5 files changed, 7453 insertions, 0 deletions

diff --git a/.gitattributes b/.gitattributes
new file mode 100644
index 0000000..6833f05
--- /dev/null
+++ b/.gitattributes
@@ -0,0 +1,3 @@
+* text=auto
+*.txt text
+*.md text
diff --git a/5763.txt b/5763.txt
new file mode 100644
index 0000000..b0a5236
--- /dev/null
+++ b/5763.txt
@@ -0,0 +1,7437 @@
+The Project Gutenberg EBook of Young's Demonstrative Translation of
+Scientific Secrets, by Daniel Young
+
+Copyright laws are changing all over the world. Be sure to check the
+copyright laws for your country before downloading or redistributing
+this or any other Project Gutenberg eBook.
+
+This header should be the first thing seen when viewing this Project
+Gutenberg file.  Please do not remove it.  Do not change or edit the
+header without written permission.
+
+Please read the "legal small print," and other information about the
+eBook and Project Gutenberg at the bottom of this file.  Included is
+important information about your specific rights and restrictions in
+how the file may be used.  You can also find out about how to make a
+donation to Project Gutenberg, and how to get involved.
+
+
+**Welcome To The World of Free Plain Vanilla Electronic Texts**
+
+**eBooks Readable By Both Humans and By Computers, Since 1971**
+
+*****These eBooks Were Prepared By Thousands of Volunteers!*****
+
+
+Title: Young's Demonstrative Translation of Scientific Secrets
+
+Author: Daniel Young
+
+Release Date: May, 2004 [EBook #5763]
+[Yes, we are more than one year ahead of schedule]
+[This file was first posted on August 29, 2002]
+
+Edition: 10
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THE PROJECT GUTENBERG EBOOK TRANSLATION OF SCIENTIFIC SECRETS ***
+
+
+
+
+Produced by Andrew Sly.
+
+
+
+
+
+Transcriber's Comments
+
+This is an adaption of the electronic transcription made by Paul
+Hubbs and Bob Gravonic. Using microfiche of the original (Canadian
+Institute for Historical Microreproductions no. 42355) as a
+copy-text, I've made corrections and added a considerable amount
+of material. Irregular spellings in the original have been retained.
+Explanatory remarks regarding numbering are enclosed in square brackets.
+
+
+
+
+Young's Demonstrative Translation of Scientific Secrets;
+
+or
+
+A Collection of Above 500 Useful Receipts
+on a Variety of Subjects.
+
+
+Printed by Rowsell & Ellis, Toronto, 1861.
+
+
+
+INTRODUCTION
+
+
+The object of the present work is clearly announced in its title.
+It is to collect within a small compass the instructions of
+experimental knowledge upon a great variety of subjects which relate
+to the present interests of man. It contains above five hundred
+genuine and practical receipts, which have been compiled by the
+publisher with extreme difficulty and expense. A reference to
+the list of subjects which the work contains, will show that the
+publisher's researches have been extensive, while a comparison of
+the work with others of the same general character evinces patient
+labour, and cannot fail to give it pre-eminence. While the track
+pursued is not new, it is more thorough, and more easily followed
+than that marked out by any previous compiler known to myself. The
+work contains not merely the outlines on the subjects to which it
+refers, but, what appears to my own mind one of its excellences, the
+full and clear explanations of these subjects. To all classes of
+people, without exception, the work is of great value. It is fit,
+on every account, that the publisher should be encouraged in this
+production. The work is worthy the acceptance of all, and one which
+every man may prize.
+
+
+
+
+1. ORIENTAL PAINTING
+
+Any bunch of roses or flowers, or anything of the kind that you
+admire, take the pattern of by placing them against a light of
+window glass, then lay a piece of white paper over them, and through
+the latter you will see the roses, &c. Now with a lead pencil take
+the pattern of the roses, &c., on the paper; when you have them all
+marked, cut then out with a scissors, so that you have a complete
+pattern of them. Now take a piece of glass, whatever size your
+pattern requires, stick the pattern on it with wafers, then paint
+the glass all over, except where the pattern covers, with black
+paint, composed of refined lampblack, black enamel, copel varnish
+and turpentine, mixed. Now let this dry, then take off your patterns
+and paint your roses, flowers, &c., with tube paints, mixed with
+demar varnish, so that your roses, &c., may be, in a manner,
+transparent. Paint your large roses red, some of the smaller ones
+yellow, or any colour to suit your taste. Paint one side of the
+leaves a darker shade of green than the other, which will make
+the picture appear as though the sun was shining on it. When this
+painting is dry, take silver or gold foil, (gold is best,) wrinkle
+it up in your hand then nearly straighten it, and cover the back of
+the glass all over with it; over the large roses let the wrinkles be
+larger, over the small ones smaller, &c.; then lay a piece of stiff
+paper, the size of the glass, over the foil, and a piece of very
+thin board again over this; have it framed in this manner and it is
+completed. You now have one of the richest of paintings, which is
+commonly taught at a cost of $5. You may buy all you require for
+this painting at the druggist's.
+
+
+2. TRANSFER PAINTING ON GLASS
+
+This is for transferring any picture plate you please to glass, to
+be framed. First give the glass a coat of demar varnish; let it
+remain for eight hours, or until dry; at this time have your picture
+thoroughly soaked in warm water; then give the glass another coat of
+demar varnish, and take the picture out of the water; then let it
+and the glass remain for twenty minutes, by which time the water
+will be struck in from the face of the picture, after which you will
+place the front of the picture on the varnished glass, (avoiding
+wrinkles and spots of water,) press it well on until every part is
+stuck fast, then carefully rub the paper all away to a mere film;
+give the glass then, over this film, another coat of demar varnish,
+which will make the film transparent; let it dry; then place the
+glass, with the varnished side towards you, between you and
+the light, and you will see the outlines of the picture quite
+distinctly; you may then paint on the back with tube paints, mixed
+with a little demar varnish to assist in drying, to suit your taste.
+For instance, if the picture is that of a lady, you may paint the
+dress red, the shawl or cape, as it may be, blue, the face flesh
+colour, (which colour may be made by mixing a little red with
+white,) the bonnet scarlet, the shoes black; if trees, have them
+green, &c. All you want for this painting you may also buy at the
+druggist's. This painting is very simple and elegant, it is commonly
+taught at a cost of $3. Try it, you cannot fail.
+
+
+3. TRANSFER VARNISH
+
+Take of Canada balsam 3 drachms; gum sandric 3 drachms; spirits of
+wine 1/2 pint. Dissolve the balsam and gum in the spirits of wine
+and it is ready for use.
+
+
+4. WHITE SPIRIT VARNISH--THE VERY BEST.
+
+Take of gum sandrack 4 ounces; mastic 1 ounce; Elmi rosin 1/2 ounce;
+Venice turpentine 1 ounce; alcohol 15 ounces. Digest in a bottle,
+frequently shaking, till the gums are dissolved, and it is ready
+for use.
+
+
+5. TRANSFER PAINTING ON WOOD
+
+By this you may transfer any picture you please from paper to a
+cutter back, or any other substance you please. Give the board three
+coats of white spirit varnish, receipt No. 4; damp the back of the
+print with strong vinegar; give the front a very heavy coat of the
+transfer varnish, receipt No. 3; then press it on the board, avoiding
+creases; when perfectly dry and fast, rub the paper away; the print
+is indelibly fixed; then varnish it over as you would any other
+painting. This receipt has been commonly sold for $5.
+
+
+6. ELECTRO GOLD PLATING--NEW METHOD
+
+Take 100 grams of laminated gold, mixed with 20 grams of
+hydrochloric acid; 10 grams of nitric acid; the liquid thus composed
+is placed over a moderate fire, and stirred constantly until the
+gold passes into the state of chlorine; it is then allowed to cool.
+A second liquid is formed by dissolving 60 grams of cyanide of
+potassium in 80 grams of distilled waters; the two liquids are
+mixed together in a decanter and stirred for 20 minutes, and then
+filtered. Finally 100 grams of whiting, dry and sifted, are mixed
+with 5 grams of pulverised supertartrate of potass; this new
+powder is dissolved in a portion of the above described liquid,
+in sufficient quantity to form a paste of the proper consistency
+to be spread with a pencil on the article or part to be gilded.
+The superabundant powder is then removed by washing and the article
+is beautifully gilded with a heavy or light coat, according to the
+quantity of paste used. Grams belong to French weights, four grams
+are a little more than one drachm.
+
+
+7. ELECTRO SILVERING--NEW METHOD
+
+10 grams of nitrate of silver are dissolved in 50 grams of distilled
+water; then 25 grams of cyanide of potassium in 50 grams of
+distilled water; the two liquids are mixed in a decanter, and
+stirred for 10 minutes; it is then filtered. Finally, 100 grams of
+sifted whiting are mixed with 10 grams of pulverised supertartrate
+of potass and one gram of mercury. This powder and dissolving liquid
+are used in the same manner as in the above method of gold plating.
+These excellent methods of silvering and gilding were discovered in
+June 1860, by the great French chemist Baldooshong of Paris France.
+It is far superior to any other method ever discovered, and will
+eventually take the place of all.
+
+
+8. ELECTRO GOLD PLATING--USUAL METHOD
+
+Take a $2 50c. piece of gold, and put it into a mixture of 1 ounce
+of nitric and 4 ounces of muriatic acids, (glass vessels only are to
+be used in this work,) when it is all cut dissolve 1/2 an ounce of
+sulphate of potash in one pint of pure rain water, and mix the gold
+solution, stirring well; then let stand and the gold will be thrown
+down; then pour off the acid fluid, and wash the gold in two or
+three waters, or until no acid is tasted by touching the tongue to
+the gold. Now dissolve one ounce of cyanuret of potassium in one
+pint of pure rain water, to which add the gold, and it is ready to
+use. Clear the article to be plated from all dirt and grease with
+whiting and a good brush; if there are cracks it may be necessary
+to put the article in a solution of caustic potash. At all events
+every particle of dirt and grease must be removed; then suspend the
+article in the cyanuret of gold solution, with a small strip of zinc
+cut about the width of a common knitting needle, hooking the top
+over a stick which will reach across the top of the vessel or bottle
+holding the solution. If the zinc is too large the deposit will be
+made so fast that it will scale off. The slower the plating goes on
+the better, and this is arranged by the size if the zinc used. When
+not using the plating fluid keep it well corked and it is always
+ready to use, bearing in mind that it is poison as arsenic, and
+must be put high out of the way of children, and labelled poison,
+although you need have no fear using it; yet accidents might arise
+if its nature were not known.
+
+
+9. ELECTRO SILVERING--USUAL METHOD
+
+This is done every way the same as gold plating (using coin) except
+that rock salt is used instead of the cyanuret of potassium to
+hold the silver in solution for use, and when it is of the proper
+strength of salt it has a thick curdy appearance, or you can add
+salt until the silver will deposit on the article to be plated,
+which is all that is required. No hesitation need be felt in trying
+these receipts, as they are obtained from a genuine source, and are
+in every day use.
+
+
+10. GOLD PLATING FLUID
+
+Warm six ounces of pure rain water, and dissolve in it 2 ounces of
+cyanide of potassium, then add a 1/4 ounce oxide of gold; the
+solution will at first be yellowish, but will soon subside to white;
+then half fill a bottle with whiting, fill it up with this solution
+and shake it well; you may now take a piece of old cotton, wet it
+with the solution, rub it well over brass, copper, &c., and it is
+nicely washed with gold.
+
+
+11. SILVER PLATING FLUID
+
+Dissolve one ounce of nitrate of silver, in crystal, in 12 ounces
+of soft water; then dissolve in the water two ounces of cyanuret of
+potash; shake the whole together and let it stand until it becomes
+clear. Have ready some 1/2 ounce vials, and fill them half full
+of whiting, then fill up the bottles and it is ready for use. The
+whiting does not increase the coating powder--it only helps to
+clear the articles and save the silver fluid by half filling the
+bottles. The above quantity of materials will cost about $1.62c.,
+so that the fluid will be about 3 cents a bottle. It is used in
+the same way as the gold plating fluid.
+
+
+12. QUICKSILVER PLATING FLUID
+
+Take of quicksilver one ounce, one ounce nitric acid, one ten
+cent piece, rain water 1/2 pint to a pint, put the three first
+articles into a tumbler together; let them stand until dissolved,
+occasionally stirring, then add the water, and it is ready for use.
+This is used in the same way as the silver and gold plating fluid.
+
+
+13. TO GILD STEEL
+
+Pour some of the ethereal solution of gold into a wine-glass,
+and dip into it the blade of a new penknife, lancet, razor, &c.,
+withdraw the instrument and allow the ether to evaporate, the blade
+will then be found to be covered with a beautiful coat of gold; the
+blade may be moistened with a clean rag or a small piece of very dry
+sponge dipped into the ether, and the same effect will be produced.
+
+
+14. TO GILD COPPER, BRASS, &c.--BY AN AMALGAM
+
+The gilding of these inferior metals and alloys of them is effected
+by the assistance of mercury with which the gold is amalgamated. The
+mercury is evaporated while the gold is fixed by the application of
+heat, the whole is then burnished of left mat in the whole or in
+part, according as required.
+
+
+15. GILDING GLASS AND PORCELAIN
+
+Dissolve in boiling linseed oil an equal weight either of copal or
+amber, and add as much oil of turpentine as will enable you to apply
+the compound or size thus formed as thin as possible to the parts of
+the glass intended to be gilt; the glass is to be placed in a stove
+till it is so warm as almost to burn the fingers when handled. At
+this temperature the size becomes adhesive, and a piece of leaf
+gold applied in the usual way will immediately stick. Sweep off the
+superfluous portions of the leaf, and when quite cold it may be
+burnished, taking care to interpose a piece of india paper between
+the gold and the burnisher. It sometimes happens when the varnish is
+not very good that by repeated washing the gold wears off; on this
+account the practice of burning it in is sometimes had recourse to;
+for this purpose some gold powder is ground with borax, and in this
+state applied to the clean surface of the glass by a camel hair
+pencil; when quite dry the glass is put into a stove, heated to
+about the temperature of an annealing oven, the gum burns off; and
+the borax, by vitrifying, cements the gold with great firmness to
+the glass, after which it may be burnished.
+
+The gilding upon porcelain is in like manner fixed by heat and the
+use of borax, and this kind of ware, being neither transparent nor
+liable to soften, and thus to be injured in its form in a low red
+heat, is free from the risk and injury which the finer and more
+fusible kinds of glass are apt to sustain from such treatment.
+Porcelain and other wares may be platinized, silvered, tinned,
+or bronzed, in a similar manner.
+
+
+16. GILDING THE EDGES OF PAPER
+
+The edges of the leaves of books and letter paper are gilded
+whilst in a horizontal position in the bookbinder's press or some
+arrangement of the same nature, by first applying a composition
+formed of four parts of Armenian-bole and one of candied sugar,
+ground together with water to a proper consistence, and laid on by
+a brush with the white of an egg. This coating, when nearly dry is
+smoothed by the burnisher, it is then slightly moistened by a sponge
+dipped in clean water and squeezed in the hand; the gold leaf is now
+taken up on a piece of cotton from the leathern cushion and applied
+on the moistened surface; when dry it is to be burnished by rubbing
+the burnisher over it repeatedly from end to end, taking care not
+to wound the surface by the point.
+
+
+17. PROFESSOR WORTS' AMALGAM FOR SILVERING
+
+This is the only means yet discovered for silvering iron directly,
+yet it is not so lasting as some of the other processes. Take
+quicksilver and the metal potassium, equal parts by volume, put them
+together in a tumbler, and if both metals be good there will be a
+brisk ebullition, which continues until an amalgam of the two is
+formed, then add as much quicksilver as there is of the amalgam; let
+it work till thoroughly mixed, and it is ready for use. This amalgam
+you may apply with a cloth to any metal, even iron, though it be a
+rusty bar, and you have it neatly silvered over.
+
+
+18. FOR COPPERING IRON
+
+This is the latest method, and that now in use. To a solution of
+sulphate of copper, add a solution of ferrocyanide of pottasium, so
+long as a precipitate continues to be formed. This is allowed to
+settle, and the clear liquor being decanted the vessel is filled
+with water, and when the precipitate settles the liquor is again
+decanted, and continue to repeat these washings until the sulphate
+of potash is washed quite out; this is known by adding a little
+chloride of barium to a small quantity of the washings, and when
+there is no white precipitate formed by the test, the precipitate is
+sufficiently washed. A solution of cyanide of potassium is now added
+to this precipitate until it is dissolved, during which process the
+solution becomes warm by the chemical re-action which takes place.
+The solution is filtered, and allowed to repose all night. If
+the solution of cyanide of potassium that is used is strong, the
+greater portion of the ferrocyanide of potassium crystalises in the
+solution, and may be collected and preserved for use again. If the
+solution of cyanide of potassium used to dissolve the precipitate is
+dilute, it will be necessary to condense the liquor by evaporation
+to obtain the yellow prussiate in crystals. The remaining solution
+is the coppering solution; should it not be convenient to separate
+the yellow prussiate by crystallization, the presence of that salt
+in the solution does not deteriorate it nor interfere with its power
+of depositing copper.
+
+
+19. PECULIARITIES IN WORKING CYANIDE OF COPPER SOLUTION
+
+The true composition of the salts thus formed by copper and cyanide
+of potassium has not yet been determined, but their relations to
+the battery and electrolyzation are peculiar. The solution must
+be worked at a heat not less than from 150 to 200 degrees Farenheit
+(that is not quite as hot a boiling water, which is 212 degrees
+Farenheit.) All other solutions we have tried follow the laws, that
+if the electricity is so strong as to cause gas to be evolved at
+the electrode, the metal will be deposited in a sandy or powdered
+state, but the solution of cyanide of copper and potassium is an
+exception to these laws, as there is no reguline deposit obtained
+unless gas is freely evolved from the surface of the article upon
+which the deposit is taking place. As this solution is used hot, a
+considerable evaporation takes place, which requires that additions
+be made to the solution from time to time. If water alone be used
+for this purpose it will precipitate a great quantity of the
+copper as a white powder, but this is prevented by dissolving a
+little cyanide of potassium in the water at the rate of 4 ounces
+to the gallon. The vessels used in factories for this solution are
+generally of copper, which are heated over a flue or in a sand-bath,
+the vessel itself serving as the positive electrode of the battery;
+but any vessel will suit if a copper electrode is employed when the
+vessel is not of copper.
+
+
+20. PREPARATION OF IRON FOR COATING WITH COPPER
+
+When it is required to cover an iron article with copper, it is
+first steeped in hot caustic potash or soda to remove any grease or
+oil. Being washed from that it is placed for a short time in diluted
+sulphuric acid, consisting of about one part acid to 16 parts of
+water, which removes any oxide that may exist. It is then washed in
+water and scoured with sand till the surface is perfectly clean,
+and finally attached to the battery and immersed in the cyanide
+solution. All this must be done with despatch so as to prevent the
+iron combining with oxygen. An immersion of five minutes duration in
+the cyanide solution is sufficient to deposit upon the iron a film
+of copper, but it is necessary to the complete protection of the
+iron that it should have a considerably thick coating, and as the
+cyanide process is expensive, it is preferable when the iron has
+received a film of copper by the cyanide solution, to take it out,
+wash it in water, and attach to it a simple cell or weak battery,
+and put it into a solution of sulphate of copper. If there is any
+part not sufficiently covered with copper by the cyanide solution,
+the sulphate will make these parts of a dark colour, which a touch
+of the finger will remove. When such is the case, the article must
+be taken out, scoured, and put again into the cyanide solution till
+perfectly covered. A little practice will render this very easy. The
+sulphate solution for covering iron should be prepared by adding
+it by degrees a little caustic potash, so long as the precipitate
+formed is re-dissolved. This neutralizes a great portion of the
+sulphuric acid, and thus the iron is not so readily acted upon.
+When the iron is thus coppered, proceed to silver it in the manner
+recommended for silvering according to receipt No. 9; or if you want
+to put a very heavy coating of silver on it, make use of a strong
+battery.
+
+
+21. SOLDERING FLUID
+
+For mending articles of tin, iron, zinc, copper, and almost all
+other metals. Take 2 fl. ounces of muriatic acid, add zinc till
+bubbles cease to rise, add 1/2 a teaspoonful of sal-ammoniac and 2
+ounces of water. Damp the part you wish to solder with this fluid,
+lay on a small piece of lead, and with a piece of hot iron or
+soldering iron solder the part.
+
+
+22. SOLDER FOR TIN
+
+Take of pewter 4 parts, tin 1 part, bismuth 1 part; melt them
+together. Resin is used with this solder.
+
+
+23. COLD METHOD OF SILVERING IRON WITH SILVER-PLATE
+
+Polish the iron toy wish to silver, then damp it over with soldering
+fluid (receipt No. 21) When this is done give it a coat of No. 22
+solder. This is done by laying a piece of cold solder on the iron,
+and spreading it over with a heated soldering iron, when by this
+means you get the iron nicely plated with solder, then lay on
+your silver-plate evenly, and gently rub it over with the heated
+soldering iron, and it will become firmly united with the solder as
+the solder is with the iron, so that you have the iron beautifully
+plated with silver with very little cost or trouble.
+
+
+24. HOT METHOD OF SILVERING IRON WITH SILVER-PLATE
+
+First polish the iron you wish to silver, wet it well over
+with No. 21 soldering fluid; then having procured that kind of
+silver-plate which is tin on one side and silver on the other, place
+it evenly on, with the tined side next to the iron, then place it
+on the fire until the silver-plate melts down, then at once take it
+from the fire, and it will be firmly attached to the iron, and will
+be excellent plate; yet No. 23, the cold method, is to be preferred
+in most cases.
+
+
+25. SILVERING LOOKING-GLASSES WITH QUICKSILVER
+
+Take a piece of marble or some other substance very smooth, true,
+and level, lay on this the glass you wish to silver, then make a
+ridge of putty on the marble against the edge of the glass all round
+it, so that you can pour quicksilver on the glass until it is all
+covered over, and will be prevented from running off by the ridge
+of putty; an inch or two, or three outside this ridge make another
+of putty; then cover the quicksilver on the glass all over with
+tin-foil, and press it firmly but cautiously against the glass until
+you have squeezed out all the quicksilver you can. While you press
+this, you may remove part of the first ridge of putty to give the
+quicksilver a chance of escape. When it is well pressed against
+the glass there will be an amalgam formed of the tin-foil and the
+quicksilver that is left, which will firmly adhere to the glass. By
+this means you have a very beautiful and cheap looking-glass; the
+quicksilver that escapes, being saved by the second ridge of putty,
+may be used again.
+
+
+26. SILVERING LOOKING-GLASSES WITH PURE SILVER
+
+Prepare a mixture of 3 grains of ammonia, 60 grains of nitrate of
+silver, 90 minims of spirits of wine, 90 minims of water; when the
+nitrate of silver is dissolved, filter the liquid and add a small
+quantity of sugar (15 grains) dissolved in 1-1/2 oz. of water, and 1
+1/2 oz. of spirits of wine. Put the glass into this mixture, having
+one side covered with varnish, gum, or some substance to prevent the
+silver being attached to it. Let it remain for a few days and you
+have a most elegant looking-glass, yet it is far more costly than
+the quicksilver.
+
+
+27. PATENT BURNING FLUID
+
+To 1 gallon of 95 per cent. alcohol, add 1 quart of camphene oil;
+mix and shake well, and if transparent it is fit for use, if not,
+add sufficient alcohol, shaking it well, to bring it to the natural
+colour of the alcohol. It may be coloured to suit the fancy by
+adding a little tincture of golden seal, or any other colouring
+drug. This receipt has been sold for $10.
+
+
+28. BURNING FLUID
+
+Take 4 quarts alcohol, and 1 quart spirits of turpentine; mix well
+together, and it is ready for use.
+
+
+29. NON-EXPLOSIVE BURNING FLUID
+
+Take 1 gallon 44 proof alcohol, 1 quart camphene, 3 oz. of alum
+pulverized, 1/2 oz. camphor gum, 65 drops cuicuma; mix all together
+and let it stand 12 hours, and it is ready for use.
+
+
+30. VINEGAR IN THREE DAYS WITHOUT DRUGS
+
+Take 2 barrels and saw one of them in two in the centre, and put
+one-half on the top, and the other at the bottom of the whole
+barrel, (or you may use three whole barrels if you like.) The middle
+barrel is to be filled with maple, beech, of baswood shavings, which
+are to be planed from the edge of boards only two or three feet
+long, which allows the shavings to roll, and prevents them from
+packing tight, and also allows air to circulate through them, which
+is admitted through a number of inch holes, which are to be made
+near the bottom of the barrel and just above the faucet, which lets
+the vinegar run into the tub below. The top tub has its bottom
+pierced with small bit holes, having several threads of twine
+hanging in them to conduct the vinegar evenly over the top of the
+shavings in the middle of the barrel. Air must be permitted to pass
+out between the top tub and barrel, which comes in at the holes in
+the bottom. The shavings which fill the barrel must be soaked three
+or four days in good vinegar before they are put in. When thus
+arranged, for every gallon of water use 1/2 lb. of sugar; (that
+you get from molasses barrels does vary well.) If you wish to make
+vinegar from whiskey, put in 4 gallons of water to 1 gallon of
+whiskey; and if from cider, put in one-third water, and fill the
+top tub with this fluid, putting 1 pint good yeast to each barrel
+making; and have the holes with threads or twine so arranged that
+it will run through every twelve hours; and dip or pump up with a
+wooden pump every night or morning, and three days will make good
+substantial vinegar, which will keep and also improve by age. Some
+use only 1 gallon of whiskey to 7 gallons of water. This accounts
+for so much poor vinegar. Make good vinegar, it will pay you. If a
+few gallons of water is made boiling hot so as to warm the whole of
+a gentle warmth, it will make faster than if used cold. This must
+be done in cool weather, and the room also should be kept warm. For
+families, small kegs will do, but for manufacturers large casks are
+best. Many make vinegar by just putting fluid into the barrels of
+shavings, soaked as directed above, and do not let it run through,
+but let it stand in the shavings till sour; but it does not work
+fast enough for manufacturers. It will do where only a small amount
+is needed, keeping the same strength of fluid as for the other plan,
+which is best. Two or three years ago, this receipt was sold for
+from $50 to $150. If vinegar is made from whiskey, it will have
+a more beautiful colour if 5 or 6 lbs. of sugar is put into each
+barrel, of course keeping the same proportions of water as though
+only one kind was used. The shavings will last the whole season.
+
+
+31. CUBA HONEY
+
+Good brown sugar 11 lbs., water 1 quart, old bee honey in the comb
+2 lbs., cream tartar 50 grains, gum arabic 1 oz., oil of peppermint
+5 drops, oil of rose 2 drops, mix and boil two or three minutes and
+remove from the fire, have ready strained one quart of water, in
+which a table-spoonful of pulverized slippery elm bark has stood
+sufficiently long to make it ropy and thick life honey, mix this
+into the kettle with egg well beat up, skim well in a few minutes,
+and when a little cool, add two pounds of nice strained bees' honey,
+and then strain the whole, and you will have not only an article
+which looks and tastes like honey, but which possesses all its
+medicinal properties. It has been shipped in large quantities under
+the name of Cuba honey. It will keep fresh and nice for any length
+of time if properly covered.
+
+
+32. EXCELLENT HONEY
+
+Take 5 lbs. of good common sugar, two pounds of water, gradually
+bring to a boil, skimming well, when cool, add 1 lb. bees' honey,
+and 4 drops of peppermint. If you desire a better article use white
+sugar and 1/2 lb. less water, and one half pound more honey.
+
+
+33. GUNPOWDER
+
+Take pulverized saltpetre, moisten it, and subject it to the action
+of a slow fire until completely dried and granulated, of this take
+75 parts, purified sugar 12 and a-half parts, moisten and grind
+together till completely blended, which will require several hours,
+pulverize on heaters till dried.
+
+
+34. EXCELLENT MATCHES
+
+The ends of the tapers or wood should be very dry, and then dipped
+in hot melted sulphur and laid aside to dry; then take 4 parts of
+glue, dissolve it and while hot add one part of phosphorus, and stir
+in a few spoonsful of fine whiting to bring to the proper thickness.
+This preparation should be kept hot by being suspended over a lamp,
+while dipping the wood or tapers. Colour the mixture by adding a
+little vermillion, lamp black or prussian blue; be careful not to
+ignite the compound while dipping.
+
+
+35. FIRE AND WATER-PROOF CEMENT
+
+To half a pint of milk add half a pint of vinegar to curdle it; then
+separate the curd from the whey, and mix the whey with 4 or 5 eggs;
+beating the whole well together; when it is well mixed, add a little
+quick-lime through a sieve, until it has acquired the consistence of
+a thick paste. This is a prime article for cementing marble, in or
+out of the weather. It is excellent for broken vessels, &c.
+
+
+36. FRENCH CHEMICAL SOAP
+
+Take 5 lbs. castile soap, cut fine, 1 pint alcohol, 1 pint soft
+water, 2 ounces aquafortis (if for black cloth 1/2 ounce of
+lampblack,) 2 ounces saltpetre, 3 ounces potash, 1 ounce camphor,
+4 ounces cinnamon in powder. Fist dissolve the soap, potash, and
+saltpetre by boiling, then add all the other articles, and continue
+to stir until it cools, then pour it into a box, let it stand 24
+hours, and cut it into cakes. It is used for taking grease, stains,
+and paints from cloth, wood, &c. This receipt has frequently sold
+for $10.
+
+
+37. BLACK INK WITHOUT SEDIMENT
+
+This ink is not injured by frost--is a beautiful article, and only
+costs 5 cents. per gallon, and is sold for from $1 to $3. Take 1 lb.
+logwood, 1 gallon soft water, simmer in an iron vessel for one hour,
+then dissolve in a little hot water 24 grains bychromate of potash,
+and 12 grains prussiate of potash, and stir into the liquid while
+over the fire, then take it off and strain it through fine cloth.
+This ink is a jet black flows freely from the pen and will stand the
+test of oexylic acid.
+
+
+38. INDELIBLE INK
+
+1 inch of the stick of the nitrate of silver dissolved in a little
+water, and stirred into each gallon of the above, makes first rate
+indelible ink for cloth. Judge what indelible ink costs.
+
+
+39. INDELIBLE INK
+
+Nitrate of silver 1-1/2 oz., dissolved in liquor ammonia fortisine
+5-1/2 oz., orchil for colouring 3/4 oz., gum mucilage 12 oz., mix
+the two latter, then mix them with the two former, and it is ready
+to use.
+
+
+40. WRITING FLUID OR BLACK COPYING INK
+
+Take two gallons of rain water and put into it gum arabic 1/4 lb.,
+brown sugar 1/4 lb., clean copperas 1/4 lb., powdered nut galls 3/4
+lb., mix and shake occasionally for ten days and strain. If needed
+sooner, let it stand in an iron kettle until the strength is
+obtained. This ink can be depended on for deeds or records, which
+you may want someone to read hundreds of years to come. Oexylic acid
+1/4 oz., was formerly put in, but as it destroys the steel pens, and
+does just as well without it--it is now never used.
+
+
+41. BEST INK POWDER
+
+This is formed of the dry ingredients for ink, powdered and mixed.
+Take powdered galls one pound, powdered green vitriol half a pound,
+powdered gum 4 ounces, mix all together, put it up into 2 ounce
+packages, each of which will make a pint if ink.
+
+
+42. BEST RED INK
+
+Take of best carmine (nakarot) 2 grains, rain water 1/2 ounce, water
+of ammonia 20 drops, add a little gum arabic, and it is in a few
+minutes ready for use.
+
+
+43. YELLOW INK
+
+Dissolve alum in saffron water to whatever shade of yellow you
+please. It makes a beautiful ink.
+
+
+44. BLUE INK
+
+Take Prussian blue, and oexylic acid, in equal parts, powder finely,
+and add soft water to bring it to a soft paste, and let it stand for
+a few days, then add soft water to the desired shade of colour; add
+a little gum arabic to prevent spreading.
+
+
+45. GOLDEN INK
+
+Take some white gum arabic, reduce it to an impalpable powder in a
+brass mortar, dissolve it in strong brandy, and add a little common
+water to render it more liquid, provide some gold in a shell, which
+must be detached in order to reduce it to a powder, when this is
+done moisten it with the gum solution, and stir the whole with a
+small hair brush, or your finger, then leave it for a night that
+the gold may be better dissolved. If the composition becomes dry
+during the night, dilute it with more gum water in which a little
+saffron has been infused, but take care that the gold solution be
+sufficiently liquid to flow freely in a pen; when the writing is
+dry polish it with a dry tooth.
+
+
+46. WHITE INK FOR WRITING ON BLACK PAPER
+
+Having carefully washed some egg shells remove the internal skin and
+grind them on a piece of porphyry, then put the powder in a small
+vessel of pure water, and when it has settled at the bottom, draw
+off the water and dry the powder in the sun. This powder must be
+preserved in a bottle; when you want to use it put a small quantity
+of gum ammoniac into distilled vinegar, and leave it to dissolve
+during the night, next morning the solution will appear exceedingly
+white, and if you then strain it through a piece of linen cloth, and
+add to it the powder of egg shells in sufficient quantity, you will
+obtain a very white ink.
+
+
+47. SECRET INK FOR YOUNG LADIES AND GENTS
+
+Take a drachm of clean rain water, put into it, in a clean vial, 10
+or 12 drops of pure, clean sulphuric acid, and it is ready for use;
+write with this using a clean quill pen on letter paper, and when
+dry you can see no mark at all, then hold it to a strong heat and
+the writing becomes as black as jet. If you want to write to a young
+lady or gentleman, as the case may be, and fearing that the letter
+might be opened before she or he gets it, write with common black
+ink something of no importance, then between the lines write what
+you want to say with the secret ink. The person to whom you are
+writing must understand the scheme so that she or he may hold it
+to the heat and thereby make the writing visible.
+
+
+48. CIDER WITHOUT APPLES
+
+To each gallon of cold water put 1 lb. common sugar, 1/2 ounce of
+tartaric acid, one tablespoonful of yeast, shake well, make in an
+evening and it will be fit for use next day. I make in a keg a few
+gallons at a time, leaving a few quarts to make into next time, not
+using yeast again until the keg needs rinsing. If it gets a little
+sour, make a little more into it or put as much water with it as
+there is cider and put it with the vinegar. If it is desired to
+bottle this cider by manufacturers of small drinks, you will proceed
+as follows: put in a barrel 5 gallons of hot water, 30 lbs. of brown
+sugar, 3/4 lb. of tartaric acid, 25 gallons of cold water, 3 pints
+of hop or brewer's yeast, work into paste with 3/4 lb. of flower,
+and one pint water will be required in making this paste; put all
+together in a barrel which it will fill and let it work 24 hours,
+the yeast running out at the bung all the time by putting in a
+little occasionally to keep it full; then bottle, putting in two
+or three broken raisins to each bottle, and it will nearly equal
+champagne.
+
+
+49. SPRUCE OR AROMATIC BEER
+
+Take 3 gallons of water, 2-1/2 pints molasses, 3 eggs well beaten,
+1 gill yeast, put into two quarts of the water boiling hot, put in
+50 drops of any oil you wish the flavour of, or mix one ounce each,
+oil sarsafras, spruce, and wintergreen; then use the 50 drops. For
+ginger flavour take 2 ounces ginger root bruised and a few hops, and
+boil for 30 minutes in one gallon of the water, strain and mix all;
+let it stand 2 hours and bottle, using yeast, of course, as before.
+
+
+50. LEMON BEER
+
+To make 20 gallons, boil 6 ounces of ginger root bruised, 1/4 lb.
+cream-tartar for 20 or 30 minutes in 2 or 3 gallons of water; this
+will be strained into 13 lbs. of coffer sugar on which you have put
+1 oz. oil of lemon and six good lemons all squeezed up together,
+having warm water enough to make the whole 20 gallons, just so you
+can hold your hand in it without burning, or some 70 degrees of
+heat; put in 1-1/2 pint hops or brewer's yeast worked into paste as
+for cider, with 5 or 6 oz. of flower; let it work over night, then
+strain and bottle for use. This will keep a number of days.
+
+
+51. PHILADELPHIA BEER
+
+Take 30 gallons of water, brown sugar 20 lbs., ginger root bruised
+1/4 lb., cream tartar 1-1/4 lb., carbonate of soda 3 ounces, oil of
+lemon 1 teaspoonful, put in a little alcohol, the white of 10 eggs
+well beaten, hops 2 ounces, yeast one quart. The ginger root and
+hops should be boiled for 20 or 30 minutes in enough of the water to
+make all milk warm; then strain into the rest, and the yeast added
+and allowed to work itself clear as the cider and bottled.
+
+
+52. SILVER TOP DRINK
+
+Take of water 3 quarts, white sugar 4 lbs., oil of lemons one
+teaspoonful, white of 5 eggs, beaten with one teaspoonful of flour;
+boil to form syrum, then divide into equal parts, and to one add 3
+ounces of tartaric acid, and to the other part 4 oz. of carbonate
+of soda, then take two thirds of a glass of water, and put in a
+spoonful of each of the syrups, more or less, according to the size
+of the glass.
+
+
+53. DIRECTIONS FOR MAKING SODA DRINKS
+
+In getting up any of the soda drinks which are spoken of hereafter
+it will be preferable to put about 4 oz. of carbonate (sometimes
+called supercarbonate) of soda into one pint of water, and shake
+when you wish to make a glass of soda, and pour from this into the
+glass until if foams well instead of using dry soda as directed.
