on the surface, and flame be then applied to +them, a volley of explosions will be the result. Caution is requisite +in these experiments, that the fire be not communicated to the bladder, +as such an explosion might not be safe. +</p> + + +<a name="86"> </a> +<p class="item"> +86. <span class="sc">To prepare a phial that will give light in the dark.</span>—Fill +a small phial about one third full of olive oil; add to this a piece of +phosphorus equal to one tenth of the weight of the oil. Cork the phial +and wrap it in paper to exclude the light, and set it, or suspend it in +a warm place, but where the heat may not be equal to that of boiling +water, till the phosphorus appears to be dissolved. This phial may be +carried in the pocket, and whenever the cork is started in the night, +the phial will evolve light enough to show the hour on a watch. +</p> + + +<a name="87"> </a> +<p class="item"> +87. <span class="sc">To make a person's face appear luminous in the +dark.</span>—Prepare some phosphorized oil, (as directed 27,) and rub it +over the face. This oil, though it appears luminous in the dark has not +power to burn any thing, so that it may be rubbed on the face or hands +without danger; and the appearance thereby produced, is most hideously +frightful. All the parts of the face that have been rubbed, appear to +be covered with a luminous bluish flame, and the mouth and eyes appear +as black spots.—The luminous appearance may also be repeatedly +heightened, by the friction of a handkerchief, being rubbed over the +luminous part. +</p> + + +<a name="88"> </a> +<p class="item"> +88. <span class="sc">To freeze water in warm weather.</span>—Draw a thread through a +small glass tube; close one end and then fill the tube with water. Mix +together equal parts of nitrate of ammonia and water, and immerse the +tube in this mixture. The water in the tube will be frozen immediately, +and may be drawn out by the thread. The same effect may be produced by +a mixture of one part muriate of ammonia, one part nitrate of potass, +and three parts of water. For these experiments, the above mentioned +salts should be fresh, dry and finely pulverized previous to mixing; +the mixture should be made in a tin vessel that is coated inside with +bees-wax, and has a flannel wrapper round the outside, and the tube +should be immersed quickly, as soon as the ingredients are mixed. To +produce a greater, or intense degree of cold, a small vessel of water +is first set in one of those freezing mixtures till it becomes very +cold, and then the due proportion of the salts are added to that, and +the tube, &c. immersed in it. The water in the tube may also be frozen, +by continually bathing the outside of it with sulphuric ether: the +evaporation of the ether, carries off the caloric of fluidity, and the +water congeals. +</p> + + +<a name="89"> </a> +<p class="item"> +89. <span class="sc">To change the colours of animals.</span>—Any black, or dark +coloured spots on some animals, especially horses, may be effectually +changed to white, by means of any substance that will chafe or blister +the skin; thus a white spot of any shape may be produced on a black +horse, by shaving off the hair from the part that is to be thus marked, +and applying a plaster of spanish flies, or of quick lime moistened +with vinegar; this plaster must be cut to the size and form required +for the mark, and must be kept bound on, till the skin is blistered, or +nearly so. The next coat of hair will infallibly be white. White spots +can be changed to black or brown, only by means of oils or grease. +Bacon fat has been recommended for this purpose, but if the oil or fat +of a bear can be procured, it will prove more efficacious, as this fat +is well known to have a remarkable tendency to darken the colour of +animals and even complexions. But either of these, and in fact, many +other kinds, will answer this purpose if properly applied, and +frequently repeated. +</p> + + +<a name="90"> </a> +<p class="item"> +90. <span class="sc">To give leather a beautiful metallic lustre.</span>—Levigate one +ounce of soft lead-coloured plumbago, and an equal quantity (in bulk) +of lamp-black, in a gill of alcohol; then add half an ounce of loaf +sugar, moistened with water and grind all together. The leather must +first be brushed over smoothly with this composition, and when dry, it +must be brushed hard and quickly with a dry smooth brush; or may be +rubbed with a piece of woollen cloth. This blacking will be found +useful for some ornamental purposes, but may be rather too brilliant +for boots and shoes. This composition, however, may be mixed +occasionally with other kinds of blacking, and will tend to increase +their brightness. +</p> + + +<a name="91"> </a> +<p class="item"> +91. <span class="sc">An easy method of extracting the essence of roses.</span>—Take +the leaves of roses, and pound or bruise them: then stratify them with +an equal weight of muriate of soda, in a glazed earthern vessel:—when +thus filled to the top, cover it well, and set it in the cellar, and +let it remain at rest a month or more. Afterwards, strain off the +essence therefrom, through a strong cloth by pressure. The essence thus +procured, is quite equal if not superior for culinary purposes, to that +which is procured by distillation. +</p> + + +<a name="92"> </a> +<p class="item"> +92. <span class="sc">To prepare various kinds of essences.</span>—The manner of +extracting the essential oils, being attended with considerable expense +of preparations, of stills, &c. a particular description of the +process, would not, it is presumed, be sufficiently interesting to +warrant its insertion. But the manner of reducing the oils to the state +in which they are more generally sold, and is distinguished by the term +"essences" is as follows. To half a pint of alcohol, add one ounce of +any of the essential oils, (lemon, cinnamon, foxberry, peppermint, &c.) +and shake them together; set the mixture in a warm place for a few +minutes, and if then any opaque or milky appearance remains, a little +more alcohol must be added. When this has become clear, it may be +diluted occasionally with new rum. The essences of foxberry and +cinnamon are coloured with a few drops of tincture of red saunders; and +the essence of lemon, with tincture of turmeric. +</p> + + +<a name="93"> </a> +<p class="item"> +93. <span class="sc">To prepare soda water.</span>—Only two articles are requisite +for this preparation; one of which is super-carbonate of soda, or of +potass (sal eratus,) and the other is citric or tartaric acid. The +super-carbonates are formed by passing a stream of carbonic acid gas +(which is produced by adding muriatic acid to pulverized marble) +through a solution of soda or potass in water;—then evaporating till +it crystallizes. Citric acid is prepared from the juice of lemons; and +tartaric acid (which is more generally employed) is procured from +super-tartrate of potass. But these being common articles of commerce, +a more minute description of the process of preparing them, may not, in +this place, be expedient. The compound called soda powders, consists of +about ten grains of either of the super-carbonates, with an equal +quantity of either of the acids, in each paper; this compound being +dissolved in a glass of water, produces violent effervescence, and if +drank off at the time, gives the water a smart and agreeable acid +taste. The salt and acid, if mixed in powder, must be kept perfectly +dry; otherwise, they would act on each other, and soon be spoiled. On +this account, they are frequently prepared in separate papers, and sold +by sets. Soda water is similarly prepared on the larger scale; the +salts and acid being put into a cask of water, which is so confined, +that the carbonic acid can have no other vent than by forcing out the +water through a pipe fixed for the purpose with a tube, &c. +</p> + + +<a name="94"> </a> +<p class="item"> +94. <span class="sc">To produce metallic trees.