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Lacquers (Been torn off so as to form)

been torn off so as to form a soft, elastic edge. It should form a coil from 1 to 3 inches in diameter, according to the size of the work.

Fat Varnish of a Gold-color.

Amber, 8 oz.; gum-lac, 2 oz.; drying linseedoil, 8 oz.; essence of turpentine, 16 oz. Dissolve separately the gum-lac, and then add the amber, prepared and pulverized, with the linseed-oil and essence very warm. When the whole has lost a part of its heat, mix in relative proportions tincture of anatto, of terra merita, gum guttæ and dragon's blood. This varnish, when applied to white metals, gives them a gold color.

Fat Turpentine, or Golden Varnish, being a Mordant to Gold and Dark Colors. Boiled linseed oil, 16 oz.; Venice turpentine, 8 oz.; Naples yellow, 5 oz. Heat the oil with the turpentine, and mix the Naples yellow pulverized.

Naples yellow is substituted here for resins, on account of its drying qualities, and in particular of its color, which resembles that of gold; great use is made of the varnish in applying gold leaf.

The yellow, however, may be omitted when this species of varnish is to be solid and colored coverings. In this case an ounce of litharge to each pound of composition may be substituted in its stead, without this mixture doing any injury to the color which is to constitute the ground.

To make Turners' Varnish for Boxwood.

Seed-lac, 5 oz.; gum sandarac, 2 oz.; gum elemi, 1½ oz.; Venice turpentine, 2 oz.; pounded glass, 5 ez.; pure alcohol, 24 oz.

Another. Other turners employ the gum-lac united to a little elemi and turpentine digested some months in pure alcohol exposed to the sun.

If this method be followed, it will be proper to substitute for the sandarac the same quantity of gum-lac reduced to powder, and not to add the turpentine to the alcohol, which ought to be exceedingly pure, till towards the end of the infusion. Solar infusion requires care and attention. Vessels of a sufficient size to allow the spirituous vapors to circulate freely ought to be employed, because it is necessary that the vessels should be closely shut. Without this precaution the spirits would become weakened and abandon the resin which they laid hold of during the first day's exposure. This perfect obituration will not admit of the vessels being too full.

In general the varnishes applied to articles which may be put into the lathe acquire a great deal of brilliancy by polishing: a piece of woollen cloth is sufficient for the operation. If turpentine predominates too much in these compositions, the polish does not retain its lustre, because the heat of the hands is capable of softening the surface of the varnish, and in this state it readily tarnishes.

Loning's Colorless Varnish.

For this varnish a prize of 20 guineas was awarded by the Society of Arts, London. Dissolve 24 oz. of shellac in a pint of alcohol; boil for a few minutes with 5 oz. of well-burned and recently-heated animal charcoal. A small portion of the solution must then be filtered, and if not colorless more charcoal must be added. When all color is removed, press the liquid through a piece of silk, and afterwards filter through fine blottingpaper. This varnish should be used in a room of at least 60° Fahr., and free from dust. It dries in a few minutes, and is not liable afterwards to chill or bloom. It is particularly applicable to drawings and prints which have been sized, and may be advantageously used upon oil paintings, which are thoroughly hard and dry, as it brings out the colors with the purest effect. This quality renders it a valuable varnish for all kinds of leather, as it does not yield to the warmth of the hand and resists damp.

Dr. Hare's Colorless Varnish.

Dissolve in an iron kettle 1 part of pearlash it about 8 parts of water; add 1 part of seed or shellac, and heat to boiling. When the lac is dissolved impregnate the whole with chlorine (made by gently heating 1 part black oxide of manganese with 4 of muriatic acid) until the lac is all precipitated. Wash, dry, and dissolve in alcohol.

To Varnish Dressing-Boxes.

The most of spirit of wine varnishes are destined for covering preliminary preparations, which have a certain degree of lustre. They consist of cement, colored or not colored, charged with landscapes and figures cut out in paper, which produces an effect under the transparent varnish. Most of the dressing-boxes, and other small artiticles of the same kind, are covered with this particular composition, which, in general, consists of three or four coatings of Spanish white pounded in water, and mixed up with parchment glue. The first coating is smoothed with pumice-stone, and then polished with a piece of new linen and water.