+
+
+54. IMPERIAL CREAM NECTAR
+
+Part 1st.--Take 1 gallon water, 6 lbs. loaf sugar, 6 ounces tartaric
+acid, gum arabic 1 oz.
+
+Part 2nd.--Take 4 teaspoonsful of flour, the whites of four eggs beat
+finely together, then add 1/2 pint of water. Heat the first part until it
+is blood warm, then put in the second, boil 3 minutes and it is done.
+
+Directions.--To 3 tablespoonfuls of the syrup in a glass half or two
+thirds full of water add one third of a teaspoonful of carbonate of soda
+made fine, stir well, and drink at your leisure.
+
+
+55. A SUPERIOR GINGER BEER
+
+Take of sugar 10 lbs., lemon juice 9 oz., honey 1/2 lb., bruised
+ginger root 11 oz., water 9 galls., yeast 3 pints, boil the ginger
+in the water until the strength is all extracted, which you may tell
+be tasting the root, then pour it into a tub, throwing the roots
+away, let it stand until nearly luke warm, then put in all the rest
+of the ingredients, stir well until all dissolved, cover it over
+with a cloth, and if it be in the evening, let it remain until next
+morning, then strain through cloth, and bottle it, and in a short
+time it will be fit for use. Some use less sugar, and some less
+lemon juice, to make it with less expense; but it is not so elegant
+a drink as this.
+
+
+56. GINGER POP No. 1
+
+Take of water 5-1/2 galls., ginger root bruised 3/4 lb., tartaric
+acid 1/2 oz., white sugar 2-1/4 lbs., the whites of 3 eggs well
+beat, a small teaspoonful of oil of lemon, yeast 1 gill; boil the
+root for 30 minutes in 1 gallon of the water, strain off, and put
+the oil in while hot, mix all well, make over night, in the morning
+skim, and bottle, keeping out sediment.
+
+
+57. GINGER POP No. 2
+
+Take best white Jamaica ginger root bruised 2 oz., water 6 quarts,
+boil 20 minutes and strain, then add cream tartar 1 oz., white sugar
+1 lb.; put on the fire, then stir until all the sugar is dissolved;
+then put into an earthen jar, now put in tartaric acid 1/4 oz., and
+the rind of 1 lemon, let it stand until 70 degrees of Fahrenheit,
+or until you can bear your hand in it with comfort, then add two
+tablespoonsful of yeast, stir well, bottle for use, and tie the
+corks; make a few days before it is wanted for use.
+
+
+58. YEAST
+
+Take a good single handful of hops, and boil for 20 minutes in 3
+pints of water, then strain, and stir in a teacupful of flour, a
+tablespoonful of sugar, and a teaspoonful of salt; when a little
+cool put in 1 gill of brewer's yeast, and after four or five hours
+cover up, and stand in a cool place for use; make again from this
+unless you let it get sour.
+
+
+59. SODA SYRUPS
+
+Take of loaf or crushed sugar 8 lbs., pure water 1 gall., gum arabic
+1 oz., mix in a brass or copper kettle, boil until the gum is
+dissolved, then skim and strain through white flannel, after which
+add tartaric acid 5-1/2 oz., dissolved in hot water. To flavour use
+extract of lemon, orange, rose, sarsaparilla, strawberry, &c., 1/2
+oz., or to your taste. If you use the juice of lemon, add 1-1/2
+lbs., of sugar to a pint; you do not need any tartaric acid with it;
+now use 2 or 3 tablespoonsful of syrup to 3/4 of a tumbler of water,
+and 1/3 teaspoonsful of supercarbonate of soda made fine, stir well
+and be ready to drink; the gum arabic, however, holds the carbonic
+acid so it will not fly off so readily as common soda. For soda
+fountains, 1 oz., of supercarbonate of soda is used to 1 gallon of
+water. for charged fountains no acids are needed in the syrups.
+
+
+60. MINERAL WATER
+
+Epsom salts 1 oz., cream tartar 1/2 oz., tartaric acid 1/4 oz., loaf
+sugar 1 lb., oil of birch 20 drops; put 1 quart boiling water on all
+these articles, and add 3 quarts of cold water to 2 tablespoonsful
+of yeast; let it work 2 hours and then bottle.
+
+
+61. IMPROVED ENGLISH STRONG BEER
+
+If you have malt use it, if not, take 1 peck of barley, and put it
+into a stove oven, and steam the moisture from them, grind coarsely,
+and pour into them 3-1/2 gallons of water, at 170 or 172 degrees.
+(If you use malt it does not need quite so much water, as it does
+not absorb so much as the other. The tub should have a false bottom
+with many gimblet holes to keep back the grain.) Stir them well and
+let stand 3 hours and draw off, put on 7 gallons more water at 180
+or 182 degrees, stir well, let stand 2 hours and draw off, then put
+1 gallon or 2 of cold water, stir well and draw off; you should have
+about 5 or 6 gallons; mix 6 lbs., coarse brown sugar in equal amount
+of water, add 4 oz. of good hops, boil for 1-1/2 hour; you should
+have from 8 to 10 gallons when boiled; when cooled to 80 degrees,
+put in a teacupful of good yeast and let it work 18 hours covered
+with a sack. Use sound iron-hooped kegs, or porter bottles, bung or
+cork tight, and in two weeks it will be good sound beer, nearly
+equal in strength to London porter, or good ale, and will keep a
+long time.
+
+
+62. SANGAREE
+
+Take wine, ale, or porter, 1/3, and 2/3 water, hot, or cold,
+according to the season of the year, loaf sugar to the taste with
+nutmeg.
+
+
+63. GINGER WINE
+
+Put 1 oz. good ginger root bruised in 1 quart of 95 per cent.
+alcohol, let it stand 9 days, and strain, add 4 quarts of water, and
+1 lb. of white sugar, dissolved in hot water, 1 pint port wine to
+this quantity, for what you retail at your own bar makes it far
+better; colour with tincture of saunders to suit; drink freely of
+this hot on going to bed, when you have a bad cold, and in the
+morning you will bless ginger wine.
+
+
+64. HOP BEER
+
+Take of hops 6 oz., molasses 5 quarts, boil the hops in water till
+the strength is out, strain them into a 30 gallon barrel, add the
+molasses and a teacupful of yeast, and fill up with water, shake it
+well and leave the bung out until fermented, which will be in about
+24 hours; bung up, and it will be fit for use in about 3 days. A
+most excellent summer drink, smaller quantities in proportion.
+
+
+65. USQUEBAUGH OR IRISH WHISKEY
+
+Best brandy 1 gallon, stoned raisins 1 lb., cinnamon, cloves,
+nutmeg, and cardamom, each 1 oz., crushed in a mortar, saffron 1/2
+oz., or the rind of 1 Seville orange, and a little sugar candy;
+shake these well, and it is ready for use in 14 days.
+
+
+66. ICE CREAM
+
+Add a little rich sweet cream, and 1/2 lb. of loaf sugar to each
+quart of cream or milk; if you cannot get cream the best imitation
+is to boil a soft custard; 6 eggs to each quart of milk, (eggs well
+beaten); or another way, boil a quart of milk, and stir into it,
+while boiling, a tablespoonful of arrow-root, wet with cold milk,
+then cool stir in the yolk of one egg, to give a rich colour; five
+minutes boiling is enough for either plan; put the sugar in after
+they cool, keep the same proportions for any amount desired. The
+juice of strawberries, or raspberries, give a beautiful colour and
+flavour to ice creams; or about 1/2 oz. of the essence or extracts
+to a gallon, or to suit the taste. Have your ice well broken, add
+1 quart of salt to a bucket of ice, then place in this the vessel
+containing your cream, and about one half hour's constant stirring
+and occasional scraping down and beating together will freeze it.
+
+
+67. CHICAGO ICE CREAM
+
+Irish moss soaked in warm water about an hour, and rinsed well to
+clear it of a certain foreign taste, then steep it in milk, keeping
+it just at the point of boiling or simmering for an hour, or until a
+rich yellow colour is given to the milk, without cream or eggs; 1 or
+1-1/2 oz. of moss is enough for a gallon of cream, and this will do
+to steep twice. Sweeten and flavour as other cream.
+
+68. CREAM SODA
+
+Loaf sugar 10 lb., water 3 gills, mix, and warm gradually, so as
+not to burn, good rich cream 2 quarts, extract vanilla 1-1/2 oz.,
+extract nutmeg 1/4 oz., and tartaric acid 4 oz.; just bring to
+a boiling heat; for if you cook it any length of time it will
+crystallize. Use 4 or 5 spoonsful of this syrup instead of 3, as
+in other syrups; put 1/3 teaspoonful of soda to a glass, if used
+without fountain. For charged fountains no acid is used.
+
+69. LEMON SYRUP
+
+Take of the juice of lemons one pint, white sugar one and a half
+pound, and a little of the peel. Mix and boil a few minutes, strain,
+and when a little cool, bottle, and cork, for use.
+
+
+70. ORANGE AND RASPBERRY SYRUPS
+
+Take of the juice of either, as the case may be, one pint; white
+sugar one and a half pound. If it be orange a little of the peel;
+tartaric acid 4 oz. Mix and boil a few minutes; strain, and when a
+little cool, bottle and cork for use. When to be drank, mix three
+or four tablespoonsful of syrup with three quarters of a glass of
+water, and add a teaspoonful of soda. If water be added to the syrup
+it will not keep well.
+
+
+71. PURE WINE
+
+Take three pounds of nice raisins free of stems, cut each one in two
+or three pieces, put them into a stone jug with one gallon pure soft
+water, let them stand two weeks uncovered, shaking occasionally (put
+in a warm place in winter,) strain through three or four thicknesses
+of woollen, or filter; colour with burned sugar; bottle and cork for
+use. For saloon purposes, add one pint of good brandy. The more
+raisins the better the wine, not exceeding 5 lbs.
+
+
+72. PURE WINE VINEGAR
+
+This is made by putting the same quantity of water on the above
+raisins, after the wine is poured off, as at first for making wine,
+and standing the same length of time, in the same way.
+
+
+73. PORT WINE
+
+Take 42 gallons of worked cider, 12 gallons of good port wine,
+3 gallons good brandy, 6 gallons pure spirits. Mix together.
+Elder-berries and sloes, or fruit of the black hawes, make a fine
+purple colour for wines.
+
+
+74. CHAMPAGNE WINE
+
+Take of good cider (crab-apple cider is best) seven gallons, best
+fourth proof brandy one quart, genuine champagne wine five quarts,
+milk one gill, bitartrate of potash 2 oz. Mix and let it stand a
+short time; bottle while fermenting. This makes an excellent
+imitation of champagne with age.
+
+
+75. CURRANT AND OTHER FRUIT WINES
+
+For currant, cherry, raspberry, elderberry, strawberry, whortleberry,
+and wild grape wines, any one can be used alone, or in combination
+of several of the different kinds; to make a variety of flavours, or
+suit persons who have some and not the other kinds of fruits, to
+every gallon of expressed juice, add 2 galls. of soft water, put in
+6 or 8 lbs. of brown sugar, and 1-1/2 oz. of cream of tartar, have
+them dissolved; put 1 quart of brandy to every 6 galls. Some prefer
+it without brandy. After fermentation, take 4 oz. isinglass,
+dissolved in a pint of the wine, put to each barrel, and it will
+refine and clear it; then it must be drawn off into clear casks, or
+bottled, which is far the best. Give these wines age and they are
+most delicious.
+
+
+76. DINNER WINE OR ENGLISH PATENT WINE
+
+From garden rhubarb, which will not lend to intemperance. An
+agreeable and healthy wine is very frequently made from the
+expressed juice of the garden rhubarb. To each gallon of juice add
+1 gallon of soft water, in which 7 lbs. of brown sugar have been
+dissolved; fill a keg or barrel with this proportion, leaving the
+bung out, and keep it filled with sweetened water as it works off
+until clear. Any other vegetable extract may be added, if this
+flavour is not liked. Then bung down, or bottle, as you desire.
+These stalks will furnish about 3/4 their weight in juice; fine and
+settle with isinglass, as in the fruit wines. This has been patented
+in England.
+
+
+77. VARIOUS WINES
+
+Take 28 gallons of clarified cider; 1 gallon good brandy, 1 lb.
+crude tartar, (this is what is deposited by grape wines) 5 gallons
+of any wine you wish to represent, 1 pint of sweet milk to settle
+it; draw off in 24 or 36 hours after thoroughly mixing.
+
+
+78. BLACKBERRY AND STRAWBERRY WINES
+
+These are made by taking the above wine when made with port wine;
+and for every 10 gallons, form 4 to 6 quarts of the fresh fruit,
+bruised and strained, are added, and let it stand till the flavour
+is extracted; more or less may be used to suit the tastes of
+different persons. In bottling any of those wines 3 or four broken
+raisins put into each bottle will add to their richness and flavour.
+
+
+79. FRENCH BRANDY
+
+Take of pure spirit 1 gallon, best French brandy, or any kind you
+wish to imitate, even Otard, 1 quart; loaf sugar 2 oz., sweet
+spirits of nitre 1/2 oz., a few drops of tincture of catechu, or oak
+bark, to roughen the taste if desired; colour to suit your taste,
+and bottle.
+
+
+80. BRANDY FROM OIL COGNAC
+
+Take of pure spirits 10 gallons, New England rum 2 quarts, or
+Jamaica rum 1 quart, and oil cognac from 30 to 40 drops, put in half
+a pint of alcohol, colour with tincture of kino, or burned sugar,
+which is generally preferred. Mix well and bottle.
+
+
+81. PALE BRANDY
+
+This is made as the French brandy, using pale instead of the French,
+and using 1 oz. of tincture of kino for colour, only for 5 gallons.
+
+
+82. CHERRY BRANDY
+
+To every 10 gallons of brandy add 3 quarts of wild black cherries,
+stones and all bruised, and crushed sugar 2 lbs. Let it stand until
+the strength and flavour is obtained, and draw from it as wanted for
+use. Never attempt to use oil of bitter almonds for this purpose,
+instead of the cherries, for it is a most deadly poison.
+
+
+83. BLACKBERRY BRANDY
+
+Take of brandy 10 gallons, nice rich blackberries mashed from 4 to 6
+quarts, according to the degree of flavour you wish. Mix and add a
+little sugar to overcome the acidity of the berries, according to
+their ripeness will the amount vary from one to 4 oz. to each
+gallon.
+
+
+84. STRAWBERRY BRANDY
+
+This is made as the above, using very nice ripe strawberries, and
+only about half the quantity of sugar.
+
+
+[There are no entries for receipts 85, 86 and 87 in the original.]
+
+
+88. HOLLAND GIN
+
+Take of pure spirits 1 gallon, best Holland gin, schnapps, or any
+kind desired, 1 quart, oil of juniper 2 scruples, oil of anise 1/4
+oz.; mix all well together.
+
+
+89. COLOURING
+
+Take of white sugar 1 lb., put it into an earthen kettle, moisten
+a little, let boil, and burn red, black and thick, remove from the
+fire and put in a little hot water to keep it from hardening as
+it cools. Use this to colour any liquors, needing colour, to your
+taste, or as near the colour of the liquor you imitate as you can.
+Tincture of kino is a good colour, and is made by dissolving 1 oz.
+of kino in a pint of alcohol. For a cherry red use tincture of
+saffron; for light amber to deep brown use sugar colouring; for
+brandy colour, sugar; for red use beet root or saunders; for port
+wine colour use extract of rhatany.
+
+
+90. TO KEEP SWEET AND SWEETEN SOUR CIDER
+
+To keep cider sweet take a keg, put several holes in the bottom of
+it, and a piece of woollen cloth at the bottom, then fill with pure
+sand closely packed, then pass your cider through this, and put up
+in clean barrels that have had a piece of cotton or linen cloth 2 by
+6 inches, dipped in sulphur, and burned in them, then keep in a cool
+place and add 1/2 lb. of white mustard seed to each barrel. If cider
+is souring, about 1 quart of hickory ashes, (or a little more of
+other hard wood ashes), stirred into each barrel, will sweeten and
+clarify it, nearly equal to rectifying; but if it is not rectified
+it must be racked off to get clear of pomace, for while this is in
+it, it will remain sour. Oil or whiskey barrels are best to put up
+cider in, or 1/2 pint of sweet oil, or a gallon of whiskey, or both
+may be added to a barrel with decidedly good effects. Isinglass 4
+oz. to each barrel helps to clarify and settle cider that is not
+going to be rectified.
+
+
+91. SCHRUB
+
+Take of lemon juice 1 pint, white sugar 2 pints, rum 3 pints, water
+4 pints; mix and colour ready for use.
+
+
+92. STOUGHTON BITTERS
+
+Take of gentian 4 oz., orange peel 4 oz., columbo 4 oz., chamomile
+flowers 4 oz., quassia 4 oz., burned sugar 1 lb., whiskey 2-1/2
+galls., water 2-1/2 galls,; mix and let stand one week, then bottle
+the clear liquor.
+
+
+93. TO IMPROVE THE FLAVOUR OF NEW WHISKEY
+
+Take of whiskey 1 gall., add tea 4 oz., allspice 4 oz., caraway seed
+4 oz., cinnamon 2 oz., shake occasionally for a week and use one
+pint to a barrel. Keep this mixture in a jug.
+
+94. CHERRY BOUNCE OR BRANDY
+
+Take 10 galls. of good whiskey, put into it from 4 to 6 quarts of
+wild black cherries with the stones broken, common almonds shelled
+1 lb., white sugar 1-1/2 lb., cinnamon 1/2 oz., nutmeg 1/2 oz., all
+bruised. Let stand 12 or 13 days and draw off; this, with the
+addition of 2 galls. of brandy, make very nice cherry brandy.
+
+
+95. MONONGAHALE
+
+Take of good common whiskey 36 gall., dried peaches 2 quarts,
+rye, burned and ground as coffee, 1 quart, cinnamon, cloves, and
+allspice, bruised, of each 1 oz., loaf sugar 5 lbs., sweet spirits
+of nitre 2 oz., put all these articles into 4 galls. of pure
+spirits, and shake every day for a week, then draw off through a
+woollen cloth, and add the whole to the 36 galls. of whiskey.
+
+
+96. RYE WHISKEY
+
+Take of dried peaches 1/2 a peck, put them into a pan in a stove,
+scorch a little, not to burn however, then bruise, and place in
+a woollen (pointed) bag, and leach good common whiskey over them
+twice, having the barrel up so as to hang the bag under the faucet
+and draw slowly over them; this is for a barrel. Add 10 or 12 drops
+of aqua ammonia to each barrel, after leaching through the peaches;
+with age this is nearly, if not quite, equal to whiskey made from
+rye.
+
+
+97. STOMACH BITTERS
+
+Take of gentian root 6 oz., orange peel 10 oz., cinnamon 1 oz.,
+anise seed 2 oz., coriander seed 2 oz., cardamom seed 1/2 oz.,
+Peruvian bark, unground, 2 oz., bruise all the articles and add
+of gum kino 1 oz., and put them into 2 quarts of alcohol, and two
+quarts of pure spirits or good whiskey; shake occasionally for 10
+or 12 days, and strain or filter through several thicknesses of
+woollen. Half a pint of this may be added to a gallon of whiskey,
+more or less, as desired, and you have an article as good, or
+better, and more healthy than that for which you will pay three
+times as much; or you may use it the same as stoughton, to which
+it is preferred.
+
+
+98. PEPPERMINT CORDIAL
+
+Take of good whiskey 10 galls., water 10 galls., white sugar 10
+lbs., oil of peppermint 1 oz., flour 1 oz., burned sugar 1/2 lb. to
+colour, alcohol 1 pint; put the oil of peppermint in the alcohol,
+then with this work the flour well, add the burned sugar, work
+again, and mix all the ingredients together; let them stand a week
+and they are ready for use. If you wish a different flavour from
+that of oil of peppermint use any other oil of which you desire
+the flavour.
+
+
+99. ST. CROIX RUM
+
+Take of pure spirits 28 galls., of pure St. Croix run 3 galls.,
+sal-ammonia (cut in alcohol) 1 OZ., sweet spirits of nitre 6 ozs.,
+mix all together and let stand for 24 hours, occasionally shaking,
+and it is ready for use.
+
+
+100. LEMONADE
+
+Take of fresh lemon juice 4 oz., fresh lemon peel 1/2 oz., white
+sugar 4 oz., boiling water 3 pints; mix all together; let them stand
+till cool, and then strain off for use; if you wish you can cool at
+once with ice. Where this is used as a cooling drink in fevers a
+little sweet spirits of nitre may be added.
+
+
+101. A BRILLIANT WHITEWASH
+
+This bears a gloss like ivory, and will not rub off. Take of clean
+unslacked lime 5 or 6 quarts, slack with hot water in a tub, cover
+to keep in the steam; when ready, pass it through a fine sieve, and
+add 1/4 lb. of whiting, 1 lb. of good sugar pulverized, and 3 pints
+of rice flour, first made into a thin paste; boil this mixture
+well, then dissolve 1 lb. of clean glue in water, and add it to the
+mixture, and apply while warm with a whitewash brush, except when
+particular neatness is required you may then use a paint brush; in
+both cases put it on warm. You may add colouring matter to give it
+any shade you please.
+
+
+102. CHANGING VARNISHES
+
+Varnishes of this description are call changing because, when
+applied to metals such as copper, brass, or tin or silver foil, they
+give them a more agreeable colour; indeed, the common metals, when
+coated with them acquired a lustre approaching to that of the
+precious metals, and hence these varnishes are much employed in
+manufacturing imitations of gold and silver. Put four ounces of the
+best gum gamboge into 32 ozs. of spirits of turpentine, 4 ozs. of
+dragon's blood into the same quantity of spirits of turpentine as
+the gamboge, and 1 oz. of anatto into 8 ozs. of the same spirits.
+The three mixtures being made in different vessels, they should then
+be kept for about a fortnight in a warm place, and as much exposed
+to the sun a possible; at the end of that time they will be fit for
+use; and you can procure any tints you wish by making a composition
+from them, with such proportions of each liquor as practice and the
+nature of the colour you are desirous of obtaining will point out.
+Changing varnishes may likewise be employed, with very good effect,
+for furniture, such as picture frames, &c.--See Lackers.
+
+
+103. GOLD LACKER OR VARNISH
+
+In using the changing varnish or any of these lackers, for picture
+frames for instance, lay them over with tin or silver leaf, by means
+of plaster of Paris glue, or cement of some kind, that the foil may
+be perfectly adherent to the wood, then apply your varnish; apply as
+many coats as may suit your taste, and if it be the gold lacker you
+use it has the appearance of being laid with gold leaf, and if the
+pale brass lacker, of being laid with brass, &c., and if you use
+the changing varnish you may make it just what colour you wish, by
+mixing the three materials in different proportions. For making gold
+lacker, put into a clean 4 gallon tin 1 lb. ground turmeric, 1-1/2
+oz. powdered gamboge, 3-1/2 lbs. powdered gum sandrack, 3/4 lb.
+shellac, and 2 galls. spirits of wine; after being dissolved and
+strained add 1 pint of turpentine varnish, receipt No. 112, well
+mixed, and it is ready for use.
+
+
+104. RED SPIRIT LACKER
+
+Take 2 galls. spirits of wine, 1 lb. dragon's blood, 3 lbs. Spanish
+annatto, 3-1/2 lbs. gum sandrack, 2 pints turpentine. Made exactly
+as the gold lacker.
+
+
+105. PALE BRASS LACKER
+
+Take 2 galls. spirits of wine, 3 ozs. cape aloes, cut small, 1 lb.
+fine pale shellac, 1 oz. gamboge, cut small, no turpentine. Varnish
+made exactly as before, but observe, that those who make lackers
+frequently want some paler and some darker and sometimes inclining
+more to the particular tint of certain of the component ingredients;
+therefore if a 4 oz. vial of a strong solution of each ingredient be
+prepared, a lacker of any tint can be prepared at any time as by
+changing varnish.
+
+
+106. DEMAR VARNISH
+
+This is a fine clear varnish, being harder and less coloured than
+mastic, while it is as soluble, and may be had at one-tenth the
+price. Put 6 oz. of gum demar in a bottle with 10 ozs. of spirits of
+turpentine, and put into another bottle 6 ozs. of gum demar, with
+16 ozs. alcohol, when they are dissolved put them together, and you
+have an excellent cheap varnish which dries quickly and is very
+clear.
+
+
+107. COPAL VARNISH
+
+Take 1 oz. of copal, and 1/2 oz. of shellac, powder them well and
+put them into a bottle or jar containing 1 quart of spirits of wine;
+place the mixture in a warm place and shake it occasionally, till
+you see that the gums are completely dissolved, and when strained
+the varnish is fit for use.
+
+
+108. WHITE HARD VARNISH
+
+Take 1 lb. of mastic, 4 oz. of gum anima; and 5 lbs. of gum
+sandrack, put them all together to dissolve, into a vessel
+containing 2 oz. of rectified spirits of wine, which should be kept
+in a warm place and frequently shaken till all the gums are quite
+dissolved; then strain the mixture through a lawn sieve, and it will
+be fit for use.
+
+
+109. CRYSTAL VARNISH
+
+Procure a bottle of Canada balsam, which can be had at any
+druggist's; draw out he cork and set the bottle of balsam at a
+little distance from the fire, turning it round several times, until
+the heat has thinned it; then have something that will hold as much
+as double the quantity of balsam; carry the balsam from the fire,
+and, while fluid mix it with the same quantity of good turpentine,
+and shake them together until they are well incorporated. In a few
+days the varnish is fit for use, particularly if it is poured into a
+half gallon glass or stone bottle, and kept in a gentle warmth. This
+varnish is used for maps, prints, charts, drawings, paper,
+ornaments, &c.
+
+
+110. BLACK VARNISH FOR OLD STRAW OR CHIP HATS
+
+Take a 1/2 oz. of the best black sealing wax, pound it well, and put
+it into a 4 oz. vial, containing 2 ozs. of rectified spirits of
+wine; place it in a sand-bath or near a moderate fire till the wax
+is dissolved, then lay it on warm, with a fine soft hairbrush,
+before a fire or in the sun. It gives a good stiffness to old straw
+hats, and a beautiful gloss equal to new. It likewise resists wet.
+
+
+111. VARNISH FOR VIOLINS &c.
+
+Take 1 gallon of rectified spirits of wine, 12 ozs. of mastic, and
+1 pint of turpentine varnish; put them altogether in a tin can, and
+keep it in a very warm place, shaking it occasionally till it is
+perfectly dissolved; then strain it, and it is fit for use. If you
+find it necessary, you may dilute it with turpentine varnish. This
+varnish is also very useful for furniture of plumtree, mahogany, or
+rosewood.
+
+
+112. TURPENTINE VARNISH
+
+Take 5 lbs. of clear good resin, pound it well, and put it into 1
+gallon of oil of turpentine; boil the mixture over a stove till the
+resin is perfectly dissolved, and when cool, it will be fit for use.
+
+
+113. IRON WORK BLACK OR BLACK VARNISH FOR IRON
+
+Put 48 lbs. asphaltum into an iron pot, and boil for four hours;
+during the first two hours, introduce 7 lbs. litharge, 3 lbs. dried
+copperas, and 10 gallons boiled oil; add 1/8 lb. run of dark gum,
+with 2 gallons hot oil; after pouring the oil and gum, continue the
+boiling two hours, or until it will roll into hard pills like Japan;
+when cool, thin it off with three gallons of turpentine, or until it
+is of proper consistence. This varnish is intended principally for
+the iron work of coaches and other carriages.
+
+114. VARNISH FOR HARNESS
+
+Take 1/2 lb. of india rubber, 1 gallon of spirits of turpentine;
+dissolve enough to make it into a jelly by keeping it almost new
+milk warm; then take equal quantities of good linseed oil, (in a hot
+state,) and the above mixture, incorporate them well on a slow fire,
+and it is fit for use.
+
+
+115. QUICK DRYING HARNESS BLACKING VARNISH
+
+Break 1/2 cake (which is about 1 ounce) of white wax into an earthen
+pan, and just cover it with oil of turpentine; place a board over
+the pan to keep out the air; let it stand for 24 hours or until
+formed into a paste; then in another pan, mix 1 lb. of best ivory
+black with neatsfoot oil, until it assumes a thick consistency; then
+mix the contents of both pans together. It may be reduced with
+spirits of turpentine. Bottle, and it is fit for use.
+
+
+116. OIL PASTE BLACKING
+
+Take oil vitriol, 2 ozs., tanners oil, 5 ozs., ivory black, 2 lbs.,
+molasses, 5 ozs; mix the oil and vitriol together, let it stand a
+day, then add the ivory black, the molasses, and the white of an
+egg; mix well, and it is ready for use.
+
+
+117. WATER PROOF OIL OR PASTE BLACKING
+
+Take 1 pint of camphene, and put into it all the india rubber it
+will dissolve, 1 pint currier's oil, 7 lbs. tallow, and 2 ozs. of
+lampblack; mix thoroughly by heat. This is a nice thing for old
+harness and carriage tops, as well as for boots and shoes.
+
+
+118. BEST VARNISH BLACKING EXTANT
+
+Take of alcohol, 1 gallon; white turpentine, 1-1/2 lbs.; gum shellac
+1-1/2 lbs.; venice turpentine, 1 gill; let these stand in a jug in
+the sun, or by a stove, until the gums are dissolved; then add sweet
+oil, 1 gill; lampblack, 2 oz., and you have a varnish that will not
+crack when the harness is twisted like the old shellac varnish. It
+is good also for boots and shoes, looking well, and turns water.
+
+
+119. ASPHALTUM OR WALNUT STAIN
+
+Take of asphaltum, 2 lbs.; boiled linseed oil, 1/2 pint; spirits of
+turpentine, 1 gallon; mix the two first in an iron pot, boil slowly
+until the asphaltum is melted, then take it some distance from the
+fire, cool a little, and add the turpentine (avoiding ignition)
+before it cools too much, and it is finished.
+
+
+120. POLISH FOR OLD FURNITURE
+
+Take 1 pint best spirits of wine, 1 pint raw linseed oil, 1 pint
+spirits of turpentine; mix all three together, and shake well
+before use. Apply with a rubber of cotton wool covered with a piece
+of clean old white cotton cloth. Apply slightly and you will be
+astonished at the effect. Old furniture that is scratched, soiled,
+or stained, if the wood is not torn up, being polished with this,
+has the appearance of new.
+
+
+121. OIL TO MAKE THE HAIR GROW AND CURL
+
+Take of olive oil 1/2 a pint, oils of rosemary and origanum, of each
+1/8 of an oz. Mix well and apply rather freely.
+
+
+122. BEST SHAVING SOAP
+
+Take 4-1/2 lbs. white bar soap, 1 quart rain water, 1 gill of beef's
+gall, and 1 gill spirits of turpentine; cut the soap thin, and boil
+five minutes, stir while boiling, and colour with 1/2 oz. of
+vermillion; scent with oil of rose or almonds. 10 cents worth will
+positively make $6 worth of soap.
+
+
+123. NEW YORK BARBERS' STAR HAIR OIL
+
+Take of castor oil, 6-1/2 pints; alcohol, 1-1/2 pint; citronella and
+lavender oils, of each 2 ozs.; mix and shake well, and it is ready
+for use.
+
+
+124. ROWLAND'S MACASSAR HAIR OIL
+
+Take of sweet oil, 8 ozs.; cantharides and oil of lemon, of each 60
+drops; alkanet sufficient to colour it.
+
+
+125. ROSE HAIR OIL
+
+Take 1 quart olive oil, 2-1/2 ozs. alcohol, 1-1/2 ozs. rose oil;
+after this tie 1 oz. of chipped alkanet root in 3 or 4 little muslin
+bags, and let them lie in the oil until a pretty red is manifested,
+then change them to other oil. do not press them.
+
+
+126. BEAR'S OIL
+
+Take of good sweet lard oil, 1 quart; bergamot, 1 ounce; mix well
+together.
+
+
+127. OX MARROW FOR THE HAIR
+
+Take of ox marrow, 4 ozs.; white wax, 1 oz.; nice fresh lard, 6 ozs;
+mix and melt; when cool, add 1-1/2 ozs. oil of bergamot, and mix well.
+
+
+128. COLOGNE
+
+Take oils of rosemary and lemon, of each, 1/4 oz.; oils of bergamot
+and lavender, of each, 1/8 oz.; oil of cinnamon, 8 drops; oils of
+cloves and rose, of each 15 drops; best alcohol, 2 quarts; mix and
+shake 2 or 3 times a day for a week. This will be better if
+deoderized, or cologne alcohol is used.
+
+
+129. HARD SOAP
+
+Take of soft soap, 12 lbs.; (that made of olive oil is best,) common
+salt, 9 lbs.; mix and boil for 2 hours, run it into bars, or as you
+want it, and you will have 7-1/2 lbs. of soap. Add a little resin
+when you melt it over. Scent with fragrant oil if you wish to do so.
+
+
+130. BAR SOAP
+
+Take of lime water 1 teacupful, spirits of turpentine 2
+teaspoonsful, resin 1/2 lb., sal. soda 1-1/2 lbs., of bar shop soap
+4 lbs.; melt and boil all together to a proper consistency, then
+pour into moulds.
+
+
+131. CARVER'S POLISH
+
+In a pint of spirits of wine dissolve 2 oz. of seed lac, and 2 oz.
+of resin. The principal use of this polish is for the carved parts
+of cabinet work, such as standards, pillars, claws, &c. It should be
+laid on warm, and it will be still better; but all moisture and
+dampness should be carefully avoided.
+
+
+132. FRENCH POLISH
+
+Take 1 oz. of shellac, 1/4 oz. of gum-arabic, and 1/4 oz. of gum
+copal; bruise them well, and sift them through a piece of muslin,
+then put them along with a pint of spirits of win into a closely
+corked vessel, place it in a very warm situation, and shake it
+frequently every day till the gums are dissolved, then strain
+through a piece of muslin, and keep it corked for use.
+
+
+133. WATER-PROOF POLISH
+
+Put 2 ozs. of gum benjamin, 1/4 oz. of gum sandrac, and 1/4 oz. of
+gum anima, into a pint of spirits of wine, in a closely stopped
+bottle, place the bottle either in a sand bath, or in hot water,
+till the gums are dissolved, then strain off the mixture, shake it
+up with a 1/4 of a gill of the best clear poppy oil, and put by for
+use.
+
+134. FINISHING POLISH
+
+Put 2 drachms of shellac, and 2 drachms of gum benjamin, into 1/2
+pint of the very best rectified spirits of wine, in a bottle
+closely corked; keep the bottle in a warm place, and shake it
+frequently till the gums are dissolved, when cold shake up with it
+2 teaspoonsful of the best clear poppy oil, and it will be fit for
+use. This polish may be applied with great advantage after any
+of those mentioned in the foregoing receipts have been used. It
+removes the defects existing in them, increasing their lustre and
+durability, and gives the surface a most brilliant appearance.
+
+
+135. COMPOSITION USED IN WELDING CAST STEEL
+
+Take of borax, 10 parts; sal-ammoniac, 1 part; grind or pound them
+roughly together, then fuse them in a metal pot over a close fire,
+taking care to continue the heat until all spume has disappeared
+from the surface, when the liquid appears clear, the composition is
+ready to be poured out to cool and concrete; afterward being ground
+to a fine powder. To use this composition, the steel to be welded is
+raised to a heat, which may be expressed by bright yellow, it is
+then dipped among the welding powder, and again placed in the fire
+until it attains the same degree of heat as before, it is then ready
+to be placed under the hammer.
+
+
+136. COMPOSITION USED IN WELDING CAST IRON
+
+Take good clear white course sand, 3 parts; refined solton, 1 part;
+fosterine, 1 part; rock salt 1 part; borax, 1 part; mix all
+together. Take 2 pieces of cast iron, heat them in a moderate
+charcoal fire, occasionally taking them out while heating, and
+dipping them into the composition, until they are of a proper heat
+to weld, then at once lay them on the anvil, and gently hammer them
+together, and if done carefully by one who understands welding iron,
+you will have them nicely welded together. One man prefers heating
+the metal, then cooling it in the water of common beans, and heating
+it again for welding.
+
+
+137. CAST IRON CEMENT
+
+Take of clean borings or turning of cast iron, 16 parts; of
+sal-ammoniac, 2 parts; and flour of sulphur, 1 part; mix them well
+together on a mortar, and keep them dry. When required for use,
+take 1 part of the mixture, and 20 parts of clean borings, mix
+thoroughly, and add a sufficient quantity of water. Note.--A little
+grindstone added improves the cement.
+
+138. CASE HARDENING
+
+This is the conversion of the surface of wrought iron into steel,
+for the purpose of adapting it to receive a polish, or to bear
+friction, &c. The best method in the world of effecting this is by
+heating the iron to cherry red in a close vessel, in contact with
+carbonacious material, and then plunging it into cold water. Bones,
+leather, hoofs, and horns of animals, are best for this purpose,
+after having been burnt or roasted, so that they can be pulverized.
+Soot is very frequently used; it answers, but not so well.
+
+
+139. TO SOFTEN IRON OR STEEL
+
+Either of the following simple methods will make iron or steel as
+soft as lead: 1. Anoint it all over with tallow, temper it in a
+gentle charcoal fire, and let it cool of itself. 2. Take a little
+clay, cover your iron with it, temper in a charcoal fire. 3. When
+the iron or steel is red hot, strew hellebore on it. 4. Quench the
+iron or steel in the juice, or water, of common beans.
