Digitized by the Internet Archive in 2018 with funding from Getty Research Institute https://archive.org/details/jewellersassistaOOgeeg 1 H E JEWELLER’S ASSISTANT WORKS BY THE SAME AUTHOR. THE GOLDSMITH’S HANDBOOK, containing full Instructions in the Art of Alloying, Melting, Reducing, Colouring, Collecting and Refining. The processes of Mani¬ pulation, Recovery of Waste, Chemical and Physical Pro¬ perties of Gold; Solders, Enamels and other useful Rules and Recipes, &c. By Geokge E. Gee. Fourth Edition, con¬ siderably enlarged. i2mo, cloth boards. Price 3s. 6d. "A good, sound, technical educator.”— Horological Journal. “A standard book, which few will care to be without.” Jeweller and Metalworker. THE SILVERSMITH'S HANDBOOK, containing full Instructions for the Alloying and Working of Silver. By George E. Gee. Third Edition, Revised. i2mo, cloth boards. Price 3s. 6d. “ A valuable sequel to the author’s ‘ Practical Goldworker.’ ” Silversmith's Trade Journal. “As a guide to workmen it will prove a good technical edu¬ cator.”— Glasgow Herald. *** The two preceding Works, in One handsome Volume, half-bound, entitled “The Goldsmith’s and Silversmith’s Complete Handbook,” 7s. THE HALL-MARKING OF JEWELLERY. Com¬ prising an account of all the different Assay Towns of the United Kingdom ; with the Stamps at present employed; also the Laws relating to the Standards and Hall-Marks at the various Assay Offices. By George E. Gee. i2mo, cloth boards. Price 3s. 6d. “ Deals thoroughly with its subject from a manufacturer’s and dealer’s point of view.”— Jeweller. “A valuable and trustworthy guide.”— English Mechanic. London: CROSBY LOCKWOOD & SON, 7 , Stationers’-Hall Court, E.C. THE ASSISTANT JEWELLER'S IN THE ART OF WORKING IN GOLD A PRACTICAL TREATISE FOR MASTERS AND WORK¬ MEN, COMPILED FROM THE EXPERIENCE OF THIRTY YEARS' WORKSHOP PRACTICE By GEORGE E. GEE GOLDSMITH AND SILVERSMITH, AUTHOR OF “THE GOLDSMITH’S HANDBOOK,” “THE SILVERSMITH’S HANDBOOK,” “ THE HALL MARKING OF JEWELLERY,” ETC., ETC. LONDON CROSBY LOCKWOOD AND SON 7, STATIONERS’ HALL COURT, LUDGATE HILL 18q2 Co/^5 TS 7*7 G77 THE GETTY CENTER LIBRARY PREFACE. Considering the steady progress that has been made of late years, both in the mechanical and chemical departments of the jewellery trade, the necessity for an advanced work treating upon the subject has oftentimes been greatly felt. The Author has, therefore, much pleasure in presenting to the trade and all other interested persons a thoroughly practical treatise on the sub¬ ject. He does so with confidence, for the following reasons: — Firstly, a real desire to supply that want ; secondly, in consequence of having been consulted by most of the leading firms in the principal jewellery centres in England, and having also re¬ ceived communications from nearly every part of the civilised world seeking information such as is herein contained ; and thirdly, the possession of an extensive knowledge of the subject, acquired VI PREFACE. during more than thirty years’ active workshop practice in every department. The work is not written for beginners and young students, but for the advanced workmen of every branch, as well as their employers, both of whom will be able to glean much from its pages with which they were probably not formerly acquainted. Every endeavour has been made to make the work as reliable as possible, and from the Author’s large practical experience and close attention to all the matters treated of, its genuineness in that direc¬ tion can be thoroughly relied upon, as almost every¬ thing in the work has been put to the test by the Author himself. And he ventures therefore to hope that, considering the aim and scope of the work, it will meet a demand much felt, and be welcomed as containing original matter which will prove widely acceptable to the trade. Standard Works, 58, Tenby Street North, Birmingham, March , 1892. CONTENTS. CHAPTER I. THE CHEMICAL AND PHYSICAL PROPERTIES OF GOLD. Page Introductory Information i Fine Gold ....... 2 Action of Fluxes on Gold .... 3 Specific Gravity ...... 3 Table of Gold Prices ..... 4 Dissolving Gold ...... 5 Testing Gold in Solution .... 6 Dissolving 15-Carat Gold .... 7 Granulating alloyed Gold .... 8 Parting alloyed Gold.9 Gold Parting Mixture . . . . .10 Mercury and Gold . . . . . .11 Sponge Gold . . . . . . .12 Proto-Sulphate of Iron . . . . .12 VI11 CONTENTS. Page Gold Precipitants, various . 13 Zinc and Waste Gold Solutions . . .13 CHAPTER U. THE PRECIPITATION OF GOLD IN WASTE SOLUTION. Ammonia and Gold Neutralising Gold Solutions . Carbonate of Soda and Gold . Gold being allowed to run away Knowledge and the Gold Trade Gold and Copper Gold and Silver Gold and Mercury . Colours of Gold Gold and its Alloys Various Tints .... Preparation of Compound Alloys ‘4 15 ib »7 18 19 19 19 20 20 20 21 CHAPTER III. THE DIFFERENT COLOURS OF GOLD. Pale Yellow Gold ...... 22 Another Yellow Gold . . . . .22 CONTENTS. IX Page Greyish Yellow Gold . 23 Red Gold. • 23 Green Gold. • 23 Blue Gold. 24 Dead Leaf Green Gold . 24 Greyish White Gold • 25 Water Green Gold .... • 25 Grey Gold ..... • 25 White Gold. 26 Hard Alloys. . 27 Treatment of Hard Alloys . 27 Cracky Gold. . 28 Flux for Cracky Gold . 28 CHAPTER IV. THE MIXING AND MELTING OF GOLD. 18-Carat Gold.29 18-Carat and Australian Sovereigns . . 30 Difficulty in Melting 18-Carat ... 30 Reducing Australian Sovereigns . . .31 18-Carat Alloy.32 Preparing 18-Carat Alloys .... 32 Precautionary Measures.33 Pouring 18-Carat Gold.33 Defective 18-Carat Alloy , . . *33 18-Carat Alloy with Fine Gold ... 34 b X CONTENTS. Page Good Working 18-Carat Alloy ... 34 Proportion of Silver in 18-Carat . . . 35 Bright 18-Carat Alloy . . . • • 35 Colour of 18-Carat.33 CHAPTER V. THE DRY-COLOURING OF GOLD. Appearance of Dry-Coloured Work . . 36 Special Alloy required.37 Defects in the Process.38 Action of the Colouring Salts .... 38 Action of Silver ...... 39 Pale Colour, Causes.39 Points required in Dry-Coloured Alloys . 40 18-Carat Alloy with 15 per cent. Silver . . 41 Wet-Coloured Work.42 Lowest Quality for Dry-Colouring ... 42 Burnishing, its Object ..... 42 Iron Ladles ....... 43 Etruscan Jewellery.44 Dull Gold.44 Etruscan Gold Colouring Mixture ... 45 Another Mixture.46 Method of Colouring.46 Soft Deep Colour to Jewellery ... 47 20-Carat Gold . .... 47 CONTENTS. xi Page Early Methods of Finishing . . 48 Colouring Mixture for 2 2-Carat . 49 How to use the Mixture . . 50 Causes of Failure in Colouring 51 Defective and Wrong Information . . 52 Colouring 20-Carat Gold • 52 Colouring a Wedding Ring . • 53 Various Writers on Colouring • 54 Colouring Cheap Jewellery • 55 Erroneous Statements 56 Colouring Mixture for 18-Carat • 57 Preparing the Colour . . 58 Removing the Colour . . 58 Colouring 16-Carat .... • 59 Colouring Inferior Qualities . 60 Finishing Coloured Work . 61 CHAPTER VI. THE WET-COLOURING OF GOLD. Colouring Low Standards .... 62 Strength of Colour ...... 62 Scratching Mixture...... 63 Old Wet-Colouring Mixture .... 64 New Wet-Colouring Mixture . . . -65 Producing a Bright Colour .... 66 Producing a Dead Colour .... 66 Xll CONTENTS. Producing a Lasting Colour . Producing a mere Film of Colour . Advantages of the New Mixture Colouring Jobs . Page 66 66 67 67 CHAPTER VII. THE'MELTING AND CASTING OF GOLD. Casting Small Objects . . 68 Casting Wedding or Keeper Rings . 69 Making the Ingot Mould , 69 Fitting up the Ingot Mould . . 70 Strip Casting. 71 Finishing Rings after Casting . 72 Scuttlefish for Casting . • 73 Plaster of Paris .... • 73 Casting in Sand .... . 74 Useful Ingot Mould • 75 Precautions in Casting . . . 76 Casting Natural Objects. • 77 CHAPTER VIII. ELECTRO-GILDING. Practical Directions . . 78 Nature of Hot and Cold Baths . 79 CONTENTS. Xlll - Page Best Battery for Gilding.... . 80 Mixture for Battery .... . 8l Amalgamating the Zinc .... . 82 Cold Gilding Solution, No. i . • 83 Preparing the Chloride of Gold • 84 Liquid Ammonia ..... • 85 Cyanide of Potassium .... • 85 Cold Gilding Solution, No. 2 . . 86 Hot Gilding Solution, No. 3 . . 87 Hot Gilding Solution, No. 4 . 88 Hot Gilding Solution by Battery . . 89 Hot Gilding Solution, No. 5 . • 90 Maintaining Strength of Solution . . 91 Gilding Chains ..... . 92 Solution from Current Coin . • 93 French Gilding Solution No. 1 • 94 Aurate of Ammonia .... • 95 French Gilding Solution No. 2 . 96 Mixture for Replenishing Baths . 97 CHAPTER IX. SOME OTHER MODES OF GILDING. Contact Gilding .... . 98 Solution for Contact Gilding . . 99 Gilding by Simple Immersion . . 100 Mercury Dipping .... . . IOI XIV CONTENTS. Combination Fire and Electro-Gilding . Page 102 Grecian Gilding ..... 102 Gilding by Friction. . . . 103 Preparing the Solution .... . 103 Gilding Iron and Steel .... 104 Mixture for Iron and Steel IO4 Colouring 9-Carat Gold .... 104 A qua-Regia ...... . 105 CHAPTER X. PRACTICAL MANIPULATIONS, Greasy Articles. 106 Gilding Plain Surfaces .... 107 Knowledge in Gilding .... . 108 Frosting ....... 108 Metal Work ...... . 109 Compound Dipping Acids 109 Dead Dipping Mixture .... 110 Caustic Potash Dipping Mixture . 110 Cyanide Dipping Mixture . 111 Frosting Silver. 111 Dead Dipping Mixture for Silver . . 112 Colour in Electro-Gilding • 11 3 Giving Thick Deposits . . 114 Red Gilding ...... • 115 CONTENTS. XV Page Greenish Gilding . . . . . . 115 Improving Bad Gilding . . . . .116 Colouring Gilding . . . . . .116 Finishing Colour Gilt-Work . . . 117 CHAPTER XI. MIXING ALLOYS. Reducing 22-Carat to 18-Carat . . .118 Example No. 1.119 Example No. 2.119 Example No. 3.119 Reducing 18-Carat to 15-Carat . . .120 Example No. 1 . . . • . .120 Example No. 2.120 Example No. 3.121 Reducing a Mixed Alloy to 9-Carat . .121 Reducing 18-Carat to 12-Carat . . . 122 Reducing Pure Gold to 9-Carat . . .122 Improving 15-Carat to 18-Carat . . -123 Example No. 1 . . . . . .123 Improving 12-Carat to 18-Carat . . . 123 Example No. 2 . . . . . -123 Improving 9-Carat to 18-Carat . . .124 Example No. 3 . . . . . .124 Improving 15-Carat to 18-Carat with Coins . 125 XVI CONTENTS. Page Improving Silver to Standard . . -125 Reducing Silver.126 CHAPTER XII. USEFUL IMITATION ALLOYS. Imitation Gold and Silver Alloys . . . 127 Imitation 18-Carat Alloy . 128 Melting this Alloy .... 129 Another Imitation 18-Carat Alloy . . 130 Imitation 12-Carat Gold . • 130 Old-Fashioned Platinum Alloys . 131 Gold-Platinum Alloy like 9-Carat . . 132 Mystery Gold. • 133 Deep Gold-like Alloy • i 33 Imitation Pale Gold Alloy • 134 Alloy for Pens .... • i 34 Imitation Platinum Alloy • 135 Alloy for Setting .... . 136 Another. • i 37 CHAPTER XIII. HINTS AND HELPS. Hall-marking.138 Gold Testing Needles.139 How to Operate with the Needles . . .140 CONTENTS. XVI Page Imitation Silver Alloy 141 Gold Lacquer ..... 141 Recovery of Gold and Silver from Solutions . 142 Gold Coloured Alloy 142 Dead Dipping Mixture . 143 Distinguishing Iron and Steel .M 3 Soldering Fluid free of Acid . M 3 Gold and Silver Solders . M 4 Colouring Gilt Work 144 Instantaneous Silvering Mixture . M 5 Economical Gilding M 5 Polishing Powder .... M 5 Gilding Steel ..... 146 Rolling 18-Carat Gold . 146 To take Enamel out of Work . 147 Transparent Cement M 7 Aluminum Silver .... 148 Gilding like Polished Gold 148 Silvering Formula .... 148 To Solder Gold without Changing its Colour 149 To Boil Silver White 149 18-Carat Red Gold .... 150 Deep Lemon Colour for Gold . 150 Yellow Metal for Gilding 150 To give Gold a Fiery Colour . 151 Gilders’ Wax. 151 Yellow Gold Alloy .... * 5 * Old Bright Gold Alloy . M 3 CONTENTS. xviii CHAPTER XIV. COLLECTING AND REFINING. Scrap Gold. Page • 154 Lemel ....... • 155 Fluxes ....... • 156 Mixture for the Crucible .... • 157 Another ....... • US Another. • 159 Another ....... • 159 Mixture for Common Stuff . 160 Gilding and Colouring Waste. . l6l Mixture for the Crucible .... . 162 Wet Process for the Recovery of Gold . • 163 Dry Process ...... . 164 Recovering Gold from Acid Mixtures . . 165 Vessels for Evaporating .... 166 Soft Solder ...... . 167 Burning the Lemel. 168 Melting the LemeJ ..... 169 Refining the Lemel. 170 Mixture for Parting .... . 172 Treating the Undissolved Gold • 173 Treating the Dissolved Silver . . 