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Driers, Fresco, Etc

To make Crimson, or Rose-color.

Carminated lake-that which is composed of alum charged with the coloring part of cochineal, ceruse, and carmine - forms a beautiful crimson.

It requires a particle of vermilion and of white lead.

The use of this varnish is confined to valuable articles.

To make Violet-color.

Violet is made indifferently with red and black, or red and blue; and to render it more splendid, with red, white, and blue. To compose violet, therefore, applicable to varnish, take minium, or what is still better, vermilion, and grind it with the camphorated mastic varnish to which a fourth part of boiled oil and a little ceruse have been added; then add a little Prussian blue ground in oil. The proportions requisite for the degree of intensity to be given to the color will soon be found by experience . The white brightens the tint. The vermilion and Prussian blue, separated or mixed, give hard tones, which must be softened by an intermediate substance that modifies, to their advantage, the reflections of the light.

To make Chestnut-color.

This color is composed of red, yellow and black.

The English red, or red ochre of Auvergne, ochre de rue and a little black, form a dark chestnut color. It is proper for painting of every kind.

If English red, which is dryer than that of Au- , be employed, it will be proper, when the color is intended for varnish, to grind it with drying nut-oil. The ochre of Auvergne may be ground with the mastic gallipot, and mixed up with gallipot varnish. The most experienced artists grind dark colors with linseed oil, when the situation will admit of its being used, because it is more drying. For articles without doors nut-oil is preferable. The colors of oak-wood, walnut-tree, chestnut, olive, and yellow, require the addition of a little litharge ground on porphyry: it hastens the desiccation of the color, and gives it body.

But if it is intended to cover these colors with varnish, as is generally done in wainscoting, they must be mixed up with essence, to which a little oil has been added. The color is then much better disposed to receive the varnish, under which it exhibits all the splendor it can derive from the reflection of the light.

To make a Dryer for Painting.

Vitreous oxide of lead (litharge), is of no other use in painting than to free oils from their greasy particles, for the purpose of communicating to them a drying quality. Red litharge, however, ought to be preferred to the greenish yellow; it is not so hard, and answers better for the purpose to which it is destined.

When painters wish to obtain a common color of the ochrey kind, and have no boiled oil by them, they may paint with linseed oil, not freed from its greasy particles, by mixing with the color about 2 or 3 parts of litharge, ground on a piece of porphyry with water, dried, and reduced to fine powder, for 16 parts of oil. The color has a great deal of body, and dries as speedily as if mixed with drying oil.

Siccitive Oil.

Boil together for 2 hours on a slow and equal fire, oz. of litharge, as much calcined ceruse, and the same of terre d'ombre and talc, with 1 lb. of linseed oil, carefully stirring the whole time. It must be carefully skimmed and clarified. The older it grows the better it is. A quarter of a pint of this dryer is required to every pound of color.

To Paint in Fresco. er, or a wall laid with mortar not dry. This sort It is performed with water-colors on fresh plastof painting has a great advantage by its incor. porating with the mortar, and drying along with it becomes very durable.

The ancients painted on stucco, and we may remark in Vitruvius what infinite care they took in making the plastering of their buildings, to render them beautiful and lasting, though the modern painters find a plaster of lime and sand preferable to it.

To Paint Fire-Places and Hearths. under the name of molasse, for constructing fire- The Genevese employ a kind of stone, known places and stoves, after the German manner. This stone is brought from Saura, a village of Savoy, blue, which is very agreeable to the eye. This near Geneva. It has a greyish color, inclining to tint is similar to that communicated to common white-washing with lime, chalk, or gypsum, the of which is corrected by a particle of blue extract of indigo, or by charcoal black.

To make Red Distemper for Tiles. soapy water, or in water charged with a 20th Dip a brush in water from a common lye, or in part of the carbonate of potash (pearlash), and draw it over the tiles. This washing thoroughly cleanses them, and disposes all the parts of the pavement to receive the distemper. care.