+
+
+140. SOLDER FOR LEAD
+
+Melt 1 part of block tin, and when in a state of fusion, add 2 parts
+of lead; if a small quantity of this, when melted, is poured upon
+the table, there will, if it be good, arise little bright stars upon
+it. Resin should be used with this solder.
+
+
+141. SOLDER FOR TIN
+
+Take 4 parts of pewter, 1 of tin, and 1 of bismuth, melt them
+together, and run them into thin slips. Resin is also employed in
+using this solder.
+
+142. SOLDER FOR IRON
+
+The best solder for iron is good tough brass, with a little borax.
+
+
+143. SOLDER FOR COPPER
+
+Take of brass, 6 parts; zinc, 1 part; tin, 1 part; melt all
+together, mix well, and pour out to cool.
+
+
+144. SOLDER FOR STEEL JOINTS
+
+Silver, 19 parts; copper, 1 part; brass, 2 parts; melt all together.
+
+
+145. HARD SOLDER
+
+Fuse together 2 parts of copper, and 1 of zinc.
+
+
+146. SOLDER FOR SILVER
+
+Fuse together 5 parts of silver, and 1 part of brass.
+
+
+147. GOLD SOLDER No. 1
+
+Take of gold, 4 parts; silver, 3 parts; copper 1 part; and zinc,
+1 part.
+
+
+148. GOLD SOLDER No. 2
+
+Take of gold, 3 parts; silver, 3 parts; copper, 1 part; zinc,
+1/2 part.
+
+
+149. GOLD SOLDER No. 3
+
+Take of gold, 2 parts; silver, 3 parts; copper, 1 part; and zinc 1/2
+a part.
+
+The gold, silver, and copper must be fused in a crucible before the
+zinc is added, or else you cannot keep them in the vessel while
+heating. When all are completely fused, they must be well stirred,
+and run into bars. Solder No. 1 is for gold 16 carats and upwards;
+No. 2 is for that 14 carats fine; and No. 3 for lower qualities. If
+more zinc is added, it will fuse at a lower heat, but the colour is
+not so good.
+
+
+150. MOCK GOLD
+
+Fuse together 16 parts of copper, 7 of platinum, and 1 of zinc. When
+steel is alloyed with 1/500 part of platinum, or with 1/500 part of
+silver, it is rendered much harder, more malleable, and better
+adapted for all kinds of cutting instruments. Note.--In making
+alloys, care must be taken to have the more infusible metals melted
+first, and afterwards add the others.
+
+
+151. BRITANNIA METAL
+
+Take 4 parts of brass, and 4 parts of tin; when fused add 4 parts of
+metallic bismuth, and 4 parts of metallic antimony. This composition
+is added at discretion to metallic tin, according to the quality you
+wish to make.
+
+
+152. BLANCHED COPPER
+
+Melt together 8 parts of copper and a half part of arsenic.
+
+
+153. COMMON PEWTER
+
+Melt together 4 parts of tin and 1 part of lead.
+
+
+154. BEST PEWTER
+
+Melt together 100 parts of tin and 17 of antimony.
+
+
+155. A METAL THAT EXPANDS IN COOLING
+
+Melt together 9 parts of lead, 2 of antimony and one of bismuth. This
+metal is very useful in filling small defects in iron castings, &c.
+
+
+156. QUEEN'S METAL
+
+Melt together 9 parts of tin, 1 of antimony, 1 of bismuth, and 1
+of lead.
+
+
+157. IMITATION PLATINUM
+
+This metal, or alloy, very closely resembles platinum. Melt together
+8 parts of brass and 5 parts of zinc.
+
+
+158. CHINESE WHITE COPPER
+
+Melt together 40.4 parts of copper, 31.6 parts of nickel, 25.4 of
+zinc, and 2.6 of iron.
+
+
+159. MANHEIM GOLD
+
+Melt together 3 parts copper, 1 of zinc, and a little tin.
+
+
+160. TOMBACK, OR RED BRASS
+
+Melt together 8 parts of copper, and 1 part of zinc.
+
+
+161. IMITATION GOLD
+
+Take of platina 8 parts, of silver 4 parts, copper 12 parts, melt
+all together.
+
+
+162. IMITATION SILVER
+
+Take of block tin 100 parts, metallic antimony 8 parts, bismuth 1
+part, and 4 parts of copper; melt all together.
+
+
+163. TRUE IMITATION OF GOLD
+
+Dr. Harmsteadt's imitation of gold, which is stated not only to
+resemble gold in colour, but also in specific gravity and ductility,
+consists of 16 parts of platinum, 7 parts of copper, and 1 of zinc,
+put in a crucible, covered with charcoal powder, and melted into a
+mass.
+
+
+164. TRUE IMITATION OF SILVER
+
+Imitation of pure silver, so perfect in its resemblance that no
+chemist living can tell it from pure virgin silver. It was obtained
+from a German chemist now dead; he used it for unlawful purposes to
+the amount of thousands, and yet the metal is so perfect that he was
+never discovered. It is all melted together in a crucible, here it
+is: 1/4 oz. of copper, 2 oz. of brass, 3 oz. of pure silver, 1 oz.
+of bismuth, 2 ozs. of saltpetre, 2 ozs. of common salt, 1 oz. of
+arsenic, and 1 oz. of potash.
+
+
+165. MOULDS AND DIES
+
+Take copper, zinc, and silver, in equal proportions, and melt them
+together, and mould into the forms you desire, and bring the same
+to a nearly white heat; now lay on the thing that you would take the
+impression of, and press it with sufficient force, and you will find
+that you have a perfect and beautiful impression. All of the above
+metals should be melted under a coat of powdered charcoal.
+
+
+166. TO SOFTEN HORN
+
+To 1 lb. of wood ashes, add 2 lbs. of quicklime; put them into a
+quart of water, let the whole boil till reduced to one third, then
+dip a feather in, and if, on drawing it out, the plume should come
+off, it is a proof that it is boiled enough, if not, let it boil a
+little longer; when it is settled filter it off, and in the liquor
+thus strained put in shavings of horn; let them soak for three days,
+and, first anointing your hands with oil, work the horn into a mass,
+and print or mould it into any shape you please.
+
+
+167. TO MAKE MOULDS OF HORN
+
+If you wish to take the impression of any coin, medal, &c.,
+previously anoint it with oil, then lay the horn shavings over it in
+its softened state; when dry the impression will be sunk into the
+horn, and this will serve as a mould to reproduce, either by plaster
+of Paris, putty and glue, or isinglass and ground egg shells, the
+exact resemblance of the coin or medal.
+
+
+168. TO CASE FIGURES IN IMITATION OF IVORY
+
+Make isinglass and strong brandy into a paste, with powder of egg
+shells, very finely ground; you may give it what colour you please,
+but cast it warm into your mould, which you previously oil over;
+leave the figure in the mould till dry, and you will find, on taking
+it out, that it bears a very strong resemblance to ivory.
+
+
+169. TRUE GOLD POWDER
+
+Put some gold leaf, with a little honey or thick gum water,
+(whenever I speak of gum I mean gum arabic,) into an earthen mortar,
+and pound the mixture till the gold is reduced to very small
+particles; then wash out the honey or gum repeatedly with warm
+water, and the gold will be left behind in a state of powder, which,
+when dried, is fit for use.
+
+
+170. TRUE GOLD POWDER
+
+Another, and perhaps better method of preparing gold powder is to
+heat a prepared amalgam of gold in a clean open crucible, (an
+amalgam of any metal is formed by a mixture of quicksilver with
+that metal) continuing a very strong heat till all the mercury has
+evaporated, stirring the amalgam all the while with a glass rod;
+when the mercury has entirely left the gold, grind the remainder in
+a Wedgewood's mortar, with a little water, and when dried it will be
+fit for use. The subliming the mercury is, however, a process
+injurious to the health.
+
+
+171. COLOUR HEIGHTENING COMPOSITIONS
+
+For yellow gold, dissolve in water 6 ozs. of saltpetre, 2 ozs. of
+copperas, 1 oz. of white vitriol, and 1 oz. of alum. If wanted
+redder, add a small portion of blue vitriol.
+
+
+172. FOR GREEN GOLD
+
+Dissolve in water a mixture consisting of 1-1/2 oz. of saltpetre;
+vitriol and sal-ammoniac, 1-1/4 oz. of each, and 1 oz. verdigris.
+
+
+173. FOR RED GOLD
+
+Take 1-1/2 oz. of red ochre in fine powder, the same quantity of
+calcined verdigris, 1/2 oz. of calcined borax, and 4 oz. of melted
+yellow wax; the verdigris must be calcined, or else, by the heat
+applied in melting the wax, the vinegar becomes so concentrated as
+to corrode the surface, and make it appear speckled. These last
+three are colours for heightening compositions.
+
+
+174. MOSAIC GOLD
+
+Mosaic gold, or aurum mosaicum, is used for inferior articles. It
+is prepared in the following manner: 1 lb. of tin is melted in a
+crucible, and 1/2 lb. of purified quicksilver added to it; when this
+mixture is cold, it is reduced to powder, and ground with 1/2 lb.
+of sal-ammoniac, and 7 ozs. of flower of sulphur, till the whole
+is thoroughly mixed; they are then calcined in a mattrass, and the
+sublimation of the other ingredients leaves the tin converted into
+the aurum mosaicum, which is found at the bottom of the glass, like
+a mass of bright flakey gold powder. Should any black or discoloured
+particles appear, they must be removed. The sal-ammoniac used
+here must be very white and clear, and the mercury quite pure and
+unadulterated. When a shade of deeper red is required, it can easily
+be obtained by grinding a very small quantity of red lead along with
+the above materials.
+
+
+175. DUTCH OR GERMAN GOLD
+
+A gilding powder is sometimes made from Dutch gold, which is sold in
+books at a very low price. This is treated in the same way as the
+real gold leaf in making the true gold powder. It is necessary, when
+this inferior powder is used, to cover the gilding with a coat of
+clear varnish, otherwise it soon loses its metallic appearance. The
+same remark applies, though to a less degree, to Mosaic gilding.
+
+
+176. COPPER POWDER
+
+This is prepared by dissolving filings or slips of copper with
+nitrous acid in a receiver. When the acid is saturated, the slips
+are to be removed; or, if filings be employed, the solution is to be
+poured off from what remains undissolved; small bars are then put
+in, which will precipitate the copper from the saturated acid, in
+a powder of the peculiar appearance and colour of copper, and the
+liquid being poured from the powder, this is to be washed clean of
+the crystals by repeated levigations.
+
+
+177. COMMON SIZE
+
+The size used by painters for most sorts of common work is prepared
+by boiling in water pieces of parchment, and of the skins of
+animals and fins of fish, and evaporating the solution to a proper
+consistency. It only differs, however, from a solution of glue
+containing fewer foreign ingredients, and in not being so strong.
+
+
+178. DR. JOHN'S VARNISH FOR PLASTER OF PARIS CASTS
+
+Take of white soap and white wax, each half an ounce, of water two
+pints; boil them together for a short time in a clean vessel. This
+varnish is to be applied when cold, by means of a soft brush. It
+does not sink in, it readily dries, and its effect may be heightened
+by lightly using a silk pocket handkerchief.
+
+
+179. GENERAL DIRECTIONS FOR BRONZING
+
+This art is nothing but a species of painting, but far from being of
+the most delicate kind. The principal ingredients made use of in it
+are the true gold powder, the German gold, the aurum mosaicum, and
+copper powder, (all above described.) The choice of these powders
+is, of course, to be determined by the degree of brilliancy you wish
+to obtain. The powder is mixed with strong gum water or isinglass,
+and laid on with a brush or pencil; and when not so dry as to have
+still a certain clamminess, a piece of soft leather wrapped round
+the finger, is dipped in the powder and rubbed over the work; when
+the work has been all covered with the bronze, it must be left to
+dry, and any loose powder then cleared away by a hair pencil.
+
+
+180. BRONZING IN WOOD
+
+This may be effected by a process somewhat differing from the above,
+Prussian blue, patent yellow, raw amber, lamp-black, and pipe clay
+are ground separately with water on a stone, and as much of them as
+will make a good colour put into a small vessel three-fourths full
+of size. This mixture is found to succeed best on using about half
+as much more pipe clay as of any of the other ingredients. The wood
+being previously cleaned and smoothed, and coated with a mixture of
+clean size and lamp-black, receives a new coating with the above
+compound twice successively, having allowed the first to dry.
+Afterwards the bronze powder is to be laid on with a pencil, and the
+whole burnished or cleaned anew, observing to repair the parts which
+may be injured by this operation; next, the work must be coated over
+with a thin lather of castile soap, which will take off the glare of
+the burnishing, and afterwards be carefully rubbed with a woollen
+cloth. The superfluous powder may be rubbed off when dry.
+
+
+181. IN BRONZING IRON
+
+The subject should be heated to a greater degree than the hand can
+bear; and German gold, mixed with a small quantity of spirit of wine
+varnish, spread over it with a pencil; should the iron be already
+polished, you must heat it well and moisten it with a linen rag
+dipped in vinegar.
+
+
+182. BRONZING CASTS OF PLASTER OF PARIS
+
+There is a method of bronzing casts of plaster of Paris analogous to
+that which we have above given for bronzing wood, but it is not in
+much repute. Such figures may be beautifully varnished by means of
+Dr. John's varnish, receipt No. 178. Casts of plaster of Paris may be
+made by receipt No. 167.
+
+
+183. SHELL-LAC VARNISH
+
+Dissolve in an iron kettle, one part of pearl-ash in about 8 parts
+of water; add one part of shell-lac, and heat the whole to
+ebullition. When the lac is dissolved, cool the solution, and
+impregnate it with chlorine, till the lac is all precipitated.
+The precipitate is white, but its colour deepens by washing and
+consolidation; dissolved in alcohol, lac bleached by the above
+process yields a varnish which is as free from colour as any copal
+varnish.
+
+
+184. CHLORINE FOR SHELL-LAC VARNISH
+
+This may be formed by mixing intimately eight parts of common salt,
+and three parts of the black oxide of manganese in powder; put this
+mixture into a retort, then pour four parts of sulphuric acid,
+diluted with an equal weight of water, and afterwards allowed to
+cool upon the salt and manganese; the gas will then be immediately
+liberated, and the operation may be quickened by a moderate heat. A
+tube leading from the mouth of the retort must be passed into the
+resinous solution, where the gas will be absorbed, and the lac
+precipitated.
+
+
+185. SHELL-LAC VARNISHES OF VARIOUS COLOURS
+
+These may be made by using ant colour in fine powder with the
+varnish, in the following manner: rub up the colour with a little
+alcohol or spirits of turpentine till it becomes perfectly smooth,
+then put it into the cup with the varnish. Shell-lac varnish is the
+best spirit varnish we have, and may be made any colour by the above
+process.
+
+
+186. GOLD OIL-COLOUR, OR SIZE
+
+The English method of preparing the colour in size, which serves as
+the ground on which the gold is laid, is, to grind together some red
+oxide of lead with the thickest drying oil that can be procured, the
+older the better. To make it work freely, it is mixed, before being
+used, with a little oil of turpentine, till it is brought to a
+proper consistence. The above four receipts are used in japanning.
+
+
+187. JAPANNING
+
+If it be woodwork you are about to japan, it must be prepared with
+size, and some coarse material mixed with it to fill up and harden
+the grain of the wood, (such as may best suit the colour to be laid
+on,) which must be rubbed smooth with glass paper when dry. In cases
+of accident, it is seldom necessary to resize the damaged places,
+unless they are considerable.
+
+
+188. GRINDING COLOURS IN JAPANNING
+
+Be very careful in japanning, to grind your colours smooth in
+spirits of turpentine, then add a small quantity of turpentine and
+spirit varnish, lay it carefully on with a camel hair brush, and
+varnish it with brown or white varnish, according to the colour.
+
+
+189. COLOURS REQUIRED IN JAPANNING
+
+Flake white, red lead, vermillion, lake, Prussian blue, patent
+yellow, orpiment, orchres, verditers, vandyke brown, umber,
+lamp-black, and siennas raw and burnt. With these you may match
+almost any colour in general use in japanning. For a black japan, it
+will be found sufficient to mix a little gold-size with lamp-black;
+this will bear a good gloss, without requiring to be varnished
+afterwards.
+
+
+190. TO PREPARE A FINE TORTOISE-SHELL JAPAN
+
+Take 1 gallon of good linseed oil, and 1/2 lb. of umber; boil them
+together till the oil becomes very brown and thick, then strain it
+through a coarse cloth, and set it again to boil; in which state it
+must be continued till it acquires a consistence resembling that of
+pitch; it will then be fit for use.
+
+
+191. DIRECTIONS FOR USING TORTOISE-SHELL JAPAN
+
+Having thus prepared the varnish or japan, clean well the substance
+which is to be japanned; then lay vermillion, tempered with
+shell-lac varnish, or with drying oil, very thinly diluted with
+oil of turpentine, on the places intended to imitate the more
+transparent parts of the tortoise-shell; when the vermillion is
+dry, brush the whole over with black varnish, tempered to a due
+consistence with the oil of turpentine. When set and firm, put the
+work into a stove, where it may undergo a very strong heat, which
+must be continued a considerable time; if even three weeks or a
+month it will be the better. This tortoise-shell ground it not less
+valuable for its great hardness, and enduring to be made hotter
+than boiling water without damage, than for the superior beauty and
+brilliancy of its appearance.
+
+
+192. TO MAKE CLOTH, SILK &c., WATER-PROOF
+
+Mix equal quantities of alum and acetate of lead, and dissolve the
+mixture in 1-1/2 gallons of boiling water. When the solution has
+cooled, remove the supernatent liquid from the sediment, which
+consists of sulphate of lead, and is ready for use. Any article
+of dress, when well saturated in this liquid, and allowed to dry
+slowly, bears the action of boiling water, and does not permit it
+to pass through, although steam and air penetrate if freely.
+
+
+193. CROCKERY CEMENT
+
+Dissolve 1 oz. of common salt in 1 quart of water, bring to a boil,
+and put in 1-1/4 lbs. gum shell-lac; when it shall have dissolved,
+pour into cold water, and work like wax; make into small sticks.
+This will make crockery as firm as a rock. Directions: Warm the
+stick, apply it to the broken edges, then heat the edges, place them
+together and hold for a minute, and they are firm.
+
+
+194. A CEMENT FOR CHINA, GLASS-WARE, &c.
+
+Take a thick mucilage of gum arabic, and stir into it plaster of
+Paris to form a thick paste, apply to the edges with a brush, and
+press firmly together and confine them two or three days, and you
+will be astonished at their firmness.
+
+
+195. ANGLER'S SECRET
+
+The juice of loveage or smellage mixed with any kind of bait, or a
+few drops of the oil of rhodium; India cockle, also, is sometimes
+mixed with flour dough, and sprinkled on the surface of still water.
+This intoxicates the fish, and makes him turn up on the top of the
+water, when he is taken and put in a tub of fresh water until he
+revives, when all is right; he may be eaten without fear; but this
+will destroy many fish.
+
+
+196. MORELLA WINE
+
+Take the juice of morella or tame cherries, and to each quart put 3
+quarts of water, and 4 lbs. of coarse brown sugar; let them ferment,
+and skim until worked clear; then draw off, avoiding the sediment at
+the bottom, bung up, or bottle, which is best for all wines, letting
+the bottles lie always on the side, either for wines or beers.
+
+
+197. HAIR DYE
+
+No. 1 Crystalised nitrate of silver, 1 drachm; soft water, 1 oz.
+No. 2 Sulphide (sulphuret is the same) of potassium, 1 drachm; soft
+water, 1 oz.; wash the beard or hair with soap to remove oil, dry
+with a towel a little then apply No. 1, and directly after it No. 2,
+for a few minutes, alternately, using different tooth brushes for
+each No. Clear days are best on which to apply it. As soon as
+dry, wash out well with soap. Keep it from shirt bosoms and face,
+especially No. 1, as it will make the face sore as well as colour
+it. If you do get it on the skin, cyanide (cyanuret is the same) of
+potassium, 1 drachm, to 2 ozs. of water, will take it off. This last
+is poison, however, and should not touch sore places, nor be left
+where children may get at it.
+
+
+198. TALLOW CANDLES IN IMITATION OF WAX
+
+Purify melted mutton tallow by throwing in powdered quicklime, then
+add 2 parts of wax to 1 of tallow. A most beautiful article of
+candle, resembling wax, will be produced by the mixture. Dip the
+wicks in lime-water and saltpetre on making.
+
+
+199. TO STAIN MUSICAL INSTRUMENTS A CRIMSON STAIN
+
+Take of ground Brazil, 1 lb.; water, 3 quarts; cochineal, 1/2 oz.;
+boil the Brazil in the water for an hour; then strain, and add the
+cochineal; then boil it gently for half-an-hour, when it will be
+fit for use. If you wish a scarlet tint, boil an ounce of saffron in
+a quart of water, and pass over the work before you stain it. The
+article must be very clean, and of firwood, or the best sycamore.
+When varnished over this stain it is most elegant.
+
+
+200. A PURPLE STAIN FOR VIOLINS, &c.
+
+Take of chipped logwood, 1 lb.; of water, 3 quarts; of pearl-ash,
+4 ozs.; of indigo, pounded, 2 ozs.; put the logwood in the water,
+boil well for an hour, then add the pearl-ash and indigo, and when
+dissolved, you will have a beautiful purple.
+
+
+201. A BLUE STAIN FOR VIOLINS, &c.
+
+Take of oil of vitriol in a glass bottle, 1 lb.; put into it 4 ozs.
+of indigo, and precede as directed in dyeing.
+
+
+202. GREEN STAIN FOR VIOLINS, &c.
+
+Take of strong vinegar, 3 pints; of best verdigris, 4 ozs., ground
+fine; of sap green, 1/2 oz.; of indigo, 1/2 oz.; mix all together.
+
+
+203. GENERAL DIRECTIONS FOR DYEING
+
+The materials should be perfectly clean; soap should be rinsed out
+in soft water; the article should be entirely wetted, or it will
+spot; light colours should be steeped in brass, tin or earthen;
+and, if set at all, should be set with alum. Dark colours should be
+boiled in iron, and set with copperas; too much copperas rots the
+thread.
+
+
+204. FOR COLOURING SKY BLUE
+
+Get the blue composition; it may be had at the druggist's, or
+clothier's, for a shilling an ounce. If the articles are not white,
+the old colours should all be discharged by soap or a strong
+solution of tartaric acid, then rinsed; 12 or 16 drops of the
+composition, stirred into a quart-bowl of warm water, and strained
+if settlings are seen, will dye a great many articles. If you want
+a deeper colour, add a few drops more of the composition. If you
+wish to colour cotton goods, put in pounded chalk to destroy the
+acid, which is very destructive to all cotton; let it stand until
+the effervescence subsides, and then it may be safely used for
+cotton or silk.
+
+
+205. FOR LILAC COLOUR
+
+Take a little pinch of archil, and put some boiling-hot water upon
+it, add to it a very little lump of pear-lash. Shades may be altered
+by pear-lash, common slat, or wine.
+
+
+206. TO COLOUR BLACK
+
+Logwood and cider, boiled together in iron, water being added for
+the evaporation, makes a good durable black. Rusty nails or any bits
+of rusty iron, boiled in vinegar, with a small piece of copperas,
+will also dye black; so will ink powder, if boiled with vinegar. In
+all cases, black must be set with copperas.
+
+
+207. TO DYE LEMON COLOUR
+
+Peach leaves, bark scraped from the barberry bush, or saffron,
+steeped in water, and set with alum, will colour a bright lemon,
+drop in a little gum-arabic to make the articles stiff.
+
+
+208. TO DYE ROYAL PURPLE
+
+Soak logwood chips in soft water until the strength is out, then add
+a teaspoonful of alum to a quart of the liquid; if this is not
+bright enough, add more alum, rinse and dry. When the dye is
+exhausted, it will colour a fine lilac.
+
+
+209. TO DYE SLATE COLOUR
+
+Tea grounds, boiled in iron vessels, set with copperas, makes a good
+slate colour. To produce a light slate colour, boil white maple bark
+in clear water, with a little alum. The bark should be boiled in
+brass utensils. The goods should be boiled in it, and then hung
+where they will drain and dry.
+
+
+210. TO DYE SCARLET
+
+Dip the cloth in a solution of alkaline or metallic salt, then in
+a cochineal dye, and let it remain some time, and it will come out
+permanently coloured. Another method: 1/2 lb. of madder, 1/2 oz. of
+cream tartar, and 1 oz. of marine acid to 1 lb. of cloth; put it
+all together, and bring the dye to a scalding heat; put in your
+materials, and they will be coloured in ten minutes. The dye must be
+only scalding hot. Rinse your goods in cold water as soon as they
+come from the dye.
+
+
+211. TO COLOUR A BRIGHT MADDER
+
+For 1 lb. of yard or cloth, take 3 ozs. of madder; 3 ozs. of alum;
+1 oz. of cream tartar; prepare a brass kettle with two gallons of
+water, and bring the liquor to a steady heat, then add your alum and
+tartar, and bring it to a boil; put in your cloth, and boil it two
+hours; take it out, and rinse it in cold water; empty your kettle,
+and fill it with as much water as before; then add your madder; rub
+it in fine in the water before your cloth is in. When your dye is
+as warm as you can bear your hand in, then put in your cloth, and
+let it lie one hour, and keep a steady heat; keep it in motion
+constantly, then bring it to a boil fifteen minutes, then air and
+rinse it. If your goods are new, use 4 ozs. of madder to a lb.
+
+
+212. TO COLOUR GREEN
+
+If you wish to colour green, have your cloth as free as possible
+from the old colour, clean, and rinsed; and, in the first place,
+colour it deep yellow. Fustic, boiled in soft water, makes the
+strongest and brightest yellow dye; but saffron, barberry-bush,
+peach-leaves, or onion-skins, will answer pretty well. Next take a
+bowlful of strong yellow dye, and pour in a great spoonful or more
+of the blue composition, stir it up well with a clean stick, and dip
+the articles you have already coloured yellow into it, and they
+will take a lively grass-green. This is a good plan for old
+bombazet-curtains, dessert-cloths, old flannel for desk coverings, &c.
+
+
+213. TO DYE STRAW COLOUR AND YELLOW
+
+Saffron, steeped in earthen and strained, colours a fine straw
+colour. It makes a delicate or deep shade, according to the strength
+of the tea. Colouring yellow is described in receipt No. 212. In all
+these cases a little bit of alum does no harm, and may help to fix
+the colour. Ribbons, gauze handkerchiefs, &c., are coloured well in
+this way, especially if they be stiffened by a bit of gum-arabic,
+dropped in while the stuff is steeping.
+
+
+214. TO DYE A DRAB COLOUR
+
+Take plum tree sprouts, and boil them an hour or more; add copperas,
+according to the shade you wish your articles to be. White ribbons
+take very pretty in this dye.
+
+
+215. TO DYE PURPLE
+
+Boil an ounce of cochineal in a quart of vinegar. This will afford a
+beautiful purple.
+
+
+216. TO DYE BROWN
+
+Use a teaspoonful of soda to an ounce of cochineal, and a quart of
+soft water.
+
+
+217. TO COLOUR PINK
+
+Boil 1 lb. of cloth an hour in alum water, pound 3/4 of an oz. of
+cochineal and mix 1 oz. of cream of tartar; put in a brass kettle,
+with water, enough to cover the cloth; when about blood hot, put in
+your cloth, stir constantly, and boil about fifteen minutes.
+
+
+218. TO DYE A COFFEE COLOUR
+
+Use copperas in a madder-dye, instead of madder compound.
+
+
+219. TO DYE NANKIN COLOUR
+
+The simplest way is to take a pailful of lye, to which put a piece
+of copperas half as big as a hen's egg; boil in a copper or tin
+kettle.
+
+
+220. TO MAKE ROSE COLOUR
+
+Balm blossoms, steeped in water, colour a pretty rose colour. This
+answers very well for the linings of children's bonnets, for
+ribbons, &c.
+
+
+221. TO DYE STRAW AND CHIP BONNETS BLACK
+
+Boil them in strong logwood liquor 3 or 4 hours, occasionally adding
+green copperas, and taking the bonnets out to cool in the air, and
+this must be continued for some hours. Let the bonnets remain in the
+liquor all night, and the next morning take them out, dry them in
+the air, and brush them with a soft brush. Lastly, rub them inside
+and out with a sponge moistened with oil, and then send them to be
+blocked. Hats are done in the same way.
+
+
+222. TO DYE WHITE GLOVES A BEAUTIFUL PURPLE
+
+Boil 4 oz. of logwood, and 2 oz. of roche-alum, in 3 pints of soft
+water, till half wasted; let it stand to be cold after straining.
+If they be old gloves let them be mended; then do them over with a
+brush, and when dry repeat it. Twice is sufficient unless the colour
+is to be very dark; when dry, rub off the loose dye with a coarse
+cloth; beat up the white of an egg, and with a sponge, rub it over
+the leather. The dye will stain the hands, but wetting them with
+vinegar before they are washed will take it off.
+
+
+
+223. TO BLEACH STRAW HATS, &c.
+
+Straw hats and bonnets are bleached by putting them, previously
+washed in pure water, in a box with burning sulphur; the fumes which
+arise unite with the water on the bonnets, and the sulphurous acid,
+thus formed, bleaches them.
+
+
+224. TO DYE SILKS BLACK
+
+To 8 gallons of water add 4 ozs. of copperas; immerse for 1 hour
+and take out and rinse; boil 2 lbs. logwood chips, or 1/2 lb. of
+extract; 1/2 lb. of fustic; and for white silks, 1/2 lb. of nicwood;
+dissolve 2 lbs. of good bar-soap in a gallon of water; mix all the
+liquids together, and then add the soap, having just enough to cover
+the silk; stir briskly until a good lather is formed, then immerse
+the silk and handle it lively. The dye should be as warm as the hand
+will bear; dry quickly and without rinsing. The above is enough for
+10 yards or one dress.
+
+
+
+225. TO COLOUR YELLOW ON COTTON
+
+Wet 6 lbs. of goods thoroughly; and to the same quantity of water
+add 9 oz. of sugar of lead; and to the same quantity of water in
+another vessel, add 6 oz. of bichromate of potash; dip the goods
+first into the solution of sugar of lead, and next into that of the
+potash, and then again into the first; wring out, dry, and
+afterwards rinse in cold water.
+
+
+226. FOR STAINING GLASS--No. 1 FLUX
+
+Minimum, or red lead, 3 parts; white sand, washed, 1 part. This
+mixture is melted, by which it is converted into a greenish-yellow
+glass.
+
+
+227. No. 2 FLUX
+
+Of No. 1, 8 parts; fused borax, in powder, 1 part. This mixture
+is melted.
+
+
+228. No. 3 FLUX
+
+Fused borax, 5 parts; calcined flint, 3 parts; pure minium, 1 part.
+This mixture is also melted. The above fluxes are used in procuring
+the different colours for staining glass.
+
+
+229. INDIGO BLUE
+
+Oxide of cobalt, 1 part; flux No. 3, 2 parts.
+
+
+230. TURQUOISE BLUE
+
+Oxide of cobalt, 1 part; oxide of zinc, 3 or 4 parts; flux No. 3, 6
+parts; melt and pour out. If it is not sufficiently green, increase
+the zinc and flux.
+
+
+231. AZURE BLUE
+
+Oxide of cobalt, 1 part; oxide of zinc, 2 parts; flux No. 2, 8 parts;
+melt them together.
+
+
+232. DEEP AZURE BLUE
+
+Oxide of cobalt, 1 part; oxide of zinc, 2 parts; flux No. 2, 5 parts.
+The beauty of this colour depends on the proportion of flux. As
+little as possible is to be used; it must, however, be brilliant.
+Sometimes less is used than the proportion indicated.
+
+
+233. SKY BLUE
+
+Oxide of cobalt, 1 part; oxide of zinc, 2 parts; flux No. 2, 12
+parts; pound up, melt, and pour out.
+
+
+234. EMERALD GREEN
+
+Oxide of copper, 1 part; antimonic acid, 10 parts; flux No. 1, 30
+parts; pulverize together, and melt.
+
+
+235. BLUEISH GREEN
+
+Green oxide of chromium, 1 part; oxide of cobalt, 2 parts;
+triturate, and melt at a high heat. The product is a button slightly
+melted, from which is removed the portion in contact with the
+crucible. This button is pounded up, and three parts of flux No. 3,
+for one of the button, are added to it.
+
+
+236. GRASS GREEN
+
+Green oxide of chromium 1 part, flux No. 3, 3 parts, triturate and
+melt.
+
+
+237. DEEP YELLOW
+
+Antimonic acid 2 parts, subsulphate of iron 1 part, flux No. 1, 10
+parts; melt and pour out. The subsulphate of iron may be increased a
+little, the proportions of flux vary.
+
+
+238. JONQUILLE YELLOW FOR FLOWERS
+
+Litharge 18 parts, sand 6 parts. The product of the calcination of
+equal parts of lead and tin 2 parts, carbonate of soda 1 part,
+antimonic acid 1 part, rub together, or triturate, and melt.
+
+
+239. WAX YELLOW
+
+Litharge 18 parts, sand 4 parts, oxide of antimony 2 parts, sienna
+earth 2 parts; melt. If it is too deep the proportion of sienna
+earth may be decreased.
+
+
+240. ORANGE YELLOW
+
+Chromate of lead 1 part, minium 3 parts.
+
+
+241. BRICK RED
+
+Yellow No. 240, 12 parts; red oxide of iron, 1 part.
+
+
+242. DEEP BLOOD RED
+
+Subsulphate of iron, calcined in a muffle until it becomes a
+beautiful capucine red, 1 part; flux No. 2, 3 parts; mix without
+melting.
+
+
+243. BROWN YELLOW OCHRE
+
+Yellow ochre No. 244, 10 parts; sienna earth, 1 part; triturate
+without melting.
+
+
+244. DEEP YELLOW OCHRE--CALLED YELLOW BROWN
+
+Subsulphate of iron, 1 part; oxide of zinc, 1 part; flux No. 2, 5
+parts; triturate without melting.
+
+
+245. PURE PURPLE
+
+The purple powder of Cassius mixed while moist with flux No. 3, and
+sometimes a little chloride of silver previously melted with flux
+No. 3. If the purple, when prepared, does not melt sufficiently easy,
+some flux may be added when it is dry.
+
+
+246. DEEP VIOLET
+
+The purple of Cassius, in place of flux No. 3, flux No. 1 is mixed
+with it. Sometimes a little of blue No. 233 is added.
+
+
+247. FLESH RED
+
+The sulphate of iron, put in a small crucible, and lightly calcined,
+produces a suitable red oxide. Those which have the desired tone are
+selected. All the flesh reds are made in this way, and vary only in
+the degree of heat which they receive.
+
+
+248. HAIR BROWN
+
+Yellow ochre, No. 244, 15 parts; oxide of cobalt, 1 part; well
+triturated and calcined, in order to give the tone to it.
+
+
+249. LIVER BROWN
+
+Oxide of iron made of a red brown, and mixed with three times its
+weight of flux No. 2. A tenth of sienna earth is added to it if it is
+not sufficiently deep.
+
+
+250. WHITE
+
+The white enamel of commerce in cakes.
+
+
+251. YELLOWISH GREY
+
+Yellow No. 252, 1 part; blue No. 233, 1 part; oxide of zinc, 2 or 3
+parts; flux No. 2, 5 parts; sometimes a little black is added,
+according to the tone which the mixture produces. The proportions of
+the blue and yellow vary.
+
+
+252. YELLOW FOR BROWNS & GREENS
+
+Antimonic acid, 2 parts; sulphate of iron 1 part; flux No. 1, 9
+parts. This colour is melted and sometimes a little Naples Yellow is
+added if it is too soft, i.e., melts too easily.
+
+
+253. BLUEISH GREY FOR MIXTURES
+
+Blue previously made by melting together three parts of flux No. 1,
+and one part of the mixture of oxide of cobalt, 8 parts; oxide of
+zinc, 1 part; sulphate of iron calcined at a forge heat, 1 part;
+flux No. 2, 3 parts; triturate and add a little manganese in order
+to render it more grey.
+
+
+254. GRAYISH BLACK FOR MIXTURES
+
+Yellow ochre, No. 244, 15 parts; oxide of cobalt, 1 part; triturate
+and calcine in a crucible until it has the desired tone. A little
+oxide of manganese is added in order to make it blacker; sometimes a
+little more of oxide of cobalt.
+
+
+255. DEEP BLACK
+
+Oxide of cobalt, 2 parts; oxide of copper, 2 parts; oxide of
+manganese, 1 part; flux No. 1, 6 parts; fused borax, 1/2 part; melt
+and add oxide of manganese, 1 part; oxide of copper, 2 parts;
+triturate without melting.
+
+
+256. GENERAL DIRECTIONS
+
+The colours thus prepared after having been rubbed up on a plate of
+ground glass with the spirits of turpentine or lavender, thickened
+in the air are applied with a hair pencil. Before using them,
+however, it is necessary to try them on small pieces of glass, and
+expose them to the fire, to ascertain if the desired tone of colour
+is produced. The artist must be guided by these proof pieces in
+using his colours. The proper glass for receiving these colours
+should be uniform, colourless, and difficult of fusion. For this
+reason crown glass made with a little alkali or kelp is preferred.