174 Treating the Dissolved Copper • 174 CONTENTS. XIX CHAPTER XV. SUNDRY GOLD ALLOYS. 18-Carat Pale Gold .... Page • 175 18-Carat Watch-Case Alloy . 176 18-Carat Wet-Coloured Alloy . I 76 18-Carat Dry-Coloured Alloy . 176 18-Carat Red Gold .... I 76 16-Carat Setting Gold . 177 16-Carat Regular Gold . • 177 16-Carat Red Gold .... . 177 15-Carat Polishing Gold . . . 178 15-Carat Coloured Gold . . . 178 15-Carat Red Gold .... . 178 12-Carat Polishing Gold . . 179 12-Carat Regular Gold . • 179 12-Carat Red Gold .... . 179 10-Carat Polishing Gold . . 179 9-Carat Regular Gold I 80 9-Carat Polishing Gold . 180 9-Carat Red Gold .... 180 8-Carat Bright for Gilding 180 8-Carat Bright for Polishing . . l8l 7-Carat Bright for Polishing . . l8l Bright Common Alloy for Gilding . . . l8l Yellow Gold for Bright Finishing . . l8l 8-Carat Acid Resisting Alloy , 182 XXU CONTENTS. Rich Colour for Gold Work . Page 196 Hollow Work ..... 196 New Coloured Alloy- 196 Yellow Metal for Dipping 196 Metal for Gilding '. . . . • 197 Constant Battery .... . 197 To give Gold a Deep Colour . 198 6-Carat Gold to stand Acid 198 To dissolve Copper .... 198 New Gold Colour .... 198 Niello Composition .... . 199 New Silver Alloy of ‘250 Standard . • 199 Steel Solder. . 199 Ancient Gold Alloy . 199 Arsenious Silver Alloy . . 200 Aluminum Silver Alloy . . 200 Black Gold ..... . 200 Goldbeaters’ Gold .... . 200 Stripping Silver-plated Articles . 200 Imparting a Yellow Colour to Gold . 201 Watch Cases, Alloying with . . . 201 Lemel ...... . 201 Aluminum Solder .... . 201 Platinum Solder 202 White Gold Alloy .... 202 CONTENTS. xxiii CHAPTER XVII. GOLD VALUES AND ALLOYS. Page Carat Values of Gold.203 Carat Alloys of Gold with Fine Gold . . 203 Carat Alloys of Gold with Coins . . . 205 20-Carat Alloys with Fine Gold . . . 206 20-Carat Alloys with Coins .... 207 18-Carat Alloys with Fine Gold . . . 207 18-Carat Alloys with Coins .... 208 16-Carat Alloys with Fine Gold . . . 208 16-Carat Alloys with Coins .... 209 15-Carat Alloys with Fine Gold . . . 209 15-Carat Alloys with Coins . . . .210 14-Carat Alloys with Fine Gold . . . 210 14-Carat Alloys with Coins . . . .211 Wet-Coloured Alloys with Fine Gold . .211 Wet-Coloured Alloys with Coins . . .212 Wet-Coloured Solder.212 20-Carat Reduced to 18-Carat . . .213 20-Carat Reduced to 16-Carat . . .213 20-Carat Reduced to 15-Carat . . .214 20-Carat Reduced to 14-Carat . . .214 20-Carat Reduced to 12 J-Carat . . .215 18-Carat Reduced to 16-Carat . . -215 18-Carat Reduced to 15-Carat . . .216 18-Carat Reduced to 14-Carat . . .216 xxiv CONTENTS. Page 18-Carat Reduced to 12j-Carat . . .217 16-Carat Reduced to 15-Carat . . .217 16-Carat Reduced to 14-Carat . . .218 16-Carat Reduced to 12^-Carat . . .218 15-Carat Reduced to 14-Carat . . .219 15-Carat Reduced to Wet Coloured . . 219 14-Carat Reduced to 125-Carat . . . 220 12-Carat Alloys with Fine Gold . . . 220 12-Carat Alloys with Coins . . . .221 1 o-Carat Alloys with Fine Gold . . .221 1 o-Carat Alloys with Coins . . . .222 g-Carat Alloys with Fine Gold . . . 222 9-Carat Alloys with Coins . . . .223 9-Carat Regular Alloys with Fine Gold. . 223 9- Carat Regular Alloys with Coins . .224 Bright Gold Solder.224 12-Carat Reduced to 10-Carat . . . 225 12-Carat Reduced to 9-Carat H.M. . . 225 12-Carat Reduced to 9-Carat Regular . . 226 10- Carat Reduced to 9-Carat H.M. . . 226 1 o-Carat Reduced to 9-Carat Regular . . 227 9-Carat H.M. Reduced to 9-Carat Regular . 227 Decimal Tables.228 THE JEWELLER’S ASSISTANT IN THE ART OF WORKING IN GOLD. CHAPTER I. The Chemical and Physical Properties of Gold. There can be no doubt that any information emanating from the mind of a practical man, hav¬ ing a general bearing upon the various trades inti¬ mately connected with the art of gold and silver working, will be exceedingly welcome to all who have a desire to acquire knowledge not generally met with in the mere mechanical working of the several metals as mechanical operations only. For careful observation and research are required to note the facts, of which we are about entering into the details. To the successful practice of the art of gold and silver working this information will be useful, in a primary sense, to all practical mechanics who may have occasion to work with or to treat the metals* B 2 CHEMICAL AND PHYSICAL PROPERTIES OF GOLD. in their pure state, although few metals have any application in the industrial arts in that condition. We shall commence the subject with a descrip¬ tion of the distinctive qualities of gold, the noblest of all the metals, Fine Gold. The characteristics of gold are remarkable in a high degree ; when pure it has a very fine, rich orange-yellow colour, and is extremely ponderous. Fine gold has all the distinctive qualities of metals in their utmost perfection; it is infinitely malleable , for it can be extended in every direction by hammer¬ ing and rolling; no metal extends so much as gold does, and under the manipulative skill of the gold¬ beater its noble qualities are at once apparent. It is also exceedingly ductile , the most so of all the metals, and capable of being drawn into a thread or wire as fine as human hair without breaking by the exercise of proper care ; when weighed in pure distilled water it loses between one-eighteenth and one-nineteenth part of its weight. It fuses at a temperature of 2016° Fahrenheit’s thermometer, and although it may be kept for a long time in a state of fusion it loses nothing of its substance, even if the fire is kept at the greatest heat, as it is of a most fixed nature. ACTION OF FLUXES ON GOLD. 3 Pure, or fine gold, as it is called, gives no sound when it is struck, and when in the crucible it no sooner reaches a good white heat than it melts; when fused in the pot it looks of a sea-green colour at the surface. Fluxes alter the colour of gold; borax renders it pale, and saltpetre has a tendency to deepen it; so also has salammoniac and common salt. The strongest nitric acid has no effect on fine gold, neither has any other single acid ; aqua-regia is its proper solvent, consisting of a mixture of hydrochloric and nitric acids, in the proportion of two parts of the former to one part of the latter. The colour of pure gold is unaffected by heat; it does not tarnish in air or water, either from the action of sulphuretted hydrogen or by oxidation, whereas when it is alloyed it turns black in annealing. Gold is one of the metals known from the earliest times, and has always been the most valuable from the beginning of the world, and pro¬ bably the most widely diffused, as it is found in almost every country, and always exists in the metallic state, in most cases in beautiful crystals. The specific gravity of gold varies from 19’25 to 19-50 when hammered, and according to the degree of compression it has received; gold alloys itself 4 CHEMICAL AND PHYSICAL PROPERTIES OF GOLD. with nearly all the metals, but on account of its dearness its alloys are limited, and confined chiefly to purposes of jewellery where gold constitutes the greater portion of material. The old Egyptian sym¬ bol for gold is represented by the following mark 0, signifying divinity and perfection. At the present day the true chemical name symbolical of gold is represented by the Latin word aurum. The real value of fine gold, if pur¬ chased in quantities of ten ounces and upwards, is 55. 3d. per ounce. To afford knowledge to those persons unac¬ quainted with the various values of refined gold, we may state that it is charged for at a rate in propor¬ tion to the quantity it is desired to purchase, and in the best market, according to the scale of the fol¬ lowing table:— Table of Gold Prices. £ s. d. I ounce and under 5 ounces . 460 per ounce. 5 tt >> ff • 4 5 ^ ,, tt tt 50 tt • 4 5 3 tt Although, at the prices above quoted, the gold is supposed to be pure , it is never absolutely so, the expenses attending the operation of purification being so very great, and these being added in addi¬ tion to the usual charges, would increase the cost DISSOLVING STANDARD GOLD. 5 of it too much above its legitimate trade value. Pure gold may be obtained by dissolving the stan¬ dard gold of the currency in aqua-regia , which pre¬ paration has been described in a preceding article. It takes from three to four parts of the acid to dis¬ solve one part of gold, and the operation is best performed by putting the mixture into a small Ger¬ man flask, with a rather long neck, and then add¬ ing the gold to be purified. The gold will now become dissolved if the acids are good; but if the action should be slow, remove the flask to a warm place—a sand-bath, for instance, will answer the purpose admirably. When the dissolution ot the gold has been thoroughly effected, pour the liquid into a shallow porcelain vessel, and again apply heat until it begins to thicken. A scum, or film, will at this stage of the process appear upon the sur¬ face. Immediately this part of the performance has been accomplished, remove the evaporating dish to a cooler place and allow the contents to go through nature’s process of crystallisation. The crystals of gold are now to be dissolved in a quan¬ tity of clean cold water, the solution filtered, and to the latter a solution of proto-sulphate of iron (copperas) must be added as long as it produces a precipitate. 6 CHEMICAL AND PHYSICAL PROPERTIES OF GOLD. Under the action of this mixture the gold takes the form of a brown powder at the bottom of the vessel that holds the solution which is being operated upon. It takes about five units of iron to precipitate one unit of gold to this state of division, and it is a very delicate test of ascertaining the existence of gold in solution, producing a some¬ what bluish tint in a mixture containing certainly not more than a 50,000th part of the precious metal. Standard gold, treated by the means just described, is produced in a form as near approaching absolute chemical purity as it is possible to get it. Instead of evaporating the acid perchloride of gold solution to the state of crystallisation, it may be rendered neutral by the addition to it of a solu¬ tion of caustic soda, and then precipitated with the mixture of iron above alluded to, but it is not so safe as the other, as minute atoms of gold may be still left in solution after the iron has chemically done its work. If preferred, the acid solution of perchloride of gold may be very largely diluted with water, and then effectually precipitated with the solution of iron in the same manner as before pointed out. Gold alloys of 15 and 18 carats cannot so well be purified of their components when they contain various quantities of silver, as this latter metal some- DISSOLVING 15-CARAT GOLD. 7 times resists the strongest aqua-regia in consequence of the dense chloride of silver which invariably forms itself on the surface of the article to be operated upon. In qualities of gold containing a very small proportion of this metal it is always, when treated by the aqua-regia process, precipitated in the first process of dissolving into a chloride of its metal by the action of the hydrochloric acid which forms the greater portion of the aqua-regia mixture, and falls to the bottom of the vessel con¬ taining the substance under analysis, from which it may be removed after the mixture has properly effected its object by decantation, or collected upon the filter, reference to which has been made in a former part of this subject. In dissolving alloyed gold for the purpose of obtaining the metal in its pure state, the chemicals employed should be quite pure, and if the quality of the gold is known to be below the standard of fineness it should be treated at the outset of the operation in the following manner for the speedy separation of the several metals with which it may be alloyed :—If the alloy of gold to be parted should be of 15-carat quality, to one ounce of this com¬ pound add one ounce ten pennyweights of fine silver. Place this mixture in a crucible and well in¬ corporate it by fusion in a melting furnace, a little 8 CHEMICAL AND PHYSICAL PROPERTIES OF GOLD. fine charcoal powder being added at the point of fusion, as a flux, in order to protect it from the action of the air, which would produce a scum upon the surface, making it a difficult matter to pour the metal cleanly and clearly from the crucible without loss or waste taking place. When this alloy is in a thoroughly melted state it should be -well stirred with an iron stirrer, and then poured into a deep vessel of cold water, to which a rotary action has been communicated by stirring. The higher the crucible is held by the operator from the mouth of the vessel holding the water the better will be the granulation of the metal, and the finer will be the grains produced, which are more suitable for the next operation. The operation of adding the requisite propor¬ tion of silver to an alloy of gold is called in- quartatio?i, and to reduce it to the best standard, for the process of parting, the alloy should contain, after fusion and granulation, about three parts of silver to one part of gold, or a little less, to act with the greatest exactitude, for the nitric acid employed in parting, or dissolving out, the baser metals is found to act best with about that amount of silver. It is necessary that a certain relation should exist between the amount of the several metals of which the alloy to be operated upon is composed. In our PROCESS OF INQUARTATION. 