</span> <i>Process 1.</i>—Mix one part +of a saturated solution of nitrate of silver, with twenty parts of pure +water, and pour the mixture upon two parts of mercury in a phial. After +some time (the mercury being left standing quietly,) the branches and +the figure of a tree, formed of brilliant silver, will appear to grow +from the mercury in a very beautiful manner. The silver in solution +being thus robbed of its oxygen by the metallic mercury, and +consequently precipitated. +</p> + +<p> </p> +<p class="item"> +95. <i>Process 2.</i>—Dissolve two drachms of acetate of lead, in six +ounces of water; filter the solution, and pour it into a clean wide +phial. Then suspend a granule of zinc, by a thread or wire fastened to +the cork of the phial, in the middle of the solution, and place the +phial where it will not be disturbed. After a few hours the lead, being +de-oxydized by the zinc, will be precipitated on the zinc, in the shape +of leaves, which will have a very brilliant appearance. +</p> + + +<a name="96"> </a> +<p class="item"> +96. <span class="sc">To tin copper by boiling.</span>—Boil half a pound of granulated +tin, and six ounces of super tartrate of potass in three pints of +water; when they have boiled half an hour, put in any piece of copper +ware, and continue the boiling fifteen minutes longer. The copper may +then be taken out, and will have been handsomely coated with tin. +</p> + + +<a name="97"> </a> +<p class="item"> +97. <span class="sc">A metal that will melt in hot water.</span>—Melt together eight +parts of bismuth, five of lead and three of tin. This alloy, though +hard and brilliant, when cold, is so easily fusible that it may be +melted on a paper, being held over the flame of a candle. Tea spoons +may be made of this compound metal, which may be melted by putting them +in a cup of hot tea. +</p> + + +<a name="98"> </a> +<p class="item"> +98. <span class="sc">Illustration of calico printing.</span>—It frequently occurs, +that substances of different colours, or even without colour, by coming +in contact, produce colours very different from that of either of the +ingredients when separate; thus, if a sheet of paper be striped in one +direction with a hair pencil dipped in a solution of sub-carbonate of +potass; and then crossed with a solution of sulphuric acid, diluted +with five times as much water, it will be colourless; but dip it in a +mixture of a weak solution of sulphate of iron, and infusion of nut +galls, and it will instantly become a beautiful plaid; the ground being +purple, striped one way with black and crossed with white. If a similar +paper be striped with sub-carbonate of potass, and crossed with +infusion of galls, and afterward dipped in a solution of sulphate of +iron, it will become purple, yellow, black and white. Dip a piece of +white calico in a cold solution of sulphate of iron and let it dry. +Then imprint any figures upon it with a strong solution of colourless +citric acid, and let this dry also. If the piece be then well washed in +warm water, and afterwards boiled in a decoction of log-wood, the +ground will be dyed either a slate or a black colour, according to the +strength of the metallic solution, while the printed figures will +remain beautifully white. Stain some parts of a sheet of paper a purple +brown, with a mixture of infusion of galls and sulphate of iron; stain +other parts green with a mixture of tinctures of turmeric and litmus; +stain other parts purple with juice of red cabbage; other parts red +with tincture of litmus and muriatic acid; other parts yellow with +tincture of turmeric; wash the remainder of the sheet with a solution +of sulphate of iron, which will remain white. Then print, or draw with +a camel-hair pencil, any figure or figures on every part of the paper, +with a solution of sub-carbonate of potass. On the purple brown, the +figure will be black; on the green it will be purple; on the purple it +will be green; on the red it will be blue; on the yellow, red; and on +the white, it will take a yellow colour. Thus the figure will appear in +colors different from the ground in every part. Immerse a piece of +white cotton in a solution of sulphate of iron—it will remain white; +dip another piece in tincture of turmeric, it will take a yellow; wet +another piece with juice of red cabbage, containing also, a few drops +of muriatic acid,—it will be red; dye another piece green, by +immersing it in a mixture of tincture of turmeric and litmus; and +another, purple by a mixture of infusion of galls and sulphate of iron. +Let them dry; then immerse them all together in a solution of +sub-carbonate of potass. The white will be changed to a yellow; the +yellow to a red; the red to green; the green to purple; and the purple +to black; and it is not improbable that some black might be materially +changed or bleached by the same simple solution. +</p> + + +<a name="99"> </a> +<p class="item"> +99. <span class="sc">To prepare an imitation of gold bronze.</span>—Melt two ounces +of tin, and mix with it one ounce of mercury; when this is cold +pulverize it and add one ounce of muriate of ammonia, and one ounce of +sulphur, and grind them all together. Put the compound in a flask and +heat it in a clear fire (carefully avoiding the fumes) till the mercury +sublimes, and rises in vapour. When the vapour ceases to rise, take the +glass from the fire. A flaky gold colored powder will remain in the +flask, which may be applied to ornamental work in the manner of gold +bronze, of which it is a tolerable imitation. +</p> + + +<a name="100"> </a> +<p class="item"> +100. <span class="sc">To procure the exhilarating gas.</span>—Put a quantity of +nitrate of ammonia into a flask, and apply the heat of a lamp, which +must be gentle, and well regulated. The salt will in a short time +liquify, and must then be kept quietly simmering, avoiding violent +ebullition. The gas will be evolved, and rise through the neck of the +flask, and may be collected in a bladder containing a small quantity of +water, and should be allowed to stand a few hours, and shifted into +another bladder, or silk varnished bag before it is used. Though this +gas is not fitted to support life, yet it may be respired for a short +time, and the effects produced by it upon the animal frame, are its +most extraordinary properties. The effects of this gas, are in general, +highly pleasurable, and resemble those attendant on the agreeable +period of intoxication. Exquisite sensations of pleasure; an +irresistible propensity to laughter; a rapid flow of vivid ideas; a +strong incitement to muscular motion, are the ordinary feelings +produced by it. And what is exceedingly remarkable, is, that the +intoxication thus produced, instead of being succeeded by the debility +subsequent to intoxication by ardent spirits, does, on the contrary, +generally render the person who takes it, cheerful and high spirited +for the remainder of the day. +</p> + + +<a name="101"> </a> +<p class="item"> +101. <span class="sc">Construction of a galvanic pile or battery.