+A design must be drawn upon paper and placed beneath the plate of
+glass. The upper side of the glass being sponged over with gum-water
+affords, when dry, a surface proper for receiving the colours,
+without the risk of their running irregularly, as they would be apt
+to do on the slippery glass. The artist draws on the plate, with a
+fine pencil all the traces which mark the great outlines and shades
+of the figures. This is usually done in black, and afterwards, when
+it is dry, the vitrifying colours are laid on by means of larger
+hair pencils. The yellow formed with chloride of silver is generally
+laid on the back of the glass, for it is apt to run with the other
+colours while heating.
+
+The pigments used in painting on glass are principally matallic
+oxides and chlorides, and as, in most of these, the colour is not
+brought out until after the painting is submitted to heat, it is
+necessary to ascertain beforehand if the colours are properly mixed
+by painting on slips of glass, and exposing them to heat in a
+muffle. The painter is guided by these trial pieces in laying on his
+colours. To fire the paintings a furnace with a muffle is used. The
+muffles are made of refractory clay.
+
+
+257. WHITE COATING FOR GOLD VARNISHES
+
+A quart of strong parchment size and half a pint of water are to be
+made quite hot, and to these are to be added, (in small portions
+from time to time,) two good handsful of common whiting, passed
+through a fine sieve; this mixture is to be left to infuse for half
+an hour, when it is to be stirred carefully so that the amalgamation
+may be perfect. This coating is preferable to any glue or cement for
+coating picture frames, &c., on which is to be laid the tin or
+silver leaf, to be varnished with gold varnishes or lackers.
+
+
+
+258. LEAD COLOURING PAINT
+
+  Whiting, 112 lbs...................... $1.12
+  Blue-black, 5 lbs.....................  0.25
+  White lead ground in oil, 28 lbs......  2.24
+  Road-dirt, 56 lbs.....................  0.10
+  Lime-water, 5 galls...................  0.05
+  Residue of the oil, 2-1/4 galls.......  1.25
+                                       --------
+                 Weights, 256 lbs....... $5.01
+
+To the above add two galls. of the incorporated oil, and 2 galls. of
+the linseed oil to thin it for use, and it will not exceed two cents
+and a quarter. The lime-water, whiting, road-dirt, and blue-black,
+must be first mixed together, then add the ground lead, first
+blending it with 2-1/2 galls. of the prepared fish oil; after
+which, thin the whole with 2 galls. of linseed oil and 2 galls.
+of incorporated oil, and it will be fit for use. For garden doors,
+and other work liable to be in constant use, a little spirits of
+turpentine may be added to the paint whilst laying on, which will
+have the desired effect.
+
+
+259. BRIGHT GREEN PAINT
+
+  112 lbs. yellow ochre in powder at 5 cts. per lb.... $5.50
+  168 lbs. road-dust..................................  0.25
+  112 lbs. wet blue, at 20 cts. per lb................ 22.40
+   10 lbs. blue-black, at 5 cts. per lb...............  0.50
+    6 galls. of lime-water............................  0.06
+    4 galls. fish oil, prepared.......................  2.40
+    7-1/2 galls. incorporated oil.....................  4.28
+    7-1/2 galls. linseed oil, at 90 cts. per gal......  6.75
+                                                     --------
+                       Weights, 592 lbs.............. $42.24
+
+It will be seen that the bright green paint costs but about 7 cts.
+per lb., ready to lay on; and the inventor challenges any colour-man
+or painter to produce a green equal to it for five times the price.
+After painting, the colour left in the pot may be covered with water
+to prevent it from sinking, and the brushes, as usual, should be
+cleaned with the painting-knife, and kept under water. A brighter
+green may be formed by omitting the blue-black. A lighter green may
+be had by the addition of 10 lbs. of ground white lead. Observe that
+the wet blue must be ground with the incorporated oil, preparatory
+to its being mixed with the mass.
+
+
+260. STONE-COLOURED PAINT
+
+  Lime-water, 4 galls.................  $0.04
+  Whiting, 112 lbs....................   1.12
+  White lead, ground, 28 lbs..........   2.24
+  Road-dust, 56 lbs...................   0.10
+  Prepared fish oil, 2 galls..........   1.20
+  Incorporated oil, 3-1/2 galls.......   2.00
+  Linseed oil, 3-1/2 galls............   3.15
+                                      --------
+               Weights, 293 lbs.......  $9.85
+
+The above stone-colour fit for use, is not three and a half cents
+per pound.
+
+
+261. BROWN-RED COLOURED PAINT
+
+  Lime-water, 8 galls.................  $0.08
+  Spanish brown, 112 lbs..............   3.36
+  Road-dust, 224 lbs..................   0.40
+  4 galls. of fish oil................   2.40
+  4 galls. incorporated oil...........   2.28
+  4 galls. linseed oil................   3.60
+                                      --------
+               Weights, 501 lbs....... $12.12
+
+This paint is scarcely two and a half cents per pound. The Spanish
+brown must be in powder.
+
+
+262. A GOOD CHOCOLATE COLOURED PAINT
+
+This is made by the addition of blue black in powder, or lamp-black
+to receipt No. 261, till the colour is to the painter's mind; and a
+lighter brown may be formed by adding ground white lead. By ground
+lead is meant white lead ground in oil.
+
+
+263. YELLOW PAINT
+
+This is prepared with yellow ochre in powder, to receipt No. 261, in
+the same proportion as Spanish brown.
+
+
+264. BLACK PAINT
+
+This is also prepared in the same proportion, as in receipt No. 261,
+using lamp-black or blue-black, instead of Spanish brown.
+
+
+265. WHITE PAINT
+
+Slack a peck of nice, clean, fresh lime in a covered vessel, with
+water which is boiling hot; when well slacked, strain it well, then
+add to it 1-1/2 lbs. of finely ground rice; let the rice be boiled
+to a thin paste, and stirred in while very hot; 1/2 peck of common
+salt, well dissolved in warm water; 1/2 lb. of clean glue, dissolved
+in water; and 1/4 lb. of whiting; when well mixed, add 5 gallons
+of very hot water, then stir well, and let stand a few days well
+covered. Pit it on hot, and it will stand the weather as well as
+a good deal of white lead. You may colour this paint to suit your
+taste, using and stirring in well Spanish brown for a red pink
+colour. Take common clay finely powdered, and mixed well with
+Spanish brown for a reddish stone-colour. For yellow colour use
+yellow ochre if you please, but chrome yellow makes a richer colour
+and less does. You may make the colours dark or light according to
+the quantity of colouring matter used.
+
+
+266. COMPOUND COLOURED PAINTS
+
+The various colours that may be obtained by the mixture of other
+colours, are innumerable. I only propose here to give the best
+and simplest modes of preparing those which are required for use.
+Compound colours, formed by the union of only two colours, are
+called by painters virgin tints. The smaller the number of colours
+of which any compound colour is composed, the purer and the richer
+it will be. They are prepared as follows:
+
+
+267. LIGHT GREY
+
+This is made by mixing white lead with lamp-black, using more or
+less of each material, as you wish to obtain a darker or lighter
+colour.
+
+
+268. BUFF COLOUR
+
+This is made from yellow ochre and white lead.
+
+
+269. SILVER OR PEARL GREY
+
+Mix white lead, indigo, and a very light portion of black,
+regulating the quantities by the shade you wish to obtain.
+
+
+270. FLAXEN GREY
+
+This is obtained by a mixture of white lead and Prussian blue, with
+a small quantity of lake.
+
+
+271. BRICK COLOUR
+
+This is prepared by mixing yellow ochre, and red lead, with a little
+white lead.
+
+
+272. OAK WOOD COLOUR
+
+Mix together three-fourths white lead, and one-fourth part umber and
+yellow ochre; the proportions of the last two ingredients being
+determined by the required tints.
+
+
+273. WALNUT TREE COLOUR
+
+Two-thirds white lead, and one-third red ochre, yellow ochre, and
+umber, mixed according to the shade sought. If veining is required,
+use different shades of the same mixture, and for the deepest
+places, black.
+
+
+274. JONQUIL
+
+Mix together yellow, pink, and white lead. This colour is only
+proper for distemper.
+
+
+275. LEMON YELLOW
+
+Mix together realgar and orpiment; some object to this mixture on
+account of the poisonous nature of the ingredients. The same colour
+can be obtained by mixing yellow-pink with Naples yellow; but it is
+then only fit for distemper.
+
+
+276. ORANGE COLOUR
+
+For this colour mix red lead and yellow ochre.
+
+
+277. VIOLET COLOUR
+
+Make, by mixing vermillion, or red lead, with black or blue, and a
+small portion of white: vermillion is far preferable to red lead,
+in mixing this colour.
+
+
+278. PURPLE
+
+Made by mixing dark-red with violet-colour.
+
+
+279. CARNATION
+
+Mix together lake colour and white.
+
+
+280. GOLD COLOUR
+
+This is procured by mixing massicot, or Naples yellow, with a small
+quantity of realgar, and a very little Spanish white.
+
+
+281. OLIVE COLOUR
+
+This may be obtained by various mixtures: black and a little
+blue, mixed with yellow; yellow-pink, with a little verdigris
+and lamp-black; or ochre and a small quantity of white, will
+also produce a kind of olive colour. For distemper, indigo and
+yellow-pink, mixed with white lead or Spanish white, must be
+used. If veined, it should be done with umber.
+
+
+282. LEAD COLOUR
+
+Mix together indigo and white lead or whiting.
+
+
+283. CHESTNUT COLOUR
+
+Mix red-ochre and black, for a dark-chestnut. To make it lighter,
+employ a mixture of yellow-ochre.
+
+
+284. LIGHT TIMBER COLOUR
+
+For this colour mix together spruce-ochre, white and a little umber.
+
+
+285. FLESH COLOUR
+
+Mix lake, white-lead, and a little vermilion.
+
+
+286. LIGHT WILLOW GREEN
+
+This is made by mixing white with verdigris.
+
+
+287. STONE COLOUR
+
+Mix white with a little spruce-ochre.
+
+
+288. DARK LEAD COLOUR
+
+Mix black and white with a little indigo.
+
+
+289. FAWN COLOUR
+
+Mix white lead, stone-ochre, and a little vermilion.
+
+
+290. CHOCOLATE COLOUR
+
+Mix lamp-black and Spanish brown. On account of the fatness of the
+lamp-black, mix some litharge and red lead.
+
+
+291. PORTLAND STONE COLOUR
+
+Mix umber, yellow ochre, and white lead. The variety of shades of
+brown that may be obtained, are nearly as numerous as those of
+green.
+
+
+292. TO IMITATE MAHOGANY
+
+Let the first coat of painting be white lead, the second orange, and
+the last burned umber or sienna; imitating the veins according to
+your taste and practice.
+
+
+293. TO IMITATE WAINSCOAT
+
+Let the first coat be white, the second half white and half
+yellow-ochre, and the third yellow-ochre only. Shadow with umber or
+sienna.
+
+
+294. TO IMITATE SATIN WOOD
+
+Take white for your first coating, light blue for the second, and
+dark blue or dark green for the third.
+
+
+295. TURNER'S PATENT YELLOW PAINT
+
+When sea-salt is made into a paste with litharge, it is decomposed,
+its acid unites with the litharge, and the soda is set free. Hence
+Turner's patent process for decomposing sea-salt, which consists in
+mixing two parts of the former with one of the latter, moistening
+and leaving them together for about twenty-four hours. The product
+is then washed, filtered, and evaporated, by which soda is obtained.
+A white substance is now left undissolved; it is a compound of
+muriatic acid and lead, which, when heated, changes its colour, and
+forms Turner's yellow; a very beautiful colour, much in use among
+coach-painters.
+
+
+296. TO PAINT IN IMITATION OF BLACK WALNUT
+
+Wash the surface of the wood with weak alum-water, after being well
+sand-papered; then go over it with linseed oil, coloured with murat
+amber and red lead. It is better to have this colour rather light,
+and renew the application; when this has sufficiently dried, go over
+the surface with a strong sizing of transparent glue, and then use
+two castors of copal varnish. Any good grained pine will bear a very
+close resemblance to walnut, and the surface will be nearly as hard.
+
+
+NOTE
+
+For mixing the foregoing paints it is impossible to lay down any
+particular rule as to quantity, as each person mixes them of a
+shade to suit his own taste. They are mixed with oil and a little
+turpentine, and sometimes a little japan is added to assist in
+drying. When they are not mixed in this way the particular mode
+is mentioned.
+
+
+297. RULES FOR MAKING PICKLES
+
+Select the best vinegar, for on this will depend the quality of your
+pickles; use glass bottles or stone jars for your pickles, never use
+earthenware glazed; use wooden knives and forks in making; leave the
+jars three-fourths full of the articles to be pickled; then fill the
+jar or bottle with vinegar. If you add alum at all let it be very
+little; look your pickles over occasionally and remove any that may
+not be doing well. Small cucumbers, beans, green plums, tomatoes,
+onions, and radish pods, may be used for assorted pickles; one red
+pepper for forty or fifty cucumbers is sufficient; if the vinegar on
+pickles becomes white or weak, take it out and scald and skim it,
+then return it to the pickles.
+
+
+298. ASPARAGUS PICKLED
+
+Cut and wash the heads of the largest asparagus; place them in cold
+water for two hours; scald carefully in salt and water, then lay on
+a cloth until cool; make a pickle of salt and vinegar and boil it;
+to one gallon of pickles put a quarter of an ounce of mace, two
+nutmegs, a quarter of an ounce of whole pepper, and pour your pickle
+hot over them, cover tight with a cloth, and let stand a week, then
+boil the pickle, and let stand a week again, and boil again, when
+cold, cover closely.
+
+
+299. BEANS AND FRENCH BEANS PICKLED
+
+Lay them in salt and water for nine days; then add a little vinegar
+and boil them in the liquor; when they become green strain them,
+wipe them dry, and put the beans into the jar; boil some vinegar,
+ginger, mace, pepper, cloves, and mustard seed, all bruised, and
+while hot pour it on the beans; cover them close when cold.
+
+
+300. TO PICKLE RED CABBAGE
+
+Take the quarter of a purple head of cabbage, cut out the stalk,
+then slice it down endways, put them on a drying sieve, sprinkle
+each layer of cabbage with salt, which let lay and drain for two or
+three days, then put into a jar, boil some vinegar with spice tied
+up in a muslin bag, cut a beet root of good colour into slices; the
+branches of cauliflower cut off after it has lain in salt will look
+and be of a beautiful red; put it into a stone jar and pour boiling
+vinegar over it.
+
+
+301. TO PICKLE CUCUMBERS
+
+Lay them upon dishes, sprinkle salt over them, let them lie a week,
+drain then off, and put them into stone jars, pour boiling vinegar
+over them, place them near fire, cover them well with vine leaves,
+and if not a good green pour off the vinegar and boil it again;
+cover them with fresh vine leaves and continue doing so until they
+are a good colour; as, to make a better green, you must use a mettle
+stew pan or brass kettles, which are very poisonous; use wooden
+spoons with holes to dish all pickles, keeping them always well
+covered and free from air.
+
+
+302. TO PICKLE ONIONS
+
+Peel the onions till they look white, boil some strong salt and
+water and pour it over them; let them stand in this twenty-four
+hours; keep the vessel closely covered to retain the steam; after
+this wipe the onions quite dry, and when they are cold pour boiling
+vinegar, with ginger and white pepper over them; the vinegar must
+cover the onions.
+
+
+303. TO PICKLE MUSHROOMS
+
+These are pickled in salt water and brandy, but they are of little
+advantage.
+
+
+304. RAILROAD SYSTEM OF HORSE TRAINING
+
+This excellent and very simple method of horse training is nearly
+all accomplished by what is called the persuader or bit; which is
+made as follows: take a piece of strong rope eight or ten feet long
+and a quarter of an inch thick, then part the horse's mane in the
+centre, turning one half towards the ears, and the other towards the
+back of the horse; next tie the rope by one end in a hard knot that
+will not slip--not too tightly--round the horse's neck in the place
+at which the mane is divided, having the knot on the right side of
+the neck; then pass the loose end of the rope forwards, along the
+right side of the neck, into the horse's mouth and back along the
+left side of the neck to that part of the rope which surrounds the
+horse's neck, and underneath which it is passed; than take the loose
+end of the rope in your hand, and you have the persuader or bit
+completed. By pulling on the end which you now hold, you draw his
+mouth up towards his throat, and can thereby inflict the most
+excruciating torture that is possible for a horse to undergo, and
+the beauty of it is, without the least injury to the animal. One
+pull on this persuader is more dreaded by the horse than a whole
+day's flogging with raw-hide. In fact he cannot stand it; no matter
+how ugly his tricks may be, such as kicking, balking or anything
+else, if you use the persuader on him at the time, you can conquer
+him at once; make him as meek as a lamb, and glad to do anything to
+escape the torture inflicted by the persuader. A few times is all
+you will have to use it, even on the most sulky animal, until you
+will see no more of his tricks, and he is completely conquered.
+
+
+305. TO HALTER WILD COLTS
+
+How to approach and halter the wildest colt of any age without
+danger, and lead him quietly, is as follows: choose a large floor,
+that of a wagonhouse answers well, strew it over with straw two or
+three inches deep, turn your colt into it, follow him in with a
+good whip, shut the door, and he will clear to the furthest corner,
+follow him, and whip him well on the hips, he will clear to another
+corner, follow him, treat him in the same manner, and he will soon
+begin to turn his head towards you, then stop and bid him come
+to you, if he does not come, lay on the whip again, being always
+careful not to touch him about the head or shoulders, but always
+about the hips, in a short time he will come to you when you bid
+him, then rub his ears, nose, neck, chest, &c., and pet him all you
+can; halter and lead him about the floor; it at any time he clears
+from you, pay the whip well on his hips until he comes to you again;
+after a little use him the same way in a small yard, and after this
+you can do as you like with him in any place.
+
+
+306. HORSES WITH TENDER EARS
+
+How to make a horse, that is afraid of his head or ears, easy to
+bridle or halter, is as follows: if your horse is very fractious and
+wild, you will need to treat him according to receipt No. 305, first:
+at all events you will want the floor well covered with straw, then
+raise the left fore leg and strap it so that your horse will stand
+on three legs, then tie a strap just above his right fore foot, and
+standing on the left side of the horse, holding the strap in your
+hand, chirp to him, and the moment he attempts to move forwards, he
+is on his knees; you may then fasten the strap to that on the left
+leg, or hold it in your hand, as you please; then after the horse
+gets done struggling and working, rub his nose and ears gently, and
+put the halter on and take it off repeatedly, to show him that it
+may be done without hurting him, and in a short time he will not
+mind the halter or bridle.
+
+
+307. HOW TO CONTROL A VICIOUS HORSE
+
+How to acquire the most perfect control over the most vicious and
+wildest horse, in a short time, without the use of drugs or charms,
+is by going according to receipts No. 305 and No. 306, and sometimes
+you may have to use the persuader.
+
+
+308. TO BREAK A WILD COLT
+
+How to break the wildest colt in a short time, so that a boy of 14
+years old can ride or handle him in perfect safety. This is done by
+means of the persuader receipts No. 305 and No. 306, and if the boy
+is to ride him, after the horse is on his knees, as directed in
+receipt No. 306, and the horse is tired out by struggling, then let
+somebody get on his back, sit there for a while, then move on to his
+shoulders, and back unto his hips, and so work round the horse until
+he does not mind it, and has no fear from it. When he has a few
+lessons like this, any lad may ride him in safety.
+
+
+309. TO MAKE A STALLION LIE DOWN
+
+How to make the worst stallion lie down and allow you to perform
+any surgical operation on him that you wish, without the assistance
+of any one. If the horse is very ugly, you may need to follow,
+first, receipt No. 305, and perhaps, use the persuader, but it is
+principally done by receipt No. 306, with this addition: when you
+have the horse on his knees, you standing on his left side, and
+holding the strap which is attached to his right fore foot in your
+hand, as taught in receipt No. 306, then put a headstall on him, and
+to its ring on the left side of his mouth, tie firmly a stick about
+an inch and a half thick, which, let run up on the left side of
+his neck, to the top of his shoulders, then tie the strap, which is
+attached to the right foot, to this pole; now pull the horse over
+on his left side, and you have him powerless, his fore feet are
+drawn up, and on account of the pole he cannot raise his head, so
+that you have perfect control over him to do as you please.
+
+
+310. PULLING AT THE HALTER
+
+To break a horse from pulling at the halter. This is done by means
+of the persuader; if he pulls once on this, he will never try it
+again.
+
+
+311. WILD STALLIONS
+
+How to break the wildest stallion in a short time, so that a boy
+can lead him in perfect safety. This is done by putting the horse
+through a regular course of training, according to receipts No. 305
+and No. 306, and the use of the persuader.
+
+
+312. BALKY HORSES
+
+How to make the worst of balky horses pull true. Whenever your horse
+balks, if you there and then, openly and publicly make use of the
+persuader, and jerk him well with it, he will be glad to go, and in
+a short time you will have to use it no more; but as long as this
+system is kept secret, and when a horse balks, you do not then use
+the persuader, you will never break the horse from balking.
+
+
+313. SHOEING HORSES
+
+How to make a horse stand to be shod. This is accomplished by having
+the persuader fitted on, and whenever the horse makes an attempt to
+be ugly, pull on the persuader, and he will very soon be glad to
+stand as quiet as a lamb.
+
+
+314. "WHOA"
+
+How to make a horse understand the word "whoa" so perfectly, that
+he will always stop when spoken to, no matter what may occur to
+frighten him. This is done by having the persuader fitted on, and
+whenever you sat "whoa", in a loud and stern tone of voice, pull on
+the persuader, and it is impossible for a horse to fear or dread
+anything else as much as this, he will stop instantly, no matter
+what may occur to frighten him.
+
+
+315. THROWING
+
+How to break a horse off the habit of throwing his rider. This is
+accomplished by means of the persuader, and receipt No. 308.
+
+
+316. SCARING
+
+How to break a horse off scaring at umbrellas or buffalo robes, so
+that you may toss them at him without disturbing him. To accomplish
+this you want to get the horse on his knees, according to receipt
+No. 306; then bring your robes and umbrellas near him, let him smell
+them, toss them at him, and throw them over his head carefully, and
+so continue to work, showing him that they do not harm him, until
+all fear of them is lost.
+
+
+317. KICKING HORSES
+
+How to break the worst class of kicking horses. To accomplish this,
+you will want to put the horse through a regular course of training,
+according to this system, until you have him well conquered; then
+keep the persuader on, and if he should ever attempt to kick,
+at that moment jerk well on the persuader, and he will think of
+everything but kicking; when he attempts it a few times, and you
+check him in this manner, he will quit it altogether.
+
+
+318. TO BIT A HORSE
+
+How to bit a horse more perfectly, in ten minutes, at a cost of ten
+cents, that can be done with any other bit and rig, at a cost of
+five to ten dollars. This bit is what is called the persuader, and
+it is the best bit that ever was used for bitting colts. It puts a
+most beautiful curve in the neck, and leaves the colt at ease while
+wearing it. When it is used for this purpose, the end that you hold
+in your hand in other cases, is now to be tied to that part of the
+persuader which surrounds the neck of the horse or colt.
+
+
+319. JOCKEY TRICKS--TO PRODUCE FOUNDER
+
+How to make a horse appear as if he was badly foundered in one
+night's time. Take a fine wire, or any substitute, and fasten it
+tightly round the castor tit, the back side of the pasture joint
+at night; smooth the hair down nicely over it, and by morning he
+will walk as stiff as any foundered horse.
+
+
+320. FOOD AND STARVATION
+
+How to make a horse stand by his food and starve to death. Grease
+the front teeth and roof of the mouth with common beef-tallow, and
+he will not eat until you wash it out; this, in conjunction with
+the above, will consummate a complete founder.
+
+
+321. GLANDERS
+
+How to make a horse appear as if he had the glanders, in one night's
+time. This is done by melting fresh butter and pouring it into his
+ears, not too hot.
+
+
+322. BALKING
+
+How to make a true pulling horse balk. Take tincture of cantharides
+1 oz., and corrosive sublimate 1 drachm; mix and bathe his shoulders
+at night.
+
+
+323. TO COVER UP HEAVES
+
+How to cover up the heaves so effectually, that you may work, ride,
+or run him, and they cannot be detected. This will last from twelve
+to twenty-four hours, long enough to trade off. Drench the horse
+with one-fourth pound of common bird shot, and he will not heave
+until they pass through him.
+
+
+324. THE COUNTENANCE
+
+How to put a young countenance on a horse. Make a small incision
+near the sunk place over the eye, insert the point of a blow-pipe or
+goose-quill, and blow it up; close the external wound with thread,
+and it is done.
+
+
+325. THE CRIB
+
+How to cure a horse of the crib, or sucking wind; saw between the
+upper front teeth.
+
+
+326. QUESTIONS
+
+To teach a horse to answer questions. This is done by pricking him
+with a pin; for instance, you may say to the horse, is your name
+Tom? and at that moment prick him with a pin so that he will squeal;
+then ask him is your name Sam? don't prick him and he will not
+squeal. Then say again is your name Tom, prick him again, and he
+will squeal; so continue, and after a time he will squeal without
+being pricked when you ask him the first question, &c.
+
+
+327. TO NERVE A HORSE
+
+How to nerve a horse that is lame. Make a small incision about half
+way from the knee to the joint on the outside of the leg, and at the
+back part of the shin bone; you will find a small white tendon or
+cord; cut it off and close the external wound with a stick, and he
+will walk off on the hardest pavement, and not lame a particle.
+
+
+328. A HORSE'S AGE
+
+The following rules will enable any man to ascertain with tolerable
+certainty the age of any horse. Every horse has six teeth above and
+six below; before he arrives at the age of three he sheds his two
+middle teeth by the young teeth rising and shoving the old ones out
+of their place. When he arrives at the age of three, he sheds one
+more on each side of the middle teeth; when four years old he sheds
+two corner and the last of his fore teeth; between four and five he
+cuts his under tusks, and when five will cut his upper tusks, and
+have a mouth full and complete, and the teeth will have hollows of a
+very dark brown colour. At six years old the grooves and hollows in
+a horse's mouth will begin to fill up a little and their tusks have
+their full growth, with their points sharp, and a little concave. At
+seven years old the grooves and hollows will be pretty well filled
+below. At eight the whole of the hollows and groves are filled up,
+and you see the appearance of what is termed smooth below. At nine
+years old, the point of the tusk is worn off, and the part that was
+concave begins to fill up and become rounded. Between nine and ten
+years of age a horse generally looses the marks of the mouth. After
+nine years old a wrinkle comes on the eyelid at the upper corner of
+the lower lid, and every year thereafter he has one well defined
+wrinkle for each year over nine. If, for instance, a horse has
+three wrinkles, he is twelve; if four, he is thirteen, &c.
+
+
+329. HEAD, NECK OR LUNGS
+
+How to tell by looking at a horse whether there is anything the
+matter with his head, neck or lungs. A knowledge of this is as
+useful as it is simple. If there is nothing the matter with the
+head, neck or lungs of a horse, the nostrils will have a clean,
+healthy, and bright appearance, but if there is, they have always
+a dirty, muddy, or in some way an unhealthy appearance.
+
+
+330. PROF. MANDIE'S HORSE TAMING
+
+Take finely grated horse caster, or the warty excrescence from the
+horse's leg, oils of rhodium, and cumin, keep these in separate
+bottles well corked; put some of the oil of cumin on your hand and
+approach the horse on the windy side that he may smell it; he will
+then move towards you, then rub some of the cumin on his nose; give
+him a little of the castor on sugar, salt, or anything he likes,
+and get 8 or 10 drops of the oil of rhodium on the point of his
+tongue; you can then get him to do anything you please. Follow up
+your advantage by all the kindness and attention possible towards
+the animal, and your control is certain. This is only fit for
+nervous horses; but the railroad system is certain. In all kinds
+of ugly horses it is the best of methods.
+
+
+331. BOTTS IN HORSES
+
+This may be relied on as a certain and safe remedy for botts in
+horses. When the horse is attacked, pound some common glass very
+fine, sift it through a fine piece of muslin, take a tablespoonful,
+put it inside a ball of dough, (not mixed with the dough,) then put
+it down the horse's throat, and in from two to five minutes the
+horse will get up and feel and will be well. The moment the glass
+touches the botts though they may have eaten their way into the
+coats of the stomach, so that but a small portion is exposed, they
+will let go their hold, will pucker up and be driven off by the
+bowels. This remedy is perfectly safe, and is the only certain
+cure for botts under the sun. Try it.
+
+
+332. RING BONE AND SPAVIN
+
+Take of sweet oil, 4 oz.; spirits of turpentine, 2 ozs.; oil if
+stone, 1/2 oz. Mix and apply three times a day. If the horse is over
+four years old, or in any case where there is not sufficient, in
+addition to it, you will fit a bar of lead just above it, wiring the
+ends together, so it constantly wears upon the enlargement, and the
+two together, will cure nine cases out of every ten in six weeks.
+
+
+333. POLL EVIL AND FISTULA
+
+Take 1 lb. common potash dissolved in 1/2 pint of water. Add 1/2 oz.
+extract of belladona and 1 oz. gum-arabic dissolved in a little
+water; work all into a paste with wheat flour, and box or bottle up
+tight. In applying this, the place should be well cleansed with
+soap-suds, (castile soap is best) then tallow should be applied all
+around by the paste dissolving and running over it. Now this paste
+must be pressed to the bottom of all the orifices; if very deep
+it must be made sufficiently thin to inject by means of a small
+syringe, and repeated once in two days, until the callous pipes, and
+hard fibrous base around the poll evil, or fistula, is completely
+destroyed. Sometimes one application has cured cases of this kind,
+but it will generally require two or three. If the horse cannot be
+kept up, you will put a piece of oiled cloth over the place. The
+advantage of this caustic over all others is that less pain and
+inflammation is induced. The sores may be cured by the following
+or Sloan's ointment: ceder oil is to be applied to the tendons,
+to prevent them stiffening, in pole evil, or other cases.
+
+
+334. DeGRAY, OR SLOAN'S HORSE OINTMENT
+
+Take of rosin 4 oz., lard 8 oz., honey 2 oz., mix and melt slowly,
+gently bring it to a boil, and as it begins to boil slowly, add a
+little less than a pint of spirits of turpentine, stirring all the
+time it is being added, then remove from the stove, and stir till
+cool. This is an extraordinary ointment for bruses in flesh or hoof,
+broken knees, galled backs, bites, cracked heels, &c. or when a
+horse is gelded, to heal and keep away flies.
+
+
+335. NERVE AND BONE LINIMENT
+
+Take of beef's gall 1 quart, alcohol 1 pint, volatile liniment
+1 lb., spirits of turpentine 1 lb., oil of origanum 4 oz., aqua
+ammonia 4 oz., tincture of cayenne 1/2 pint, oil of amber 3 oz.,
+tincture of spanish fly 6 oz., mix and shake well. Uses too well
+known to need description.
+
+
+336. TO CURE FOUNDERS IN 24 HOURS
+
+Boil or steam oat straw for half an hour, then wrap it round the
+horses legs while quite hot, cover up with wet woollen rags to keep
+in the steam: in six hours renew the application. Take 1 gallon of
+blood from the neck vein, and give a quart of linseed oil. He may
+be worked next day.
+
+
+337. TO CURE COLIC IN TEN MINUTES
+
+Bleed freely at the horse's mouth, and take 1 oz. of oil of juniper,
+1 oz. of laudanum, and 2 ozs. of sweet spirits of nitre. Mix in a
+pint of gruel, and drench him with it.
+
+
+338. GARGLING OIL
+
+Take of tanner's oil 1 quart, oil of vitriol 2 oz., spirits of
+turpentine 1 oz. Mix all together, leave the bottles open till it
+stops working, then it is ready for use.
+
+
+339. MERCHANT'S GARGLING OIL
+
+Take of linseed oil 2-1/2 galls., spirits of turpentine 2-1/2
+galls., western petroleum 1 gall., liquor potass 8 oz., sap green
+1 oz., mix all together, and it is ready for use.
+
+
+340. PURGING BALLS
+
+Take of aloes, 3 oz.; anise seed, 3 oz.; pulverise and mix with
+castile soap. This makes one ball for a horse.
+
+
+341. URINE BALLS
+
+Take of white resin, 1/2 lb.; castile soap, 1/2 lb.; venice
+turpentine, 1/2 pint; mix well together; make the balls the size of
+butternuts. Give the horse three the first day, two the second day,
+and one the third day.
+
+
+342. FOR THE HEAVES
+
+Give the horse 1/2 drachm of nitric acid, in a pint of sweet milk.
+Repeat once in two days, once in three days, and once in four days.
+This receipt is highly prized, and is good; but the best remedy for
+heaves is so simple that scarcely any one will try it; it is to take
+fresh sumack tops, break two or three bunches of them up in the
+horse's feed, three times a day. This will actually cure the heaves
+unless, they are very bad.
+
+
+343. INFLAMMATION OF THE LUNGS
+
+The symptoms of inflammation of the lungs in the horse is as
+follows: it is usually ushered in by a shivering fit, the horse is
+cold all over, reaction soon takes place, the body becomes warmer,
+and the extremities extremely cold. The breathing is quick, he
+refuses to lie down. If when wearied out, he lies down, it is but
+for a moment.
+
+Treatment--This may be commenced by a good bleeding, which is to be
+followed by a drachm of emetic tartar, and three drachms of nitre,
+every eight hours, rubbing the extremities, and giving bran-mashes;
+throw warm blankets over the animal, hanging down to the floor, and
+place vessels of hot water in which put hot stones or bricks, and
+sweat freely, also, give one scruple of opium, and two of calomel,
+twice a day. The sides of the chest may be thoroughly blistered.
+This is the proper treatment.
+
+
+344. STOMACH AND BOWELS
+
+Inflammation of the stomach and bowels in the horse, resembles colic
+in its symptoms, except in colic the pains pass off at times, and
+return again, whereas in inflammation, the pain is constant, and the
+animal is never easy; after a time the eye acquires a wild haggard,
+unnatural stare, and the pupil, or dark spot in the eye, dilates.
+
+Treatment--Take away, at once, six or eight quarts of blood, and
+repeat the bleeding if the pain returns. Follow the bleeding by one
+scruple of opium, and two of calomel, twice a day; also blister the
+sides of the chest; give him bran mash and purging balls, (Receipt
+No. 340).
+
+
+345. INFLAMMATION OF THE KIDNEYS
+
+The principal symptoms of inflammation of the kidneys in the horse,
+is, pressure on the loins elicit symptoms of pain, the breathing is
+hurried, there is a constant desire to void urine, although passed
+in small quantities, highly coloured, and sometimes tinged with
+blood.
+
+Treatment--This is blood letting, active purging, mustard poultices
+as near the kidneys as possible, and the horse warmly clothed, &c.,
+as in other inflammations.
+
+
+346. CONDITION POWDERS
+
+Take of flax-seed meal 2 lbs., finygreek meal 2 lbs., liver antimony
+1/2 lb., and nitre 1/2 lb., mix well; give a tablespoon for three
+days and omit three days, &c.
+
+
+347. FOR BONE SPAVIN
+
+Take of cantharides 2 oz., strong mercurial ointment 4 oz., oil of
+turpentine 4 oz., iodine 3 oz., mix all with a sufficiency of lard
+to make a thin ointment; apply to the spavin only once a day until
+it bursts; then oil it with sweet oil until healed. If the bunch is
+not then removed, apply it again, and again if necessary, which is
+seldom the case.
+
+
+348. TO MAKE A HORSE FOLLOW YOU
+
+The horse is treated in the same manner as mentioned in the receipt
+No. 305, always being careful to whip him on the hips. When he will
+follow you round the barn floor, then treat him in the same manner
+in a yard, and when he follows you here, he will any place.
+
+
+349. COLTS CHEWING HALTERS
+
+Take scab from the wart on the inside of the leg, rub the halter
+thoroughly with it, and they will not be found chewing their halters
+very soon.
+
+
+[There are two consecutive receipts numbered 350 in the original.]
+
+
+350. HORSES JUMPING FENCES
+
+Pass a small and strong cord around his body just behind his
+shoulders, and tie the halter to this cord between his forelegs, so
+as to leave the distance about two feet from the cord to his head;
+if then he attempts to jump, he is compelled to throw his head
+forward, which draws hard on the cord, and causes it to cut into his
+back, and he instantly desists. The cord should not be more than a
+quarter of an inch in diameter.
+
+
+350. BLAZE OR STAR
+
+When we have a pair of horses that match well in every respect,
+except that one has a blaze or star on the face, it becomes very
+interesting and important to know how to make their faces match.
+Take a piece of oznaburgs the size you want the star or blaze;
+spread it with warm pitch and apply it to the horses face; let it
+remain two or three days, by which time it will bring off the hair
+clean, and make the part a little tender; then take of elixor
+vitriol a small quantity, anoint the part two or three times; or,
+take of a very common weed called asmart, a small handful, bruise
+it, and add to it about a gill of water, use it as a wash until
+the face gets well, when the hair will grow out entirely white.
+
+
+351. BLACK SPOTS
+
+To spot a white horse with black spots, take litharge 3 oz., quick
+lime 6 oz., beat fine and mix together; put it into a pan and pour
+a sharp ley over it; then boil it and you will have a fat substance
+swim on top, with which anoint the horse in such places as you
+design to have black, and it will turn to the colour immediately.