9 case we have taken a specific alloy of 15 carats, and we have calculated the amount of silver to be added, inclusively of the other baser metals with which undoubtedly it would be alloyed; this, however, is no obstacle in the way of obtaining perfectly accu¬ rate results, but rather an advantage, which will be explained by-and-by. One ounce of 15-carat gold should contain 12 dwts. 12 grs. of fine gold; therefore, three times that amount will be 37 dwts. 12 grs., exactly the amount we have advised when the 7 dwts. 12 grs. which the ounce of gold contained at the commencement are added to the amount named in the process of inquartation. If the silver, or silver and copper, be not present in sufficient quantity, the mixture will not be so com ¬ pletely attacked by the nitric acid; whilst if too much of these metals exist in the alloy, the gold remains after separation in a very fine powder, and its collection for the purpose of ascertaining its exact weight is a measure of extreme difficulty. The process of parting to which we are now alluding is more suitable for the direct manipula¬ tions of the jeweller’s workshop, where the appli¬ ances for gold-parting are not, as far as our ex¬ perience teaches us, at all numerous. The grains of alloy produced in the previous operation are 10 CHEMICAL AND PHYSICAL PROPERTIES OF GOLD. collected together and put into a parting-flask. Into the flask then is added 9 ozs. of acid solution, composed of one part by measure of the purest nitric acid and two parts of water ; this is allowed to digest for half an hour or so, when the liquid mixture may be carefully drawn off and the residue washed with warm water. When this has taken place, pour into the flask, which still contains the gold, more acid mixture, this time a little stronger than the last, in order to ascertain if all the baser elements have been entirely removed. This latter acid mixture may be composed of half acid and half water, and should be allowed to act upon the gold for a period of fifteen minutes, or more. Decant or draw off the liquid as before, and well wash the residue with warm water, which will remove all the base in¬ gredients and acidness from the gold in the flask. The various liquids drawn off, as well as the rinsings, should be carefully saved, as they contain the silver, &c., in solution, and which require sepa¬ rate treatment for their recovery; to this matter, how¬ ever, we shall have occasion to subsequently return. To get the pieces of gold—for if the inquar- tation process has been properly effected such will be the case—from the flask, warm it upon a sand- bath, and when the gold is thoroughly well MERCURY AND THE REFINING OE GOLF. I t dry pour it out on to a sheet of clean glazed paper; from this it can easily be collected and transferred to a crucible, and a good strong heat given to it in a muffle will soon unite the gold into sufficient adherence that it may be weighed up properly. If all the work appertaining to the various processes connected with this art have been carefully accom¬ plished, the gold will now be found in a perfect state of chemical purity. Gold may be purified of the baser elements with which it may be alloyed by dissolving it in heated mercury, and then immersing the amalgam in a mixture of diluted nitric acid. This solution, which should be prepared of one measure of nitric acid to three or four measures of water, will, when the tem¬ perature of it is increased by heat, gradually remove the mercury, silver, copper, lead, and other base metal from the gold, and leave the latter in a state of finely-divided metallic powder. Before, however, the application of the gold-puri¬ fying mixture to the amalgam, the excess of mer¬ cury may be removed by pressing it through wash- leather; but this operation should be done with care, as it always carries a little gold along with it, to prevent the loss of which the excess of mercury should be collected and preserved, and may subsequently be used in the treatment of a fresh compound. 12 CHEMICAL AND PHYSICAL PROPERTIES OF GOLD. Sponge Gold .—Gold can be produced in the form of a light sponge, and quite pure, by the following method of preparation :—Take any given quality of gold, and well fuse it with its own weight of litharge (oxide of lead); granulate the mixture in the manner before recommended, collect the grains, and then dissolve the lead and the other alloy from the gold by boiling it for a long time in dilute nitric acid of the strength employed in treating the amalgams of gold and mercury ; this leaves the gold, when the supernatant liquor—containing the several nitrates of the baser metals—has been removed, in the form of a light spongy mass at the bottom of the vessel in which the operation has been conducted. The mass of gold now only requires to be well washed with warm water to free it from all impurity and acidity. Gold is acted upon in solution and precipitated into a metallic state by the following chemicals :— Proto-sulphate of iron (green copperas of com¬ merce) produces a brown metallic powder in an acid solution of gold largely diluted with water; or, if free acid be present, the same object may be effected by, firstly, rendering the solution of gold neutral by means of caustic soda or potash, and subsequently adding to it the prepared mixture of copperas, well stirring the whole at the time of this GOLD PRECIPITANTS. 13 addition in order that the salt of iron may more effectually do its work, and that with the least amount of material; the right quantum which it takes is about five times the amount of iron salt to J precipitate one amount of metallic gold. Proto-cliloride of tin in a neutral solution of gold, or one very largely diluted with water, produces a precipitate of gold in the form of a purple powder. Nitrate of suboxide of mercury also produces a precipitate in a gold solution, taking the form of a black powder. Oxalic acid in a perfectly neutral solution pro¬ duces a precipitate of gold without the addition of the mixture containing the gold of another metal, as is the case with the above, in order to effect its reduction. Aletallic zinc , if suspended in waste gold solution, in clean bright sheets, other than cyanide solutions, will effect a precipitate of metallic gold, but the zinc requires to be suspended for some time, as the process is slow and the solution should not be dis¬ turbed during the period of suspension. The solu¬ tions treated in this way should be rendered slightly acid, if they are not so already, previously to the immersion of the zinc plates, in order to better, and more quickly, enable the latter to accomplish the required work. CHAPTER II. The Precipitation of Gold in Waste Solutions. Having alluded to the principal tests for gold, and having also pointed out their various characteristics when applied to the liquid subtances which contain that metal, we are now led to make an observa¬ tion or two with regard to the uses and action of ammonia in gold solutions, and we intend to treat upon this part of the subject more comprehensively. We shall do so for two reasons; firstly, because many master jewellers deem it absolutely necessary to add to their gold solutions and waste waters, ammonia, previously to the solution of copperas, and the advantage claimed by them in favour of this addition is, that it neutralises the solution and thus easily prepares the way for the work of the copperas, when that test is applied for the precipi¬ tation of the gold; and, secondly, because remark has been made upon the absence of that salt, and NEUTRALISING WASTE SOLUTIONS. 15 the great advantages that are to be gained by its employment in the manufactories of jewellers, as a speciality for the recovery of gold, in that part of “ The Practical Gold-worker ” which treats princi- J pally upon the recovery of chemically-dissolved gold, or alloys of gold. We have already remarked that proto-sulphate of iron precipitates gold in nearly all solutions, and certainly in all ordinary solutions of jewellers, with the exception of cyanide solutions, and that without any previous preparation of them to receive it. If jewellers’ waste gold solutions (which are contained in collecting-vessels ap¬ pointed for the purpose) really reqziired this point of neutralisation, the rinsing waters absolutely indispensable for so many gold-working purposes would be amply sufficient for every purpose what¬ soever. The surplus waters which accumulate in such large quantities in the collecting-vessels will ren¬ der the acids employed in the gold-worker’s art (no matter how strong, and however large in quan¬ tity) exceedingly dilute, even if the solutions were imperatively required in that weak state, for the purpose of promoting a precipitation with the chemical ingredient to which we have specially alluded in the work referred to. I 6 PRECIPITATION OF GOLD IN WASTE SOLUTIONS. Again, setting entirely on one side the observa¬ tions above, for the sake of argument we will en¬ deavour to show, further, the absurdity of the rigid adherence to the constant use of ammonia as a neutraliser for waste solutions, and its impractica¬ bility in some of the modes of subsequently treating the residue produced from its application. Before directing attention, however, to this point, we may observe the fact, that carbonate of soda or potash is employed by art metal-workers in the manifold branches of their trades, and that these sub¬ stances have not only the power of producing effec¬ tive neutralisation in preserved waste solutions, but also the power of producing in hot solutions an actual precipitate of gold, &c. It is thus shown that the large addition of water—in practice commonly known as rinsings —is a sufficient neutraliser to enable the copperas to most effectively perform the functions re¬ quired of it, and in any single case, where the waste water should not happen to be in this state of dilution, the compulsory use of carbonate of soda in the washing-out of newly-polished, and some kinds of finished work, admirably com¬ pletes the process the ammonia is supposed to effect, and that without producing any dangerous compound such as ammonia would produce, by CARBONATE OF SODA AS A NEUTRALISER. 