Flanders glue; and while the mixture is boiling, When dry, dissolve in 8 pts. of water lb. of add 2 lbs. of red ochre; mix the whole with great Then apply a stratum of this mixture to tum with drying linseed oil, and a third with the the pavement, and when dry apply a second stradry, rub it with wax. same red mixed up with size. When the whole is To Distemper in Badigeon.

Badigeon is employed for giving an uniform tint to houses rendered brown by time, and to churches. Badigeon, in general, has a yellow tint. That which succeeds best is composed of the saw-dust or powder of the same kind of stone and slacked lime, mixed up in a bucket of water holding in solution 1 lb. of the sulphate of alumina (alum). It is applied with a brush.

At Paris, and in other parts of France, where the large edifices are constructed of a soft kind of stone, which is yellow, and sometimes white becomes brown, a little ochre de rue is substituted when it comes from the quarry, but which in time for the powder of the stone itself, and restores to the edifice its original tint.

To make a Composition for rendering Canvas, Linen , and Cloth durable, Pliable, and Waterproof.

To make it Black.

First, the canvas, linen, or cloth is to be washed with hot or cold water, the former preferable, so as to discharge the stiffening which all new canvas, linen, or cloth contains; when the stiffening is perfectly discharged, hang the canvas, linen, or cloth up to dry; when perfectly so, it must be constantly rubbed by the hand until it becomes supple; it must then be stretched in a hollow frame very tight, and the following ingredients are to be laid on with a brush for the first coat, viz., 8 qts. of boiled linseed oil, oz. of burnt umber, white lead. oz. of sugar of lead, 1 oz. of white vitriol, 1 oz. of must be ground fine with a small quantity of the The above ingredients, except the white lead, above-mentioned oil, on a stone and muller; then mix all the ingredients up with the oil, and add 8 oz. of lampblack, which must be put over a slow | colors with some gummy substance, and applied fire in an iron broad vessel, and kept stirred until the grease disappears. In consequence of the canvas being washed and then rubbed, it will appear rough and nappy; the following method must be taken with the second coat, viz., the same ingredients as before, except the white lead; this coat will set in a few hours, according to the weather; when set take a dry paint-brush and work it very hard with the grain of the canvas; this will cause the nap to lie smooth.

The third and last coat makes a complete jetblack, which continues its color: Take 3 galls. of boiled linseed oil, an ounce of burnt umber, oz. of sugar of lead, 1 oz. of white vitriol, oz. of Prussian blue, and 4 oz. of verdigris; this must be all ground very fine in a small quantity of the above oil, then add 4 oz. of lampblack, put through the same process of fire as the first coat. The above are to be laid on and used at discretion, in a similar way to paint. To make lead color, the same ingredients as before in making the black, with the addition of white lead in proportion to the color you wish to have, light or dark.

To make it Green.

Yellow ochre, 4 oz.; Prussian blue, oz.; white lead, 3 oz.; white vitriol, oz.; sugar of lead + oz.; good boiled linseed oil sufficient to make it of a thin quality, so as to go through the canvas.

To make it Yellow.

Yellow ochre, 4 oz.; burnt umber, 1 oz.; white lead, 6 or 7 oz.; white vitriol, oz.; sugar of lead, + oz.; boiled linseed oil, as in green.

To make it Red.

Red lead, 4 oz.; vermilion 2 oz.; white vitriol, oz.; sugar of lead 1 oz.; boiled linseed oil as before.

To make it Gray.

Take white lead, a little Prussian blue, according to the quality you want, which will turn it to a gray color; a proportion of sugar of lead and white vitriol, as mentioned in the other colors, boiled linseed oil sufficient to make it of a thin quality.

To make it White.

White lead, 4 lbs.; spirits of turpentine, pt.; white vitriol, 1/2 oz. ; sugar of lead, 1/2 oz. ; boiled oil vitriol, oz.; sugar of lead, oz.; boiled oil sufficient to make it of a thin quality.

The above ingredients, of different colors, are calculated as near as possible; but, as one article may be stronger than another, which will soon be discovered in using, in that case the person working, the color may add a little, or diminish, as he may find necessary.

The same preparation for wood or iron, only reducing the oil about 3 qt. out of 8, and to be applied in the same manner as paint or varnish, with a brush.