+
+
+352. INFLUENZA OR HORSE-AIL
+
+The first symptom is debility. The horse appears dumpish, refuses to
+eat, mouth hot, in six or twelve hours the appetite diminishes, legs
+and eyelids swell. This disease may end in chronic cough, a bad
+discharge from the nose, and in inveterate cases in glanders.
+
+Treatment--Keep the horse on light food, as mashes, scalded shorts,
+green grass, &c., and if he is very plethoric, he should be half
+starved and bled from the mouth. If the throat is sore, rub it with
+warm vinegar and salt, or blister; walk him a little for exercise,
+administer the following: oil of croton, 5 drops; nitrate of potassa
+4 to 6 drachms; potassio-tartrate of antimony, 1 drachm; spirit of
+nitric ether, 4 drachms to 1 oz; solution of acetate of ammonia 2 to
+4 ozs.; and warm water sufficient to make a draught; and when the
+head is much affected, add a drachm of camphor. This draught may be
+administered once and sometimes twice a day, the croton oil being
+omitted after the first dose; after the first day, 2 drachms of
+powdered gentian may be added.
+
+
+353. STRANGLES OR HORSE DISTEMPER
+
+Symptoms--A discharge from the nostrils, with a swelling under the
+throat, a disinclination to eat. Thirst, but after a gulp or two the
+horse ceases to drink. In attempting to swallow, a convulsive cough
+comes on; mouth hot and tongue coated with a white fur. The tumor
+under the jaw soon fills the whole space, and is evidently one
+uniform body, and may thus be distinguished from glanders or the
+enlarged glands of catarrh.
+
+Treatment--Blister over the tumor at once; when the glands remain
+hard and do not suppurate, it may lead to glanders, in which case
+rub it with iodine ointment, and give internally, hydriodate of
+potash in daily doses of 10 to 40 grains, combined with gentian and
+ginger. As soon as the swelling is fit, lance it freely and apply a
+linseed poultice; give bran mashes, fresh grass, &c.
+
+
+354. STAGGERS
+
+Symptoms--Giddiness, he may fall down, or suddenly turn several
+times round first; he may be quiet, or struggle violently.
+
+Treatment--If the horse be full and well fed, take 3 or 4 quarts
+of blood at once; cease using him for a time, and give him an
+occasional physic ball or powdered aloes 6 drachms and a little
+in honey.
+
+
+355. GREEN OINTMENT
+
+Take of lard, 6 lbs., put into a ten gallon kettle; add 2 gallons
+of water; cut jimpson seeds and fill them in, and cook from 4 to 6
+hours slowly, till all the water is gone; then put into jars, and
+add to each pound of ointment one ounce of turpentine. Good for
+galls, cuts, scratches, &c.
+
+
+356. HOOF EVIL OR THRUSH GREASE HEELS
+
+Bleed and physic, and poultice the feet with boiled turnips and some
+finely ground charcoal at night, for two or three nights; then wash
+the feet clean with castile soap and soft water, and apply the blue
+ointment every day; keep the horse on a floor and he will be well in
+12 days.
+
+
+357. BLUE OINTMENT
+
+Take the ointment of rosin, 4 ozs; finely ground verdigris, 1/2 oz;
+turpentine, 2 oz; mutton tallow, 2 lbs; oil of origanum, 1/2 oz;
+tincture of iodine, 1/2 oz. Mix all together. This is one of the
+best medicines that can be made for scratches, hoof-evil, and cuts,
+and is good to apply on fistula after the rowels have been taken
+out. It is as good for human as horse flesh.
+
+
+358. HOOF BOUND OR TENDER FEET
+
+Never have the feet spread at the heels, nor rasped about the nail
+holes; use the liquid, and apply it according to directions. For
+hoof bound or tender feet, apply it all around the top of the hoof
+down one inch every day. First have a stiff shoe on the foot, and
+cleanse the cut or cork. Never cut or burn for it.
+
+
+359. HOOF LIQUID
+
+Take of linseed or neatsfoot oil, 1/2 a pint; turpentine, 4 oz; oil
+of tar, 6 oz; origanum, 3 oz; mix and shake well together.
+
+
+360. HOOF AIL
+
+Apply blue vitriol, and put on a tarred rag to keep out the dirt.
+
+
+361. BIG, OR MILK LEG
+
+Apply the liquid blister every there hours until it blisters; then
+in six hours grease with soft oil of any kind; then in eight days
+wash the part clean, and apply it again. Repeat it there or four
+times, then use the iodine ointment. If this does not remove it all,
+apply the ringbone and spavin medicine, this will remove it all.
+
+
+362. IODINE OINTMENT
+
+Get 1 oz. of the grease iodine, put in 1 pint of alcohol; let this
+stand in the sun two days, and you have the tincture of iodine. Take
+2 oz. of the tincture and 1/2 lb. of lard; mix well, and you have
+the iodine ointment.
+
+
+363. SPRAIN IN THE STIFLE
+
+Symptoms--The horse holds up his foot, moans when moved, swells in
+the stifle. This is what is called stifling; there is no such thing
+as this joint getting out of place.
+
+Treatment--Bleed two gallons, foment the stifle with hot water, rub
+it dry, then bathe it well with the general liniment every morning
+and night, give him mash, and he will soon be well. Never allow any
+stifle-shoe or cord on the foot or leg.
+
+
+364. GENERAL LINIMENT
+
+Take of turpentine, 1/2 pint; linseed oil, 1/2 pint; aqua-ammonia,
+4 oz.; tincture of iodine, 1 oz.; shake all well together. This is
+used for different things spoken of in the different receipts, sores
+or swellings, sprains, &c.
+
+
+365. LIQUID BLISTER
+
+Take of alcohol, 1 pint; turpentine, 1/2 pint; aqua-ammonia, 4 oz.;
+oil of origanum, 1 oz.; mix, apply this as spoken of, every three
+hours until it blisters.
+
+
+366. TO CURE CORNS
+
+Take of the shoe, cut out the corns, and drop in a few drops of
+muriatic acid, then make the shoes so they will not bear on the part
+affected. Apply the hoof liquid to the hoof to remove the fever.
+This is a sure cure for corns in horses.
+
+
+367. WATER FARCY, OR DROPSY
+
+This is a swelling along under the chest, and forward to the breast;
+bleed, rowel in the breast and along the swelling, six inches apart,
+apply the general liniment to the swelling, move the rowels every
+day, let them stay in until the swelling goes down. Give soft food,
+mashes, with the cleansing powder in them.
+
+
+368. CLEANSING POWDER
+
+This is to be used when the blood is out of order. It is good to
+restore lost appetite, good for yellow water, whenever it is to be
+used it is spoken of in the receipts. Take of good ginger 1 lb.,
+powdered gentian 4 oz., crude antimony 1/2 oz., mix well together.
+Give one large spoonful every day in wet food. This is perfectly
+safe.
+
+
+369. POLL EVIL
+
+Cure before it breaks, run a rowel or seaton from the lower part
+of the top through the centre of the enlargement, then make the
+following lotion. Take of sal-ammoniac 2 oz., spirts of turpentine
+1/2 a pint, linseed oil 4 oz., and spirits of tar 4 oz., shake well,
+and apply it all over the swelling every other day. Let the seaton
+stay in until all the swelling is gone down, move it every day, and
+when all is gone throw it out. Bleed when you first open it, and
+keep the part clean.
+
+
+370. GLANDERS
+
+Bleed copiously, put a rowel or seaton of polk root between the jaw
+and breast, put tar thoroughly up the nostrils twice a day. This is
+the best remedy ever in use.
+
+
+371. FRESH WOUNDS
+
+If there is an artery cut, tie it if possible; if not possible, or
+if there is much bleeding without the separation of an artery, apply
+the following wash: nitrate of silver 4 grains, soft water 1 oz.,
+wet the wound with this, then draw the edges together by stitches
+one inch apart, then wash clean, and if any swelling in twenty-four
+hours, bleed and apply the blue ointment, or any of the liniments
+spoken of, Keep the bowels open.
+
+
+372. THE LIVER
+
+In disease of the liver or yellow water, give the following ball
+every morning until it operates upon the bowels. Take of aloes 7
+drachms, calomel 1 drachm, ginger 4 drachms, and molassas enough to
+make it into a ball, wrap it in a paper and give it; give scalded
+bran and oats, grass if it can be got; when his bowels have moved,
+stop the physic, and give 1 oz. spirits of camphor in half a pint of
+water, every morning, for twelve days, rowel in the breast, and give
+a few doses of cleansing powder. Turn him out.
+
+
+373. BALLS FOR WORMS IN HORSES
+
+Take of barbadose aloes 6 drachms, powdered ginger 1-1/2 oz., oil of
+wormwood 20 drops, powdered natron 2 drachms, and molassas to form a
+ball.
+
+
+374. BALLS FOR HIDE BOUND
+
+Take of barbadose aloes 1 oz., castile soap 9 drachms, and ginger 6
+drachms. Make into a ball.
+
+
+375. HEALING OINTMENT
+
+Take of lard 5 parts, rosin 1 part, melt them together; when they
+begin to get cool add two parts of calamine powder, stirring well
+till cool. If the wound is unhealthy add a little turpentine.
+
+
+376. GALLS ON HORSES
+
+Bathe the parts affected with spirits saturated with alum.
+
+
+377. GRUBS IN HORSES
+
+Take of red precipitate a teaspoonful, form into a ball, repeat if
+necessary in 30 minutes.
+
+
+378. STIFF SHOULDERS OR SWEENEY
+
+Rowel from the top of the shoulder blade down as far as there is no
+pealing. First cut through the skin, and then two thin fibres or
+strippings, use the blunt needle, move it back and forwards five or
+six inches, draw in a tape or seaton, and the next morning wet it
+with tincture of cantharides, do this every other day, move them
+every day, wash the part clean, let the tape stay in until the
+matter changes to blood, this is for both diseases. Let him run out
+if possible. He will be well in six or eight weeks. If for sweeney
+you may work him all the time.
+
+
+379. SICK STOMACH IN HORSES
+
+Bleed half a gallon, then if he will eat a mash give him one, give
+no hay, then give him 1/2 oz. of rhubarb every night until it moves
+his bowels, then take of gentian root 4 oz., fenu-greek 2 oz., nitre
+1/2 oz., mix and give a large spoonful every day. Do not give him
+too much to eat when his appetite returns.
+
+
+380. LUNG FEVER
+
+Bleed four gallons from the neck vein, and take 1 oz. of aquanite,
+add to it half a gallon of cold water, drench him with a gill of it
+every three hours, drench him over the lungs, then give him water to
+drink that hay has been boiled in, and to each gallon of it add 1
+oz. of gum-arabic, and 1/2 oz. of spirits of nitre; give this every
+four hours; foment and rub the legs with alcohol and camphor, until
+they get warm; do not move the horse. Keep him in open stall if hot
+weather.
+
+
+381. EYE WASH FOR HORSES
+
+Take of sugar of lead, 2 drachms; white vitriol, 1 drachm; and soft
+water, 1 quart; mix and dissolve; wash the eyes out well every
+morning, having first washed then well with cold water, continue
+this for three or four weeks; and then, if the eyes are not much
+better, bleed and give a mild physic. The horse should be kept on
+low diet, and not over heated or worked too hard. Scalded shorts
+or oats are good.
+
+
+382. MANGE AND SURFEIT
+
+Bleed and physic, then take sulphur, 1/2 lb.; and lard, 2 lbs.; mix
+well; grease the part affected every three or four days; stand the
+horse in the sun until it dries in; give him a few doses of the
+cleansing powder.
+
+
+383. CONTRACTION OF THE NECK
+
+If it is taken in the first stages, bleed from the neck 2 galls.;
+then ferment or bathe the part well with hot water; rub it dry, and
+apply the general lineament every day, two or three times; this will
+cure if it is of long standing. Then blister all along the part
+affected with the liquid blister. Do this every three weeks until
+he is well, and rub with the white ointment. Do not work the horse
+till well.
+
+
+384. WHITE OINTMENT
+
+For rheumatism, sprains, burns, swelling, bruises, or any
+inflammation on man or beast, chapped hands or lips, black eyes,
+or any kind of bruises. Take of fresh butter 2 lbs.; tincture of
+iodine, 1/2 oz.; oil of origanum, 2 ozs.; mix well for fifteen
+minutes, and it is fit for use; apply it every night; rub it in
+well with your hand.
+
+
+385. OLD HORSES YOUNG
+
+Drops to make old horses as lively as young. Take the tincture of
+assafoetida, 1 oz.; tincture of cantharides, 1 oz.; antimony, 2 oz.;
+fenugreek, 1 oz.; and fourth proof brandy, 1/2 gal.; mix all and let
+stand ten or twelve days; then give ten drops in a pail, or one
+gallon, of water.
+
+
+386. RHEUMATIC LINEAMENT
+
+Take of alcohol, 1/2 pint; oil of origanum, 1/2 oz.; cayenne pepper,
+1/2 oz.; gum myrrh, 1/2 oz.; and lobelia, 1 teaspoonful; mix and let
+stand one day; then bathe the part affected.
+
+
+387. TO KILL LICE ON CATTLE
+
+Take of buttermilk, 1 quart; salt, 1/3 pint; mix and dissolve; pour
+this along the back, letting it run down each side; if this should
+ever fail use the water in which potatoes have been boiled, in the
+same way, it will be effectual.
+
+
+388. HORSES FROM FIRE
+
+The difficulty of getting horses from burning stables is well known.
+The remedy is to blindfold them perfectly, and by gentle usage, they
+may be easily led out. If you like you may also throw the harness
+upon them.
+
+
+389. SNOW BALLS
+
+To prevent snow balls on horses' feet clean their hoofs well, and
+rub with soft soap before going out in the snow.
+
+
+390. ROT IN SHEEP
+
+To prevent and cure this keep them from exposure in bad weather, and
+above all from wet pasture; pair their hoofs into the quick, and
+put them to stand occasionally in quick lime for a few hours. This
+cauterizes the disease and generally affects a cure. To destroy the
+flukes and worms, give the following: take of common salt 8 oz.,
+spirits of turpentine 2 oz.; put in a quart bottle and add water
+till filled; give one teaspoonful morning and night for eight days.
+
+
+391. DISTEMPER IN HOGS
+
+To cure this take equal parts of sulphur and copperas; pulverise
+them well together, and give one teaspoonful every three days in
+the slop.
+
+
+392. CURE FOR SWELLED CATTLE
+
+If the beast affected is full grown, administer one English pint of
+train oil, and smaller doses in proportion to the age. The cure is
+certain. The above medicines from receipt No. 331 are for horses,
+cattle, &c.
+
+
+393. A TURKISH PREPARATION FOR LADIES
+
+Take of best white wine vinegar 1 quart; of best brazil wood 1/2 lb.
+Infuse together for four days; then boil for half an hour, strain
+through a linen cloth, and place the liquid again over the fire.
+Having dissolved 1/4 lb. of alum in a pint of white wine vinegar,
+mix both liquids together and stir them well. Take the scum that
+arises on the surface, gradually dry and powder it, and it is ready
+for use.
+
+
+394. MINCE PIE
+
+This is the manner in which mince pie was prepared for the Prince
+of Wales in New York. The articles of three following receipts were
+also prepared for him in that city; take of moist sugar 1 lb.,
+currants 1 lb., suet well mashed 1 lb., apples cut very fine 1 lb.,
+best raisins, stoned and cut very small 1/4 lb., the juice of five
+Seville oranges, the juice of two lemons, the rind of one mashed
+fine, a glass of brandy, and mace and nutmeg to suit your taste.
+Put all together in a pan and tie up closely.
+
+
+395. HONEY CAKE
+
+Take of loaf sugar 1/2 lb., honey 3/4 lb., of orange peel cut very
+fine 1/2 oz., of cinnamon 1/2 oz., ginger 1/2 oz., one quarter of a
+citron, four eggs well beaten, and a pound of sifted flour. First
+melt the honey and sugar together, then mix all. Make into any shape
+you please.
+
+
+396. SODA BISCUITS
+
+Take of butter 2 oz., sugar 4 oz., cream tartar 1/4 oz., two eggs;
+one teaspoonful of soda, and a half pint of sweet milk. Stir quite
+still, &c.
+
+
+397. BEEF STEAK
+
+Put two large onions, peeled and sliced, into a stew-pan, put in
+a little water, cover closely, set on a slow fire until the water
+is all gone, then add 1/2 a pint of good broth, and boil till the
+onions are tender, now strain off the broth, chop the onions fine,
+and season to your taste with mushroom catsup, salt and pepper, let
+it boil for five minutes, with the onion in it, then pour it into
+the dish, and lay a broiled steak over it. Good beef gravy is far
+superior to broth. In broiling your steak use a strong fire.
+
+
+398. WEDDING CAKE
+
+Take of flour, 18lbs.; fine sugar, 10 lbs.; butter, 9 lbs.; 11
+nutmegs; 18 eggs; milk, 5 quarts; yeast, 1 quart; fruit, 10 lbs.;
+mace, 1 oz.; wine 1 quart; and brandy, 1 pint. Roll the butter and
+sugar together, then mix all the rest with them, putting the fruit
+in last, just before it is put in the oven.
+
+
+399. DOMESTIC YEAST
+
+Take of good flour, 1 lb.; brown sugar, 1/4 lb.; water, 2 galls.;
+and a little salt. Boil all together for one hour. When milk warm,
+bottle and cork it tightly. It will be fit for use in 24 hours.
+One pint of this is sufficient for 18 lbs. of bread.
+
+
+400. TO PRODUCE MUSHROOMS
+
+If the water wherein mushrooms have been steeped be poured upon an
+old bed, or if the broken parts of mushrooms be strewed thereon,
+there will speedily arise great numbers.
+
+
+401. HOW TO MAKE CIDER INTO WINE
+
+Take of good cider, 25 galls.; brandy, 1gall.; crude tartar, 1 lb.;
+of the wine you wish to resemble, 5 galls.; of milk to settle it, 1
+pint. Mix all together, and let it stand for 24 hours, and then draw
+off, being careful not to draw any of the sediment.
+
+
+402. SUBSTITUTE FOR CREAM
+
+Take two or there whole eggs, beat them well up in a basin; then
+pour boiling hot tea over them; pour it gradually to prevent
+curdling. It is difficult from the taste to distinguish it from
+rich cream.
+
+
+403. TO PRESERVE FRESH MEATS
+
+Meat may be kept for several days in the height of summer sweet and
+good by lightly covering it with bran, and hanging it in some high,
+or windy room, or in a passage where there is a current of air.
+
+
+404. GRAFTING WAX
+
+Take of tallow one part, beeswax two parts, and resin four parts;
+melt them together and dip strips of rags in the mixture while hot,
+and use them for grafting.
+
+
+405. FOR THE TEETH
+
+Cuvileer's grand preparation for beautifying the teeth. Take of
+chloride of lime one part, prepared chalk 15 parts, pulverised
+peruvian bark 1/2 a part and a little otto of roses; mix all well
+together and it is ready for use.
+
+
+406. TO MAKE HAIR CURL
+
+Take of common soap 2 lbs., spirits of wine 3 pints, and potash 3
+oz.; cut the soap small and melt all together, stirring it with a
+clean piece of wood; then add a quarter of an ounce each of essence
+of amber, vanilla and nevoli, to render the fluid agreeable. Never
+use curling irons, for they destroy the hair, rendering it crisp and
+harsh. The above may be depended on as being genuine and harmless.
+
+
+407. TO PRESERVE PORK
+
+Take 1 lb. of black pepper and grind it fine for one barrel of pork,
+and sprinkle on each layer until is quite brown, then put on the
+salt. It helps to preserve the meat and adds greatly to the smell
+and flavour of it.
+
+
+408. TO RESTORE TAINTED PORK
+
+In warm weather the brine on pork frequently becomes sour, and the
+pork tainted; pour off the brine, boil it, skim it well, then pour
+it back again upon the meat boiling hot. This will restore it even
+where it was much injured.
+
+
+409. FIRE-PROOF CEMENT
+
+Fire and water proof cement for roofs of houses. Slack stone lime
+with boiling water in a covered barrel; when slacked pass six quarts
+through a fine sieve; to this add one quart of rock salt, and a
+gallon of water, boil the mixture and skim it clean; to every 5
+gallons of this add 1 lb. of alum, and 1/2 lb. copperas, and add
+by degrees, potash 3/4 lb., and fine sand or wood ashes sifted 4
+quarts; colour to suit your taste and apply. It will be as durable
+as stone.
+
+
+410. BUG POISON
+
+Take of spirits of wine 1/2 pint, turpentine 1/2 pint, crude
+sal-ammoniac 1 oz; mix all together and let it saturate for seven
+days, and it is ready for use.
+
+
+411. DISINFECTING AGENT
+
+Take of green vitriol 3 lbs., hot water one pailful; dissolve the
+vitriol in the water; place this wherever there is any offensive
+odours, as that of a corpse, cesspool, privies, &c., and in a short
+time all smell will be removed. Try it.
+
+
+412. BOOTH PATENT
+
+Booth's patent grease for railway axles, waggons, machinery, &c.
+Take of water 1 gallon, clean tallow 3 lbs.; palm oil 6 lbs., and
+common soda 1/2 lbs.; or tallow 8 lbs., and palm oil 10 lbs. The
+mixture is to be heated to about 210 degrees, and well stirred till
+it cools down to about 70 degrees, when it is ready for use.
+
+
+413. GUM-ARABIC STARCH
+
+Take 2 oz. of white gum-arabic powdered finely; put it into a
+pitcher and pour on it a pint of boiling water; then cover it and
+let stand all night; in the morning pour it carefully from the dregs
+into a clean bottle; cork and keep it for use. A tablespoonful of
+this gum water stirred into a pint of starch that has been made in
+the usual manner will give to launs either black, white, or printed,
+the appearance of new, to which nothing else can restore them after
+washing. It is a good article for collars and shirt bosoms; also,
+when much diluted, for thin white muslin and bobbinet.
+
+
+414. ROMAN OR MASTIC CEMENT
+
+Take of pulverised sand stone sifted fine, 20 lbs., litharge 2 lbs.,
+mix both well with linseed oil to the consistency of paste; brush
+both broken parts over; press them snugly together, and let them
+dry, this forms an excellent cement.
+
+
+415. PORTABLE BALLS
+
+For taking stains out of cloths, &c.--Dry fullers' earth so as to
+crumble it into powder, and moisten it well with lemon juice; add a
+quantity of pure pulverised pearl-ash, and work the whole up into a
+thick paste with a little water; roll it into small balls; let them
+completely dry in the sun, and they will be fit for use. The manner
+of using them is to moisten, with water, the spots on the cloth,
+rubbing the ball over, and leaving it to dry in the sun. On washing
+the spots in the water they will immediately disappear.
+
+
+416. CLOTH, RAIN PROOF, &c.
+
+To render cloth wind and rain proof. Boil together 2 lbs. of
+turpentine, 1 lb. of litharge in powder, and 2 or 3 pints of linseed
+oil. The article is then to be brushed over with this varnish, and
+dried in the sun.
+
+
+417. CHOICE CEMENT
+
+A choice cement for china, crockery, and glass. Take of white glue
+1/2 lb., dry white lead 1/2 lb., alcohol 1/4 pint, and rain water 1
+quart; put the glue, alcohol, and water into a tin pan together; let
+stand until the glue is soft; then set the pan into a kettle of hot
+water, occasionally stirring it until the glue is about dissolved;
+then add the lead, being previously powdered, and stir until it is
+about dissolved. Bottle while warm, and it is ready for use. If cold
+when about to be used, set the bottle in warm water until soft; then
+apply while soft to both edges, set together and let then dry.
+
+
+418. MAHOGANY STAIN
+
+Take of chip logwood 1 lb., sal-soda two pence worth, water 1
+gallon, boil all together, apply it while hot, to every kind of
+white wood, using a brush or sponge, and it will produce a most
+beautiful mahogany colour.
+
+
+419. MAHOGANY COLOUR
+
+Method of darkening every sort of wood. Take soap suds, wash your
+wood with it; every coat you put on will make it a shade darker.
+
+
+420. SATIN WOOD STAIN
+
+Take of water 1 quart, fustic 2 oz., and the size of a small nut of
+alum; boil all together, apply it while hot, and it will produce
+a most beautiful yellow. When the article to which this has been
+applied has got perfectly dry, rub it over with lime water, and it
+will make a beautiful red.
+
+
+421. RED STAIN
+
+Take of water 1 quart, brazil dust 2 oz., and the size of a nut of
+alum; boil together, apply while hot and the stain is red; when dry,
+wash it over with lime water, and it will be a beautiful purple.
+
+
+422. BROWN STAIN
+
+Take of water 1 quart, logwood 2 oz., and one penny worth of soft
+soap, (such as is kept in bladders, by druggists), boil them
+together, apply while hot, and it will be brown; let it dry, and
+apply lime water, and you will have a beautiful black.
+
+
+423. SCARLET STAIN
+
+Take a solution of aqua-fortis in water, apply it to the black, and
+it will produce a beautiful scarlet.
+
+
+424. BRUSH VARNISH
+
+Take of spirits of wine 1 pint, gum benzion half a pound; dissolve
+the gum in the spirits. It may be laid on with a camel hair brush,
+or a small piece of wool rolled in old cotton.
+
+
+425. TO BORE GLASS
+
+Fill a vial with turpentine spirits, dissolve in it as much camphor
+as it will take, insert then into this liquid the point of a common
+diamond pointed drill, and with it you can bore glass as fast as
+you please.
+
+
+426. GERMAN SILVER
+
+Take of nickle 25 parts, zinc 25 parts, copper 50 parts, melt all
+together, and you have good german silver.
+
+
+427. BRASS
+
+Brass is made by melting together a little less than two parts of
+copper, and one part of zinc.
+
+
+428. CHEMICAL SOAP
+
+This is for washing cloths with one-half the labour of that with
+common bar soap. Take 16 lbs. English bar white soap, 3-1/2 lbs.
+sal-soda, 1 lb. pulverized rosin, 8 oz. salt; put these into 5
+gallons soft water over a fire until dissolved; then put the same
+into a barrel, and fill it with cold water, after which add 2 oz.
+spirits of turpentine, and stir while cooling.
+
+
+429. ENGLISH BAR SOAP
+
+Take of water 6 gallons, good stone lime 3 lbs., sal-soda 20 lbs.,
+borax 4 oz., fat 15 lbs., (tallow is best,) pulverized rosin 10
+lbs., and 4 oz. of beeswax; put the water in a kettle on the fire,
+and when nearly boiling, add the lime and sal-soda; when these are
+dissolved, add the borax, boil gently and stir until this is also
+dissolved, then add the fat, rosin and beeswax, and boil all very
+gently until it shows flaky on the stick, then pour into moulds.
+
+
+430. BROWN WINDSOR SOAP
+
+This is made by colouring the English bar soap with the precipitate
+of iron, Venetian red, or vandyke brown, and scenting while not too
+hot with any of the essential oils, or a mixture of them according
+to fancy.
+
+
+431. YELLOW SOAP
+
+This is made in the same way as the English bar soap, except that
+you add three percent of palm oil, deducting the same amount of fat.
+
+
+432. SOLID LARD CANDLES
+
+Dissolve 1/4 lb. of alum, and 1/4 lb. of saltpetre in 1/2 a pint
+of water on a slow fire; then take 3 lbs. of lard cut into small
+pieces, and put into the pot with this solution, stirring it
+constantly over a very moderate fire until the lard is all
+dissolved; then let it simmer until all steam ceases to rise, and
+then at once remove it from the fire. If you leave it too long
+it will become discoloured. These candles are harder and better
+than tallow.
+
+
+433. MEDICINES
+
+The following medicines are for man, while those commencing at
+receipt No. 331, and ending at No. 392 are for horses, cattle, &c.,
+unless when stated to the contrary.
+
+
+434. FOR DROPSY
+
+Take of powdered jalap 5 gr., powdered rhubarb 5 gr., powdered
+scammony 5 gr., powdered elaterium 1/2 gr., bitartrate of potash 1/2
+drm., sulphate of potash 1/2 drm., and syrup of ginger sufficient to
+make into pills; mix and divide into five pills. These five pills
+given at once form an excellent hydragogue cathartic to clear the
+chest, relieve breathing and diminish the dropsical effusion.
+
+
+435. ANTIBILIOUS PILLS
+
+Take of camomel 20 grs., jalap powder 20 grs., tartar-emetic 2 grs.,
+and syrup sufficient to form into pills; divide into eight pills.
+The dose is tow at bed time; repeated in the morning if necessary.
+This forms an excellent antibilious pill.
+
+
+436. JAUNDICE
+
+Take of rhubarb powder 1 scruple, castile soap half a drachm,
+calomel 12 grs., mix and divide into pills; two or three to be taken
+at bed time; emetrics, purges, fomentations about the stomach and
+liver, and exercise will seldom fail to cure jaundice when it is a
+simple disease; and when complicated with dropsy, a scirrous liver,
+or other chronic complaints, it is hardly to be cured by any means.
+Castile soap has been looked upon as a kind of specific.
+
+
+437. ASTHMA
+
+Take of powdered squills 2 drms., powdered assafoetida 1 drachm, mix
+and divide into 30 pills, two to be taken twice or thrice a day.
+Useful in chronic asthma.
+
+
+438. DR. DEWEES' ANTI-COLIC MIXTURE
+
+Take of carbonate of magnesia 1/2 drm., tincture of assafoetida 60
+drops, tincture of opium 20 drops, white sugar 1 drm., and distilled
+water 1 oz.; mix and shake; twenty-five drops to be given to an
+infant of two to four weeks old, in flatulent colic, diarrhoea, &c.
+
+
+439. DR. HUN'S ANTI-DIARRHOEAL MIXTURE
+
+Take of oil of cajeput 1 oz., oil of cloves 1 oz., oil of peppermint
+1 oz., oil of anise 1 oz., alcohol 4 oz.; mix and shake; dose, from
+one to two drachms in hot brandy and water or syrup. This will
+afford the most speedy relief in diarrhoea accompanied with pain.
+
+
+440. HOPE'S MIXTURE
+
+Take of camphor water 4 oz., nitric acid 4 drops, tincture of opium
+40 to 60 drops; mix cork, and shake; dose, a tablespoonful every two
+hours in diarrhoea and dysentery.
+
+
+441. ANTI-CHOLERA MIXTURE
+
+Take of tincture of opium 1 drm., liquor ammonia 1/2 drm., tincture
+of the oil of peppermint 1/2 drm., ether 25 drops, tincture of
+camphor 1 drm., tincture of capsicum, 1 drachm; mix, cork and shake.
+In real cholera give this all immediately; if the patient throws it
+up, repeat at once. This is an excellent prescription in extreme
+cases when the patient is cramped.
+
+
+442. FOR HYSTERIC FITS
+
+Take of tincture assafoetida 2 drms., aromatic spirits of ammonia
+2 drms., camphor water 7 ozs., mix and cork; give two tablespoonsful
+every three or four hours.
+
+
+443. ANTI-ASTHMATIC MIXTURE
+
+Take of mixture of ammoniacum 4 oz., syrup of squill 3 drms.,
+antimonial wine 60 drops, wine 1/2 oz., mix and cork. Give two
+tablespoonsful often, or when either the cough or shortness of
+breath is troublesome.
+
+
+444. ANTI-RHEUMATIC MIXTURE
+
+Take of ammoniated tinc. of quack 1/2 oz., honey 1/2 oz., camphor
+water 6 oz., mix and cork. Take two tablespoonsful three or four
+times a day in chronic rheumatism; rub well the affected part with
+anti-rheumatic liniment.
+
+
+445. ANTI-RHEUMATIC LINIMENT
+
+Take of tinc. of opium 2 oz., tinc. of belladonna 2 oz., powdered
+camphor 2 oz., oil of turpentine 2 oz., oil of sassafras 2 oz., oil
+of origanum 2 oz., and tinc. of capsicum 1 pint; mix all together.
+
+
+446. DIURETIC MIXTURE
+
+Take of peppermint water 5 oz., wine 6 drachms, sweet spirits of
+nitre 1/2 oz.; mix. Two tablespoonsful to be taken three times a-day
+in obstruction of urinary passages.
+
+
+447. SWEATING MIXTURE
+
+Take of acetated liquor of ammonia 3 oz., ipecacuanha 10 gr.,
+tincture of oil of peppermint 15 drops, distilled water 5 oz.; mix.
+Three tablespoonsful to be taken every two hours, until it produces
+the desired effects.
+
+
+448. FOR CRAMP IN THE STOMACH
+
+Take of ether 2 drms, white sugar 1-1/2 drms., tinc. of opium 60
+drops, cinnamon water 2 oz.; mix. Give a teaspoonful every hour in
+cramp of the stomach.
+
+
+449. FOR HOOPING COUGH
+
+Take of tinc. of assafoetida 1 drm, ipecacuanha 10 gr., tinc. of
+opium 10 drops, distilled water 2 ozs.; mix. Give to a child two
+years old a teaspoonful every four hours, increasing ten drops for
+every additional year.
+
+
+450. FOR WINTER COUGH, &c.
+
+Take of powered extract of liquorice 2 drms, gum acacia 2 drms, hot
+water 4 oz.; mix. Let all dissolve, and add tinc. of opium 40 drops,
+spirits of nitric ether 1 drm., wine of antimony 2 drms. Dose, one
+tablespoonful in catarrh and common winter cough.
+
+
+451. TONIC MIXTURE
+
+Take of calomba 2 ozs., tinc. of muriate of iron 1-1/2 oz., sulphate
+of quinine 20 grs., brandy 6 ozs., water 1-1/2 pint, bruise the
+calumba and pour the water on it boiling hot, cover tightly for
+two hours, then strain, bottle, and add all the other ingredients,
+when the quinine is dissolved it is ready for use. This forms an
+excellent tonic in cases of debility. Dose, one tablespoonful
+three times a-day half an hour before meals.
+
+
+452. ANTI-PERIODIC MIXTURE
+
+Take of sulphate of quinine 20 grs., sulphuric acid 1 drop, white
+sugar 1 drm., cinnamon water 2-1/2 oz.; put the quinine, acid and
+water into a vial together, when dissolved add the sugar. Dose,
+a teaspoonful every hour, between the paroxysms of intermittent
+fevers, fever and ague, &c.
+
+
+453. EMMENAGOGUE MIXTURE
+
+Take of tinc. of aloes 1/2 oz., tinc. of chloride of iron 1/2 drm.,
+tinc. of valerian 1/2 oz.; mix. Take a teaspoonful in chamomile tea
+two or three times a-day in cases of amenorrhoea.
+
+
+454. ANTI-GOUT MIXTURE
+
+Take of ammoniated tinc. of guaiac 6 drms., camphor water 6 ozs.,
+tinc. of rhubarb 1/2 oz., and honey 1/2 oz.; mix, by rubbing the
+honey and the guaiac up in a glass mortar, and then add the other
+articles by degrees. Give two tablespoonsful every four or six
+hours, and rub with the anti-rheumatic liniment.
+
+
+455. ANTI-GONORRHOEAL MIXTURE
+
+Take of copaibe 1/2 oz., spirts of nitric ether 1/2 oz., powdered
+acacia 1 drm., powered white sugar 1 drm., compound spts. of
+lavender 2 drms., tinc. of opium 1 drm., distilled water 4 oz.;
+mix. Dose, a tablespoonful three times a-day. Shake before using.
+
+
+456. ANOTHER
+
+Take of copaibe 1 oz., sweet spirits of nitre 1 oz., gum acacia
+powdered white sugar 1 drm., peppermint water 4 oz.; mix, and let
+all dissolve. Dose, a tablespoonful three times a-day. Shake
+before using.
+
+
+457. ASTRINGENT EYE-WATER
+
+Take of solution of acetate of lead 12 drops, wine of opium 11
+drops, rose water 4 ozs.; mix, and let dissolve. This should be
+applied with a linen rag four or five times a-day.
+
+
+458. EYE-WATER
+
+Take of distilled vinegar 1 oz., diluted spirits of wine 1/2 oz.,
+rose water 8 ozs., mix. An excellent application to weak eyes after
+depletion.
+
+
+459. ALUM EYE-WATER
+
+Take of rose water 2 ozs., distilled water 2 oz., and alum 1
+scruple; mix and let dissolve. Excellent in chronic inflamations.
+
+
+460. GARGLE OF BORAX
+
+Take of borax 1 drm., tinc. of myrrh 1/2 oz., clarified honey 1 oz.,
+rose or distilled water, 4 oz.; mix. To be used as a gargle or
+mouth wash in sore mouth or affection of the gums. Omit the myrrh
+and water, and there is nothing better for the thrush in children;
+clean rain water answers about the same purpose, in all cases, as
+distilled water.
+
+
+461. GARGLE FOR SORE THROAT
+
+Take of sulphate of quinine 15 grains, sulphate of copper 16 grains,
+aramotic sulphuric acid 1 drm., water 8 ozs.; mix and dissolve. To
+be used frequently in chronic and obstinate sore throats.
+
+
+462. OINTMENT FOR PILES
+
+Take of lard 1 oz., solution of subacetate of lead 25 drops, tinc.
+of opium 1 drm.; mix well. Anoint the parts twice a day.
+
+
+463. OINTMENT FOR ITCH
+
+Take of sublimed sulphur 2 ozs., lard 4 ozs., oil of lavender 1 drm.