The coating in this state is fit to receive the destined color, after it has been ground with water and mixed with parchment glue diluted with water. The cut figures with which it is to be embellished are then applied, and a coating of gum or fish-glue is spread over them, to prevent the varnish from penetrating to the preparation, and from spoiling the figures. The operation is finished by applying 3 or 4 coatings of varnish, which when dry are polished with tripoli and water, by means of a piece of cloth. A lustre is then given to the surface with starch and a bit of doe-skin, or very soft cloth.

Gallipot Varnish.

Take of gallipot, or white incense, 12 oz.; white glass, pounded, 5 oz.; Venice turpentine, 2 oz.; essence of turpentine, 32 oz. Make the varnish after the white incense has been pounded with the glass.

Some authors recommend mastic or sandarac in the room of gallipot; but the varnish is neither more beautiful nor more durable. When the color is ground with the preceding varnish and mixed up with the latter, which, if too thick, is thinned with a little essence, and which is applied immediately, and without any sizing, to boxes and other articles, the coatings acquire sufficient strength to resist the blows of a mallet. But if the varnish be applied to a sized color it must be covered with a varnish of the first or second genus.

Varnish for Electrical Purposes.

Dissolve the best red sealing-wax in alcohol.

Two or three coats will make a complete covering.

It may be applied to wood or glass.

Mastic Gallipot Varnish, for Grinding Colors Take of new gallipot, or white incense, 4 oz.; mastic, 2 oz.; Venice turpentine, 6 oz.; pounded glass, 4 oz.; essence of turpentine, 32 oz. When the varnish is made with the precautions already indicated, add prepared nut-oil or linseed-oil, 2 oz. The matters ground with this varnish dry more slowly; they are then mixed up with the following varnish, if it be for common painting, or with particular varnishes destined for colors and for grounds.

Lacquer for Brass.

Take of seed-'ac, 6 oz.; amber or copal, ground or porphyry, 2 oz,; dragon's blood, 40 grs.; extract of red sandal-wood, obtained by water, 30 grs.; oriental saffron, 36 grs.; pounded glass, 4 oz.; very pure alcohol, 40 oz.

To apply this varnish to articles or ornaments of brass, expose them to a gentle heat, and dip them into varnish. Two or three coatings may be applied in this manner, if necessary. The varnish is durable and has a beautiful color. Articles varnished in this manner may be cleaned with water and a bit of dry rag.

Lacquer for Philosophical Instruments.

This lacquer or varnish is destined to change or to modify the color of those bodies to which it is applied.

Take of gum guttæ (gamboge), oz.; gum sandarac, gum elemi, each 2 oz.; dragon's blood, of the best quality, 1 oz.; seed-lac, 1 oz.; terra merita, oz.; oriental saffron, 2 grs.; pounded glass, 3 oz.; pure alcohol, 20 oz.

The tincture of saffron and of terra merita is first obtained by infusing them in alcohol for 24 hours, or exposing them to the heat of the sun in summer. The tincture must be strained through a piece of clean linen cloth, and ought to be strongly squeezed. This tincture is poured over the dragon's blood, the gum elemi, the seed-lac, and the gum guttæ, all pounded and mixed with the glass. The varnish is then made according to the directions before given.

It may be applied with great advantage to philosophical instruments. The use of it might be extended also to various cast or moulded articles with which furniture is ornamented.

If the dragon's blood be of the first quality it may give too high a color; in this case the dose may be lessened at pleasure, as well as that of the other coloring matters.

Gola-colored Lacquer for Brass Watch-cases, Watch-keys. etc.