</span>—Procure +fifty or more thin plates of copper, and the same number of plates of +zinc, all of which may be about the size of a dollar, but not so thick. +The copper and zinc plates, may be either cast in moulds, or may be cut +out of rolled plates of the metals. In addition to the plates of copper +and zinc, it is necessary to be provided with an equal number of pieces +of woollen cloth, rather smaller than the metallick plates in size. Let +these be soaked in a solution of muriate of soda, till they have +thoroughly imbibed it; then take them out of the solution, and squeeze +them gently, to force out the superabundant water. Then, having +provided a circular piece of wood, rather larger than the plates, cover +it with tin foil, and on this lay a plate of zinc, upon that a plate of +copper, and then a piece of moistened cloth; next a plate of zinc, &c. +Continue this arrangement of zinc, copper and cloth, till all the +pieces that have been provided are laid on. As the pile began with +zinc, it must be concluded with copper. This pile may be braced +occasionally with strips of glass to prevent its being overthrown, Fix +the end of a piece of metallic wire, in contact with the base, and lay +the end of another piece upon the top of the pile; if thus, the +opposite ends of the wire be brought in contact with each other, or if +they are connected by any conducting body, so as to form a circuit of +conductors, the pile will afford a constant and powerful current of the +galvanic fluid through them for many hours. If the hands be moistened, +and one of them applied to each of the wires, a shock will be received. +Gold and other metals have been melted, and even burnt; and potass, +soda and lime have been reduced to their respective metallic states, by +being made to form part of a galvanic circuit. When the pile is not in +use, it should be taken down, which will preserve it from wear, and the +plates will require to be cleansed occasionally, which may be easily +done by diluted muriatic acid. +</p> + + +<a name="102"> </a> +<p class="item"> +102. <span class="sc">Construction of the oxy-hydrogen blow-pipe.</span>—This useful +instrument consists of a cubical vessel, made of tin plate, being from +ten to twenty inches in length, breadth and height. The inside is +divided into four equal apartments, by two partitions, crossing each +other in the centre. The two front apartments are covered at the top, +and each of them have a tube fixed in the front side, near the top, +with a stopcock. The other apartments are open at the top, and +communicate with those in front, by a small aperture near the bottom of +each. These apartments being all filled with water, those in front are +filled, the one with oxygen, and the other with hydrogen gas, which is +done by forcing the gases into them through the tubes in front, which +causes the water to recede through the aperture at the bottom, and +consequently, part of the water is forced over the top of the other +apartments; or rather, may run off through small tubes, fixed for the +purpose, near the top, similar to those in front. When the front +apartments are filled with the gases, (which may be known by the +bubbling in the others) the tubes are stopped, and two leaden pipes are +fixed in them, the opposite ends of which, are so placed, that the two +streams of gas, when expelled from the gas holders, may come in contact +very near the ends of the pipes. When the tubes are open, the pressure +of the water will expel the gases, and will consequently settle, and +must be replenished, so as to keep the apartments nearly full. When the +two streams of gas are ignited at the point of contact, a flame is +produced of sufficient intensity to burn gold, silver, copper or tin, +with a very brilliant combustion. +</p> + + +<a name="103"> </a> +<p class="item"> +103. <span class="sc">To make a dry phosphorescent powder.</span>—Take some thick +oyster shells, wash them, and calcine by keeping them red hot in an +open fire for half an hour: then, select the clearest and whitest +parts, and reduce them to powder. Mix three parts of this powder, with +one of the flour of sulphur; fill a crucible with this compound, +pressing or beating it down as hard and solid as may be, without +breaking the crucible. Set the crucible in the fire, and heat it +moderately at first, but increase the heat gradually for an hour, in +which time it must approach nearly to a white heat. Then let it cool, +and again select from the mass, the whitest and purest parts, which +must be preserved in a phial with a glass stopper. This powder has the +peculiar property of imbibing the rays of the sun in the day time, and +emitting them again in the night; or if the phial containing it, be +exposed for a few minutes to the direct rays of the sun and then +carried into a dark room, light enough will be evolved to render it +distinctly visible. +</p> + + +<a name="104"> </a> +<p class="item"> +104. <span class="sc">Curious experiment of precipitation.</span>—Set five glasses on +the table, and nearly fill one of them with a solution of sulphate of +iron; and another with a solution of sulphate of copper; a third with a +solution of nitrate of bismuth; pour into the fourth, a solution of +nitro-muriate of cobalt, and into the fifth a solution of acetate of +lead, or sulphate of zinc. These liquid solutions may all be diluted so +as to be colourless. Then pour into each glass, a few drops of a +colourless solution of prussiate of potass. The contents of the first +glass will be instantly changed to a full blue colour; those of the +second to a reddish brown; those of the third, to a yellow; the fourth +to a green, and the fifth to a white. Thus five distinct colours will +be given, by the addition of one colourless solution. +</p> + + +<a name="105"> </a> +<p class="item"> +105. <span class="sc">To make a beautiful soft glass for jewelry.</span>—Take six +ounces of clean fine white sand, three ounces of red lead, three ounces +of pure sub-carbonate of potass, one ounce of nitrate of potass, half +an ounce of borate of soda, and two drachms of arsenic; mix and pound +them all together. Put the compound in a crucible, and set it in a +common fire, often stirring it with an iron rod, till it is well +melted, and becomes transparent. This compound will liquify very easily +without any great heat, if the sand is fine, (which sometimes requires +to be ground or pounded in a glass or flint mortar,) and if it be kept +melted awhile, will become beautifully transparent, and may be cast or +blown in the manner of other glass. This glass may be changed to a red +or ruby colour, by adding and fusing together with it, a small quantity +of finely powdered precipitate of gold, (gold precipitated from +solution in nitro-muriatic acid by the addition of tin.) It may be also +changed to blue by the addition of zaffre, (an ore of cobalt,) and +magnesia: a green colour may be given by a precipitate of copper; and +yellow by calcined iron, and white by calcined bones. This subject is +treated of largely in the <i>Handmaid of the Arts</i>, to which, for +further information on the subject, the reader is referred. +</p> + + +<a name="106"> </a> +<p class="item"> +106. <span class="sc">Composition of various kinds of glass.