17 precipitating gold as a fulminating powder, and which would be an exceedingly dangerous sut^ stance to deal with in collecting the residue into a metallic button ; at least, if some of the methods now in operation for that purpose were employed. In gold solutions this point of neutralisation is only really required when the mixture contains spirits of salts (muriatic acid) in some measure of strength, and even in cases of the latter description the carbonate of soda is all that is required in bringing about the desired result. Writing on the precipitation of gold from waste water solutions, it brings to mind the following conversation held with a master jeweller, and for whom we once acted as foreman, upon our calling attention to the great advantages that were likely to accrue from the use of proto-sulphate of iron in the treatment of his waste waters ; and here we wish to observe that all minute particles of dis¬ solved gold were allowed to run away into the sewers, and knowing this, we naturally thought a great saving might be effected by our plan of precipitating the gold thus held in solution. Upon unfolding our scheme he quietly remarked, “ And what are you going to do with the pieces of iron ? How are you going to get rid of them ? ” We c I 8 PRECIPITATION OF GOLD IN WASTE SOLUTIONS. merely told him pieces of iron were not a part of our scheme, so far as they meant employment in that state, but that we proposed to employ a salt of iron in an aqueous condition, and make it an addition to the waste waters at regular intervals. He remarked, “ But then I don’t see how you are going to get rid of the iron?” We informed our employer that a portion of the salt contained no¬ thing more than sulphuric acid, and this would be still held in solution in precisely the same manner as the other liquid substances, and that a very small portion of iron sufficed to effect the object we had in view—the precipitation of the gold—and this probably would go to the bottom of the col¬ lecting vessel with the gold, to be collected with the sediment which contained the gold. “ But even then I don’t see how you are going to part it from the gold ? ” he went on. Our patience, after a time of useless discussion, being now nearly exhausted, we referred him, in answer to the last question, to the melters and refiners with whom he did business; and to the present day we believe a portion of his gold is allowed to run entirely away without any scientific method of recovery. We continue our remarks on this subject, by extending them in the direction of the alloys of gold, or its various combinations with other metals, HOW TO MAKE RED GOLD. 19 all of which are very numerous. It is highly interesting to know the multifarious compounds which go to form the alloys of gold, especially those combinations of metals which are prepared wholly for the purpose of evolving special tints. The alloys of gold with copper, with silver, and with mercury, the latter forming amalgam, are the most important of all the alloys of gold, but there are other metallic elements which freely enter into combination, forming homogeneous alloys with gold, and may even be employed for commercial purposes in such an art as the jeweller’s. Among some few of them we may mention such metals as soft iron, zinc, platinum, composition (a mixture of copper and zinc), &c., &c. Copper and gold combine in all proportions, but too large a proportion of the former element materially affects the latter, by making it con¬ siderably redder in colour. It is by alloying in this manner, that what is now known as red gold is produced ; it is an alloy rather more difficult to work with for some purposes, than when a certain proportion of silver as well as copper enters into the compound. Such an alloy as the former gives increased hardness to gold and renders it much more fusible, but not so much so as when silver largely forms a part of the mixture ; in either case 20 PRECIPITATION OF GOLD IN WASTE SOLUTIONS. the density is below that of fine gold, while the sonorousness is greatly increased. Silver and gold may readily combine in any proportions, forming green, pale green, and white alloys, according to the various proportions of the former metal in the alloys produced. Jewellers do not alloy their gold with too much silver, partly on the grounds of economy, and partly to please the tastes of their customers and the public generally, who like something rich looking for their money, and this rich-looking tint cannot be produced when too much silver is used in the alloy; and so it has happened, that jewellers are compelled to use a combination of metals in some of their golds, to satisfy this public taste. In some instances jewels are made of various alloys of gold, each alloy showing a distinctive characteristic in the representation of colour, and when the articles are finished for the market, all these various hues or tints, produced in the first place by alloy, show themselves to the greatest perfection possible. Such instances as these are rare, it is true, and require the greatest judgment and care, on the part of every one connected with undertakings of that kind, in the production of the proper tints, and their suitability—so far as THE SEVERAL COLOURS OF GOLD. 2 I the several colours are concerned—to the design in course of execution. We shall now direct attention to those useful metals which, when united with gold in stated proportions by fusion, serve to answer for the purposes of those alloys of which we have just been speaking ; and here we must observe that much greater care is required in the preparation of such compounds, than is the case with alloys pre¬ pared and used by the major portion of the trade of manufacturing jewellers. CHAPTER III. The Different Colours of Gold. Yellow gold is pure or fine gold without any addition of alloy whatever. Pale Yellow Cold. oz. dwts. grs. Fine gold . . . . . .0188 Pure zinc . . . . . .0 1 16 1 00 This alloy is of 22-carat quality, and will cost about 78s. 2d. per ounce, calculating the cost of the gold in its pure state at 85 s. 3d. per ounce. To this alloy, to keep up the proper standard, add 6 grs. extra per ounce of zinc for loss in the melting of it, as the zinc is very materially reduced in quantity during the fusion of the compound. Another Yellow Gold. oz. dwts. grs. Fine gold . . . . . . o 18 8 Cliaico 1 i on . . . .o I 16 i o o YELLOW, RED, AND GREEN GOLD. 23 This alloy is of the same quality as the preceding- one, costing about j8s. 2d. per ounce. It requires care in the preparation, and also in its subsequent treatment. Greyish Yellow Gold. oz. dvvts. grs. Fine gold.o 16 16 Charcoal iron.038 1 00 This alloy is of 20-carat value, and costs 71A id. per ounce. It requires the same care in the various stages of treatment as the one preceding it. Red Gold. oz. dwts. grs. Fine gold . . . . . .0150 Swedish copper.050 1 00 This alloy is of 18-carat quality, and costs 64A per ounce. In the melting of this alloy very little is lost, it works without difficulty, and colours a deep colour, with a proper recipe, without loss. Green Gold. oz. dwts. grs. Fine gold . . . . . . o 15 o Fine silver . . . . . .050 1 00 24 the different colours of gold. This alloy is also of 18-carat quality, but costs 65.?. 3^. per ounce, on account of the high price of silver which forms the ingredient of alloy. It is easily melted and worked into any required form. It is chiefly used for ornamentation in the shape of leaves, and the characteristic green tint is given to finished work by means of the graver. Blue Cold. oz. dwts. grs. Fine gold. 0150 Charcoal iron.050 1 00 This alloy forms another of 18-carat quality, costing about 645. per ounce. It is very difficult to melt, and may best be performed by dissolving gradually iron wire in melted gold; a little extra may be added to the given proportions, for loss, say about 2 grs. of iron per ounce. Dead Leaf Green Gold. OZ. dwts. gTS. Fine gold . . . . . o 14 o Fine silver.060 1 00 This alloy is of a quality a little under 1 7 carats, and costs 6o.y. 3^. per ounce. There is not much BLUE, WHITE, AND GREY GOLD. 25 difficulty about the preparation and subsequent treatment of this alloy. *■ Greyish White Gold. oz. dwts. prs. Fine gold . . . . . . o 12 12 Charcoal iron . . . . .0 7 12 1 o o This alloy is of 15-carat quality, and costs 53T. 3d. per ounce. It requires the treatment in all stages as has been recommended in preceding alloys with iron. Water Green Gold. oz. dwts. grs. Fine gold . . . . . .0120 Fine silver ......080 1 o o This alloy forms a quality nearly approaching 14J carats, costing 535. 3d. per ounce. Grey Gold. oz. dwts. grs. Fine gold . . . . . .0100 Charcoal iron . . . . . o 10 o 1 o o This alloy is of 12-carat quality, and will cost 2 6 THE DIFFERENT COLOURS OF GOLD. about 4 2S. 8 d. per ounce. The same treatment should characterize this alloy as we have already explained. White Gold. OZ. dwts. gTS. Fine gold.o io o Fine silver . . . . . . o io o i o o Another 12-carat alloy, costing in this case 455. 3 d. per ounce. An alloy very simple in treatment in all the various processes of manipulation. The colour of the various alloys of gold, more especially in demand at the present day for the manufacture of articles of jewellery, is that very nearly approaching to a red tint; such alloys are produced by the alteration of the baser ingredients which were formerly employed for the purposes of adulterating or lowering the purity of gold; and by a reduction of the more valuable metal, silver, with a proportionate increase of best red copper, to standard proportions, such purposes are readily effected. Alloys so prepared are more difficult of fusion, and sometimes require very careful treatment in the working of them : and this feature is promi¬ nently experienced with those workmen who have HARD GOLD, ITS PROPER TREATMENT. 27 always been accustomed to work from pale gold alloys. We are continually hearing complaints of this kind outside our own business, and in nine cases out of ten the fault is not that of the gold or alloy, but owing to irregularities in the first treatment. Some copper alloys are unmistakably hard in nature; to such alloys more frequent annealings should certainly be given at the commencement or period of breaking down of the bar of metal. If this process be neglected at the time stated, and although the gold may apparently be work¬ ing all right, only a little hard “ sir,” the evil effects of this wrong treatment will subsequently be felt with tenfold force, when the finer processes of dealing with it are put into operation. But then the mischief is done, and past all remedy, save a return to the melting-pot. Then the mischief is assigned to the wrong cause, such as over-heating in the melting ; not enough borax employed ; the alloy not right, &c., &c.; and other like expressions; whereas the real mischief was done by improper manipulation. This kind of thing we have seen proved before us, and have ourselves guaranteed the success of the undertaking before commencing upon it, well knowing the capacity of the said alloy 28 THE DIFFERENT COLOURS OF GOLD. from having worked up the material from which that to be employed in the experiment was taken. Sometimes gold alloys will be found a little cracky. This is owing to two causes ; firstly, to too much hardening pressure, which brings out and disunites the fibres of the metal; and secondly, to a little dirt or grit, which may accidentally have been dropped into the crucible, either with the copper or with the charcoal employed as flux. To prevent in the future a repetition of these drawbacks, use no other but the best and finest vegetable charcoal procured from a respectable establishment, and see that the copper is perfectly clean and free from grit before it is made an addition to the precious metals. CHAPTER IV. The Mixing and Melting of Gold. Having reached this stage of our remarks, we now come to deal with a very important feature in the manufacture of some of the alloys of gold ; we particularly refer to one of the most valuable of gold alloys—as regards intrinsic worth—18-carat, an alloy of three-fourths pure gold and one-fourth of inferior mixture. 