Take of seed-lac, 6 oz.; amber, gum guttæ, each 2 oz.; extract of red sandal-wood in water, 24 grs.; dragon's blood, 60 grs.; oriental saffron, 36 grs.; pounded glass, 4 oz.; pure alcohol, 36 oz. Grind the amber, the seed-lac, gum guttæ, and dragon's blood on a piece of porphyry; then mix them with the pounded glass, and add the alcohol, after forming with it an infusion of the saffron and an extract of the sandal-wood. The varnish must then be completed as before. The metal articles destined to be covered by this varnish are heated, and those which will admit of it are immersed in packets. The tint of the varnish may be varied by modifying the doses of the coloring substances.

Lacquer of a Less Drying Quality.

Take of seed-lac, 4 oz.; sandarac, or mastic, 4 oz.; dragon's blood, oz.; terra merita, gum guttæ, each 30 grs.; pounded glass, 5 oz.; clear turpentine, 8 oz.; essence of turpentine, 32 oz.

Extract by infusion the tincture of the coloring substances, and then add the resinous bodies according to the directions for compound mastic varnish.

Lacquer or varnishes of this kind are called cnanging, because, when applied to metals, such as copper, brass, or hammered tin, or to wooden boxes and other furniture, they communicate to them a more agreeable color. Besides, by their contact with the common metals, they acquire a lustre which approaches that of the precious metals, and to which, in consequence of peculiar intrinsic qualities or certain laws of convention, a much greater value is attached. It is by means of these changing varnishes that artists are able to communicate to their leaves of silver and copper those shining colors observed in foils. This process of industry becomes a source of prosperity to the manufacturers of buttons and works formed with foil, which in the hands of the jeweller contributes with so much success to produce that reflection of the rays of light which doubles the lustre and sparkling quality of precious stones.

It is to varnish of this kind that we are indebted for the manufactory of gilt leather, which, taking refuge in England, has given place to that of papier-maché, which is employed for the decoration of palaces, theatres, etc.

In the last place, it is by the effect of a foreign tint, obtained from the coloring part of saffron, that the scales of silver disseminated in confection d'hyacinthe reflect a beautiful gold color.

The colors transmitted by different coloring substances, require tones suited to the objects for which they are destined. The artist has it in his own power to vary them at pleasure, by the addition of anatto to the mixture of dragon's blood, saffron, etc., or some changes in the doses of the mode intended to be made in colors. It is here impossible to give limited formulæ.

To make Lacquers of Various Tints.

There is one simple method by which artists may be enabled to obtain all the different tints they require. Infuse separately 4 oz. of gum guttæ in 32 oz. of essence of turpentine, and 4 oz. of dragon's blood, and 1 oz. of annatto also in separate doses of essence. These infusions may be easily made in the sun. After 15 days' exposure pour a certain quantity of these liquors into a flask, and by varying the doses different shades of color will be obtained.

These infusions may be employed also for changing alcoholic varnishes; but in this case the use of saffron, as well as that of red sandal-wood, which does not succeed with essence, will soon give the tone necessary for imitating with other tinctures the color of gold.

Mordant Varnish for Gilding.

Take of mastic, 1 oz.; gum sandarach, 1 oz.; gum guttæ, & oz.; turpentine, 4 oz.; essence of turpentine, 6 oz. Some artists, who make use of mordants, substitute for the turpentine 1 oz. of the essence of lavender, which renders this composition still less drying.

In general, the composition of mordants admits of modifications, according to the kind of work for which they are destined. The application of them, however, is confined chiefly to gold. When it is required to fill up a design with gold-leaf on any ground whatever, the composition, which is to serve as the means of union between the metal and the ground, ought to be neither too thick nor too fluid; because both these circumstances are equally injurious to delicacy in the strokes; it will be requisite also that the composition should not dry till the artist has completed his design Other Mordants.

Some prepare their mordants with Jew's pitch and drying oil diluted with essence of turpentine.

They employ it for gilding pale gold, or for bronzing.

Other artists imitate the Chinese, and mix with their mordants colors proper for assisting the tone which they are desirous of giving to the gold, such as yellow, red, etc.

Others employ merely fat varnish, to which they add a little red oxide of lead (minium).

Others make use of thick glue, in which they dissolve a little honey. This is what they call batture. When they are desirous of heightening