</span>—The best flint +glass is composed of 129 lbs. of white sand, 50 lbs. of red lead, 40 +lbs. of sub-carbonate of potass, 20 lbs. of nitrate of potass, and 5 +oz. of magnesia. The best crown glass is composed of 60 lbs. of white +sand, 30 lbs. of sub-carbonate of potass, 15 lbs. of nitrate of potass, +1 lb. of borate of soda and ½ lb. of arsenic. The composition of +common green window glass, is 120 lbs. of white sand, 30 lbs. of +sub-carbonate of potass, 60 lbs. of wood ashes, 20 lbs. of muriate of +soda and 5 lbs. of arsenic. The composition for looking glass plates, +is 60 lbs. of clean white sand, 25 lbs. of purified sub-carbonate of +potass, 15 lbs. of nitrate of potass, and 7 lbs. of borate of soda. +Common green bottle glass is made from 200 lbs. of wood ashes, and 100 +lbs. of sand. The materials for making glass, is first reduced to +powder; then mixed and exposed to a strong heat, in suitable pots and +furnaces, till the whole mass liquifies and becomes thoroughly commixed +and transparent. +</p> + + +<a name="107"> </a> +<p class="item"> +107. <span class="sc">Composition of various alloys.</span>—Brass is composed of two +parts of copper to one of zinc; or copper and calamine, (an ore of +zinc,) equal quantities. Pinchbeck consists of from five to ten parts +copper, and one of zinc. Bell metal is composed of three parts copper +and one of tin. Gun metal, nine parts copper and one of tin. Tombac, +sixteen parts copper, one part zinc and one of tin. The composition of +pewter is seven pounds of tin, one of lead, four ounces of copper and +two of zinc. That of type-metal is nine parts lead, two parts antimony +and one of bismuth. Solder, two parts of lead with one of tin. Queen's +metal, nine parts of tin, one of bismuth, one of antimony and one of +lead. Jewel gold is composed of twenty-five parts gold, four parts +silver, and seven parts fine copper. In forming metallic compounds or +alloys, it is proper to melt such of the ingredients as are the least +fusible first, and afterwards add the others, stirring them briskly +till they are thoroughly commixed. +</p> + + +<a name="108"> </a> +<p class="item"> +108. <span class="sc">To produce various kinds of gas.</span>—To three or four ounces +of pulverized chalk or marble, moistened in a flask, with an equal +quantity of water, add one ounce of sulphuric acid;—carbonic acid gas +will be evolved in abundance, and will rise through the neck of the +flask, and may be conducted by pipes, to any proper receiver. Instead +of the marble or chalk, substitute granulated zinc;—in this case +hydrogen gas will be evolved; but this may require a larger proportion +of water. Pour sulphuric acid upon a similar quantity of dry muriate of +soda;—muriatic acid gas will be rapidly evolved. Proceed in the same +manner with a similar quantity of black oxide of manganese,—apply the +heat of a lamp, and oxygen gas will be produced. Put into the flask, +two or three ounces of lean beef, cut into small pieces; pour over them +one ounce of nitric acid diluted with three ounces of water; apply the +heat of a lamp, and nitrogen gas will be liberated. Powder separately, +equal quantities of muriate of ammonia and newly burnt lime; put them +together into a flask and apply gentle heat; ammoniacal gas will be +evolved. Pour an ounce of nitric acid, diluted with five times its +weight of water, upon one ounce of shreds or turnings of copper; +nitrous gas will be rapidly evolved. Grind three parts of muriate of +soda with two parts of black oxide of manganese; introduce this mixture +into the flask, and add two parts of sulphuric acid, diluted with an +equal quantity of water; apply a gentle heat and chlorine gas will be +evolved. <i>Note.</i>—When either of the last mentioned gases are +produced, great caution is requisite that they do not escape into the +room, in any considerable quantity, as their action on the lungs is +exceedingly injurious. +</p> + + +<a name="109"> </a> +<p class="item"> +109. <span class="sc">Various chemical tests.</span>—When water is suspected to hold +any foreign substance in solution, various means may be used to detect +and ascertain the quality of the substances combined; thus, acids may +be detected by immersing in the water, a slip of litmus colored paper, +which, if acid be present, will be changed to red. In the same manner, +alkalies may be detected by a strip of turmeric yellow paper, which +will be also changed to red by alkalies. These tests are sensible to +the presence of an acid or alkali in the proportion of one to ten +thousand. Iron may be detected by a drop of infusion of galls, which +will give to the water (if iron be present) a brown tinge. A drop of +sulphuric acid, precipitates barites in the form of a white powder. +Clear transparent lime-water (water in which lime has been slaked and +then suffered to settle) will indicate the presence of carbonic acid by +a milky whiteness. On the same principle, a solution of super-carbonate +of potass will detect lime. A few drops of nitrate of silver will +instantly discover muriatic acid, by a white flaky precipitate. +Muriatic acid, consequently, is a good test for silver. Acetate of +lead, in solution, is a test for sulphureted hydrogen, which occasions +a precipitate of a black colour. Nitrate of mercury is an excellent +test for ammonia, one part of which, with 30,000 parts of water is +indicated by a blackish yellow tinge on adding the test. Liquid ammonia +is a very sensible test for copper, with which it strikes a fine blue +colour. Nitro-muriate of gold will discover the presence of tin, by a +beautiful purple precipitate. Nitro-muriate of tin is, on the same +principle, an excellent test for gold. +</p> + + +<a name="110"> </a> +<p class="item"> +110. <span class="sc">To produce a picture instantly, in a variety of +colours.</span>—Paint any picture on paper in the usual way, only +instead of colours, use the following substitutes: for green, use a +solution of nitro-muriate of cobalt, for blue, a solution of sulphate +of iron—for yellow, a solution of nitrate of bismuth—and for a brown, +a solution of sulphate of copper. Any of these solutions may be more or +less diluted, as the respective parts of the picture are to be light or +dark, but none of them must be strong enough to colour the paper. This +pictture is invisible: but when it is required to appear, the paper may +be tacked up on the wall, and having a glass of the transparent +solution of prussiate of potass (which by sight cannot be distinguished +from clear water) dashed suddenly upon it, the picture will instantly +appear in its full colours. A similar effect may be produced, by +drawing the picture with infusion of galls, and sub-carbonate of +potass; this is revived by a solution of sulphate of iron, and appears +in a yellow and a brown colour. +</p> + + +<a name="111"> </a> +<p class="item"> +111. <span class="sc">A cheap imitation of silver bronze.</span>—Put into a crucible, +an ounce of pure tin, and set it on a fire to melt; when it begins to +melt, add to it an equal quantity of bismuth, and stir the mixture with +an iron rod till the whole is entirely melted and incorporated. Take +the crucible then from the fire, and after the melted composition has +become a little cooler, but while it is yet in a fluid state, pour into +it gradually, an ounce of mercury, stirring it at the same time, that +the mercury may be thoroughly conjoined with the other ingredients. +When the whole is thus commixed, pour the mass out of the crucible on a +stone, where, as it cools, it will take the form of an amalgam, or +metallic paste; which will be easily bruised into a flaky powder, and +may then be applied to sized figures in the manner of gold or silver +bronze, or may be tempered with gum-water, and applied to the work with +a brush or camel-hair pencil; and if properly secured with varnish or +laquers will be even more durable than either silver leaf or silver +bronze. +</p> + + +<a name="112"> </a> +<p class="item"> +112. <span class="sc">To make crayons of various colours.