18-carat gold, if alloyed with too little silver, is far more difficult to melt in a form that will turn out as malleable and as ductile as should essentially be the case with this quality of gold; now this difficulty is not nearly so apparent when a little more silver is employed in the composition ; neither is it so when one of the alloying ingredients is absent from the mixture altogether; all this has been, however, exhaustively dealt with in our work for goldsmiths entitled “The Practical Goldworker.” A few more details, while we are upon this sub¬ ject, will not be considered misplaced, because 30 THE MIXING AND MELTING OF GOLD. many of our correspondents do not appear to have mastered this question of 18-carat gold preparing ; and, secondly, because a correspondent has just ap¬ plied to us for information upon this very question. The question is: “Why does 18-carat gold always crack if prepared with Australian sove¬ reigns, yet the same when reduced to 9-carat quality works all right ? ” Now the question is a simple one, and yet very difficult to answer on paper in the absence of further information than that contained in the above note of interrogation. In the first place, it is always more difficult to melt small quantities of 18-carat gold than large ones, so as to work in a proper manner; then, again, too little silver may have been employed in the mixture, in which case the grain of the metal will appear, when broken, of a sandy red colour, and very coarse in texture; this shows that the various ingredients used for the preparation have not properly and chemically united to each other, for being very readily disunited by pressure, proves such to have been the case: whereas, if proper chemical unition had taken place in the fusion of the compound, the subsequent pressure brought to bear upon the metal v r ould have com¬ pressed the fibres together into smaller space, thus rendering the material still more tenacious and I8-C. ALLOY WITH AUSTRALIAN SOVEREIGNS. 3 I workable. The reason why g-carat quality is more easily prepared and worked is a much simpler problem to fathom ; the large proportion of alloy which must necessarily be added to make the quality named brings the mixture, ordinarily speaking, to a more perfect state of homogeneity, as consisting of similar atoms, or elements of a like nature, which are not so easily separated as are those in the above-named alloy, when a proper chemical composition has not been considered in relation thereto. To proceed to the details of 18-carat alloys made from Australian sovereigns, we may observe that silver is used almost exclusively for alloying in the manufacture of those coins by the officials of the colonial mints of Sydney and Melbourne, in Australia ; this, of course, may, if preferred, necessi¬ tate a little less of that material being employed in the process of their reduction to 18-carat quality, but too great advantage should not be taken of this fact, if the evil of which our correspondent complains is to be avoided. There is no reason whatever to prevent Austra¬ lian coins from being thus employed, if practical knowledge is brought to bear upon the subject. We have ourselves used them for all qualities of gold, and that without a single drawback attending 32 THE MIXING AND MELTING OF GOLD. them. In alloying gold, or in other words, in reducing Australian sovereigns to 18-carats, for a simple alloy, take a given number of coins, which will prevent the cutting of them, as follows :— Good 18-carat alloy— oz. dwts. grs. Four Australian sovereigns. . . i o 12 Fine silver ... . ..026 Swedish copper .....026 1 5 o This alloy will stand hall-marking, and it con¬ tains about 3 dwts. of silver per oz., when calcu¬ lated in conjunction with that which the coins contain, and it will produce an alloy, if proper manipulative skill is employed, of very fair work¬ able capacity, and of an exceedingly rich-looking pale yellow colour. Continuing our remarks upon the subject of 18-carat gold alloys, their various preparations for the crucible, and the general mechanical and manipulative details belonging to them, permit us here to state that it requires a certain amount of practical knowledge to produce in good condition from the melting, alloys of gold of the proportions of material of which 18-carat is known to consist, without the defective appearance showing itself upon the surface, of which our correspondent POURING 18 -CARAT INTO OPEN INGOTS. 33 speaks, and which so visibly presents itself upon subsequent pressure being applied to the bar of metal, even with such alloys as we have advised, unless very careful treatment be observed in the process of fusion, and in the pouring of the mixture from the crucible. We have known instances in which several jewellers of our acquaintance always adopted the precautionary measure of twice melting their 18- carat alloys before attempting the mechanical pro¬ cess of working them. The process was performed in this way: the proportions of gold, silver, and copper were taken and put into the melting-pot for fusion ; when this had taken place, and the mixture was in a perfectly liquid state, the crucible was withdrawn from the furnace, and the contents care¬ fully poured into an open ingot, which had previ¬ ously been heated up to a certain temperature for its reception. The crucible was immediately put back again into the furnace, and the bar of gold upon being removed from the open ingot with a pair of iron tongs, was at once transferred to it for a second fusion ; the pouring this time taking place in an ingot arranged in the manner peculiar to the reception of gold and silver. We are not prepared to say whether there is any advantage to be gained by such a procedure, but D 34 the MixiNG And melting of gold. this much is certain, that bars of 18-carat gold, prepared by the means stated, have exhibited all the defects of which numbers of jewellers have repeatedly and bitterly complained ; and whom we are endeavouring to assist, by supplying informa¬ tion of a really practical character, which may be of service to them in a pecuniary sense. In further¬ ance of this object we will give to our readers who desire such information an alloy of 18-carat gold quality, which has invariably been found free from all workable defects. An alloy, with Australian sovereigns, has already been given in these pages, but it may not always be convenient to procure these for the purpose of alloying; to supply this inconvenience the follow¬ ing alloy is given with fine gold as the principal in¬ gredient, in the place of the Australian sovereign as heretofore given. Good 18-carat alloy, with fine gold. Fine gold . Fine silver . Swedish copper . oz. dwts. ;*r9. I G O 040 O 216 6 16 This alloy will contain about the same proportion of silver per oz. as the one with Australian sove- 18-CARAT ALLOY WITH FINE GOLD. 35 reigns, i.e. 3 dwts. to the oz. of material when alloyed and prepared to the manufactured state. It may be used for bright gold purposes of finishing or for colouring, for either of which purposes it is admirably suited and works exceedingly well, being smooth, firm, and tenacious, and of a pale yellow colour when polished. CHAPTER V. The Dry-Colouring of Gold. Since our last articles appeared upon the subject of 18-carat gold mixtures for various purposes, several of our correspondents have experienced a difficulty in producing excellent results, so far as manipulating with them for a purpose other than those laid down in our previous remarks. It appears that dry-colouring is coming much into fashion, no doubt on account of the highly-finished surface of articles prepared for the market by such a process. The very bright and rich-looking appearance at¬ tained by this means as compared with the dead sur¬ face of wet-colouring, is one of the reasons why articles so finished are being asked for by shop¬ keepers and others, with the idea of tempting the purchasing public with something to all appearance new and different looking to those generally offered to them for sale. Now, to produce this richness and evenness of surface to the greatest possible perfec¬ tion, a special mixture should be employed for the SPECIAL ALLOY REQUISITE. 37 work upon which it is to be produced, not only as regards the ingredients, which have to form the colouring paste, but also those of the alloy of which the work is composed ; therefore, it must not naturally be supposed that a good alloy which pro¬ duces all the desired results in wet-colouring will do so by manipulation under the regulations which govern this new process, and which is entirely different in its action and preparation to that com¬ monly and formerly employed in the trade of a goldsmith. Yet this is what has been expected of an alloy more fit for bright gold purposes of finish¬ ing than even for wet-colouring, by workmen whose everyday experience should have taught them more wisdom. In wet-colouring, to bring to the surface a pre¬ sentable and uniform appearance involving a spe¬ ciality of tint, an alloy is required capable of not only materially assisting the colouring mixture in effecting this, but it is also of the utmost import¬ ance that the chemicals employed for this purpose should be so selected and arranged in manipula¬ tion that the action of the one be perfectly suited to the other; and this must be so in every case if all the best results are to be achieved by the pro¬ cess of which we are speaking. Now, in dry-colouring, it is even more impera- 38 THE DRY-COLOURING OF GOLD. tively necessary that these principles or regulations should have careful and proper attention paid to them by the operator who is about to perform the process, unless he desires to see his work come from the colour-pot patchy, or with a white film upon the surface, which is much to be guarded against. Our idea of what a workman should be is this : he should not only be competent to perform the vari¬ ous duties of his trade mechanically , but also be enabled to explain the rationale of every process appertaining to his art. In order to afford some little assistance to our fellow-workers by forward¬ ing their advancement in the craft to which we have the honour to belong, we will endeavour to explain more closely the general details of the subject bearing upon the preceding observations. Wet-colouring is a process that considerably reduces in weight any articles submitted to its action, and this reduction, which takes place from the surface, is far more apparent in proportion to the poorness of the alloy, the amount of silver con¬ tained therein, and the strength of and length of time the colouring mixture is employed. By the strength we mean the quantity of acid used in pro¬ portion to a given quantity of alkaline salts. The greater the proportion of silver per oz. in the alloy to be operated upon in wet-colouring, the greater PALE COLOUR ON DRY-COLOURED WORK. 39 should be the quantity of acid, and vice versa. Why is this necessary ? may be asked. We reply, be¬ cause it is imperative that some strong mixture should be employed in order to break up the frag¬ ments of silver which underlie the surface more or less of all coloured gold work. Now, while silver is more resisting to the action of muriatic acid than copper, it very readily, when used in conjunction with a little common salt or sal- ammoniac, effects the desiredpurpose of breaking up and removing from the surface of the work all traces of that and other extraneous matter, leaving behind what, to all appearance, constitutes a pure gold-like surface, though dull and. uniform. Whereas in the process of dry-colouring very little, if any, is re¬ moved from off the articles, the mixture employed not having the power chemically to do so ; it proves that if a fine deep orange colour be desired upon the work very little silver should enter into the alloy employed, for it only removes that depth of shade from the articles which is so essential should be maintained in every stage of manufacture, and which every one fails to produce in the finish when guided by wrong considerations. The pale colour sometimes seen on articles of first-class jewellery which have been finished by the process of colouring, commonly styled dry- 40 THE DRY-COLOURING OF GOLD. colouring , is not the result of any inferiority of the quality of the material of which they are composed, but due to the chemically resisting properties im¬ parted to it by the incorporation of the various proportionate parts of metals generally employed in rendering complete the formation of the mixture, in order that it