+Make into an ointment. To be rubbed on the parts affected every
+night, till the eruption disappears. The internal use of sulphur
+will, in all cases, assist its external application.
+
+
+464. BLISTERING OINTMENT
+
+Take of lard 32 parts, oil of almonds 2 parts, strong liquor of
+ammonia 17 parts; melt the lard, add the oil, then the ammonia,
+must be strong, and keep the contents of the bottle well mixed
+by shaking them until cold. This will blister in half an hour.
+
+
+465. IODINE OINTMENT
+
+Take of iodine 3 grs., lard 2 drms.; make into an ointment; applied
+to scrofulous swellings when the skin is unbroken. It is the only
+cure for what is popularly termed thick neck.
+
+
+466. OINTMENT OF IODINE OF ZINC
+
+Take of iodide of zinc 1 drm., lard 1 oz.; make onto an ointment.
+A drm. to be rubbed on twice a day in tumors.
+
+
+467. OINTMENT FOR CHILBLAINS
+
+Take of lard 7-1/2 drms., creosote 10 drops, solution of subacetate
+of lead 10 drops, watery extract of opium 1 grain; mix. Apply to the
+affected parts.
+
+
+468. OINTMENT FOR DISEASES OF THE SKIN
+
+Take of citrine ointment 1-1/2 drm., sublimed sulphur 1 drm., lard
+3 ozs.; make an ointment. This is a good application for almost all
+affections of the skin.
+
+
+469. EMOLLIENT OINTMENT
+
+Take of palm oil 2 lbs., olive oil 1 pint, turpentine 4 oz.,
+red beeswax 6 ozs.; melt the wax in the oils, and then add the
+turpentine and strain the ointment. This is a most excellent
+application for inflamed parts, &c.
+
+
+470. POKE ROOT OINTMENT
+
+Take of poke root 3 ozs., lard 1 lb., boil for a quarter of an hour
+and strain. This ointment has quite a reputation in Virginia, with
+the old ladies, for all kinds of old sores and ulcers, and it is an
+excellent application to indolent and purulent ulcers and sores.
+
+
+471. OINTMENT FOR HYDROCEPHALUS
+
+Take of iodide of mercury 2 parts, iodide of potassium 3 parts,
+camphor 2 parts, lard 32 parts; mix and keep well corked. To be
+rubbed on the head in hydrocephalus or water on the brain in doses
+of half a drachm to a drachm.
+
+
+472. LINAMENT FOR BURNS
+
+Take of olive oil 1 oz., linseed oil 1 oz., lime water 1 oz.; mix
+well. This forms an excellent application for recent scalds and
+burns.
+
+
+473. VOLATILE LINAMENT
+
+Take of olive oil 1 oz., aqua ammonia 1 oz.; mix. To be applied to
+bruises, rheumatic parts, &c., and to the neck in inflammation of
+the throat.
+
+
+474. ALKALINE CATAPLASM
+
+Take of lye, rather weak, warm it and stir in of slippery elm bark
+or flaxseed, or meal sufficient to form a poultice. This is a most
+excellent poultice, and should be used more than it is. It is useful
+in inflammation of the breast and other parts, felons, wounds,
+fistula, &c.
+
+
+475. ANODYNE FOMENTATION
+
+Take of laudanum 4 ozs., water 1 pint; mix. For painful affections
+of the joints, as chronic rheumatism, &c., hops dipped in hot
+vinegar will answer as well.
+
+
+476. COMMON CLYSTER
+
+Take of flaxseed tea or cornmeal gruel, from one to two pints, sweet
+oil 2 or 3 ounces, common salt one teaspoonful, brown sugar two
+tablespoonsful; mix.
+
+
+477. ANODYNE CLYSTER
+
+Take of a solution of starch in water, of jelly, or water half a
+pint, laudanum forty drops; mix. The whole to be injected in cases
+of dysentery, violent purging and pain in the bowels.
+
+
+478. INJECTION FOR LEUCORRHOEA
+
+Take of sulphate of zinc 10 grs., tinc. of opium 1/2 drm., rose
+water 4 oz.; mix and dissolve. To be injected several times a day.
+
+
+479. ANOTHER
+
+Take of alum 10 grs., rose water 4 oz.; mix and dissolve. To be used
+frequently.
+
+
+480. ESSENCE OF BEEF
+
+Take of lean beef sliced 1 lb., put it into a bottle or jar closely
+corked; place this in a vessel of cold water and boil for an hour
+or more; then decant and skim the liquid. Chicken tea may be made
+in the same way. For more nourishing and palatable than beef tea,
+season it to suit the taste.
+
+
+481. IMPERIAL DRINK
+
+Take of cream of tartar one drm., the outer rind of fresh lemon or
+orange peel half a drm., loaf sugar one ounce, boiling water two
+pints. When they have stood in a pitcher about ten minutes, strain
+off the liquor. This makes a beautiful cooling drink, and is an
+excellent article in fevers.
+
+
+482. RINGWORM LOTION
+
+Take of sublimate of mercury, 5 grains; spirits of wine, 2 oz.;
+tinc. of musk, 1 drachm; rose water, 6 oz.; mix well, and rub well
+in.
+
+
+483. WHISKERS AND MOUSTACHES
+
+The best method of promoting the growth of whiskers and moustaches,
+is to shave the parts frequently, and use as a stimulant the ashes
+of burned tobacco macerated in bay water.
+
+
+484. COUGH SYRUP
+
+Take of hoarhound, 1 quart; water 1 quart; mix and boil down to a
+pint; then add two or three sticks of liquorice and a tablespoonful
+of essence of lemon; dose, a tablespoonful three times a day, or as
+often as the cough is troublesome.
+
+
+485. BLACK SALVE
+
+Take of sweet oil 1 oz., linseed oil 1 oz., pulverized red lead
+1 oz.; put all into an iron dish over a moderate fire, constantly
+stirring until you can draw your finger over a drop of it on a
+board, when a little cool, without sticking; when it is done,
+spread on a cloth and apply as other salves.
+
+
+486. SEIDLITZ POWDERS
+
+Take of rochelle salts, 2 drachms; bicarbonate of soda, 2 scruples;
+put these into a blue paper, and put 35 grains of tartaric acid into
+a white paper. To use, put each into different tumblers, half fill
+each with water, and put a little loaf sugar in with the acid, then
+pour them together and drink; this makes a very pleasant cathartic.
+Effervescing draught is made by leaving out the rochelle salts.
+
+
+487. CAMPHOR ICE
+
+Take of spermaceti, 1-1/2 oz.; gum camphor, 3/4 oz.; oil of sweet
+almonds, 4 teaspoonsful; mix, and apply heat just enough to melt
+all together. Whilst warm, pour into small moulds, then paper, and
+put up in tin-foil. This, for chaps on hands or lips, cannot be
+equalled.
+
+
+488. FOR SALT RHEUM
+
+Take a quantity of the pokeweed, any time in summer, pound it, press
+out the juice, strain it into a pewter dish, and set it in the sun
+until it acquires the consistency of salve; then put it into an
+earthen mug, add to it water and beeswax sufficient to make an
+ointment of common consistency. Simmer the whole over a fire till
+thoroughly mixed; when cold, it is ready for use. To be rubbed on
+the part affected. The most obstinate cases have yielded to this in
+three or four months. Try it.
+
+
+489. ARTIFICIAL SKIN
+
+Dissolve gun cotton in sulphuric ether, and thicken it with gum
+mucilage. This article touched upon a cut or bruise, forms,
+immediately, an artificial skin, which cannot be washed off. It is
+very useful as it obviates the necessity of finger cots or bandages.
+It is excellent for sore nipples.
+
+
+490. HAIR RESTORATIVE
+
+Take of sugar of lead, 1 oz.; lack sulphur, 1 oz.; essence of
+bergamot, 1/2.; bay rum, 1 gill; alcohol, 1 gill; and half a
+teaspoonful of salt; dissolve, first, the sugar of lead and sulphur
+in the alcohol, then the other ingredients; and add the whole to a
+gallon of warm soft water, then bottle it tightly, and it is fit for
+use. To be applied several times a day. This is a most excellent
+article, give it a trail.
+
+
+491. TO REMOVE WARTS AND CORNS
+
+This is very often done by means of nitrate of silver, or some of
+the mineral acids; but the best caustic for this purpose is that
+recommended for cancer in the skin.
+
+
+492. CANCER IN THE SKIN
+
+No one but an impostor will presume to cure a true cancer,
+containing the cancer cell, and situated in the muscles. Many times
+hard tumors, not containing the cancer cell, are called cancers, and
+are removed by different methods, which is very easily accomplished,
+without a danger of their returning; by which means base quacks
+become lauded by the illiterate, for their superior skill in
+banishing this dreadful malady, and the orphan, and finally,
+in consequence thereof, plunge themselves headlong over yonder
+precipice of eternal misery. Cancer which are situated in the skin,
+and are sometimes called spider cancers, &c., may be cured by the
+following caustic: take of sulphate of iron, 1 part; and acetate of
+lead, 1 part; pulverize each separately, as fine as possible, and
+mix well together; then, by means of a probe or knitting-needle,
+touch the cancer with it every morning for three or four times, and
+you will be able to draw it all out; after which apply adhesive
+straps that it may heal. It is used in the same way to destroy corns
+and warts. In the case of cancer, physic well before applying it.
+
+
+493. FOR WORMS
+
+Give a child one year old 15 drops of spirits of turpentine on
+sugar, fasting, for three mornings in succession; follow the last
+dose with a good dose of castor oil; this forms an excellent
+vermifuge. The dose of spirits of turpentine for a child two years
+old is 20 drops, three years old 25 drops, four years old 30 drops,
+&c.
+
+
+494. SPASMODIC CROUP
+
+Genuine croup is indeed of very rare occurrence, and is a fearfully
+dangerous disease, the only chances are to call in a physician at
+once. In genuine croup, the child seems to have a cold and is hoarse
+for a few days previous to the attack; but the fit generally comes
+on suddenly in spasmodic croup, which may be treated as follows.
+During the fit put the child in a warm bath, apply hot water to the
+throat, allow fresh air, and sprinkle the face and chest with cold
+water.
+
+
+495. FOR FLATULENCY
+
+Make a tea of the seeds of anise, caraway, and coriander, and drink
+freely of it.
+
+
+496. FOR HICCOUGH
+
+Take five drops of oil of anise on sugar when they commence to be
+troublesome.
+
+
+497. FOR HEARTBURN
+
+This is a very disagreeable sensation, but may be banished by taking
+a teaspoonful of carbonate of soda dissolved in half a tumbler full
+of sweetened water.
+
+
+498. ERYSIPELAS
+
+This when very bad needs the attendance of a physician; when not so
+bad, paint the inflamed part over with white lead, mixed with paint
+oil, it is an excellent remedy.
+
+
+499. FOR FELON
+
+Poultice well with flaxseed meal until matter begins to form, then
+at once have it well laid open with a lance, continue the poultice
+for some time afterwards.
+
+
+500. HAIR RESTORATIVE
+
+Take of black mustard seed 1/2 oz., red pepper 15 grains, blood
+root 1/2 oz., cantharides 15 grains, castile soap 1/2 oz., alcohol
+one quart; mix all together in a bottle, let stand for a week,
+occasionally shaking. Perfume with oil of bergamot, and apply
+three or four times a day.
+
+
+501. TO KILL RATS AND MICE WITHOUT POISON
+
+Slice up a quantity of corks, grease, and scent them with oil of
+anise; throw them in the way of the rats and mice; they will eat,
+but cannot digest them; the result is they will die.
+
+
+502. EYE WATER
+
+One part of good brandy, to six of clean rain or distilled water,
+makes an admirable eye water for most cases of sore eyes.
+
+
+503. FOR CHRONIC GOUT AND RHEUMATISM
+
+Take of bicarbonate of potash 1/2 drachm, tincture of orange 2
+drachms, compound decoction of aloes 8 oz., mix. Dose, a wine
+glass full whenever the fit is expected. This is Sir A. Cooper's
+prescription.
+
+
+504. FOR SICKNESS AND VOMITING
+
+Take of creosote 16 drops, acetic acid 16 drops, compound spirit of
+juniper 1 oz., syrup 1 oz., water 14 oz.; mix the creosote with the
+acid, add gradually the water, and lastly the syrup and spirit. Dose
+from two to four tablespoonsful.
+
+
+505. LAXATIVE PILL
+
+Take of powdered aloes 1 drachm, gamboge 10 grains, Castile soap and
+water sufficient to make a pill mass; mix and divide into 34 pills.
+Dose, one, two, or three, to be given when necessary, for torpid
+bowels.
+
+
+506. FOR HEADACHE
+
+In case of a severe attack of headache the best remedy is,
+generally, to take a good strong physic of salts and senna. If this
+does not relieve it, or where the person is very frequently troubled
+with headache, apply a blister to the back of the neck, you will
+find it an excellent remedy.
+
+
+507. FOR MAKING SIZE
+
+This, with the following four, are currier's receipts.
+
+Take of sizing 1 quart, soft soap 1 gill, stuffing 1 gill, sweet
+milk 1/2 pint; boil the sizing in water to a proper consistence,
+strain and add the other ingredients, and when thoroughly mixed
+it is ready for use.
+
+
+508. FOR PASTE
+
+First coat.--Take of water 2 quarts; flour 1/2 pint, castile soap
+1 oz.; make into paste. Second coat.--Take of the first paste 1/2
+pint, gum tragacanth 1 gill, water 1 pint; mix all together. This
+will finish eighteen sides of upper.
+
+
+509. SKIRTING
+
+This is for finishing skirting and the flesh of harness leather in
+imitation of oak tanning. Take of chrome yellow 1/2 lb., yellow
+ochre 1 lb., cream of tartar 1 oz., soda 1/2 oz., paste 5 quarts;
+mix well. This will finish twelve sides.
+
+
+510. SKIRTING
+
+For the grain of skirting to imitate oak tan, take of chrome yellow
+1/2 lb., yellow ochre 1/2 lb., cream of tartar 1 oz., soda 1 oz.,
+paste 2 qts., spirits of turpentine 1 pint. Mix well; this will
+finish twelve sides.
+
+
+511. GRAIN BLACK
+
+This is for the grain of harness leather. First, stain in tallow,
+then take of spirits of turpentine 1 pint, cream of tartar 1 oz.,
+soda 1 oz., gum shellac 1/2 oz., thick paste reduced thin 2 qts.
+Mix well. This will finish 24 sides.
+
+
+512. ANTIDOTES FOR POISONS
+
+The antidotes for poisoning with the strong mineral acids, such as
+nitric, muriatic, sulphuric, or oxalic acids are magnesia, chalk,
+whiting, in milk or water; mucilaginous or soapy liquids. When
+sulphuric acid has been taken, use very little water if any.
+Irritate the throat with a feather to produce vomiting.
+
+The antidote for poisoning with corrosive sublimate or any other
+preparation of mercury, is albumen, as whites of eggs, in large
+quantity, flour and water, and milk. The whites of eggs are best.
+
+The antidotes for poisoning by opium, or any of its preparations,
+as morphia, laudanum, &c., are the stomach pump if it can be had;
+tartar emetic, 2 to 5 grains, or sulphate of zinc, 15 to 30
+grains, or sulphate of copper, 12 to 15 grs., for an adult. The
+sulphates of zinc or copper are best, because they act quicker.
+External excitation, keep in motion, mechanical excitement of
+respiration, cold effusion to the head and face, feet in hot water,
+electro-magnetism, internal stimulants, as bicarbonate of ammonia,
+5 to 25 grains in water, carbonate of ammonia, 5 to 15 grains in
+water, coffee and vegetable acids. Some propose as an antidote for
+every case of poisoning, half a pint of bland oil, as sweet oil,
+fresh butter melted to oil, &c., to be drank at once, for an adult.
+
+
+513. TREATMENT OF DROWNING
+
+If respiration has ceased when the body is taken out of the water,
+it should instantly be commenced artificially, by putting a pipe
+into one nostril, and closing the mouth and the other nostril, and
+very gently blowing through it about 15 times in a minute; but it
+is a better plan to use a small pair of bellows, putting its muzzle
+into the nostril, at the same time the body should be wiped dry,
+and be assiduously rubbed with hot cloths; hot bricks and bottles
+of hot water should be put into the armpit, between the thighs,
+and to the feet; the head should be raised, the nostrils irritated
+with a feather, or the fumes of hartshorn, and a warm injection of
+turpentine, made as follows, may be thrown up--oil of turpentine,
+3 drachms; gruel, 1/2 a pint; and the yolk of 1 egg. Incorporate the
+turpentine with the egg, then add the gruel. Galvanism should be
+resorted to, if respiration is not quickly restored. As soon as the
+patient can swallow, he should have some weak wine and water; and
+soon afterwards an emetic of a large tablespoonful of mustard, mixed
+with 6 ozs. of water, to clear the stomach of the water which he
+has swallowed, and to restore the circulation by the impetus of
+vomiting. After some hours he will suffer from severe headache and
+fever, which must be relieved by bleeding, purgatives, &c., which
+will be attended to by a physician, who will be present by this
+time. A case is related in which life was restored by the most
+persevering friction, which was kept up for eight hours before the
+humanity of the surgeon, Dr. Douglass, of Havre, was rewarded by a
+return of respiration.
+
+
+514. ELASTIC CEMENT FOR BELTS
+
+Take of white glue, 1 lb., dry white lead, 1 lb., alcohol, 1/2 pint,
+rain water, 3 pints, and proceed as directed in receipt No. 417.
+When ready for use apply to the ends of the belt, lay them together
+and place upon them a heavy weight until perfectly dry, then use the
+belt as you please.
+
+
+515. GOOD SAMARITAN OR PAIN-KILLER
+
+Take of 95 percent alcohol 2 quarts, and add to it the following
+articles: oils of sarsafras and hemlock, spirits of turpentine,
+balsam of fir, chloriform, tincture of catechu and guaiacum, of
+each 1 oz., oil of origanum 2 oz., oil of wintergreen 1/2 oz., and
+gum of camphor 1/2 oz. Let it all be well incorporated and you
+have the most excellent pain killer that was ever made. It is good
+for rheumatism, headache, neuralgia, cuts, sprains, burns, bruises,
+spinal affections, ear-ache, tooth-ache, sore throat, &c. This is
+used internally and externally, the dose internally is 10 drops;
+take on sugar.
+
+
+516. DIAMOND PASTE FOR RAZORS
+
+By rubbing a little of this paste on your razor-strap, it is
+astonishing how speedily you will be able to sharpen a razor. It
+is made simply by mixing flour of emery and sweet oil, to the
+consistence of paste.
+
+
+517. FOR STAGGERS IN SHEEP
+
+Dissolve assafoetida in warm water, and put half a tablespoonful in
+each ear of the sheep. It is a speedy remedy.
+
+
+518. WATER-PROOF FOR LEATHER
+
+Take of linseed oil, 1 pint; yellow wax and white turpentine, of
+each, 2 oz.; burgundy pitch, 1 oz.; melt all together, and colour
+with lampblack. This being applied to boots, you may stand in water
+all day, and your feet will be dry at night.
+
+
+519. TO BROWN GUN-BARRELS
+
+Rub the barrel, after it is finished, with aquafortis, or spirit of
+salt diluted in water; leave it by for a week, till a complete coat
+is formed; then apply a little oil, and after rubbing the surface
+dry, polish it with a hard brush and a little beeswax.
+
+
+520. LIQUID GLUE
+
+Put 1 oz. of borax into a pan with 1 quart of water, set it on
+the fire; when melted, which will be very soon, put in 8 oz. of
+gum shellac, and boil until dissolved; if too thin add more gum;
+when cool bottle for use.
+
+
+521. TO TAKE INK SPOTS OUT OF MAHOGANY
+
+Apply spirits of salt with a rag, until the spot disappears, and
+immediately wash with clean water; or to half a pint of soft water
+put 1 oz. of oxalic acid, and 1/2 oz. of butter of antimony; shake
+it well, and when dissolved it will be very useful for extracting
+stains out of mahogany, as well as ink, if not of too long standing.
+
+
+522. TO CLEAN MARBLE, SIENNA, JASPER, PORPHYRY, &c.
+
+Mix up a quantity of strongest soap-lees with quicklime, to the
+consistence of milk, and lay it on the stone, &c., for 24 hours;
+clean it afterwards with soap and water, and it will appear as new.
+This may be improved by rubbing or polishing it afterwards with fine
+putty powder and olive oil. This is a beautiful article for cleaning
+marble monuments, &c.
+
+
+523. TO CLEAN SILVER FURNITURE
+
+Lay the furniture piece by piece upon a charcoal fire; and when they
+are just red, take them off and boil them in tartar and water, and
+your silver will have the same beauty as when first made. Try this
+method once and you will never forsake it; it will not remove a
+portion of the silver, as article that are sold in vials, boxes,
+&c., for this purpose will do.
+
+
+524. A FINE BLACK VARNISH
+
+Take 2 ozs. of bitumen of Palestine, 2 ozs. of resin, and 12 ozs. of
+umber; melt them separately, and afterwards mix them together over
+a moderate fire; then pour upon them, while on the fire, 6 ozs. of
+clear boiled linseed oil, and keep stirring the whole from time to
+time; take it off the fire, and, when pretty cool, pour in 12 ozs.
+of essence of turpentine. This varnish is for coaches and iron work.
+
+
+525. TO PAINT SAIL-CLOTH, SO AS TO MAKE IT PLIANT, DURABLE, AND
+WATER-PROOF
+
+Grind 96 lbs. of English ochre with boiled oil, and add to it 16
+lbs. of black paint; dissolve 1 lb. of yellow soap in one pail of
+water, on the fire, and mix it while hot with the paint. Lay this
+composition, without wetting it, upon the canvass, as stiff as can
+conveniently be done with the brush, so as to form a smooth surface;
+the next day, or the day after, (if the latter, so much the better,)
+lay on a second coat of ochre and black, with a very little, if any,
+soap; allow this coat a day to dry, and then finish the canvass with
+black paint.
+
+
+526. PHOTOCROMATIC OIL PAINTING
+
+INSTRUCTION:
+
+Chemicals used in executing them:--chemical varnish, No. 1, 2 oz.
+damar varnish, 1 oz. spirits turpentine; (mix well together.)
+Finishing varnish, No. 2, 1 oz. spirits turpentine, 1 oz. alcohol,
+1 oz. salt, 1 quart water. A camel's hair brush is needed for
+varnishing. Take a smooth pane of common window-glass, any size you
+choose, clean it well, then varnish one side of it with chemical
+varnish No. 1, lay it away where it will be perfectly free from
+dust, and let it dry twenty-four hours; next varnish the same side
+of the glass again, and let it dry about one half hour, or until the
+varnish becomes stickey. Immediately after varnishing the glass the
+second time, take the print that you wish to get an impression of,
+and immerse it in the solution No. 3; put the solution in a flat
+pan, and lay the print in with the face side up; let the print lay
+in the solution about five minutes, or until the paper is completely
+saturated, then remove it, taking care not to stretch it, and lay it
+on paper with the face side up, in order that the solution may dry
+from the face of the print. In this way prepare the print, getting
+it ready by the time the glass has dried one half hour. Next,
+carefully lay the face of the print on the varnished side of the
+glass, being particular to lay it on smooth and press it firmly to
+the glass, so as to exclude every particle of air; should there be
+any air left under the paper, it will show itself in spots, and
+must be pressed out. You now lay it away and let it dry another
+twenty-four hours; then, wet the back part of the print with water
+and with your hand or a wet cloth, rub the paper from the back of
+the print until it is so thin that the outlines of the picture can
+be seen from the back and of uniform thickness. You next spread a
+thin coat of finishing varnish (No. 2) on it and lay it away to dry.
+This will render it perfectly clear and transparent.--After this
+coat of varnish has dried, rub it over with a bit of fine sand
+paper, to make it smooth, and finish with two or three coats of
+No. 2 varnish. When dry, put it in a frame with the varnished side
+out, placing a sheet of light coloured paper on the back, this will
+give it the appearance of an oil painting. By following these
+directions you cannot fail to produce a beautiful picture.
+
+
+527. FOR THE COMPLEXION
+
+Boil a small piece of gum benzoin in some spirits of wine till it is
+dissolved, (five minutes boiling will be sufficient,) then bottle
+for use. A few drops of this in a glass of soft water (sufficient
+to make the water a milky colour) makes a delicious wash; apply with
+a towel or linen cloth. This article will make the skin as soft as
+velvet, and will constantly preserve rosy cheeks and lips, and for
+this it has not equal in the world; besides, it is as harmless as a
+sun-shower. As it is not a paint, it will not act just on the moment
+when applied.
+
+
+528. ORIENTAL CREAM OF ROSES
+
+Take of tincture of elder blossoms 1/2 oz., best beef marrow 1
+teaspoonful, orange flower water 1/2 pint, cassia buds 1 oz.,
+blanched bitter almonds 2 oz., spirits of oriental roses 4 drms.;
+mix all, and when the solution acquires the colour and consistency
+of milk it is fit for use. This article is for beautifying the
+complexion, making the skin as soft, as fair, and as rosy as that
+of a healthy infant; apply at pleasure. It is not only harmless,
+but will prove a speedy cure for all pimples, blotches, &c.
+
+
+529. INSTRUCTION FOR GILDING
+
+Dissolve a gold dollar in nitro-muriatic acid,--(2 ozs. muriatic
+to 1 of nitric,) then dissolve a 1/4 lb. of copperas in a pint of
+hot water, and pour it into the dish containing the gold and acid,
+pouring in a little at a time, till it stops boiling or foaming up;
+then let it stand and settle about six hours; then strain off the
+copperas-water carefully, and the gold will appear like a brown or
+dark yellow powder in the bottom of the dish. You will then proceed
+to wash the gold, which is done by pouring hot water on it; let it
+stand and settle a few minutes, and then drain off. Continue washing
+in this manner till there is no acid or copperas taste; then add to
+the gold in the bottom of the dish from 1-1/2 to 2 oz. cyanuret
+potassa, dissolved in about 1/2 pint pure soft water. The solution is
+then ready for use. Gild by laying a piece of pure zinc in contact
+with the article to be gilded, in the solution.
+
+
+530. DIRECTIONS FOR SILVERING
+
+Dissolve a silver dollar in about 2 ozs. of nitric acid by heating;
+then dissolve a tablespoonful of salt in about a quart of water;
+pour it into the dish with the silver and acid; let it stand and
+settle a few minutes, and the silver will settle to the bottom in
+a white powder. Then drain off the water carefully, and add more
+water, then drain off again. Continue washing in this manner till no
+acid or salt taste remains; then add a quart or more of pure soft
+water, and cyanuret potassa enough to take it up, or nearly so.
+The solution is then nearly ready for use.
+
+Silver by laying a piece of zinc in contact with the article, the
+same as in gilding. If the article you are silvering or gilding
+corrodes or turns black, it wants a little more cyanuret. In gilding
+or silvering, the article must be thoroughly cleaned, and great care
+must be taken that the water used is of the purest kind.
+
+When the plating is as heavy as you wish, polish it with a mixture
+of chalk and alcohol, or of chalk alone, applied with a fine brush,
+or else a bit of chamois leather or rag.
+
+If you wish to put on a very heavy coat of silver or gold, instead
+of using zinc alone as a battery, use the following, attach a piece
+of copper to one end of an iron wire about ten inches long, and a
+piece of zinc to the other end, and place both zinc and copper in
+contact with the article being silvered or gilded.
+
+
+531. USING FRENCH POLISH
+
+There is a mode of using shell-lac varnish which is sometimes
+denominated the German, but more commonly the French mode. It merits
+to be generally known, as the process is easy and economical, and
+the effect beautiful. It has been much employed by cabinet and
+musical instrument makers, but is not yet so extensively practised
+as it merits to be. The varnish is applied by means of what is
+called a rubber, made by rolling up a piece of thick woollen cloth,
+which has been torn off so as to have a soft, elastic edge. The
+varnish, put into a narrow-mouthed bottle, is applied to the middle
+of the flat face of the rubber by laying the rubber on mouth of the
+bottle and quickly shaking the varnish at once, as the rubber will
+thus imbibe a sufficient quantity to varnish a considerable extent
+of surface. The rubber is then enclosed in a soft linen cloth
+doubled, the remainder of the cloth being gathered together at the
+back of the rubber to form a handle to hold it by; and the face of
+the linen cloth must be moistened with a little raw linseed oil,
+which may either be coloured with alkanet root or not, applied with
+the finger to the middle of it. The work to be varnished should
+be placed opposite to the light, in order that the effect of the
+polishing may be better seen, and a surface of from ten to eight
+feet square may be varnished at once. The rubber must be quickly and
+lightly rubbed upon the surface of the article to be varnished, and
+the rubbing continued until the varnish becomes nearly dry. The coil
+of woollen cloth must then be again wetted with the varnish, (no
+more oil need be applied to the surface of the linen cloth,) and
+the rubbing renewed till the varnish becomes nearly dry as before;
+a third coat must be applied in the same manner, then a fourth with
+a little oil, which must be followed by two others without oil,
+as before. You proceed thus until the varnish has acquired some
+thickness, which will be after a few repetitions of the series.
+Apply then a little alcohol to the inside of the linen cloth, and
+wet the coil with the varnish; after which, rub very quickly,
+lightly, and uniformly, over every part of the varnished surface,
+which will tend to make it even, and very much conduce to its
+polish. The linen cloth must now be wetted with a little alcohol and
+oil, without varnish; and the varnished surface being rubbed over,
+with the precautions last mentioned, until it is nearly dry, the
+effect of the operation will be seen. If it be found not complete,
+the process must be continued, with the introduction of alcohol in
+its turn as directed before, until the surface becomes smooth and
+of a beautiful lustre. The preceding process is that in general use;
+but Dr. Jones recommends, in the Franklin Journal, a rubber of a
+different sort, as well as a simpler mode of employing it. He takes
+a piece of thick woollen cloth, six or eight inches in diameter, and
+upon one side of this pours a teaspoonful of the varnish; he then
+collects the edges together, so as to enclose the varnish in the
+cloth and form a handle by which to hold it: this is finally covered
+with a piece of oiled linen cloth, and the rubber is ready for use.
+More varnish is added as often as it is required; and when it
+becomes occasionally too thick to ooze through, a little alcohol is
+poured into the cloth. Some difficulties may be at first experienced
+in performing this process; but Dr. Jones states that a very little
+practice will enable any handy person to surmount them. The peculiar
+advantage said to attend it is, that a beautiful polish may be at
+once obtained by a continued application of the rubber in this way;
+while, according to the method previously described, successive
+coats of varnish, which require considerable time to dry, must be
+used, and a great deal of additional trouble incurred. In varnishing
+recesses or carved work, where parts of the surface are difficult to
+reach with the rubber, a spirit varnish, made with or without lac of
+the usual gum resins, and considerably thicker than that used for
+the rest of the work, may be applied to those parts with a brush or
+hair pencil.
+
+
+532. LACQUER FOR BRASS
+
+Seed-lac, 6 ozs.; amber or copal, ground on porphyry or very
+clean marble, 2 ozs.; dragon's blood, 40 grains; extract of red
+sandal-wood, 30 grains; oriental saffron, 36 grains; pounded glass,
+4 ozs.; very pure alcohol, 40 ozs. Articles, or ornaments of brass,
+to which this varnish is to be applied, should be exposed to a
+gentle heat and then dipped into the varnish. Two or three coatings
+may be thus applied, if necessary. Articles varnished in this manner
+may be cleaned with water and a bit of dry rag.
+
+
+533. TO CLEAN OLD BRASS WORK FOR LACQUERING
+
+First boil a strong lye of wood-ashes, which you may strengthen with
+soap-lees; put in your brass work, and the lacquer will immediately
+come off; then have ready a pickle of aquafortis and water, strong
+enough to take off the dirt; wash it immediately in clean water, dry
+it well, and lacquer it.
+
+
+534. TO PREPARE FISH OIL FOR PAINT
+
+Into a cask which will contain about 40 galls., put 32 galls. of
+good common vinegar; add to this 12 lbs. of litharge, and 12 lbs. of
+white copperas in powder: bung up the vessel, and shake and roll it
+well twice a-day for a week, when it will be fit to put into a ton
+of whale, cod, or seal oil, (but the southern whale oil is to be
+preferred, on account of its good colour and little or no smell:)
+shake and mix all together, when it may settle until the next day;
+then pour off the clear, which will be about seven-eighths of the
+whole. To clear this part, add 12 galls. of linseed oil, and 2
+galls. of spirits of turpentine; shake them well together, and,
+after the whole has settled two or three days, it will be fit to
+grind white lead and all fine colours in; and, when ground, cannot
+be distinguished from those ground in linseed oil, unless by the
+superiority of colour. If the oil be wanted only for coarse
+purposes, the linseed oil and oil of turpentine may be added at the
+same time that the prepared vinegar is put in; and, after being
+well shaken up, is fit for immediate use, without being suffered to
+settle. The residue or bottom, when settled by the addition of half
+its quantity of fresh lime-water, forms an excellent oil for mixing
+with all the coarse paints for preserving outside work. All colours
+ground in the above oil, and used for inside work, must be thinned
+with linseed oil and oil of turpentine.
+
+Gain by the above process.
+
+  One ton of fish oil, or 252 galls................ $151.20
+  32 galls. of vinegar, at 12-1/2 cts. per gall....    4.00
+  12 lbs. litharge, at 7 cts. per lb...............      84
+  12 lbs. white copperas, at 8 cts. ditto..........      96
+  12 galls. of linseed oil, at 90 cts. per gall....   10.80
+   2 galls. of spirit of turpentine, at 40 cts.....      80
+                                                    --------
+                                                    $168.60
+
+  252 galls. of fish oil
+   12 ditto linseed oil
+    2 ditto spirit of turpentine
+   32 ditto vinegar
+  ---
+  298 galls., at 90 cts. per gal. $268.20
+  Deduct the expense.............  168.60
+                                  --------
+                                  $ 99.60
+
+
+535. PAINTING IN MILK
+
+In consequence of the injury which has often resulted to sick and
+weakly persons from the smell of common paint, the following method
+of painting with milk has been adopted by some workmen, which, for
+the interior of buildings, besides being as free as distemper from
+any offensive odour, is said to be nearly equal to oil-painting in
+body and durability. Take 1/2 gall. of skimmed milk, 6 ozs. of lime
+newly slaked, 4 ozs. of poppy, linseed, or nut-oil, and 3 lbs. of
+Spanish white. Put the lime into an earthen vessel or clean bucket,
+and having poured on it a sufficient quantity of milk to make it
+about the thickness of cream, add the oil in small quantities at a
+time, stirring the mixture with a wooden spatula. Then put in the
+rest of the milk, and afterwards the Spanish white. It is, in
+general, indifferent which of the oils above-mentioned you use;
+but, for a pure white, oil of poppy is the best. The oil in this
+composition, being dissolved by the lime, wholly disappears; and,
+uniting with the whole of the other ingredients, forms a kind of
+calcareous soap. In putting in the Spanish white, you must be
+careful that it is finely powdered and strewed gently over the
+surface of the mixture. It then, by degrees, imbibes the liquid and
+sinks to the bottom. Milk skimmed in summer is often found to be
+curdled; but this is of no consequence in the present preparation,
+as its combining with the lime soon restores it to its fluid state.
+But it must on no account be sour; because, in that case, it would,
+by uniting with the lime, form an earthy salt, which could not
+resist any degree of dampness in the air. Milk paint may likewise
+be used for out-door objects by adding to the ingredients
+before-mentioned 2 ozs. each more of oil and slaked lime, and 2 ozs.
+of Burgundy pitch. The pitch should be put into the oil that is to
+be added to the milk and lime, and dissolved by a gentle heat. In
+cold weather, the milk and lime must be warmed, to prevent the pitch
+from cooling too suddenly, and to enable it to unite more readily
+with the milk and lime. Time only can prove how far this mode of
+painting is to be compared, for durability, with that in oil; for
+the shrinking to which coatings of paint are subject depends in
+great measure upon the nature and seasoning of the wood. The milk
+paint used for in-door work dries in about an hour; and the oil
+which is employed in preparing it entirely loses its smell in the
+soapy state to which it is reduced by its union with the lime.
+One coating will be sufficient for places that are already covered
+with any colour, unless the latter penetrate through it and produce
+spots. One coat will likewise suffice, in general, for ceilings and
+stair-cases; two will be necessary for new wood. Milk painting may
+be coloured, like every other in distemper, by means of the different
+colouring substances employed in common painting. The quantity I
+have given in the receipt will be sufficient for one coat to a
+surface of about twenty-five square yards.
+
+
+536. ETHEREAL SOLUTION OF GOLD
+
+The following mode of effecting this solution (used chiefly for
+gilding steel) is recommended by Mr. H. Mill, in the "Technical
+Repository," as being superior to any previously made known. "The
+instructions," he says, "given in most elementary works on chemistry
+for this purpose are either erroneous or not sufficiently explicit."
+The process answers equally well for either gold or platina.