</span>—Crayons or pastils +consist of various coloured pigments or paints, formed into sticks or +rolls for the purpose of drawing and shading with them in the manner of +lead pencils. But that they may be of uniform texture or hardness, +different ingredients and materials require some variation in the +management. To make white crayons, nothing more is requisite than to +mix superfine or refined whiting with alcohol, to the consistence of +soft putty; form it into rolls of a convenient length and size and let +them dry: or the whiting may be mixed with water and a sufficient +quantity of burnt or calcined sulphate of lime to give the crayons a +sufficient degree of hardness when dry. A great variety of elegant +light colours may be formed by adding to the whiting prepared as above, +small quantities of any of the coloured pigments. The most proper +colors for crayons are lamp-black, prussian blue, burnt umber, burnt +terra-de-sienna, red ochre, vermilion, lake, rose-pink, chrome yellow, +yellow ochre and mineral green. Many other handsome greens are formed +by mixing chrome yellow with prussian blue, varying the proportions; +and purples are produced by mixing rose pink or lake with blue. +Prussian blue and lake being each naturally of a binding nature, +require only to be ground in water; but red ochre and vermilion should +be ground in alcohol, or may have some quantity of the sulphate of lime +mixed with them. Any of these colours may be mixed in any proportion +with whiting or with each other, each compound having a sufficient +proportion of the sulphate of lime, to give it a proper degree of +hardness and strength when dry. The proper length for crayons is from +two to three inches, and the size about the same as that of a +tobacco-pipe stem. It is customary in making crayons, to have at hand a +large piece of chalk with a plane surface, on which to lay the crayons +as soon as they are rolled; the chalk absorbs a part of the moisture, +which makes them dry the sooner and without cracking. +</p> + + +<a name="113"> </a> +<p class="item"> +113. <span class="sc">To make hard sealing wax, of various colours.</span>—Take of +gum-shellac and rosin each two ounces; and of gum-mastic one ounce; +reduce them to powder and mix and melt them together over a gentle +fire. Then if a red colour is required, add to the mixture one ounce of +fine vermilion; for a black colour, add half an ounce of a mixture of +lamp black with rum; for a blue, half an ounce of white lead with one +fourth of an ounce of prussian blue; which should be previously ground +together dry. To give a green colour, add finely ground verdegris; a +yellow is produced by chrome yellow or gamboge; and white, by adding +pure white lead to the mixture. When the desired colour is formed by +the mixture and incorporation of any of the above mentioned colouring +ingredients, take out a part of the mixture, sufficient to form a stick +or roll of the usual size, and roll it between two smooth metallic +plates, which should also be previously warmed to prevent the wax from +becoming too hard. When the stick is reduced to a proper size, flatten +it a little and let it cool. Proceed in the same manner with the rest +of the composition; afterward hold each stick severally over a fire of +charcoal, turning it quickly till the surface of the wax is completely +melted, by which means the sticks will have acquired a very smooth and +shining polish at the surface, which they will retain when cold again. +If a softer wax is required, a small quantity of bees-wax and of +linseed oil may be added to the above composition, or may be +substituted in the place of the gum-mastic. +</p> + + +<a name="114"> </a> +<p class="item"> +114. <span class="sc">The art of manufacturing paper hangings.</span>—This business, +which has been usually, though improperly termed paper staining, +consists principally in stamping or painting various figures in water +colours on paper. The paper for this purpose is formed into long strips +or rolls, by pasting the edges of several sheets together. The edges of +the sheets should not lap on each other more than half an inch, and the +usual length of a roll is about nine yards. These rolls are first +painted plain with a large brush; the paint is composed of refined +whiting with some colouring ingredient, being ground in water and +tempered with a sufficient quantity of glue to prevent it from rubbing +off; when a new design or figure is to be introduced, several colours +are prepared, i.e. as many as are required in such design, and with +these the design is painted on a sheet of paper. The paper is then laid +on a smooth birch or maple board, and such parts of the paper as +contain the colour that was last applied in the drawing (which is +usually the white) are completely cut out, with a sharp pen-knife, and +the parts thus cut out, are pasted down upon the board, immediately, in +the places and positions they occupied in the design. The sheet is then +removed to another board, and another colour is cut out in the same +manner; thus the several colours are distributed in their proper +arrangements on as many different boards. Each board is then cut away +with chisels and gouges, to the depth of a fourth, or an eighth of an +inch, in every part except where the pieces of paper are fixed. These +boards or prints are supported by other thin pieces, which are fixed +firmly on the backs of them by screws, in such manner that the grain of +one, crosses that of the other, and thus prevents their warping. They +have also cleats or pins attached to them which serve as handles. A +trough is provided, a little larger than the prints, of one inch in +depth, and having a smooth bottom, on which is laid three or four +pieces of fine flannel or cassimere, each of which is at least as large +as the prints. Then some of the colour with which the first part of the +design was painted, is spread upon the cloth with a brush; and upon +this, the print containing the corresponding parts of the figure, is +pressed, (the pieces of paper having been previously scraped off;) the +print being thus charged with the colour, is placed upon one end of a +roll of the prepared paper, which is laid on a table for that purpose, +and is pressed down hard by a lever or screw. It is then returned to +the trough, and again charged with the colour, and again impressed on +the paper at a proper distance above the other impression. In this +manner several rolls are printed with one colour. Then the next colour +in the design is applied to the paper in the same manner by another +print;—a third colour by a third print and so on till the paper is +completely printed with every colour in the design, each in its proper +place. These prints should be washed and kept dry for future use. A +variety of figures may be produced with the same print, by varying the +colours. +</p> + + +<a name="115"> </a> +<p class="item"> +115. <span class="sc">To make elastic blacking for leather.