may possess in a remarkable degree all those qualities of flexibility and ready compli¬ ance, qualities which are all in all to the jeweller, in a more or less marked manner, in every branch of his art. From a mechanical standpoint all these qualities are specially desired by the art-worker in gold and the precious metals. Now the preparation of an alloy not only adds to and detracts from these qualities in accordance with the order of its composition, but it has, like¬ wise, a very great deal to do with the numerous shades of colour that are collectively produced by the trade; and any special mode of mixing by a firm consequently brings its own specialite. of colour ; thus, under the operations of a skilful and practised hand, we may have very nearly every shade of colour artistically worked out by a careful manipulation in gold, and gold and its alloys. The pale colour of gold work, which is not so rich-looking and pleasing to the taste in comparison with a deeper tint, is often produced in ignorance IMITATION DRY-COLOURED WORK. 41 of the scientific principles which naturally point to the cause of its production. We have frequently been informed of the utter inability of even practical persons to prevent this paleness upon their work, and we have now before us abundance of proofs in support of this very testimony, in the shape of cor¬ respondence bearing upon the particular point at issue, the writers of which we have been enabled to assist by supplying them with particulars re¬ garding the cause of failure. In one case submitted we have an alloy of full 18-carat value, containing as much as 15 per cent, of silver per ounce. Now, considering that the mixture for dry-colouring has only a very weak affinity, or chemical attraction, for the metals in its special mode of employment, such mode forming the process, it will be at once apparent, even to the most unobservant, that so large a percentage of silver must carry its tint, to a considerable extent, to and from the colour-pot in which the experiment has taken place. When it is known that the silver in this alloy predominated something like 5 per cent, over the copper, there can be no surprise expressed at the work finishing pale by those well- informed upon the subject. The principal cause of pale gold, as produced by the dry-colouring process, having now been ex- 42 THE DRY-COLOURING OF GOLD. plained, it will be necessary to call attention to some of the subsequent devices employed in at¬ tempted improvements of this paleness, so as to bring to the surface a deeper and richer colour to the work. Of late years wet-coloured work, and burnished so as to produce a smooth, mirror-looking surface, has been pushed into the market as goods bearing the dry-coloured surface upon them. Not at all has the device been invented with the view of deceiving the public in the quality of their goods, but because operatives have been unable to pro¬ duce by the older method that tone or depth of colour required to satisfy the public taste—a taste now vastly improved as regards former require¬ ments, in the direction of a more artistic manner of finishing, as well as a much richer and deeper shade of colouring. It should now be a well-known fact that genuine dry-colouring cannot be effected with all the ele¬ ments of success upon work inferior to 18-carat gold , quality ; whereas, with wet-colouring and subsequently burnishing, a similar colour may be made to appear upon all qualities amenable to the wet-colouring mixtures of the period. The only effective check upon this kind of finishing jewellery work with which we are at the present acquainted METHODS FOR DEEPENING THE COLOUR. 43 is its liability to detract, in a permanent sense, from the richness primarily imparted to it, by its dimin¬ ished lustre. Iron ladles were formerly used as utensils for holding the colouring mixture, and being very con¬ venient to manipulate with, the handle serving to facilitate the process of access to and removal from the fire in which the operation was conducted, they became at the time very general in all dry-colouring processes. The iron of which they were composed, it was assumed, greatly assisted the mixture in the giving of a deeper and richer shade of colour to the work. This theory, no doubt, was true to some extent, and answered the purpose satisfactorily, anterior to the date in which modern art had been made to dis¬ play the power wonderfully combined in the action of certain metals, particularly suited to the objects sought for. Ladles appeared to answer nearly all the require¬ ments the goldsmiths desired readily enough, the only practical drawback, and this was a real one, being found to exist when manipulating with a large batch of work; the ladle being considerably shallower towards the sides, it presented the diffi¬ culty of a portion of the work farthest from the centre exposing itself above the colouring mixture; 44 THE DRY-COLOURING OF GOLD. therefore, it either necessitated smaller batches of work and the process more frequently applied, or the devising of some more suitable vessel to hold the mixture, the shape of which would conform to a degree to the batch of work when large in quantity. The latter method was adopted. This improvement took practical form in the present shaped colour-pot, although it was first made in iron, operators then preferring iron as the best material to employ. In colouring with the iron ladle or iron pot, a very much duller and deader colour was produced upon the work than that of the present period. It was usual to well rinse the work after colouring, and then the only other subsequent process was that of drying, which finally completed the work. There was no scratching or burnishing in use at that period of the goldsmith’s art. The colour much resembles that to be seen upon Etruscan jewellery, and was effected by the use of various mixtures. Of course it must be understood that it was all 18-carat gold that was so treated, all of which varied with different masters, as now, both in the proportion of ingredients and methods of application. The following was a very good mixture in use at the time of which we speak, and produced the ETRUSCAN GOLD COLOUR. 45 Etruscan colour so much desired by workers in that art with very little difficulty. The ingredients generally employed consisted of Nitiate of potassa (saltpetre) Common salt (table) Sulphate of iron (copperas) Sulphate of zinc (white vitriol) Sulphate of alumina (alum) 6 parts. 6 „ I „ Total . 15 parts. All these were pulverised to a fine powder, and intimately well mixed together with the hands, and then transferred to the iron ladle for fusion, or otherwise, for the dissolution of them in their water of crystallisation. The work, having been well prepared to take the colour, was dipped into the rising mixture and turned about two or three times, and then withdrawn and rinsed in hot water, or water containing a small portion of one of the corrosive acids, which dissolved any colour that adhered to the work. The drying of the work in hot boxwood sawdust finished all manufacturing processes, and the work should then, if perfect, be free from all spots or blemishes and of a uniform rich dull colour. Another very good mixture for producing the Etruscan gold colour consisted as follows :— 46 THE DRY-COLOURING OF GOLD. Saltpetre Alum Sulphate of z'nc Sulphate of iron 5 ounces. 2 “ 3 3 I „ I ,, Total 9 ounces. These ingredients may be treated according to either of the following methods with varying suc¬ cess. Dissolve the salts in their water of crystal¬ lisation, using an iron ladle or other suitable vessel to contain the liquid, which, when dissolved and about to rise up a little, the work should be laid in for a short time, then gently turned about, and subsequently withdrawn. If the colour is not then dark enough the experiment should be repeated, and as often until the desired colour is brought to the surface, though usually two or three dips is considered sufficient for the purpose. The other method of treatment to which we have alluded was performed in a still more simple man¬ ner, viz., the ingredients were at the outset ground to a fine powder and mixed with a small quantity of water so as to form only a very thick paste; this paste was then either brushed over the articles to be coloured, or the latter were dipped into it, in order that they may become well coated with the mixture, without which the work would probably finish patchy. This part of the process having COLOURING ON THE PAN. 47 been performed, the articles were next placed upon a clean pan of copper or iron, and at once submitted to the action of a clear coke fire; this action was allowed to go on until the colour began to burn. The process may be ascertained to have pro¬ ceeded far enough when black smoke is being trans¬ mitted from the work upon the pan. At this period the pan is withdrawn from the fire, its contents al¬ lowed to cool, and then immersed in water, to which a small quantity of sulphuric acid had previously been added; this latter removed any flux or other impurity adhering to the surface. A final rinsing in clean water, to which a very little carbonate of potash had been added, and drying well the work, absolutely finished the whole process. And if the alloy had been all right a fine, deep, uniform colour would be the result of the operator’s labour. To produce a soft, deep colour on jewellery work the alloy should contain a very large preponderance of copper, and should be weakly coloured, whether the process be performed by the dry or wet process, to insure certain success. Twenty-carat gold is a very good and medium alloy for all dry-colouring purposes, and it is a fully recognised standard quality in Ireland, cap¬ able of bearing the Government hall-marks attached to that quality of gold. In the treating of this 48 THE DRY-COLOURING OF GOLD. standard it is easier to produce a good colour than when treating with the lower standard of 18-carats, however variously the former may be alloyed with the respective metals commonly employed by gold¬ smiths for alloying purposes; still, even with this alloy, when too great a proportion of silver is em¬ ployed, the chances against producing an eminently satisfactory colour are considerably increased. A far greater proportion per ounce, however, may confidently be employed in proportion to the copper, because the alloy would be much richer in the amount of gold than the one of 18 carats; and this has a marked tendency to effect, more easily and effectually, those high results with regard to finish which all aim at. One of the earliest and most common recipes for enriching the surface of high-quality gold, when this mode of finishing jewellers’ w r ork became fashionable, used, either in its employment for the purpose of ornamentatien in contrast to the former method of bright-finishing, or as a desirable mode of altering the naturally pale colour of polished gold work, of inferior quality, by imparting to it the colour of very fine gold. To accomplish the latter purpose the following chemical salts were employed in various ways, and were found to produce satisfactory and serviceable results, with COLOURING MIXTURE FOR 2 2-CARAT. 49 the legally workable quality allowable at that period of the goldsmith’s art in this country ; a standard of which had previously been enacted by the Legislature for the guidance of jewellers, and any one found manipulating with an inferior quality committed an offence highly improper. The colouring salts compounding the mixture should all be prepared chemically pure, and may be taken in the following proportions, which make a good colour if applied in a proper manner, and that to a suitable alloy of the standard quality, viz., 22-carat:— Saltpetre . . . 