+Dissolve any quantity of gold or platina in nitro-muriatic acid,
+(aqua regia,) until no further effervescence is occasioned by the
+application of heat. Evaporate the solution of gold or platina, thus
+formed, to dryness, in a gentle heat, (it will then be freed from
+all excess of acid, which is essential,) and re-dissolve the dry
+mass in as little water as possible: next take an instrument which
+is used by chemists for dropping liquids, known by the name of a
+separating funnel, having a pear-shaped body, tapering to a fine
+sharp point, and a neck capable of being stopped with the finger or
+a cork, which may contain a liquid once or more; fill it with the
+liquid about one-quarter part, and the other three parts must be
+filled with the very best sulphuric ether. If this be rightly
+managed, the two liquids will not mix. Then place the tube in a
+horizontal position, and gently turn it round with the finger and
+thumb. The ether will very soon be impregnated with the gold or
+platina, which may be known by its changing its colour; replace it
+in a perpendicular position, and let it rest for twenty-four hours;
+having first stopped up the upper orifice with a cork. The liquid
+will then be divided into two parts--the darkest colouring being
+underneath. To separate them, take out the cork and let the dark
+liquid flow out: when it has disappeared, stop the tube immediately
+with the cork, and what remains in the tube is fit for use, and may
+be called gilding liquid. Let it be put into a bottle, and tightly
+corked. The muriate of gold or platina, formed by digesting these
+metals in nitro-muriatic acid, must be entirely free from all excess
+of acid; because it will otherwise act  too forcibly on the steel,
+and cause the coating of gold to peel off. Pure gold must be
+employed; the ether must not be shaken with the muriate of gold, as
+is advised in chemical publications, for it will be sure, then, to
+contain acid; but if the two liquids be brought continually into
+contact by the motion described, the affinity between ether and gold
+is so strong as to overcome the obstacle of gravity, and it will
+hold the gold in solution. The ethereal solution may also be
+concentrated by gentle evaporation.
+
+
+537. VARNISH POLISH
+
+Take 2 ozs. of tripoli, reduced to fine powder; put it into an
+earthen pot or basin, with water to cover it; then take a piece of
+fine flannel, four times doubled, lay it over a piece of cork or
+rubber, and proceed to polish your varnish, always wetting it with
+the tripoli and water. You will know when the process is completed,
+by wiping a part of the work with a sponge and observing whether
+there is a fair and even gloss. Take a bit of mutton-suet and fine
+flour, and clean off the work. Or, the powdered tripoli may be mixed
+up with a little pure oil, and used upon a ball of serge, or of
+chamois leather, which is better. The polishing may afterwards be
+completed with a bit of serge or cloth, without tripoli. Putty
+powder, and even common whiting and water, are sometimes used for
+polishing; but they produce a very inferior effect to tripoli,
+except in the case of ivory, for which putty and water, used upon a
+rubber made of a hat, forms the best and quickest polish. Putty and
+water may likewise be used, in the same manner as just mentioned for
+ivory, in finishing off the polish of pearl work, after it has first
+been polished very smooth with pumice-stone, finely powdered, and
+well washed to free it from impurities and dirt.
+
+
+538. VARNISH FOR COLOURED DRAWINGS
+
+Mix together 1 oz. of Canada balsam and 2 ozs. of spirits of
+turpentine. Before applying the composition, size the drawing or
+print with a solution of isinglass in water; when this is dry, apply
+the varnish with a camel's-hair brush. The use of this varnish gives
+to coloured drawings and prints an appearance resembling that of oil
+paintings.
+
+
+539. VARNISH FOR GLASS
+
+Reduce a quantity of gum tragacanth to powder, and let it dissolve
+for twenty-four hours in the white of eggs well beat up; then rub it
+gently on the glass with a brush.
+
+
+540. TO CLEAN PICTURES
+
+Having taken the picture out of its frame, take a clean towel, and
+making it quite wet, lay it on the face of your picture, sprinkling
+it from time to time with clear soft water; let it remain wet for
+two or three days; take the cloth off, and renew it with a fresh
+one; after wiping your picture with a clean wet sponge, repeat the
+process till you find all the dirt soaked out of your picture; then
+wash it well with a soft sponge, and let it get quite dry; rub it
+with some clear nut or linseed oil, and it will look as well as when
+freshly done.
+
+
+541. ANOTHER METHOD
+
+Put into two quarts of strong lye a quarter of a pound of Genoa soap
+rasped very fine, with about a pint of spirits of wine; let them
+simmer on the fire for half an hour, then strain them through a
+cloth; apply it with a brush to the picture, wipe it off with a
+sponge, and apply it a second time, which will effectually remove
+all dirt; then, with a little nut oil warmed, rub the picture, and
+let it dry; this will make it look as bright as when it came out of
+the artist's hands.
+
+
+542. VARNISH FOR CLOCK FACES, &c.
+
+Take of spirits of wine, 1 pint; divide it into four parts; mix one
+part with half an ounce of gum mastic, in a bottle by itself; one
+part of spirits and half an ounce of gum sandrac in another bottle;
+and one part of spirits and half an ounce of the whitest part of gum
+benjamin; mix and temper them to your mind; if too thick, add
+spirits; if too thin, some mastic; if too soft, some sandrac or
+benjamin. When you use it, warm the silvered plate before the fire,
+and with a flat camel-hair pencil stroke it over till no white
+streaks appear; which will preserve the silvering for many years.
+
+
+543. VARNISH FOR BALLOONS
+
+Take some linseed oil, rendered drying by boiling it with 2 ozs. of
+sugar of lead and 3 ozs. of litharge for every pint of oil till
+they are dissolved, which may be in half an hour. Then put 1 lb. of
+birdlime and half a pint of the drying oil into an iron or copper
+vessel, whose capacity should equal about a gallon, and let it boil
+very gently over a slow charcoal fire, till the birdlime ceases to
+crackle, which will be in about half or three-quarters of an hour;
+then pour upon it 2-1/2 pints more of the drying oil, and let it
+boil about an hour longer, stirring it frequently with an iron or
+wooden spatula. As the varnish, whilst boiling, and especially when
+nearly ready, swells very much, care should be taken to remove,
+in those cases, the pot from the fire, and to replace it when the
+varnish subsides; otherwise, it will boil over. Whilst the stuff is
+boiling, the operator should occasionally examine whether it has
+boiled enough , which may be known by observing whether, when rubbed
+between two knives, which are then to be separated from one another,
+the varnish forms threads between them, as it must then be removed
+from the fire. When nearly cool, add about an equal quantity of oil
+of turpentine. In using the varnish, the stuff must be stretched,
+and the varnish applied lukewarm. In 24 hours it will dry. As the
+elastic resin, known by the name of Indian rubber, has been much
+extolled for a varnish for balloons, the following method of making
+it, as practiced by M. Blanchard, may not prove unacceptable:
+dissolve elastic resin cut small in five times its weight of
+rectified essential oil of turpentine, by keeping them some days
+together. Then pour 1 oz. of this solution in 8 ozs. of drying
+linseed oil for a few minutes; strain the solution, and use it warm.
+
+
+544. TO PREPARE RENNET TO TURN MILK
+
+Take out the stomach of a calf as soon as killed, and scour it
+inside and out with salt; after it is cleared of the curd always
+found in it, let it drain a few hours, then sew it up with two good
+handsful of salt in it, or stretch it well salted on a stick, or
+keep it in the salt wet; and when wanted soak it a little in fresh
+water, and repeat the same when again required.
+
+
+545. TO MAKE CHEESE
+
+Put the milk into a large tub, warming a part till it is of a degree
+of heat quite equal to new; if too hot the cheese will be tough. Put
+in as much rennet as will turn it, and cover it over; let it stand
+till completely turned, then strike the curd down several times with
+the skimming-dish, and let it separate, still covering it. There are
+two modes of breaking the curd, and there will be a difference in
+the taste of the cheese according as either is observed: one is, to
+gather it with the hands very gently towards the side of the tub,
+letting the whey pass through the fingers till it is cleared, and
+ladling it off as it collects; the other is, to get the whey from it
+by early breaking the curd; the last method deprives it of many of
+its oily particles, and is therefore less proper. Put the vat on a
+ladder over the tub, and fill it with curd by the skimmer; press the
+curd close with your hand, and add more as it sinks, and it must be
+finally left two inches above the edge. Before the vat is filled,
+the cheese-cloth must be laid at the bottom, and when full, draw
+smoothly over on all sides. These are two modes of salting cheese;
+one by mixing it in the curd while in the tub, after the whey is
+out, and the other by putting it into the vat and crumbling the curd
+all to pieces with it, after the first squeezing with the hands has
+dried it. The first method appears best on some accounts, but not on
+all, and therefore the custom of the country must direct. Put a
+board under and over the vat, and place it in the press; in two
+hours turn it out and put a fresh cheese-cloth; press it again for
+eight or ten hours; then salt it all over, and turn it again in the
+vat, and let it stand in the press fourteen or sixteen hours,
+observing to put the cheese last made undermost. Before putting them
+the last time into the vat, pare the edges if they do not look
+smooth. The vat should have holes at the sides and at bottom, to let
+all the whey pass through; put on clean boards, and change and scald
+them.
+
+
+546. TO PRESERVE CHEESE SOUND
+
+Wash in a warm whey, when you have any, wipe it once a month, and
+keep it on a rack. If you want to ripen it, a damp cellar will bring
+it forward. When a whole cheese is cut, the larger quantity should
+be spread with butter inside, and the outside wiped to preserve it.
+To keep those in daily use moist, let a clean cloth be wrung out
+from cold water, and wrapt round them when carried from the table.
+
+
+547. TO MAKE CREAM CHEESE
+
+Put 5 quarts of strippings, that is, the last of the milking, into
+a pan, with 2 spoonsful of rennet. When the curd is come, strike it
+down two or three times with the skimming-dish, just to break it;
+let it stand two hours, then spread a cheese-cloth on a sieve, put
+the curd on it, and let the whey drain; break the curd a little with
+your hand, and put it into a vat with a 2 lb weight upon it; let
+it stand twelve hours, take it out, and bind a fillet round; turn
+every day till dry, from one board to another, cover them with
+nettles or clean dock leaves, and put between two pewter-plates to
+ripen. If the weather be warm, it will be ready in three weeks.
+
+
+548. ELEGANT AND INGENIOUS ARTS, &c.
+
+Accomplishments.--These are very desirable for the household,
+because the inmates are made happier by refined and ingenious arts
+and pursuits, and are fitted to improve the taste of others.
+Children and young persons, of both sexes, should learn as many of
+these arts as they possibly can without neglecting duties. Pleasant
+modes of employing leisure hours save people from many temptations,
+and add much to the happiness of life.
+
+
+549. GRECIAN PAINTING
+
+Grecian painting is the art of imitating oil paintings. This truly
+beautiful imitation, if well done, is so perfect that none save
+connoisseurs can discern, at sight, the difference.
+
+Engravings best suited to this style of painting are mezzotint or
+aquatint, though fine lithographs are used.
+
+Rule First.--Procure a frame one inch longer than the engraved part
+of the print. Second.--Cut the engraving the size of the frame, then
+make a stiff paste, and spread thickly on the frame. Third.--Place
+the engraving face down and sponge it gently with water; then press
+the frame firmly and evenly down on; leave it till entirely dry (not
+by the fire) and it will become even and tight.
+
+To make the Grecian Varnish.--Take one part turpentine, two parts
+alcohol, (90 proof,) three parts balsam of fir, and mix.
+
+To use the Varnish.--Pour sufficient spirits of turpentine on the
+back of the picture to moisten it well, then put on the varnish and
+rub it THOROUGHLY with a stiff brush, and continue to apply it until
+the picture is perfectly transparent.
+
+Spots.--Leave the picture for twenty-four hours, after which if
+white spots appear, showing that the varnish has not been effectual,
+repeat the process. Sometimes it has to be done several times.
+
+Drying.--Place the picture, face downward, where it will be free
+from dust, and leave it three or four days.
+
+Paints.--These are put on the back of the engraving.
+
+Eyes.--For blue eyes, permanent blue and white; for hazel eyes,
+yellow ochre and vandyke brown.
+
+Flesh Tints.--Flake white, with a very little vermillion and Naples
+yellow.
+
+Foliages.--Chrome yellow and Prussian blue, with any of the browns.
+
+Sky.--Clouds touched in with white; the rest permanent blue and
+white.
+
+Water.--The light parts with white, the rest the same as the sky.
+If a bright scene, and with trees, of a greenish brown.
+
+Hair and Eyebrows.--Yellow ochre and vandyke brown, or raw sienna.
+
+Backgrounds.--The most agreeable tint is a greenish brown.
+
+White Background.--Flake and silver white.
+
+Buff Background.--Naples yellow.
+
+Orange Background.--Chrome yellow, with vermillion.
+
+Blue Background.--Flake white and Prussian blue.
+
+Gray Background.--White, Prussian blue, and vermillion.
+
+Pink Background.--White and vermillion.
+
+Crimson Background.--Vermillion and white, with carmine.
+
+Green Background.--Chrome yellow and Prussian blue.
+
+Paints for the front of the picture.--Drying oil must be used with
+all the colours on the front.
+
+Shading for the flesh on the front.--Carmine and vandyke brown laid
+on lightly, and the edges touched off with the finger.
+
+Cheeks.--Carmine; soften the edges carefully.
+
+Lips.--Carmine, with a touch of vermilion.
+
+Hair and Eyebrows.--Yellow lake and vandyke brown.
+
+Draperies.--These are always painted on the back, and shaded on the
+front with vandyke brown.
+
+Backgrounds.--If plain, glaze with yellow lake.
+
+Foliages.--Yellow lake and vandyke brown.
+
+General Directions.--First.--Lay the paint thickly on the back, and
+be careful to cover every part, but not to go over the edges.
+Second.--When the painting is finished let it dry four days, and
+then cover the front with a coat of mastic varnish.
+
+Materials required are a palette, palette-knife, flat varnish
+brush, three sizes of bristle brushes, three sizes of table brushes,
+drying oil, mastic varnish, spirits of turpentine, Grecian varnish.
+
+Colours used are oil colours in tubes. Those generally needed are
+silver white, Naples yellow, yellow ochre, brilliant yellow,
+vermilion, Prussian blue, raw sienna, ivory black, carmine, yellow
+lake, vandyke brown.
+
+If economy is an object, some of the above-mentioned materials can
+be dispensed with.
+
+
+550. DIAPHANIE
+
+This is a beautiful, useful, and inexpensive art, easily acquired,
+and producing imitation of the richest and rarest stained glass; and
+also of making blinds, screens, skylights, Chinese lanterns, &c.,
+in every variety of colour and design. In decorating his house, a
+gentleman spends as much money as he can conveniently spare; the
+elegancies and refinements of modern taste demand something more
+than mere comfort; yet though his walls are hung with pictures, his
+drawing-room filled with bijouterie, how is it that the windows of
+his hall, his library, his staircase, are neglected? The reason is
+obvious. The magnificent historical glass might be envied, but
+could not be brought within the compass of ordinary means. Recent
+improvements in printing in colours led the way to this beautiful
+invention, by which economy is combined with the most perfect
+results. A peculiar kind of paper is rendered perfectly transparent,
+upon which designs are printed in glass colours, (vitro de
+couleurs,) which will not change with the light. The paper is
+applied to the glass with a clear white varnish, and when dry, a
+preparation is finally applied, which increases the transparency,
+and adds tenfold brilliancy to the effect. There is another design,
+printed in imitation of the half-light (abatiour;) this is used
+principally for a ground, covering the whole surface of the glass,
+within which (the necessary spaces having been previously cut out
+before it is stuck on the glass,) are placed medallion centres of
+Watteau figures, perfectly transparent, which derive increased
+brilliancy from the semi-transparency of the surrounding country.
+To ascertain the quantity of designs required, measure your glass
+carefully, and then calculate how many sheets it will take. The
+sheets are arranged so that they can be joined together
+continuously, or cut to any size or shape.
+
+Practical Instructions.--Choose a fine day for the operation, as the
+glass should be perfectly dry and unaffected by the humidity of the
+atmosphere. Of course, if you have a choice, it is more convenient
+to work on your glass before it is fixed in the frame. If you are
+working on a piece of unattached glass, lay it on a flat table, (a
+marble slab is preferable,) over which you must previously lay a
+piece of baize of cloth to keep the glass steady. The glass being
+thus fixed, clean and polish the side on which you intend to
+operate, (in windows this is the inner side,) then with your brush
+lay on it very equably a good coat of the prepared varnish; let
+this dry for an hour, more or less, according to the dryness of the
+atmosphere and the thickness of the coat of varnish. Meantime cut
+and trim your designs carefully to fit the glass, (if it is one
+entire transparent sheet you will find it little trouble;) then lay
+them on a piece of paper, face downwards, and damp the back of them
+with a sponge, applied several times, to equalise the moisture.
+After this operation, arrange your time so that your designs may now
+be finally left to dry for fifteen minutes before application to the
+glass, the varnish on which has now become tacky or sticky, and in
+a proper state to receive them. Apply the printed side next to the
+glass without pressure; endeavour to let your sheet fall perfectly
+level and smooth on your glass so that you may avoid leaving
+creases, which would be fatal. Take now your palette, lay it flat on
+the design, and press out all the air bubbles, commencing in the
+centre, and working them out from the sides; an ivory stick will
+be found useful in removing creases; you now leave this to dry,
+and after twenty-four hours apply a slight coat of the liqueur
+diaphane, leaving it another day, when if dry, apply a second coat
+of the same kind, which must be left several days: finally, apply a
+coat of varnish over all. If these directions are carefully followed,
+your glass will never be affected by time or by any variations in
+the weather: it will defy hail, rain, frost and dust, and can be
+washed the same as any ordinary stained glass, to which, in some
+respects, it is even superior. It is impossible to enumerate the
+variety of articles to the manufacture of which diaphanie may be
+successfully applied as it is not confined to glass, but can be done
+on silk, parchment, paper, linen, &c., after they have been made
+transparent, which may be accomplished in the following manner:--
+stretch your paper, or whatever it may be, on a frame or drawing
+board, then apply two successive coats (a day between each,) of
+diaphanous liquor, and after leaving it to dry for several days,
+cover it with a thin layer of very clear size, and when dry it will
+be in a fit state to receive the coat of varnish and the designs.
+Silk, linen, or other stuffs, should be more carefully stretched,
+and receive a thicker coat of size than paper or parchment; the
+latter may be strained on a drawing or any other smooth board, by
+damping the sheet, and after pasting the edges, stretching it down
+while damp. Silk, linen, or other stuffs require to be carefully
+stretched on a knitting or other suitable frame. Take great care to
+allow, whatever you use, time to dry before applying the liqueur
+diaphane. All kinds of screens, lamp-shades, and glasses, lanterns,
+&c., &c., may be made in this way, as heat will produce no effect
+upon them. The transparent pictures are successful, because they may
+be hung on a window frame or removed at will, and the window blinds
+are far superior to any thing of that kind that have yet been seen.
+Instead of steeping the designs in the transparent liquor at the
+time of printing them, which was previously done in order to show
+their transparency to the purchaser, but which was practically
+objectionable, as the paper in that state was brittle, and devoid
+of pliancy, necessitating also the use of a peculiarly difficult
+vehicle to manage (varnish) in applying it to the glass, the
+manufacturer now prepares his paper differently, in order to allow
+the use of parchment size in sticking them on the glass. The
+liqueur diaphane, which is finally applied, renders them perfectly
+transparent. In this mode of operation, no delay is requisite, the
+designs being applied to the glass immediately after laying on the
+size, taking care to press out all the air bubbles, for which
+purpose a roller will be found indispensable. The designs should be
+damped before the size is applied to them. We are of opinion that
+this art may be applied to the production of magic-lantern slides,
+dissolving views, and dioramic effects; though we are not aware
+whether such experiments have been tried.
+
+
+551. WATER-COLOURS USED IN DRAWING
+
+Indian Ink.--The best is stamped with Chinese characters, breaks
+with a glossy fracture, and feels smooth when rubbed on the plate.
+
+Hair Pencils are made of camel's-hair; if they come to a point, when
+moistened, without splitting, they are good.
+
+Drawing Paper.--That made without any wire marks, and called wove
+paper, is the best; it is made of various sizes and thicknesses.
+
+To make a good white.--Clarify white lead with white-wine vinegar.
+After the powder has settled, pour off the vinegar, put the powder
+into a glass of water, stir it, and pour the water off while it is
+white into another glass; when it is settled, pour off the water,
+and an excellent white will be obtained. To this add gum enough to
+give it a gloss.
+
+
+552. DIRECTIONS FOR MIXED COLOURS
+
+Ash Colour.--Ceruse white, Keating's black and white, shaded with
+cherry-stone black.
+
+Bay.--Lake and flake white, shaded with carmine; bistre and
+vermilion shaded with black.
+
+Changeable Silk.--Red lead and masticot water, shaded with sap-green
+and verdigris.
+
+Another.--Lake and yellow, shaded with lake and Prussian blue.
+
+Cloud Colour.--Light masticot, or lake and white, shaded with blue
+verditer.
+
+Another.--Constant white and Indian ink, and a little vermilion.
+
+Another.--White, with a little lake and blue verditer, make a good
+cloud colour for that part next the horizon.
+
+Crimson.--Lake and white, with a little vermilion, shaded with lake
+and carmine.
+
+Flame Colour.--Vermilion and orpiment, heightened with white.
+
+Another.--Gamboge, shaded with minium and red lead.
+
+Flesh Colour.--Ceruse, red lead, and lake, for a swarthy complexion,
+and yellow ochre.
+
+Another.--Constant white and a little carmine, shaded with Spanish
+liquorice washed with carmine.
+
+French Green.--Light pink and Dutch bice, shaded with green pink.
+
+Glass Grey.--Ceruse, with a little blue of any kind.
+
+Hair Colour.--Masticot, ochre, umber, ceruse, and cherry-stone
+black.
+
+Lead Colour.--Indigo and white.
+
+Light Blue.--Blue bice, heightened with flake white.
+
+Another.--Blue verditer, and white of any sort, well ground.
+
+Light Green.--Pink, smalt, and white.
+
+Another.--Blue verditer and gamboge.
+
+Another.--Gamboge and verdigris. This is chiefly used for the ground
+colours of trees, fields, &c.
+
+Lion Tawney.--Red lead and masticot, shaded with umber.
+
+Murrey.--Lake and white lead.
+
+Orange.--Red lead and a little masticot, shaded with umber.
+
+Orange Tawney.--Lake, light pink, a little masticot, shaded with
+gall-stone and lake.
+
+Pearl Colour.--Carmine, a little white, shaded with lake.
+
+Popinjay Green.--Green and masticot; or pink and a little indigo,
+shaded with indigo.
+
+Purple.--Indigo, Spanish brown, and white; or blue bice, red and
+white lead; or blue bice and lake.
+
+Russet.--Cherry-stone black and white.
+
+Scarlet.--Red lead and lake, with or without vermilion.
+
+Sea Green.--Bice, pink and white, shaded with pink.
+
+Sky Colour.--Light masticot and white, for the lowest and lightest
+parts; second, red ink and white; third, blue bice and white;
+fourth, blue bice alone. These are all to be softened into one
+another at the edges, so as not to appear harsh.
+
+Sky Colour for Drapery.--Blue bice and ceruse, or ultramarine and
+white, shaded with indigo.
+
+Straw Colour.--Masticot and a very little lake, shaded with Dutch
+pink.
+
+Yellow Colour.--Indigo, white, and lake; or fine Dutch bice and
+lake, shaded with Indigo; or litmus smalt and bice, the latter
+predominant.
+
+Water.--Blue and white, shaded with blue, and heightened with white.
+
+To prevent Colours from Cracking.--Boil 2 ozs. of the best and
+clearest glue, with 1 pint of clear water, and a 1/2 oz. of alum,
+till dissolved. With this temper those colours intended for the sky.
+
+To make a Solution of Gum.--Dissolve 1 oz. of white gum arabic, and
+a 1/2 oz. of double refined sugar, in a quart of spring water;
+strain it through a piece of muslin, and bottle it to keep it free
+from dust.
+
+To keep Flies from the Work.--Having prepared the gum water for the
+colours, add a little coloquintida.
+
+To prepare Alum Water.--Take 4 ozs. of alum, and 1 pint of spring
+water; boil it till the alum is thoroughly dissolved, and then
+filter it through blotting-paper.
+
+To use Alum Water.--Before laying on the colours, take some of this
+water, hot, and with a sponge wet the back of the paper, which, if
+not good, must be wet three or four times, letting the paper dry
+each time before wetting it again. This will prevent the sinking of
+the colours, and give them additional lustre.
+
+To make Lime Water.--Put unslacked lime in a well-glazed pan; cover
+it with pure water, and let it remain for one day. Then strain off
+the water. This water will change sap-green into blue.
+
+
+553. TO PREPARE WASH COLOURS FOR MAPS
+
+Blue.--Dilute Saxon blue with water; or to the solution of litmus
+add distilled vinegar.
+
+Green.--Dissolve verdigris in distilled water and add gum arabic. Or,
+dissolve sap-green in water and add gum.
+
+Red.--Steep Brazil dust in vinegar, with alum. Or, dissolve litmus
+in water and add spirit of wine. Or, steep cochineal in water,
+strain, and add gum.
+
+Yellow.--Dissolve gamboge in water; or French berries steeped in
+water, the liquor strained, and gum arabic added.
+
+
+554. TO MIX WATER-COLOURS FOR ANIMALS
+
+Horses, black.--Black lightly laid on, shaded with Keating's black
+and bistre, heightened with masticot.
+
+Horses, chestnut brown.--Red ochre and black mixed together, shaded
+with black, heightened with red ochre and white.
+
+Horses, grey.--Black and white mixed, shaded with black, white, and
+bistre; heightened with pure water.
+
+Lions.--Colour much in the same manner as horses, adding lake in the
+ground colour.
+
+Bears.--Brown ochre, red ochre, and black, mixed; shaded with bistre
+and ivory black.
+
+Wolves.--Spanish liquorice and black, shaded with black.
+
+Asses.--Black and white mixed; or, add a little brown ochre, shaded
+with black.
+
+Elephants.--Black, white, and Spanish liquorice, mixed; shaded with
+black and bistre; the inner part of the nose, vermilion and white,
+shaded with black.
+
+Monkeys.--Dutch pink and black, heightened with masticot and white:
+the face, black and bistre mixed, as also their feet; their bodies,
+shaded underneath with black and pink mixed with a little brown
+ochre.
+
+
+555. FRUIT IN WATER-COLOURS
+
+Apples.--Thin masticot mixed with verdigris, shaded with brown ochre.
+
+Cherries.--Vermilion and lake, shaded with carmine, heightened with
+vermilion and white.
+
+Grapes, blue.--Dark purple shaded with blue; the bloom, bice.
+
+Grapes, white.--Verdigris and masticot mixed, shaded with thin
+verdigris heightened with masticot and white.
+
+Peaches.--Thin masticot shaded with brown ochre; the bloom, lake
+heightened with white.
+
+Pears.--Masticot deepened and mellowed with brown ochre.
+
+Strawberries.--White; draw it over with vermilion and lake, shaded
+with fine lake, heightened with red lead and masticot mixed, and
+then with white; stipple them with white and thin lead.
+
+
+556. TO PAINT FLOWERS
+
+Anemones.--A thin wash of gamboge shaded with bistre; or carmine and
+sap-green blended together. The stripes carmine, shaded with the
+same; indigo in the darkest parts, or stipple with it.
+
+Leaves.--Sap-green, shaded with indigo and French berries; the stalk
+brown.
+
+Honeysuckles.--Inside of the petals, white shaded with sap-green, or
+gamboge and bistre.
+
+The insides are to be shown by curling the leaves back at the ends,
+or by splitting them.
+
+The outsides, a thin wash of carmine and lake mixed, shaded with
+carmine--indigo for the darkest shades.
+
+Stalks.--Sap-green and carmine.
+
+Leaves.--Sap-green, shaded with indigo and French berries.
+
+Roses.--A light tint of pure carmine, over which another equally
+light of Peruvian blue; proceed with the darker shades of carmine of
+the best sort. In the darkest part of the flower add a little indigo
+to give a roundness. If the seeds are seen lay on gamboge, shaded
+with gall-stone.
+
+Leaves.--Upper side, sap-green, shaded with indigo and French
+berries mixed; under-side, white indigo and sap-green mixed, shaded
+with the same.
+
+Stalks.--Sap-green and carmine, shaded with indigo.
+
+Rose-buds.--A pale wash of carmine, shaded with a stronger wash of
+the same.
+
+Stalks and leaves, sap-green with a slight wash of carmine.
+
+
+557. BIRDS IN WATER-COLOURS
+
+Eagles.--black and brown, shaded with indigo; feathers heightened by
+brown ochre and white; beak and claws saffron, shaded with bistre;
+eyes vermilion, heightened with masticot or saffron, shaded with
+vermilion.
+
+Geese.--Ceruse shaded with black; legs, black; bill, red.
+
+Owls.--Ochre mixed with white, in different shades; legs, yellow
+ochre.
+
+Pheasants.--White and black mixed; legs, Dutch pink, shaded with
+black.
+
+Swans.--White shaded with black; the legs and bills black; eyes
+yellow; a ball in the midst.
+
+Turkeys.--Black, black and white mixed, shaded off to a white
+underneath; sprinkled and shaded with black.
+
+
+558. LANDSCAPES IN WATER-COLOURS
+
+Sketch the outlines faintly with a black-lead pencil. Then colour.
+
+Colours.--The most useful are: lake, burnt ochre, gamboge, indigo,
+light red, sepia, Prussian blue, sienna, and burnt umber.
+
+The gray colour is made of burnt umber, indigo, and lake; each
+rubbed separately in a saucer, and then mixed in a fourth saucer as
+to produce the exact colour--a warm gray. This is thinned for the
+light tints, as sky and distances. Deeper is to be used for the
+shadows and near parts, softening with water till the exact effect
+is produced.
+
+Buildings are sometimes tinted with a mixture of lake and gamboge.
+Burnt ochre is also used. The shadows have an excess of lake.
+
+Breadths of Light are obtained by destroying the scattered lights
+with grays.
+
+Clouds are produced by a thin mixture of indigo and lake. They
+should be tinted with sepia. The lower or horizontal clouds are
+tinged with ultramarine.
+
+Figures are touched with lake and indigo.
+
+Force is acquired by adding sepia to indigo, in the cold parts, and
+sepia with lake to the glowing parts.
+
+Grass is washed with a mixture of burnt sienna, indigo, and gamboge;
+that in shadow has more indigo. Grass and bushes may be brought out
+by a tint of gamboge; distances may be heightened by lake.
+
+Hills, retiring.--Tint the whole with weak blue; then the nearer
+ones with indigo and lake; add a little gamboge to the next, keeping
+one subordinate to the other; the most distant being lost in the
+aerial tints.
+
+Land, distant.--Ultramarine and lake. Ground near is tinted with
+ochre.
+
+Road and Paths.--A mixture of lake, burnt umber, and burnt sienna.
+It may be tinted with ochre.
+
+Smoke.--Lake and indigo.
+
+Trees, distant.--Ultramarine, with a wash of indigo, gamboge, and
+burnt sienna, tinted with gray. The middle trees have a thin wash
+of burnt sienna and gamboge. Nearer trees a wash of burnt sienna,
+indigo, and gamboge. In the shadows more indigo is used.
+
+Opposing masses of trees are tinted with sepia and indigo.
+
+Windows.--Indigo and burnt umber.
+
+
+559. POTICHOMANIE
+
+This elegant accomplishment, which has become so extremely popular
+and fashionable, promises not only to supercede altogether many of
+those accomplishments which have hitherto absorbed the attention of
+our fair countrywomen, but to rank among the fine arts.
+
+Advantages of this Art.--It possesses many advantages: and the
+process is simple and easily acquired. It is an exceedingly pleasing
+and interesting employment, requiring no previous knowledge of
+drawing, yet affording abundant space for the exercise of the most
+exquisite taste. The time employed is richly repaid; the results
+produced are of actual value; articles of ornament and domestic
+utility being produced, in perfect imitation of the most beautiful
+Chinese and Japanese porcelain, of Sevres and Dresden china, and of
+every form that is usual in the productions of the Ceramic Art. It
+furnishes an inexhaustible and inexpensive source for the production
+of useful and elegant presents, which will be carefully preserved as
+tokens of friendship, and as proofs of the taste and talent of the
+giver.
+
+Articles necessary in the Art of Potichomanie.--Glass vases,
+(Potiches en verre,) of shapes suitable to the different orders of
+Chinese, Japanese, Etruscan, and French porcelain, Alumettes, &c.;
+cups, plates, &c., &c., of Sevres and Dresden design. Sheets of
+coloured drawings or prints, characteristic representations of the
+designs or decorations suitable to every kind of porcelain and
+china. A bottle of liquid gum, and three or four hog-hair brushes.
+A bottle of varnish, and very fine pointed scissors for cutting out.
+An assortment of colours for the foundation, in bottles. A packet of
+gold powder, and a glass vessel for diluting the colours.
+
+Directions.--We will suppose the object selected for imitation to be
+a Chinese vase. After providing yourself with a plain glass vase, of
+the proper shape, you take your sheets of coloured prints on which
+are depicted subjects characteristic of that peculiar style. From
+these sheets you can select a great variety of designs, of the most
+varied character, on the arrangement and grouping of which you can
+exercise your own taste. After you have fully decided upon the
+arrangement of your drawings, cut them out accurately with a pair of
+scissors, then apply some liquid gum carefully over the coloured
+side of the drawings, and stick them on the inside of the vase,
+according to your own previous arrangement--pressing them down till
+they adhere closely, without any bubbles of air appearing between
+the glass and the drawings. When the drawings have had sufficient
+time to dry, take a fine brush and cover every part of them (without
+touching the glass) with a coat of parchment size or liquid gum,
+which prevents the oil colour (which is next applied) from sinking
+into or becoming absorbed by the paper. When the interior of the
+vase is perfectly dry, and any particles of gum size that may have
+been left on the glass have been removed, your vase is ready for the
+final and most important process. You have now to tint the whole
+of the vase with a proper colour to give it the appearance of
+porcelain; for up to this time, you will recollect, it is but a glass
+vase, with a few coloured prints stuck thereon. Select from your
+stock of prepared colours, in bottles, the tint most appropriate to
+the kind of china you are imitating, (as we are now supposed to be
+making a Chinese vase, it will be of a greenish hue,) mix fully
+sufficient colour in a glass vessel, then pour the whole into the
+vase. Take now your vase in both hands, and turn it round
+continually in the same direction, until the colour is equally
+spread over the whole of the interior: when this is satisfactorily
+accomplished, pour back the remainder. If the prepared colour is too
+thick, add a little varnish to the mixture before applying it. If
+preferred, the colour may be laid on with a soft brush. Should the
+vase be intended to hold water, the interior must be well varnished
+after the above operations, or lined with zinc or tin foil. If the
+potichomanist wishes to decorate the mouth of his vase with a gold
+border, he can do so by mixing some gold powder in a few drops of
+the essence of lavender and some varnish, applying it on the vase
+with a fine brush; or he can purchase gold bands, already prepared
+for application, in varied sheets, suitable to the potichomanie
+designs. Potichomanists have found the art capable of greater
+results than the mere imitation of porcelain vases, by the
+introduction of glass panels (previously decorated with beautiful
+flowers on a white ground) into drawing-room doors, and also into
+walls which, being panel papered, offer opportunities of introducing
+centre pieces of the same character as the doors; elegant chess
+and work-tables, folding and cheval-screens, panels for cabinets,
+chiffoniers and book-cases, slabs for pier and console-tables,
+glove-boxes, covers for books, music, albums, &c. The most common
+cause of failure is, that the drawings inside are not thoroughly
+pressed down.
+
+
+560. COLOURING FOR CHEESE
+
+The colouring for cheese is, or at least should be, Spanish arnotto;
+but as soon as colouring became general in this country, a colour of
+an adulterated kind was exposed for sale in almost every shop; the
+weight of a guinea and a half of real Spanish arnotto is sufficient
+for a cheese of fifty pounds' weight. If a considerable part of the
+cream of the night's milk be taken for butter, more colouring will
+be requisite. The leaner the cheese is, the more colouring it
+requires. The manner of using arnotto is to tie up, in a linen rag,
+the quantity deemed sufficient, and put into half a pint of warm
+water over night. This infusion is put into the tub of milk, in the
+morning, with the rennet infusion; dipping the rag into the milk,
+and rubbing it against the palm of the hand as long as any colour
+runs out.
+
+
+561. TO SHARPEN EDGE TOOLS
+
+Take equal parts of flour of emery and crocus; make into a paste
+with sweet oil; have now a piece of buck-skin, (hemlock tan,) tack
+it by each end on a piece of board, with the grain uppermost; then
+on this spread a little of the paste, and sharpen your tools on it.
+You will, indeed, be astonished at the effect. Try it.
+
+
+562. BLUE COMPOSITION FOR DYEING
+
+Take equal parts of vitriol and indigo; powder them very finely,
+separately, and mix.
+
+
+563. TO GILD LETTERS ON VELLUM OR PAPER
+
+Letters written on vellum or paper are gilded in three ways; in the
+first, a little size is mixed with the ink, and the letters are
+written as usual; when they are dry, a slight degree of stickiness
+is produced by breathing on them, upon which the gold leaf is
+immediately applied, and by a little pressure may be made to adhere
+with sufficient firmness. In the second method, some white lead of
+chalk is ground up with strong size, and the letters are made with
+this by means of a brush; when the mixture is almost dry, the gold
+leaf may be laid on, and afterwards burnished. The last method is to
+mix up some gold powder with size, and make the letters of this by
+means of a brush.