</span>—Dilute one ounce +of gum-asphaltum with a pint of spirits of turpentine, in the manner +described at 51;—put this into a flask, and add one ounce of +gum-elastic cut into very small pieces, and half an ounce of +gum-shellac previously reduced to powder. Suspend the flask unstopped +over a fire of charcoal, or set it in a sand bath where it may boil +gently till the quantity is reduced to a gill; then strain it through a +flannel, and when nearly cold, bottle and cork it. The leather should +be thoroughly blackened with some liquid blacking and waxed over +slightly with bees-wax before the elastic blacking is applied. If the +blacking should be too thick, it may again be diluted with spirits of +turpentine. It should be warmed when applied, and the work may require +several coats, and a considerable time for each to dry. Any of the +above mentioned gums may also be dissolved in sulphuric ether, and thus +produce a fine drying varnish, but the preparation is much more +difficult as the volatile nature of the ether will not admit of much +heat, whereby to facilitate the solution. +</p> + + +<a name="116"> </a> +<p class="item"> +116. <span class="sc">Sundry Experiments.</span>—Rub together a little dry powdered +alum, and acetate of lead; both will become fluid. To a saturated +solution of muriate of lime, add a saturated solution of sub-carbonate +of potass, (both transparent liquids,) the mixture will be nearly +solid. Rub together a little pure white calomel (sublimed mercury) and +pure white ammonia (being moistened;) both will become intensely black. +Fill a flask nearly half full of water, and apply heat till it boils; +take it from the fire and (when it has done boiling) cork it; pour cold +water upon the flask, and the water inside will re-commence boiling. +Fill a glass with water, and lay a piece of paper upon the top of it; +place your hand upon the paper, and invert the glass; the hand may be +removed and the glass may be suspended in that position by a thread, +and the water will not be spilled. Expose a piece of ice to the action +of (cold) muriatic gas; the ice will be instantly melted. Drop a piece +of phosphuret of lime, into a glass of water; bubbles will soon rise, +and on reaching the surface of the water will spontaneously explode. +Apply the end of a roll of brimstone to a hot bar of iron; a part of +the iron will be instantly melted, and will fall. Write with diluted +sulphuric acid, on paper that has been coloured brown by a mixture of +sulphate of iron, and infusion of galls; the writing will be white. +Moisten the under lip, and lay upon it a piece of silver money, (not +less than a twenty cent piece) with the edge of it beneath the tongue; +lay a piece of zinc, of nearly an equal size, upon the tongue, and +bring the edges of the pieces of metal into contact; you will instantly +drop the money. +</p> + +<div class="figcenter"><img src="images/005.jpg" alt="A large building" +width="500" height="355"></div> + +<br> +<div class="figcenter"><img src="images/006.jpg" alt="Appendix" width="128" height="75"></div> + + +<p class="hang"> +A catalogue of the various articles mentioned in the preceding pages, +with the prices, explanations, &c. +</p> + +<p> +<img src="images/hand.jpg" alt="Hand with a pointing finger" width="36" height="20"> The articles which have this mark * prefixed may be procured at +135, Washington-street, Boston. +</p> + +<table summary="Appendix" cellspacing="6" cellpadding="4"> + +<tr> +<td class="c"> </td> +<td> </td> +<td class="pg"> </td> +<td class="pg"><i>Cts.</i></td> +</tr> + +<tr> +<td class="c"> </td> +<td><span class="sc">Acetate of cobalt</span>, produced by digesting +the oxide of cobalt in strong vinegar,</td> +<td class="pg"> </td> +<td class="pg"> </td> +</tr> + +<tr> +<td class="c">*</td> +<td><span class="sc">Acetate of lead</span>, (sugar of lead) +procured by dissolving white lead +in vinegar, and evaporating,</td> +<td class="pg"><i>oz.</i></td> +<td class="pg">6</td> +</tr> + +<tr> +<td class="c">*</td> +<td><span class="sc">Acetic acid</span>, vinegar concentrated +by distillation,</td> +<td class="pg"><i>pt.</i></td> +<td class="pg">25</td> +</tr> + +<tr> +<td class="c">*</td> +<td><span class="sc">Alcohol</span>, rectified spirit of wine,</td> +<td class="pg"><i>pt.</i></td> +<td class="pg">25</td> +</tr> + +<tr> +<td class="c">*</td> +<td><span class="sc">Alum</span>, sulphate of alumine and potass,</td> +<td class="pg"><i>oz.</i></td> +<td class="pg">3</td> +</tr> + +<tr> +<td class="c">*</td> +<td><span class="sc">Ammonia</span>, (hartshorn) a volatile alkali,</td> +<td class="pg"><i>oz.</i></td> +<td class="pg">12</td> +</tr> + +<tr> +<td class="c">*</td> +<td><span class="sc">Antimony</span>, a dark porous metal,</td> +<td class="pg"><i>oz.</i></td> +<td class="pg">6</td> +</tr> + +<tr> +<td class="c">*</td> +<td><span class="sc">Bees wax</span>, a yellowish resinous substance +procured from honey, or honey combs,</td> +<td class="pg"><i>oz.</i></td> +<td class="pg">6</td> +</tr> + +<tr> +<td class="c">*</td> +<td><span class="sc">Bismuth</span>, (tin glass) a reddish white metal,</td> +<td class="pg"><i>oz.</i></td> +<td class="pg">12</td> +</tr> + +<tr> +<td class="c">*</td> +<td><span class="sc">Boracic acid</span>, procured by adding +sulphuric acid to a hot solution of +borax; the acid crystallizes,</td> +<td class="pg"><i>oz.</i></td> +<td class="pg">100</td> +</tr> + +<tr> +<td class="c">*</td> +<td><span class="sc">Brazil-wood</span>, (red-wood,)</td> +<td class="pg"><i>lb.</i></td> +<td class="pg">6</td> +</tr> + +<tr> +<td class="c">*</td> +<td><span class="sc">Borate of soda, or sub-borate of +soda</span>, (borax) is brought from the +East-Indies in an impure state called tincal,</td> +<td class="pg"><i>oz.</i></td> +<td class="pg">6</td> +</tr> + +<tr> +<td class="c"> </td> +<td><span class="sc">Burnish gold-size</span>, and <span class="sc">burnishers</span>, may +be had of Bittle and Cooper, Pemberton's-hill, +Boston, prices various,</td> +<td class="pg"> </td> +<td class="pg"> </td> +</tr> + +<tr> +<td class="c">*</td> +<td><span class="sc">Camphor</span>, obtained from a species of +laurel tree,</td> +<td class="pg"><i>oz.</i></td> +<td class="pg">12</td> +</tr> + +<tr> +<td class="c">*</td> +<td><span class="sc">Carbonate of copper</span>, (French +green) produced by adding a solution +of super-carbonate of soda, to +a hot solution of sulphate of copper,</td> +<td class="pg"><i>lb.</i></td> +<td class="pg">50</td> +</tr> + +<tr> +<td class="c">*</td> +<td><span class="sc">Carbonate of lead</span>, (white lead) +is formed by exposing thin sheets +of lead to the vapour of vinegar, +after which they abstract the carbonic +acid from the atmosphere,</td> +<td class="pg"><i>lb.</i></td> +<td class="pg">16</td> +</tr> + +<tr> +<td class="c">*</td> +<td><span class="sc">Carbonate of strontia</span>, a native mineral,</td> +<td class="pg"><i>oz.</i></td> +<td class="pg">50</td> +</tr> + +<tr> +<td class="c"> </td> +<td><span class="sc">Carbonate of lime</span>, (marble, chalk) a +native earth,</td> +<td class="pg"> </td> +<td class="pg"> </td> +</tr> + +<tr> +<td class="c">*</td> +<td><span class="sc">Chlorate of potass</span>, procured by +passing a current of chlorine gas +through a solution of pearl-ash,</td> +<td class="pg"><i>oz.</i></td> +<td class="pg">100</td> +</tr> + +<tr> +<td class="c">*</td> +<td><span class="sc">Chrome yellow</span>, a pigment, is formed +by the combination of a metallic +substance with the chromic acid,</td> +<td class="pg"><i>oz.</i></td> +<td class="pg">12</td> +</tr> + +<tr> +<td class="c">*</td> +<td><span class="sc">Cobalt</span>, (Zaffre) a metal of a reddish +grey colour; when exposed to +a gentle heat, it becomes oxidized +and takes the form of a black powder,</td> +<td class="pg"><i>oz.</i></td> +<td class="pg">50</td> +</tr> + +<tr> +<td class="c">*</td> +<td><span class="sc">Citric acid</span>, procured from lemons, limes, &c.,</td> +<td class="pg"><i>oz.