6 ounces. Alum .... • • • 3 >> Salt .... • • • 3 >> Sulphate of zinc • • • 3 f> 15 ounces. The ingredients are first of all reduced to a fine powder, and well mixed together in order to procure a thorough union ; a little water is then added, and the whole stirred well together; the water should be added little by little, well stirring after each addition, care being taken not to make the colour¬ ing paste too liquid, which is very objectionable to the process. The paste should be, when properly prepared, of the thickness and consistency of E 50 THE DRY-COLOURING OF GOLD. cream. In this state it attaches itself more firmly to the work, the surface of which only it acts upon and deepens; but always remember, in proportion to the nature and goodness of the gold alloy, i.e. the smaller the amount of base alloy which the article contains, and, still more, the smaller the amount of silver in that base alloy, so will be, in proportion, the depth and richness of colour im¬ parted to the work at the close of the process performed. The work, which is prepared chemically clean by the action of acids upon it, is now taken and dipped into the paste, or otherwise well rubbed over with it, so as to leave no part exposed from the mixture, and subsequently placed upon a clean copper pan (copper being decidedly the best) and heated until all hissing or crackling noise has sub¬ sided ; in fact, the heat should be continued until the colouring paste has actually become fused to the surface of the work, when it may be withdrawn and plunged into acidulated pickle water, which dissolves the salts and throws up the high and rich tint of pure gold. If the colour is not deep enough the process should be repeated, though it is seldom required but once if the alloy is right and the gold good in quality. Such a process as the above is only fit to be ACTION OF COLOURING PASTF. 51 employed upon very rich gold, such, for example, as 22-carat gold, if good commercial results are to be accomplished. The film of colouring paste is very thin, and consequently can bestow very little action on the surface of the work. This and similar gold-colouring processes are very often given in scientific periodicals and published books, without a sufficient amount of real practical detail of the facts here laid down as to the speciality of the alloy and the quality of the gold, and without such information as we are supplying; such recipes are consequently utterly worthless to amateurs and scientific experimentalists, because, through having been applied by them to some unsuitable alloy and quality, their labours have resulted in com¬ plete failure. With 22-carat gold the process here described can be accomplished with a very fair amount of success, but with any lower quality the results would, we are quite sure, be very indifferent to that produced by other processes for accomplishing the same object, viz., the enriching and beautifying of the surface of alloyed gold. To modern processes we shall refer hereafter, together with some of our own experiments, which have been sought for with the view of economical improvements in the art of gold-colouring; our 52 THE DRY-COLOURING OF GOLD. aim being at present to point out the defects of gold-work manipulations as acquired from book learning, and to show the advantages which may¬ be derived from their proper application, by sup¬ plying the necessary information which usually unaccompanies these recipes , as they appear to be copied in the words of unpractical authors, one after the other, most of whom never, probably, manipulated a piece of gold-work in their whole lives, and whose information, therefore, is most unreliable, in a commercial sense, for the successful practice of an art which requires, more than any other, exact, careful, and trustworthy information upon so important a branch as this one of gold¬ colouring. The above ingredients and proportions, if pre¬ pared and mixed together, and then put into a black-lead colour-pot and heated until dissolved in their water of crystallisation, will effectually colour 20-carat gold, and even 18-carat gold may be coloured in this mixture; but the solder must be very good in quality to effect an even colour to the surface. When the salts are dissolved, which should be done gradually, the mixture will rise up in the pot, and then is the time for the immersion of the work, which must be gently moved about for a minute or COLOURING A WEDDING-RING. 53 so, and then withdrawn and immediately dipped into a pickle of nitric acid and water at nearly the boiling point. If the colour on the surface of the work is not in¬ tense enough, the water should be well shaken from it and another dip must take place to bring up the proper colour, and with 18-carat gold alloys some¬ times a third dip is even rendered necessary to raise the colour to the desired point of perfection. The rinsing-water, or pickle, may be of the strength of one of acid to twenty of water, and may be made by boiling the water and adding the acid to it. Twenty-two-carat gold articles, such as a wed¬ ding-ring, or keeper, or anything small and plain, may be coloured by a very simple plan, as follows: Place the article upon a pumice-coke or piece of wood charcoal, and make it red-hot by blowing upon it the blow-pipe flame from a gas-jet, and afterwards boiling it out in a mixture of sulphuric acid and water, tolerably strong, say, in the pro¬ portion of one of acid to four of water, in a copper or other suitable vessel. If the colour is desired to be dead, the heating and boiling out should be repeated until a thoroughly uniform surface pre¬ sents itself upon its removal from the boiling-out mixture. When an even surface has been thus procured, 54 THE DRY-COLOURING OF GOLD. simply washing it in a hot solution of soap and water, with a clean and soft brush, completes the process. If desired bright, it may be scratched or burnished, then rinsed in the usual manner and dried in hot box-wood sawdust. A little— very small quantity—of potash added to the wash¬ ing-out waters improves the tone of colour, as well as completely neutralises the acid that may accidentally remain upon the articles through im¬ perfect rinsing in the swilling waters. This method can only be successfully employed when a tolerably deep rich colour is a special requi¬ site to the finish of the work in hand, and then, that can only be effected with 22-carat gold alloys. Therefore, inferior alloys of gold to the one above named must not be treated with this recipe if an intense colour is aimed at by the operator in charge of the process. Instructions in the art of colouring gold have frequently been given by various writers in high class journals of popular renown. Among some dozens we have noticed, we select the following extracts from well-known authors, with their names appended. Professor Church, Royal Agricultural College, Cirencester, says, in “ Cassell’s Popular Educator,” “ Gold, if not alloyed very much (not more than 9 parts in 24), may be made to assume CHAFFERS’ colouring recipe. 55 its proper colour by a process of ‘pickling’ or ‘ colouring.’ Gold articles plunged when warm into nitric acid lose a portion of their superficial alloy, be it copper or silver, the pure metal being left with a somewhat matt or dead surface and a rich orange colour.” Again he says, speaking of the same quality of gold, “ A mixture of equal parts of borax, nitre, and sal-ammoniac, may be made, ground into fine powder, mixed with a little water, and applied as a thin coating to the metal. The metallic object is then heated till a faint dis¬ colouration appears on the coating ; afterwards, the paste being washed off, the pure gold film will appear beneath.” Mr. William Chaffers, in his work entitled “Hall Marks on Gold and Silver Plate,” has given, for the benefit of jewellers and others, the following paragraph which we copy in extenso: “ Coloured gold (of which cheap jewellery is made) means that the article contains a very small pro¬ portion of gold, less frequently than 9-carat gold, or 9 parts pure and 15 alloy out of the 24, which is intrinsically worth about 30s. per ounce. As this debased gold is of a bad colour and wanting in brilliancy, the following operation is adopted, called colouring: From the immediate surface of the article the copper is removed, exposing the pure gold 56 THE DRY-COLOURING OF GOLD. only, but this coating of pure gold is not thicker than the 100th part of the breadth of a hair. It is the same as if the article were gilt or electro-plated, only that in the one instance the alloy is taken from the gold on the surface, leaving the pure gold, and that in the other the pure gold is put on. Any bad gold over 9 carats can be coloured by boiling in nitric acid, or other preparation acting in the same manner.” Mr. Alfred Lutschannig, in his “ Book of Hall Marks,” also makes use of these latter observations of Mr. Chaffers with respect to gold-colouring. Now, more erroneous remarks than these never existed for one moment in the mind of the practi¬ cal and experienced gold-worker; and it is really astonishing that these and similar statements— which we could quote—should go so long unchal¬ lenged ; appearing as they do in works so well known as those to which we have called attention. We simply say, without any comment what¬ ever, that nitric acid will produce no such effect upon 9-carat gold as indicated. Indeed, the colour of 9-carat gold, placed under such treatment, would be more the colour of alloyed silver than that of fine gold on the surface. Further, no alloyed gold can be treated in such a manner for the production of a good commercial colour, save and except COLOURING MIXTURE FOR 18-CARAT. 57 22-carats, reference to which has already been made in former pages. The colour effected upon 18-carat gold, however deep it may be alloyed, when submitted to the above modus operandi , is always very pale. Nevertheless, a certain richness is imparted to it, which some¬ times makes it very effective looking; but it does not, in any case, produce a sufficiently deep, rich¬ looking colour for general commercial purposes, and therefore it cannot be safely recommended to the practical gold-worker. A mixture such as the following may be applied with advantage, and if a moderate amount of skill be employed during the operation, certain success is sure to follow the process when red 18-carat gold jewellery is treated with it. The ingredients employed are as follows, when small work is to be heightened in colour :— Saltpetre . . . 6 ounces. Common salt. • • • 3 >> Alum .... • * • 3 99 12 ounces. A colour-pot or crucible is provided with straight sides, into which is put the salts, which should have been previously well pulverised and mixed 58 THE DRY-COLOURING OF GOLD. together with the hands. Now place the colour- pot upon the fire (a gas jet is by far the best sub¬ stitute, as the power of heat can be regulated at will, without the removal of the colour-pot from the position in which it was first placed), and dissolve the mixture very carefully and slowly so as not to burn the colouring composition. Stir occasionally during the dissolution of the salts. When the latter have dissolved, the mixture will rise up somewhat in the pot, and then is the time to place in the work, which must be suspended by a wire of platinum of suitable dimensions to the work in hand. The work should be gently moved about while in the pot, and now and again with¬ drawn to inspect the colour of it. Dipping in acid water removes any colour that adheres to the surface of the work, and which occasionally prevents a proper and satisfactory inspection of it. The acids used mostly for the purpose are nitric, muriatic, and sulphuric; either one may be used in the proportion of one of acid to twenty of boiling water. Be careful in adding the sulphuric to the water, as it will fly about in coming in contact with hot water, and scald or burn if it happens to alight on the flesh or clothes of the operator. The water hanging to the work, after each rinse, COLOURING MIXTURE FOR 16-CARAT. 