+
+
+564. TO PRESERVE STRAWBERRY PLANTS
+
+Sir Joseph Banks, from a variety of experiments, and the experience
+of many years, recommends a general revival of the now almost
+obsolete practice of laying straw under strawberry plants, when the
+fruit begins to swell; by which means the roots are shaded from the
+sun, the waste of moisture by evaporation prevented, the leaning
+fruit kept from damage by resting on the ground, particularly in wet
+weather, and much labour in watering saved. Twenty trusses of long
+straw are sufficient for 1800 feet of plants.
+
+
+565. MANAGEMENT OF STRAWBERRY PLANTS
+
+On the management of strawberries in June and July, the future
+prosperity of them greatly depends; and if each plant has not been
+kept separate, by cutting off the runners, they will be in a state
+of confusion, and you will find three different sorts of plants. 1.
+Old plants, whose roots are turned black, hard, and woody. 2. Young
+plants, not strong enough to flower. 3. Flowering plants, which
+ought only to be there, and perhaps not many of them. Before the time
+of flowering is quite over, examine them, and pull up every old
+plant which has not flowered; for, if once they have omitted to
+flower, you may depend upon it they never will produce any after,
+being too old, and past bearing; but to be fully convinced, leave
+two or three, set a stick to them, and observe them the next year.
+If the young plants, runners of last year, be too thick, take some
+of them away, and do not leave them nearer than a foot of the
+scarlet, alpines, and wood, and fifteen or sixteen inches of all the
+larger sorts; and in the first rainy weather in July or August, take
+them all up, and make a fresh plantation with them, and they will be
+very strong plants for flowering next year. Old beds, even if the
+plants be kept single at their proper distance, examine, and pull
+all the old plants which have not flowered. When the fruit is nearly
+all gathered, examine them again, and cut off the runners; but if
+you want to make a fresh plantation, leave some of the two first,
+and cut off all the rest. Then stir up the ground with a trowel, or
+three-pronged fork, and in August they will be fit to transplant. If
+you have omitted in July, do not fail in August, that the runners
+may make good roots, to be transplanted in September; for, if later,
+the worms will draw them out of the ground, and the frost afterwards
+will prevent them from striking root; the consequence of which is,
+their not flowering the next spring; and you will lose a year.
+
+
+566. THE LANGUAGE OF FLOWERS
+
+What each flower enumerated, signifies, when sent to a friend or lover.
+
+  Almond, flowering--Concealed love.
+  Althea, Frutex--I am deeply in love.
+  Amaranth--Immortality, or piety.
+  Anemone--Fading hope.
+  Arbor-Vitae--Unchanging friendship.
+  Auricula, Scarlet--Pride. You are proud.
+  Bachelor's button--Hope in love.
+  Balm--I long for your society.
+  Balsamine--Impatience; or, pray come.
+  Bay Leaf--I change but in dying.
+  Box--I believe in your constancy.
+  Buttercup--Riches. You are rich.
+  Calla Ethiopica--Magnificent beauty.
+  Carnation--Pride and Beauty.
+  Camelia Japonica--Surpassing excellence.
+  Cedar--Think of me.
+  China Aster--Caprice.
+  Cypress--Despair, and without hope.
+  Dahlia--Dignity--I will sustain it.
+  Daisy--Youthful beauty.
+  Dandelion--Coquetry, I accuse you of.
+  Eglantine--I wound to heal.
+  Forget-me-not--True love for ever.
+  Fox-glove--Insincerity. You are false.
+  Geranium--Gentility and elegance.
+  Gilly-Flower--Thou art fair.
+  Golden Rod--Encouragement. You will succeed.
+  Grass--Submission.
+  Heart's Ease--Love in idleness.
+  Heliotrope--Devotion. Let us pray for each other.
+  Hellebore--Calumny. You have listened.
+  Hollyhock--Ambition. I seek glory.
+  Honeysuckle--Dost thou love me?
+  Houstonia--Content ever with thee.
+  Hyacinth, Purple--Sorrow. I am sad.
+  Hydrangea--Heartlessness.
+  Ivy--Wedded Love. We are happy.
+  Jasmine, White--I desire a return of my affection.
+  Larkspur--Haughtiness.
+  Laurel--Ambition. I will win.
+  Laurustinus--A token. Pray remember.
+  Lavender--Acknowledgment.
+  Lilac--Fastidiousness.
+  Lily, White--Purity and beauty.
+  Magnolia--You are beautiful.
+  Marigold--Jealousy--I have cause.
+  Mignionette--I live for thee.
+  Moss--Patience, or pray wait.
+  Oak-Leaf--Courage. I will endure.
+  Passion-Flower--Piety. Trust in God.
+  Periwinkle--Memory. Never forget.
+  Pink--Household love. I am at home.
+  Poppy--Forgetfulness.
+  Primrose--Neglected merit.
+  Rose--Love, or I love you.
+  Rue--Disdain. Go: never return.
+  Saffron--Marriage--when?
+  Snow-drop--Faithful in adversity.
+  Thyme--Thriftiness. I am diligent.
+  Tulip--Beautiful eyes. Look on me.
+  Violet--I dream of thee.
+  Willow--Forsaken--never more.
+  Wheat--Prosperity--I wish thee.
+  Yew--Penitence. I am sorry.
+
+
+567. FRENCH POLISH FOR BOOTS, &c.
+
+Logwood chips, half a pound; glue, quarter of an ounce; soft soap,
+quarter of an ounce; isinglass, quarter of an ounce; boil these
+ingredients in two pints of vinegar and one of water, during ten
+minutes after ebulition, then strain the liquid. When cold it is
+fit for use. To apply the French polish, the dirt must be washed
+from the boots, &c.; when these are quite dry, the liquid polish
+is put on with a bit of sponge.
+
+
+568. AN ILLUMINOUS BOTTLE
+
+By putting a piece of phosphorus, the size of a pea, into a phial,
+and adding boiling oil until the bottle is a third full, a luminous
+bottle is formed; for, on taking out the cork, to admit atmospheric
+air, the empty space in the bottle will become luminous. Whenever
+the stopper is taken out in the night, sufficient light will be
+evolved to show the hour upon a watch; and if care be taken to keep
+it in general well closed, it will preserve its illuminative power
+for several months.
+
+
+569. CHINESE METHOD OF MENDING CHINA
+
+Take a piece of flint-glass, beat it to a fine powder, and grind it
+well with the white of an egg, and it joins china without riveting,
+so that no art can break it in the same place. You are to observe,
+that the composition is to be ground extremely fine.
+
+
+570. TO MAKE STILTON CHEESE
+
+Take the night's cream, and put it in the morning's new milk, with
+the rennet; when the curd is come it is not to be broken, as is done
+with other cheeses, but take it out with a soil dish all together,
+and place it on a sieve to drain gradually, and, as it drains, keep
+gradually pressing it, till it becomes firm and dry; then place it
+in a wooden hoop; afterwards to be kept dry on boards, turned
+frequently, with cloth-binders round it, which are to be tightened
+as occasion requires. In some dairies the cheese, after being taken
+out of the wooden hoop, are bound tight round with a cloth, which
+cloth is changed every day until the cheese becomes firm enough to
+support itself; after the cloth is taken away, they are rubbed every
+day all over, for two or three months, with a brush; and if the
+weather is damp or moist, twice a day; and even before the cloth is
+taken off, the top and bottom are well rubbed every day.
+
+
+571. TO PRESERVE BEER
+
+In a cask containing eighteen gallons of beer, becoming vapid,
+put a pint of ground malt, suspended in a bag, and close the bung
+perfectly; the beer will be improved during the whole time of
+drawing it for use.
+
+
+572. TO RECOVER SOUR BEER
+
+When beer has become sour, put into the barrel some oyster-shells,
+calcined to whiteness, or a little fine chalk or whiting. Any of
+these will correct the acidity, and make the beer brisk and
+sparkling; but it cannot be kept long after these additions are
+made.
+
+
+573. CARVACROL--THE NEW REMEDY FOR TOOTH-ACHE
+
+Dr. Bushman gives (in the Medical Times) the following account of
+this new compound, which, though well known in Germany as a quick
+and effectual cure for one of the most worrying ills "that flesh is
+heir to," is now for the first time published in England. Carvacrol
+is an oily liquid, with a strong taste and unpleasant odor. It may
+be made by the action of iodine on oil of caraway or on camphor. A
+few drops applied on cotton wool (to a decayed and painful tooth)
+give immediate relief. Carvacrol much resembles creosote in
+appearance, and is used in similar cases of tooth-ache, but its
+effect is much more speedy and certain.
+
+
+574. CAMPHOR CERATE FOR CHAPPED HANDS
+
+The following receipt was given to the contributor by a maid of
+honour to Queen Victoria. It is an excellent one. Scrape into an
+earthen vessel one ounce and a half of spermaceti and half an
+ounce of white wax; add six drachms of pounded camphor, and four
+tablespoonsful of the best olive oil. Let it stand near the fire
+till it dissolves, stirring it well when liquid. Before the hands
+are washed, rub them thoroughly with a little of the cerate, then
+wash them as usual. Putting the cerate on before retiring answers
+very well. This quantity costs about twenty-five cents, and will
+last three winters. The vessel it is kept in should be covered,
+to prevent evaporation.
+
+
+575. THE WAY TO WEALTH
+
+"The way to wealth," says Doctor Franklin, "is as plain as the
+way to market."
+
+Many men, however, either miss the way, or stumble and fall on
+the road.
+
+Fortune, they say, is a fickle dame--full of her freaks and
+caprices; who blindly distributes her favours without the slightest
+discrimination. So inconsistent, so wavering is she represented,
+that her most faithful votaries can place no reliance on her
+promises.
+
+Disappointment, they tell us, is the lot of those who make offerings
+to her shrine. Now, all this is a vile slander upon the dear blind
+lady.
+
+Although wealth often appears the result of mere accident, or a
+fortunate concurrence of favourable circumstances, without any
+exertion of skill or foresight, yet every man of sound health and
+unimpaired mind may become wealthy, if he takes the proper steps.
+
+Foremost in the list of requisites, are honesty and strict integrity
+in every transaction of life. Let a man have the reputation of being
+fair and upright in his dealings, and he will possess the confidence
+of all who know him.
+
+Without these qualities, every other merit will prove unavailing.
+Ask concerning a man, "Is he active and capable?" Yes. "Industrious,
+temperate, and regular in his habits?" O Yes. "Is he honest? is he
+trustworthy?" Why, as to that, I am sorry to say that he is not to
+be trusted; he wants watching; he is a little tricky, and will take
+an undue advantage, if he can.
+
+"Then I will have nothing to do with him:" will be the invariable
+reply.
+
+Next, let us consider the advantages of a cautious circumspection
+in our intercourse with the world. Slowness of belief, and a proper
+distrust are essential to success.
+
+The credulous and confiding are ever the dupes of knaves and
+impostors. Ask those who have lost their property how it happened,
+and you will find in most cases it has been owing to misplaced
+confidence.
+
+One has lost by endorsing; another by crediting; another by false
+representatives; all of which a little more foresight and a little
+more distrust would have prevented.
+
+In the affairs of this world, men are not saved by faith, but by
+the want of it.
+
+Judge men by what they do, not by what they say. Believe in looks
+rather than in words.
+
+Before trusting a man, before putting it in his power to cause you
+a loss, possess yourself of every available information relative
+to him.
+
+Learn his history, his habits, inclinations and propensities; his
+reputation for honesty, industry, frugality, and punctuality; his
+prospects, resources, supports, advantages and disadvantages; his
+intentions and motives of action; who are his friends and enemies,
+and what are his good and bad qualities.
+
+You may learn a man's good qualities and advantages from his
+friends--his bad qualities and disadvantages from his enemies.
+Make due allowance for exaggeration in both.
+
+Finally, examine carefully before engaging in anything, and act
+with energy afterward. Have the hundred eyes of Argus beforehand,
+and the hundred hands of Briarius afterward.
+
+
+576. MAXIMS BY DR. FRANKLIN ON THE WAY TO WEALTH
+
+God helps those who help themselves.
+
+Many words won't fill a bushel.
+
+Sloth, like rust, consumes faster than labour wears.
+
+The key often used is always bright.
+
+Dost thou love life? Then do not squander time, for that is the
+stuff life is made of.
+
+The sleeping fox catches no poultry.
+
+There will be time enough for sleep, in the grave.
+
+If time be of all things the most precious, wasting time must
+be the greatest prodigality.
+
+Lost time is never found again.
+
+What we call time enough, always proves little enough.
+
+Sloth makes all things difficult, but industry all easy.
+
+He that riseth late must trot all day, and shall scarce
+overtake his business at night.
+
+Laziness travels so slowly, that poverty soon overtakes him.
+
+Drive thy business, lest it drive thee.
+
+Early to bed and early to rise, makes a man healthy, wealthy
+and wise.
+
+Industry need not wish.
+
+He that lives upon hope, will die fasting.
+
+There are no gains without pains.
+
+Help, hands, for I have no lands.
+
+He that hath a trade, hath an estate, and he that hath a calling,
+hath an office of profit and honour; but the trade must be worked
+at, and the calling well followed, or neither will enable us to
+pay our taxes.
+
+The drone in the hive makes no honey.
+
+At the working man's house hunger looks in, but does not enter.
+
+Industry pays debts, but despair increaseth them.
+
+Diligence is the mother of good luck.
+
+God gives all things to industry.
+
+Plough deep while sluggards sleep, and you will have corn to sell
+and to keep.
+
+One today is worth two tomorrow.
+
+Have you somewhat to do tomorrow, do it today.
+
+If you were a servant, would you not be ashamed that a good
+master should catch you idle?  Are you, then, your own master?
+be ashamed to catch yourself idle.
+
+The cat in gloves catches no mice.
+
+Light strokes fell great oaks.
+
+By diligence and patience, the mouse ate into the cable.
+
+Employ thy time well, if thou meanest to gain leisure; and since
+thou art not sure of a minute throw not away an hour.
+
+A life of leisure and a life of laziness, are two things.
+
+Troubles spring from idleness, and grievous toils from needless
+ease.
+
+Many would live by their wits, without labour, but they break
+for want of stock.
+
+Industry gives comfort, plenty, and respect.
+
+Now I have a sheep, and a cow, everybody bids me good-morrow.
+
+  I never saw an oft-removed tree,
+  Nor yet an oft-removed family,
+  That throve so well as one that settled be.
+
+Three removes are as bad as a fire.
+
+Keep thy shop, and thy shop will keep thee.
+
+If you would have your business done, go; if not, send.
+
+  He that by the plough would thrive,
+  himself must either hold or drive.
+
+The eye of the master will do more work than both his hands.
+
+Want of care does us more damage than want of knowledge.
+
+Not to oversee workmen, is to leave them your purse open.
+
+In the affairs of the world, men are saved not by faith, but for
+the want of it.
+
+Learning is to the studious, and riches to the careful, as well
+as power to the bold, and heaven to the virtuous.
+
+If you would have a faithful servant, and one that you like,
+serve yourself.
+
+A little neglect may breed great mischief.
+
+  For want of a nail the shoe was lost;
+  For want of a shoe the horse was lost;
+  For want of a horse the rider was lost--
+  Being overtaken and slain by the enemy.
+
+If a man save not as he gets, he may keep his nose to the
+grindstone all his life, and die not worth a groat.
+
+A fat kitchen makes a lean will.
+
+  Many estates are spent in the getting,
+  since women for tea, forsook spinning and knitting,
+  and men for punch, forsook hewing and splitting.
+
+The Indians did not make Spain rich, because her out-goes were
+greater than her incomes.
+
+What maintains one vice would bring up two children.
+
+Many a little makes a mickle.
+
+Beware of little expenses; a small leak will sink a great ship.
+
+Who dainties love, shall beggars prove.
+
+Fools make feasts, and wise men eat them.
+
+Buy what thou dost not need, and ere long thou shalt sell thy
+necessaries.
+
+At a great bargain pause awhile.
+
+It is foolish to lay out money in the purchase of repentance.
+
+Wise men learn by another's harms, fools scarcely by their own.
+
+Silks and satins, scarlet and velvets, put out the kitchen fire.
+
+A ploughman on his legs, is higher than a gentleman on his knees.
+
+Always taking out of the meal tub, and never putting in, soon
+comes to the bottom.
+
+When the well is dry we know the worth of water.
+
+If you would know the value of money, try to borrow.
+
+  Fond pride of dress is sure a very curse.
+  Ere fancy you consult, consult your purse.
+
+Pride is as loud a beggar as want, and a great deal more saucy.
+
+  Vessels large may venture more,
+  but little boats should keep the shore.
+
+Pride that shines on vanity sups on contempt.
+
+Pride breakfasted with plenty, dined with poverty, and supped
+with infamy.
+
+  What is a butterfly? At best
+  He's but a caterpillar dress'd;
+  The gaudy fop's his picture just.
+
+The second vice is lying; the first is running in debt.
+
+Lying rides upon debt's back.
+
+It is hard for an empty bag to stand upright.
+
+Creditors have better memories than debtors.
+
+Creditors are a superstitious sect, great observers of set days
+and times.
+
+The borrower is a slave to the lender, and the debtor to the
+creditor.
+
+  For age and want save while you may,
+  No morning sun lasts a whole day.
+
+  Get what you can, and what you get hold;
+  'Tis the stone that will turn all your lead into gold.
+
+Experience keeps a dear school; but fools will learn in no other and
+scarce in that; for we may give advice, but we cannot give conduct.
+
+They that will not be counselled cannot be helped.
+
+Distrust and caution are the parents of security.
+
+After feasts made, the maker shakes his head.
+
+There is neither honour nor gain got in dealing with a villain.
+
+Visits should be like a winter's day, short.
+
+  A house without woman and firelight,
+  Is like a body without soul or sprite.
+
+Light purse, heavy heart.
+
+Ne'er take a wife till thou hast a house (and a fire) to put her in.
+
+Great talkers, little doers.
+
+Relation without friendship, friendship without power, power without
+will, will without effect, effect without profit, and profit without
+virtue, are not worth a farthing.
+
+He has changed his one-eyed horse for a blind one.
+
+
+[There was no entry for receipt no. 577 in the original.]
+
+
+578. EXCELLENT PASTE
+
+Excellent paste for fruit or meat pies may be made with two-thirds
+of wheat flower, one-third of the flour of boiled potatoes, and some
+butter or dripping; the whole being brought to a proper consistence
+with warm water, and a small quantity of yeast added when lightness
+is desired. This will also make very pleasant cakes for breakfast,
+and may be made with or without spices, fruit, &c.
+
+Picnic Biscuits.--Take two ounces of fresh butter, and well work it
+with a pound of flour. Mix thoroughly with it half a salt-spoonful
+of pure carbonate of soda; two ounces of sugar; mingle thoroughly
+with the flour; make up the paste with spoonsful of milk--it will
+require scarcely a quarter of a pint. Knead smooth, roll a quarter
+of an inch thick, cut in rounds about the size of the top of a small
+wine-glass; roll these out thin, prick them well, lay them on
+lightly floured tins, and bake in a gentle oven until crisp; when
+cold put into dry canisters. Thin cream used instead of milk, in the
+paste, will enrich the biscuits. Caraway seeds or ginger can be
+added, to vary these at pleasure.
+
+
+579. BLACK CAKE
+
+Beat separately the whites and yolks of three eggs. Mix half a pound
+of butter with one pound of flour, one tumbler of milk, one tumbler
+of molasses, one pound of sugar. Then put in the eggs and one and
+one-half teaspoonful of soda. Wine, currants, raisins and citron to
+your taste.
+
+
+580. MAIZE CAKE
+
+Take six eggs, a paper of Oswego corn starch, one pound of loaf
+sugar, half pound of butter, half teacup of milk, half a teaspoon of
+soda, one teaspoon of cream of tartar, the grated rind of the lemon;
+dissolve the soda in half the milk, and add it the last thing. Bake
+in an oven as quick as you can make it without burning. It is a very
+delicate cake to bake well. Use flat pans, a little deeper than
+Spanish bun pans, and put paper over the top.
+
+
+581. COMPOSITION CAKE
+
+Take three pounds of flour, half pound of butter, one and three-
+quarter pounds of sugar, three eggs--beat the eggs--add half a pint
+of yeast to them, half a pint of new milk, three spoonsful of rose-
+water, and a little cinnamon and cloves; put the butter in the flour
+and half the sugar, the other half mix with the eggs; make a hole in
+the flour, pour the ingredients into it; set it to lighten in the
+morning by the fire; after it is made out into rolls, you may put it
+into tins, and set it before the fire for an hour or two; when
+sufficiently risen, bake it in rather a slow oven.
+
+
+582. GINGER BISCUITS AND CAKES
+
+Work into small crumbs three ounces of butter, two pounds of flour,
+add three ounces of powdered sugar and two of ginger, in fine
+powder; knead into a stiff paste, with new milk, roll thin, cut out
+with a cutter; bake in a slow oven until crisp through; keep of a
+pale colour.
+
+
+583. TO SILVER IRON WITH SILVER FOIL
+
+This is the method now adopted all over Canada and the United States
+for silvering iron for carriages, cutters, &c. You may get the
+silver foil, (which is sometimes called silver plate,) of any
+thickness you please; and by so doing, have the iron plated either
+light or heavy. If you get small iron rods plated they will cost
+you from four to five cents per inch: you may do it yourself for
+one-quarter the price.
+
+Directions in full.--First polish the iron you are about to plate,
+then wet it with soldering fluid, (receipt No. 21,) then give it a
+coat of solder, (receipt No. 22;) this is done by laying a piece of
+solder on the iron, and spreading it over with a heated soldering
+iron; or it is sometimes done by having the solder melted, and then
+dipping the iron to be silvered into it. After the iron is coated by
+either of these methods, with solder, some workmen propose to then
+place it in the fire for a few moments, that the coating of solder
+may be thereby made smoother. The next thing to be done is to dampen
+with soldering fluid, then lay on your silver foil, and rub it over
+with a soldering iron heated to such a degree as to melt the solder,
+and thereby fasten the plate at once to the iron; or rather to
+the solder on the iron; or else as some workmen prefer, have your
+soldering iron only hot enough to slightly stick the foil to the
+solder, and then place the article in the fire until the solder
+melts, and thereby the foil becomes firmly united with the iron.
+Whichever of these methods you adopt, as soon as the silver is
+united to the iron, you must then at once proceed to polish it,
+which is done by taking a piece of coarse cloth, dipping it in
+whiting, previously dampened with alcohol, and rubbing it over the
+surface until it is well polished. If at any time, as sometimes will
+happen, the plate of silver becomes stained so that you cannot
+polish it, wet it with the fluid, put another plate of silver foil
+over it, and proceed to fasten it to the iron as you did with the
+first plate,then polish it with the whiting, &c. Some merely spit on
+the whiting instead of dampening it with the alcohol, but it is not
+so speedy a method. A friend of mine prefers heating the iron, then
+applying the soldering fluid, then the coat of solder, and then
+laying on the silver foil, and pressing on by means of a cloth,
+which he does by taking a piece of cloth about four inches wide and
+eight or ten inches long, catching one end in each hand and pressing
+and rubbing it from side to side, and round the article until the
+silver foil is firmly united, and then polishing as mentioned above.
+Some prefer plating the iron first with tin foil, then covering the
+tin with silver foil, and it is a good plan. A very good plan, if
+it is plane work (not carved) you are doing, is to take a piece of
+board one or two inches wide, and six or eight inches long, and lay
+it over the cloth you are polishing with, which gives you a greater
+purchase. I never knew this receipt to be sold for less than from
+$24 to $60.
+
+
+
+TO ALL WHO HAVE PURCHASED THIS WORK
+
+You are now in possession of about all the latest and most useful
+receipts that are in the country; many of which are now being sold,
+frequently, for from $5 to $10 and $20 each; and if you will now be
+wise, do that which will be to your own interest, allow no man to
+see this work, but keep the receipts profoundly secret, except as
+you sell them. You may dispose of enough of them, written off, every
+year you have the book, to amount to twenty times the price of it.
+
+
+
+
+
+
+
+
+
+End of the Project Gutenberg EBook of Young's Demonstrative Translation of
+Scientific Secrets, by Daniel Young
+
+*** END OF THE PROJECT GUTENBERG EBOOK TRANSLATION OF SCIENTIFIC SECRETS ***
+
+This file should be named 5763.txt or 5763.zip
+
+Produced by Andrew Sly.
+
+Project Gutenberg eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the US
+unless a copyright notice is included.  Thus, we usually do not
+keep eBooks in compliance with any particular paper edition.
+
+We are now trying to release all our eBooks one year in advance
+of the official release dates, leaving time for better editing.
+Please be encouraged to tell us about any error or corrections,
+even years after the official publication date.
+
+Please note neither this listing nor its contents are final til
+midnight of the last day of the month of any such announcement.
+The official release date of all Project Gutenberg eBooks is at
+Midnight, Central Time, of the last day of the stated month.  A
+preliminary version may often be posted for suggestion, comment
+and editing by those who wish to do so.
+
+Most people start at our Web sites at:
+https://gutenberg.org or
+http://promo.net/pg
+
+These Web sites include award-winning information about Project
+Gutenberg, including how to donate, how to help produce our new
+eBooks, and how to subscribe to our email newsletter (free!).
+
+
+Those of you who want to download any eBook before announcement
+can get to them as follows, and just download by date.  This is
+also a good way to get them instantly upon announcement, as the
+indexes our cataloguers produce obviously take a while after an
+announcement goes out in the Project Gutenberg Newsletter.
+
+http://www.ibiblio.org/gutenberg/etext03 or
+ftp://ftp.ibiblio.org/pub/docs/books/gutenberg/etext03
+
+Or /etext02, 01, 00, 99, 98, 97, 96, 95, 94, 93, 92, 92, 91 or 90
+
+Just search by the first five letters of the filename you want,
+as it appears in our Newsletters.
+
+
+Information about Project Gutenberg (one page)
+
+We produce about two million dollars for each hour we work.  The
+time it takes us, a rather conservative estimate, is fifty hours
+to get any eBook selected, entered, proofread, edited, copyright
+searched and analyzed, the copyright letters written, etc.   Our
+projected audience is one hundred million readers.  If the value
+per text is nominally estimated at one dollar then we produce $2
+million dollars per hour in 2002 as we release over 100 new text
+files per month:  1240 more eBooks in 2001 for a total of 4000+
+We are already on our way to trying for 2000 more eBooks in 2002
+If they reach just 1-2% of the world's population then the total
+will reach over half a trillion eBooks given away by year's end.
+
+The Goal of Project Gutenberg is to Give Away 1 Trillion eBooks!
+This is ten thousand titles each to one hundred million readers,
+which is only about 4% of the present number of computer users.
+
+Here is the briefest record of our progress (* means estimated):
+
+eBooks Year Month
+
+    1  1971 July
+   10  1991 January
+  100  1994 January
+ 1000  1997 August
+ 1500  1998 October
+ 2000  1999 December
+ 2500  2000 December
+ 3000  2001 November
+ 4000  2001 October/November
+ 6000  2002 December*
+ 9000  2003 November*
+10000  2004 January*
+
+
+The Project Gutenberg Literary Archive Foundation has been created
+to secure a future for Project Gutenberg into the next millennium.
+
+We need your donations more than ever!
+
+As of February, 2002, contributions are being solicited from people
+and organizations in: Alabama, Alaska, Arkansas, Connecticut,
+Delaware, District of Columbia, Florida, Georgia, Hawaii, Illinois,
+Indiana, Iowa, Kansas, Kentucky, Louisiana, Maine, Massachusetts,
+Michigan, Mississippi, Missouri, Montana, Nebraska, Nevada, New
+Hampshire, New Jersey, New Mexico, New York, North Carolina, Ohio,
+Oklahoma, Oregon, Pennsylvania, Rhode Island, South Carolina, South
+Dakota, Tennessee, Texas, Utah, Vermont, Virginia, Washington, West
+Virginia, Wisconsin, and Wyoming.
+
+We have filed in all 50 states now, but these are the only ones
+that have responded.
+
+As the requirements for other states are met, additions to this list
+will be made and fund raising will begin in the additional states.
+Please feel free to ask to check the status of your state.
+
+In answer to various questions we have received on this:
+
+We are constantly working on finishing the paperwork to legally
+request donations in all 50 states.  If your state is not listed and
+you would like to know if we have added it since the list you have,
+just ask.
+
+While we cannot solicit donations from people in states where we are
+not yet registered, we know of no prohibition against accepting
+donations from donors in these states who approach us with an offer to
+donate.
+
+International donations are accepted, but we don't know ANYTHING about
+how to make them tax-deductible, or even if they CAN be made
+deductible, and don't have the staff to handle it even if there are
+ways.
+
+Donations by check or money order may be sent to:
+
+Project Gutenberg Literary Archive Foundation
+PMB 113
+1739 University Ave.
+Oxford, MS 38655-4109
+
+Contact us if you want to arrange for a wire transfer or payment
+method other than by check or money order.
+
+The Project Gutenberg Literary Archive Foundation has been approved by
+the US Internal Revenue Service as a 501(c)(3) organization with EIN
+[Employee Identification Number] 64-622154.  Donations are
+tax-deductible to the maximum extent permitted by law.  As fund-raising
+requirements for other states are met, additions to this list will be
+made and fund-raising will begin in the additional states.
+
+We need your donations more than ever!
+
+You can get up to date donation information online at:
+
+https://www.gutenberg.org/donation.html
+
+
+***
+
+If you can't reach Project Gutenberg,
+you can always email directly to:
+
+Michael S. Hart <hart@pobox.com>
+
+Prof. Hart will answer or forward your message.
+
+We would prefer to send you information by email.
+
+
+**The Legal Small Print**
+
+
+(Three Pages)
+
+***START**THE SMALL PRINT!**FOR PUBLIC DOMAIN EBOOKS**START***
+Why is this "Small Print!" statement here? You know: lawyers.
+They tell us you might sue us if there is something wrong with
+your copy of this eBook, even if you got it for free from
+someone other than us, and even if what's wrong is not our
+fault. So, among other things, this "Small Print!" statement
+disclaims most of our liability to you. It also tells you how
+you may distribute copies of this eBook if you want to.
+
+*BEFORE!* YOU USE OR READ THIS EBOOK
+By using or reading any part of this PROJECT GUTENBERG-tm
+eBook, you indicate that you understand, agree to and accept
+this "Small Print!" statement. If you do not, you can receive
+a refund of the money (if any) you paid for this eBook by
+sending a request within 30 days of receiving it to the person
+you got it from. If you received this eBook on a physical
+medium (such as a disk), you must return it with your request.
+
+ABOUT PROJECT GUTENBERG-TM EBOOKS
+This PROJECT GUTENBERG-tm eBook, like most PROJECT GUTENBERG-tm eBooks,
+is a "public domain" work distributed by Professor Michael S. Hart
+through the Project Gutenberg Association (the "Project").
+Among other things, this means that no one owns a United States copyright
+on or for this work, so the Project (and you!) can copy and
+distribute it in the United States without permission and
+without paying copyright royalties. Special rules, set forth
+below, apply if you wish to copy and distribute this eBook
+under the "PROJECT GUTENBERG" trademark.
+
+Please do not use the "PROJECT GUTENBERG" trademark to market
+any commercial products without permission.
+
+To create these eBooks, the Project expends considerable
+efforts to identify, transcribe and proofread public domain
+works. Despite these efforts, the Project's eBooks and any
+medium they may be on may contain "Defects". Among other
+things, Defects may take the form of incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other
+intellectual property infringement, a defective or damaged
+disk or other eBook medium, a computer virus, or computer
+codes that damage or cannot be read by your equipment.
+
+LIMITED WARRANTY; DISCLAIMER OF DAMAGES
+But for the "Right of Replacement or Refund" described below,
+[1] Michael Hart and the Foundation (and any other party you may
+receive this eBook from as a PROJECT GUTENBERG-tm eBook) disclaims
+all liability to you for damages, costs and expenses, including
+legal fees, and [2] YOU HAVE NO REMEDIES FOR NEGLIGENCE OR
+UNDER STRICT LIABILITY, OR FOR BREACH OF WARRANTY OR CONTRACT,
+INCLUDING BUT NOT LIMITED TO INDIRECT, CONSEQUENTIAL, PUNITIVE
+OR INCIDENTAL DAMAGES, EVEN IF YOU GIVE NOTICE OF THE
+POSSIBILITY OF SUCH DAMAGES.
+
+If you discover a Defect in this eBook within 90 days of
+receiving it, you can receive a refund of the money (if any)
+you paid for it by sending an explanatory note within that
+time to the person you received it from. If you received it
+on a physical medium, you must return it with your note, and
+such person may choose to alternatively give you a replacement
+copy. If you received it electronically, such person may
+choose to alternatively give you a second opportunity to
+receive it electronically.
+
+THIS EBOOK IS OTHERWISE PROVIDED TO YOU "AS-IS". NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, ARE MADE TO YOU AS
+TO THE EBOOK OR ANY MEDIUM IT MAY BE ON, INCLUDING BUT NOT
+LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR A
+PARTICULAR PURPOSE.
+
+Some states do not allow disclaimers of implied warranties or
+the exclusion or limitation of consequential damages, so the
+above disclaimers and exclusions may not apply to you, and you
+may have other legal rights.
+
+INDEMNITY
+You will indemnify and hold Michael Hart, the Foundation,
+and its trustees and agents, and any volunteers associated
+with the production and distribution of Project Gutenberg-tm
+texts harmless, from all liability, cost and expense, including
+legal fees, that arise directly or indirectly from any of the
+following that you do or cause:  [1] distribution of this eBook,
+[2] alteration, modification, or addition to the eBook,
+or [3] any Defect.
+
+DISTRIBUTION UNDER "PROJECT GUTENBERG-tm"
+You may distribute copies of this eBook electronically, or by
+disk, book or any other medium if you either delete this
+"Small Print!" and all other references to Project Gutenberg,
+or:
+
+[1]  Only give exact copies of it.  Among other things, this
+     requires that you do not remove, alter or modify the
+     eBook or this "small print!" statement.  You may however,
+     if you wish, distribute this eBook in machine readable
+     binary, compressed, mark-up, or proprietary form,
+     including any form resulting from conversion by word
+     processing or hypertext software, but only so long as
+     *EITHER*:
+
+     [*]  The eBook, when displayed, is clearly readable, and
+          does *not* contain characters other than those
+          intended by the author of the work, although tilde
+          (~), asterisk (*) and underline (_) characters may
+          be used to convey punctuation intended by the
+          author, and additional characters may be used to
+          indicate hypertext links; OR
+
+     [*]  The eBook may be readily converted by the reader at
+          no expense into plain ASCII, EBCDIC or equivalent
+          form by the program that displays the eBook (as is
+          the case, for instance, with most word processors);
+          OR
+
+     [*]  You provide, or agree to also provide on request at
+          no additional cost, fee or expense, a copy of the
+          eBook in its original plain ASCII form (or in EBCDIC
+          or other equivalent proprietary form).
+
+[2]  Honor the eBook refund and replacement provisions of this
+     "Small Print!" statement.
+
+[3]  Pay a trademark license fee to the Foundation of 20% of the
+     gross profits you derive calculated using the method you
+     already use to calculate your applicable taxes.  If you
+     don't derive profits, no royalty is due.  Royalties are
+     payable to "Project Gutenberg Literary Archive Foundation"
+     the 60 days following each date you prepare (or were
+     legally required to prepare) your annual (or equivalent
+     periodic) tax return.  Please contact us beforehand to
+     let us know your plans and to work out the details.
+
+WHAT IF YOU *WANT* TO SEND MONEY EVEN IF YOU DON'T HAVE TO?
+Project Gutenberg is dedicated to increasing the number of
+public domain and licensed works that can be freely distributed
+in machine readable form.
+
+The Project gratefully accepts contributions of money, time,
+public domain materials, or royalty free copyright licenses.
+Money should be paid to the:
+"Project Gutenberg Literary Archive Foundation."
+
+If you are interested in contributing scanning equipment or
+software or other items, please contact Michael Hart at:
+hart@pobox.com
+
+[Portions of this eBook's header and trailer may be reprinted only
+when distributed free of all fees.  Copyright (C) 2001, 2002 by
+Michael S. Hart.  Project Gutenberg is a TradeMark and may not be
+used in any sales of Project Gutenberg eBooks or other materials be
+they hardware or software or any other related product without
+express permission.]
+
+*END THE SMALL PRINT! FOR PUBLIC DOMAIN EBOOKS*Ver.02/11/02*END*
+
diff --git a/5763.zip b/5763.zip
new file mode 100644
index 0000000..5aad028
--- /dev/null
+++ b/5763.zip
diff --git a/LICENSE.txt b/LICENSE.txt
new file mode 100644
index 0000000..6312041
--- /dev/null
+++ b/LICENSE.txt
@@ -0,0 +1,11 @@
+This eBook, including all associated images, markup, improvements,
+metadata, and any other content or labor, has been confirmed to be
+in the PUBLIC DOMAIN IN THE UNITED STATES.
+
+Procedures for determining public domain status are described in
+the "Copyright How-To" at https://www.gutenberg.org.
+
+No investigation has been made concerning possible copyrights in
+jurisdictions other than the United States. Anyone seeking to utilize
+this eBook outside of the United States should confirm copyright
+status under the laws that apply to them.
diff --git a/README.md b/README.md
new file mode 100644
index 0000000..ff331fc
--- /dev/null
+++ b/README.md
@@ -0,0 +1,2 @@
+Project Gutenberg (https://www.gutenberg.org) public repository for
+eBook #5763 (https://www.gutenberg.org/ebooks/5763)