</i></td> +<td class="pg">75</td> +</tr> + +<tr> +<td class="c">*</td> +<td><span class="sc">Calomel</span>, white sublimate of mercury,</td> +<td class="pg"><i>oz.</i></td> +<td class="pg">20</td> +</tr> + +<tr> +<td class="c">*</td> +<td><span class="sc">Dragon's blood</span>, a red mucilage extracted +from a plant,</td> +<td class="pg"><i>oz.</i></td> +<td class="pg">10</td> +</tr> + +<tr> +<td class="c">*</td> +<td><span class="sc">Fluate of lime</span>, (fluor spar) is found +in abundance in Derbyshire, England, +its acid constituent has the peculiar +property of dissolving glass,</td> +<td class="pg"><i>lb.</i></td> +<td class="pg">50</td> +</tr> + +<tr> +<td class="c">*</td> +<td><span class="sc">Frankfort black</span>, which takes its +name from Frankfort, in Germany, +is manufactured from the lees of wine,</td> +<td class="pg"><i>oz.</i></td> +<td class="pg">12</td> +</tr> + +<tr> +<td class="c">*</td> +<td><span class="sc">Gamboge</span>, a yellow opaque gum, or mucilage,</td> +<td class="pg"><i>oz.</i></td> +<td class="pg">16</td> +</tr> + +<tr> +<td class="c">*</td> +<td><span class="sc">Glue</span>, (gelatine) a jelly procured +from skins of animals,</td> +<td class="pg"><i>lb.</i></td> +<td class="pg">25</td> +</tr> + +<tr> +<td class="c">*</td> +<td><span class="sc">Gold bronze</span>, gold in fine powder,</td> +<td class="pg"><i>pwt.</i></td> +<td class="pg">75</td> +</tr> + +<tr> +<td class="c">*</td> +<td><span class="sc">Gold leaf</span>, thin laminas of gold,</td> +<td class="pg"><i>book</i></td> +<td class="pg">45</td> +</tr> + +<tr> +<td class="c">*</td> +<td><span class="sc">gum-arabic</span>, a mucilaginous substance +that exudes from certain trees in Arabia,</td> +<td class="pg"><i>oz.</i></td> +<td class="pg">6</td> +</tr> + +<tr> +<td class="c">*</td> +<td><span class="sc">gum-asphaltum</span>, a bitumen, or mineral pitch,</td> +<td class="pg"><i>oz.</i></td> +<td class="pg">8</td> +</tr> + +<tr> +<td class="c">*</td> +<td><span class="sc">gum-copal</span>, a hard transparent resin,</td> +<td class="pg"><i>lb.</i></td> +<td class="pg">40</td> +</tr> + +<tr> +<td class="c">*</td> +<td><span class="sc">gum-elastic</span>, (indian rubber, caoutchouc) +exudes from trees in the West-Indies,</td> +<td class="pg"><i>oz.</i></td> +<td class="pg">8</td> +</tr> + +<tr> +<td class="c">*</td> +<td><span class="sc">gum-sandarac</span>, a resin, similar to +rosin but much harder,</td> +<td class="pg"><i>lb.</i></td> +<td class="pg">100</td> +</tr> + +<tr> +<td class="c">*</td> +<td><span class="sc">Gum-shellac</span>, a compound, resinous +substance, procured from the nests, or cells of an insect,</td> +<td class="pg"><i>oz.</i></td> +<td class="pg">6</td> +</tr> + +<tr> +<td class="c">*</td> +<td><span class="sc">gum-mastic</span>, a hard, transparent resin,</td> +<td class="pg"><i>lb.</i></td> +<td class="pg">100</td> +</tr> + +<tr> +<td class="c">*</td> +<td><span class="sc">Ising-glass</span>, a kind of transparent +glue procured from various kinds of fish,</td> +<td class="pg"><i>oz.</i></td> +<td class="pg">25</td> +</tr> + +<tr> +<td class="c">*</td> +<td><span class="sc">Lake</span>, (drop lake) a rose coloured +pigment, prepared from brazil wood,</td> +<td class="pg"><i>oz.</i></td> +<td class="pg">200</td> +</tr> + +<tr> +<td class="c">*</td> +<td><span class="sc">Lead</span>, a brown heavy metal,</td> +<td class="pg"><i>lb.</i></td> +<td class="pg">12</td> +</tr> + +<tr> +<td class="c"> </td> +<td><span class="sc">Lime</span>, an oxide of calcium, is procured +by calcining lime stone, marble or chalk,</td> +<td class="pg"> </td> +<td class="pg"> </td> +</tr> + +<tr> +<td class="c">*</td> +<td><span class="sc">Linseed oil</span>, is expressed from ground flaxseed,</td> +<td class="pg"><i>pt.</i></td> +<td class="pg">15</td> +</tr> + +<tr> +<td class="c">*</td> +<td><span class="sc">Litharge</span>, (gold litharge) an oxide of lead,</td> +<td class="pg"><i>oz.</i></td> +<td class="pg">4</td> +</tr> + +<tr> +<td class="c">*</td> +<td><span class="sc">Litmus</span>, a blue colouring vegetable,</td> +<td class="pg"><i>oz.</i></td> +<td class="pg">10</td> +</tr> + +<tr> +<td class="c">*</td> +<td><span class="sc">Mercury</span>, (quick silver) a metal +that remains fluid in the common +temperature of the atmosphere,</td> +<td class="pg"><i>oz.</i></td> +<td class="pg">8</td> +</tr> + +<tr> +<td class="c">*</td> +<td><span class="sc">Muriate of ammonia</span>, (sal ammoniac) +is formed by adding muriatic +acid to liquid ammonia, evaporating, &c.,</td> +<td class="pg"><i>oz.</i></td> +<td class="pg">6</td> +</tr> + +<tr> +<td class="c"> </td> +<td><span class="sc">Muriate of soda</span>, (culinary salt) is procured +by evaporating the water of the ocean,</td> +<td class="pg"> </td> +<td class="pg"> </td> +</tr> + +<tr> +<td class="c">*</td> +<td><span class="sc">Muriate of strontia</span>, procured by +dissolving native carbonate of strontia, in muriatic acid, and evaporating,</td> +<td class="pg"><i>oz.</i></td> +<td class="pg">75</td> +</tr> + +<tr> +<td class="c"> </td> +<td><span class="sc">Muriate of lime</span>, formed by evaporating +a solution of marble in muriatic acid,</td> +<td class="pg"> </td> +<td class="pg"> </td> +</tr> + +<tr> +<td class="c">*</td> +<td><span class="sc">Muriatic acid</span>, (marine acid, spirit +of salt) is extracted from sea-salt,</td> +<td class="pg"><i>oz.</i></td> +<td class="pg">12</td> +</tr> + +<tr> +<td class="c">*</td> +<td><span class="sc">Nitrate of ammonia</span>, procured by +dissolving carbonate of ammonia +(common smelling salts) in nitric acid,</td> +<td class="pg"><i>oz.</i></td> +<td class="pg">20</td> +</tr> + +<tr> +<td class="c">*</td> +<td><span class="sc">Nitrate of potass</span>, (nitre, salt-petre) +may be procured by adding nitric +acid to a solution of sub-carbonate +of potass, and crystallizing by evaporation,</td> +<td class="pg"><i>oz.</i></td> +<td class="pg">3</td> +</tr> + +<tr> +<td class="c">*</td> +<td><span class="sc">Nitrate of strontia</span>, procured the +same as the muriate,</td> +<td class="pg"><i>oz.</i></td> +<td class="pg">75</td> +</tr> + +<tr> +<td class="c">*</td> +<td><span class="sc">Nitric acid</span>, (aquafortis) is obtained +by distilling two parts of sulphuric +acid, together with one part of salt-petre,</td> +<td class="pg"><i>oz.</i></td> +<td class="pg">12</td> +</tr> + +<tr> +<td class="c">*</td> +<td><span class="sc">Nut galls</span>, are formed on the leaves +of a species of oak,</td> +<td class="pg"><i>oz.</i></td> +<td class="pg">6</td> +</tr> + +<tr> +<td class="c">*</td> +<td><span class="sc">Olive oil</span>, (sweet oil,)</td> +<td class="pg"><i>oz.</i></td> +<td class="pg">3</td> +</tr> + +<tr> +<td class="c">*</td> +<td><span class="sc">Oil of cinnamon</span>, extracted from +cinnamon by distillation,</td> +<td class="pg"><i>oz.</i></td> +<td class="pg">75</td> +</tr> + +<tr> +<td class="c">*</td> +<td><span class="sc">Oil of rosemary</span>, procured also by distillation,</td> +<td class="pg"><i>oz.</i></td> +<td class="pg">25</td> +</tr> + +<tr> +<td class="c">*</td> +<td><span class="sc">Orange lead</span>, a scarlet pigment similar +to red lead,</td> +<td class="pg"><i>oz.</i></td> +<td class="pg">3</td> +</tr> + +<tr> +<td class="c">*</td> +<td><span class="sc">Oxide of manganese</span>, a black powder +consisting of a metal combined with oxygen,</td> +<td class="pg"><i>oz.</i></td> +<td class="pg">10</td> +</tr> + +<tr> +<td class="c">*</td> +<td><span class="sc">Phosphorus</span>, a simple substance procured +from bones; its greatest peculiarity +is extraordinary combustibility,</td> +<td class="pg"><i>oz.</i></td> +<td class="pg">200</td> +</tr> + +<tr> +<td class="c">*</td> +<td><span class="sc">Phosphuret of lime</span>, a combination +of lime and phosphorus,</td> +<td class="pg"><i>oz.</i></td> +<td class="pg">200</td> +</tr> + +<tr> +<td class="c">*</td> +<td><span class="sc">Plumbago</span>, (black lead) a carburet of iron,</td> +<td class="pg"><i>lb.</i></td> +<td class="pg">16</td> +</tr> + +<tr> +<td class="c">*</td> +<td><span class="sc">Potassium</span>, the metallic base of potass, +may be readily obtained from +pearl ash by any one who has a galvanic apparatus,</td> +<td class="pg"> </td> +<td class="pg"> </td> +</tr> + +<tr> +<td class="c">*</td> +<td><span class="sc">Prussiate of iron</span>, (prussian blue) +may be formed by adding prussiate +of potass, to a solution of copperas,</td> +<td class="pg"><i>oz.</i></td> +<td class="pg">25</td> +</tr> + +<tr> +<td class="c">*</td> +<td><span class="sc">Prussiate of potass</span>, a combination +of potass and prussic acid,</td> +<td class="pg"><i>oz.</i></td> +<td class="pg">50</td> +</tr> + +<tr> +<td class="c">*</td> +<td><span class="sc">Pumice stone</span>,</td> +<td class="pg"><i>lb.</i></td> +<td class="pg">12</td> +</tr> + +<tr> +<td class="c">*</td> +<td><span class="sc">Red lead</span>, (minium) is obtained by +melting lead in an open vessel, and +exposing it in that state to the action +of the atmospheric air,</td> +<td class="pg"><i>oz.</i></td> +<td class="pg">3</td> +</tr> + +<tr> +<td class="c">*</td> +<td><span class="sc">Red ochre</span>, (spanish brown) a native +oxide of iron,</td> +<td class="pg"><i>lb.</i></td> +<td class="pg">6</td> +</tr> + +<tr> +<td class="c">*</td> +<td><span class="sc">Rosin</span>, the resinous part of turpentine,</td> +<td class="pg"><i>lb.</i></td> +<td class="pg">6</td> +</tr> + +<tr> +<td class="c">*</td> +<td><span class="sc">Silver bronze</span>,</td> +<td class="pg"><i>pwt.</i></td> +<td class="pg">50</td> +</tr> + +<tr> +<td class="c">*</td> +<td><span class="sc">Silver leaf</span>,</td> +<td class="pg"><i>book</i></td> +<td class="pg">30</td> +</tr> + +<tr> +<td class="c">*</td> +<td><span class="sc">Slip blue</span>, (wet blue) an aqueous +preparation of prussian blue,</td> +<td class="pg"><i>lb.</i></td> +<td class="pg">30</td> +</tr> + +<tr> +<td class="c">*</td> +<td><span class="sc">Spirits of turpentine</span>, (oil of turpentine) +is procured by distilling common or crude turpentine; +the residuum is rosin,</td> +<td class="pg"><i>pt.</i></td> +<td class="pg">12</td> +</tr> + +<tr> +<td class="c">*</td> +<td><span class="sc">Sub-acetate of copper</span>, (verdigris,)</td> +<td class="pg"><i>oz.</i></td> +<td class="pg">3</td> +</tr> + +<tr> +<td class="c">*</td> +<td><span class="sc">Sub-carbonate of potass</span>, (pearlash) +potass refined by calcination,</td> +<td class="pg"><i>lb.</i></td> +<td class="pg">12</td> +</tr> + +<tr> +<td class="c">*</td> +<td><span class="sc">Sulphate of copper</span>, (blue vitriol, +roman vitriol,)</td> +<td class="pg"><i>oz.</i></td> +<td class="pg">3</td> +</tr> + +<tr> +<td class="c">*</td> +<td><span class="sc">Sulphate of iron</span>, (copperas, green +vitriol,)</td> +<td class="pg"><i>oz.</i></td> +<td class="pg">6</td> +</tr> + +<tr> +<td class="c"> </td> +<td><span class="sc">Sulphate of lime</span>, (plaister of paris, +alabaster, gypsum,)</td> +<td class="pg"> </td> +<td class="pg"> </td> +</tr> + +<tr> +<td class="c">*</td> +<td><span class="sc">Sulphate of zinc</span>, (white vitriol,)</td> +<td class="pg"><i>oz.</i></td> +<td class="pg">3</td> +</tr> + +<tr> +<td class="c">*</td> +<td><span class="sc">Sulphur</span> (brimstone) is generally +found combined with ores of metals,</td> +<td class="pg"><i>oz.</i></td> +<td class="pg">3</td> +</tr> + +<tr> +<td class="c">*</td> +<td><span class="sc">Sulphuric acid</span>, (oil of vitriol) the +condensed vapour of burning sulphur,</td> +<td class="pg"><i>oz.</i></td> +<td class="pg">16</td> +</tr> + +<tr> +<td class="c">*</td> +<td><span class="sc">Sulphuric ether</span>, procured by distilling +alcohol with sulphuric acid,</td> +<td class="pg"><i>oz.</i></td> +<td class="pg">25</td> +</tr> + +<tr> +<td class="c">*</td> +<td><span class="sc">Super carbonate of potass</span> (sal eratus) +is formed by passing a current +of carbonic acid gas, through a solution of pearl ash,</td> +<td class="pg"><i>oz.</i></td> +<td class="pg">3</td> +</tr> + +<tr> +<td class="c">*</td> +<td><span class="sc">Super carbonate of soda</span>, may be +prepared in the same manner from the sub-carbonate,</td> +<td class="pg"><i>oz.</i></td> +<td class="pg">12</td> +</tr> + +<tr> +<td class="c">*</td> +<td><span class="sc">Super tartrate of potass</span> (cream of +tartar) is found encrusted on the +sides of casks in which wine has been kept,</td> +<td class="pg"><i>oz.</i></td> +<td class="pg">4</td> +</tr> + +<tr> +<td class="c">*</td> +<td><span class="sc">Tartaric acid</span>, procured from cream of tartar,</td> +<td class="pg"><i>oz.</i></td> +<td class="pg">12</td> +</tr> + +<tr> +<td class="c">*</td> +<td><span class="sc">Terra-de-sienna</span>, an oxide of iron +that becomes dark red by burning,</td> +<td class="pg"><i>oz.</i></td> +<td class="pg">6</td> +</tr> + +<tr> +<td class="c">*</td> +<td><span class="sc">Tin</span>, (grain, or granulated tin,)</td> +<td class="pg"><i>oz.</i></td> +<td class="pg">12</td> +</tr> + +<tr> +<td class="c">*</td> +<td><span class="sc">Tin foil</span>, metallic tin rolled to thin +laminas or sheets like paper,</td> +<td class="pg"><i>oz.</i></td> +<td class="pg">12</td> +</tr> + +<tr> +<td class="c">*</td> +<td><span class="sc">Turmeric</span>, the root of a vegetable,</td> +<td class="pg"><i>oz.</i></td> +<td class="pg">3</td> +</tr> + +<tr> +<td class="c">*</td> +<td><span class="sc">Umber</span>, a brown earth that becomes +nearly black by burning,</td> +<td class="pg"><i>oz.</i></td> +<td class="pg">3</td> +</tr> + +<tr> +<td class="c">*</td> +<td><span class="sc">Venice turpentine</span>,</td> +<td class="pg"><i>oz.</i></td> +<td class="pg">6</td> +</tr> + +<tr> +<td class="c">*</td> +<td><span class="sc">Vermilion</span>, a sulphuret of mercury, +is sometimes found native, but may +be procured by grinding sulphur and +mercury together, and heating +them, first in an open vessel, till the +mixture takes a violet colour; and +afterward in a flask or matrass,</td> +<td class="pg"><i>oz.</i></td> +<td class="pg">12</td> +</tr> + +<tr> +<td class="c">*</td> +<td><span class="sc">Whiting</span>, (Spanish white) refined,</td> +<td class="pg"><i>lb.</i></td> +<td class="pg">12</td> +</tr> + +<tr> +<td class="c">*</td> +<td><span class="sc">Yellow ochre</span>, (spruce yellow) an oxide of iron,</td> +<td class="pg"><i>lb.</i></td> +<td class="pg">12</td> +</tr> + +<tr> +<td class="c">*</td> +<td><span class="sc">Zinc</span> (spelter) a metal of which, with +copper, brass is made,</td> +<td class="pg"><i>oz.</i></td> +<td class="pg">3</td> +</tr> +</table> +<br> +<div class="figcenter"><img src="images/007.jpg" alt="Decoration" width="128" height="114"></div> + + + + + + + +<pre> + + + + + +End of the Project Gutenberg EBook of A Select Collection of Valuable and +Curious Arts and Interesting Experiments,, by Various Unknown + +*** END OF THIS PROJECT GUTENBERG EBOOK A SELECT COLLECTION OF *** + +***** This file should be named 38067-h.htm or 38067-h.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/3/8/0/6/38067/ + +Produced by Chris Curnow and the Online Distributed +Proofreading Team 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