59 should be well shaken from it before re-dipping in the colour-pot. The time occupied in the process, if the alloy and other particulars absolutely necessary to the true performance are in accord, will be about four to five minutes. After the dissolution of the colouring salts, the heat kept up should not be too intense during the period occupied in colouring ; if so, the paste or composition is not at all unlikely to become devoid of the necessary moisture before the allotted time has expired, which, practically, is required to the termination of the treatment. A very slow fire, or, still better, a gas jet, is best for the purpose of accomplishing the common object in view, viz., the highest and richest colour to the work under treat¬ ment, and that in the simplest and easiest manner possible. This colouring mixture may be employed for 16-carat, and also for as low as 15-carat gold, if the alloys are red gold ones. But for such a purpose its preparation and application are somewhat different to that just described, as well as to the length of time occupied in the process. For a small batch of work the quantities may be the same as those already stated, although larger quantities can be used with the same success that attends the smaller ones, taking extra work in 6o THE DRY-COLOURING OF GOLD. proportion to increase of colour. The best relation between the work and the colour would be as one to three, four and five; that is, the mixture given will be sufficient to colour four ounces of solid work, such as chains, three ounces of hollow work, or two ounces of light work, with large surfaces. Always remember that it is in proportion to the surface of the w T ork that you have to provide a colouring mixture, and not to its absolute weight, to be accurate and correct in your results. In colouring with the two inferior qualities named above it is necessary to add water to the salts in the pot, in order to keep them moist during their period of action, which takes a much longer time than the one we have already given the details of to produce a colour intense enough for the trades. Two ounces of water will be sufficient to put to the mixed salts, which must be allowed to boil. When this takes place, take the batch of work, encircled with a wire of platinum or of silver, and put it in the mixture, and there let it remain for about fifteen minutes, when it should be with¬ drawn and instantly plunged into boiling water provided in a pan for the purpose. The work during the above period may occasion¬ ally be withdrawn and rinsed in order to inspect its progress ; and sometimes this is found to be an FINISHING COLOURED WORK. 61 advantage, as the right colour is produced more quickly at times than others. At the expiration of the above time it is a desirable plan to well scratch-brush the work in the usual manner, after which process it must especially be well rinsed when it is desired to re-dip it; and this is often the plan adopted by a good practitioner, when the colour is not deep enough, to give another dip for five minutes, when a beautiful colour is invariably the result. Scratching the articles, rinsing in plenty of clean water, and finally drying in box¬ wood sawdust, complete the operation. CHAPTER VI. The Wet-Colouring of Gold. In colouring 15, 14, 13, or 1 1\ carat gold, the same mixture may be employed, and for these qualities it is necessary to add a small quantity of muriatic acid to the water recommended in the last colour in order to produce the golden tint higher, and enough that is for commercial purposes. The acid should be of the strength of 1 in 8; and in order to secure a lasting gold colour to the work, it should be exposed to the action of the colour for a period ranging from seven to ten minutes, according to the quality of the gold and the nature of the alloy of which the work is composed. The alloys in the tables herein given are admirably suited to any of these pro¬ cesses, being extra red gold ones, and with which better results are effected. The finishing of the work after any of these methods of colouring may be according to the pur¬ pose for which the work is intended. As there are SCRATCH-BRUSHING AND BURNISHING. 63 various ways of finishing coloured work it will be as well to name them. The one in most general use is scratching at the lathe with a circular brass wire brush, upon which runs a mixture of ale and water, producing a slippery substance, which glides over the surface of the work, rendering it bright and smooth, or dead frosted, in accordance as the revo¬ lutions of the brush come in contact with it. Another method is to burnish the work, using suitable tools of steel and agate to accomplish it with. The same mixture as for scratching may be employed to enable the tools to glide easily over the surface, or one of soft soap may be used if pre¬ ferred ; washing the work out with a solution of soap and hot water to which a little potash is added, using a clean soft brush, is another method, and each v one imparts a rich and altogether different- looking surface to the work. For the latter process especially, the colouring is required to be perfectly uniform in appearance and without blemish. We have lately introduced several new processes for surface finishing coloured and gilt work, and as we believe these methods are at present unknown outside our own workshop, we shall for the present refrain from describing them; our sole reason for keeping them secret being a desire to maintain and not lower present prices, which we are afraid would 64 THE WET-COLOURING OF GOLD. soon be the case if we indiscriminately gave the trade and the public the full benefit of our latest knowledge, and that instead of encouraging tech¬ nical skill in the manufacture of gold wares, it might result in much keener competition and a cor¬ responding loss of profit, a thing not at all to be desired. The following formula may be used with every advantage in colouring the higher qualities of gold alloys:— Saltpe'.re . . . 12 ounces. Common salt . ■ 6 Alum .... • 6 „ Water .... • 3 i ,, Muriatic acid • • • i > 28 ounces. The salts used in this process are reduced to a fine powder and transferred to the colour-pot along with the water, and then heated until the boiling point has been reached, when the muriatic acid is added, the mixture again boiled and the work dipped into the boiling colour, where it should remain from seven to ten minutes. During this period the work may occasionally be removed from the colour-pot and rinsed in clean hot water in order to ascertain how it is progressing. This produces a splendid OLD-FASHIOXED COLOUR FOR GOLD. 65 old-fashioned colour to the work so seldom seen now. Different tints are produced by shortening or lengthening the time of dipping. Another formula for the lower qualities of gold, and with even as low as 12^-carat gold it answers admirably with the alloys recommended in this work for colouring purposes :— Saltpetre . . . 16 ounces. Common salt . . . 8 „ Muriatic acid . 2 „ Water .... • & » 32 ounces. The acid strength of this mixture is 1 in 4, of twice the strength of the former mixture. The ingredients of which it is composed should be reduced to a fine powder in a mortar, keeping them perfectly clean all the time ; then take a blacklead colour-pot about seven inches high, and which has been well annealed; put the salts into it and add sufficient hot water to reduce them into a thick creamy paste ; when this is done place the pot upon the fire, or upon a gas jet, and slowly boil up the mixture. At this stage add the muriatic acid, and when it boils up again, place the work which is to be coloured, and which has previously been prepared quite clean and free from grease, in the colour fof F 66 THE WET-COLOURING OF GOLD. four minutes, keeping it gently on the move all the time, but not allowing it to touch the sides of the pot, which would scratch and spoil the work. At the end of this time it must be withdrawn and instantly plunged into a vessel of boiling water, and afterwards into a second vessel of the same. Next place the work in the colour for two minutes longer, and again rinse well, as before directed, in fresh clean boiling water, and dry in clean box¬ wood sawdust. One or other of the finishing pro¬ cesses are next applied, but as directions have just been given there is no need to repeat them again. If the operation has been performed successfully, the work will present a very fine gold surface of a bright deep yellow colour, and is made more dead by a longer duration of the periods for colouring, and a still brighter surface may be secured by shortening the periods. It will produce a good colour from four to seven minutes, varying in tint in proportion to the time occupied in the process. The longer the time occupied in colouring, the deeper and more lasting is the colour upon the work. With the shortest period it is only a mere film of pure gold, of course, but nevertheless it is both rich and beautiful looking. This mixture can with perfect safety be used in proportion to the quantity of work to be coloured, and in the above JOB COLOURING MIXTURE. 67 form of colour I have found many advantages pre¬ sent themselves, irrespective of the advantage in point of economy, in not taking so much off the work to be coloured, or, in other words, in not reducing the weight so much as most mixtures do. The mixture is easy to prepare, and therefore not so likely to burn, which, when it happens, con¬ siderably impairs the colour and finish of the work. It can be employed by an unskilful person if the directions here laid down are attended to. There is no fear of sweating the work, as the colour is a weak one, and at the same time acts quickly. In colouring jobs and single articles the old colour should be taken for that purpose, and if in a dry state add one ounce of acid and three ounces of water; if liquid, make no addition; and in nearly every instance the colour will be rich and beautiful. CHAPTER VII. The Melting and Casting of Gold. We have often been consulted in reference to a special branch of the subject we are considering, a branch in which there is very little literature to be procured for safe guidance, viz., the casting of small objects, such as a wedding, keeper, or signet ring, or other odds and ends. The best way to begin in casting small quanti¬ ties of gold, or silver, into various objects will be by getting two level pieces of stick charcoal and rubbing the best side of each down quite flat on a stone. A piece of pumice stone will answer this purpose admirably, or an old file may be used instead, if preferred. One of the pieces of charcoal should be longer than the other, and towards the end of this piece, just past the point where the other extends to, should be hollowed out a cup-like cavity for holding the gold or silver while melting it. If it is desired to melt a strip of gold out of a few odd scraps of other MAKING THE INGOT MOULD. 69 articles, suitable for a keeper, wedding, or bangle ring, for this purpose procure a thin piece of iron, about the thickness of a shilling, and cut off a narrow strip, and this, when bent into the proper shape, will form the ingot mould. It will depend on what the casting is to be as to its shape. If, as we have said, it is to be a ring, the strip of iron will want bending into the shape the ring is required. The proper width is of more importance than the length, because it is as well not to quite fill the mould; bend up the strip of iron to the width you require the ring, and extend the mouth of it out¬ wards, so as to allow the melted gold or silver to easily run in, and thus prevent spilling. To make a good casting, we repeat again, the size and thick¬ ness of the iron rim should be in proportion to the article required to be made. The edges of the iron ingot must be made flat with a file, so that it will lie flat between the two pieces of charcoal. Before fitting the iron ingot between the pieces of charcoal, take a small point, or the blade of a knife, and with it make a few scratches across the charcoals to form air lines ; otherwise the metal would spit up out of the mouth of the mould, and cause great loss of material when poured in. The way the iron ingot is fitted between the two pieces of charcoal is as follows :—Firstly, place it 70 THE MELTING AND CASTING OF GOLD. on the longest piece of charcoal, and in which the cavity has been made, with its widened end close up to the cavity. Then place the other piece of charcoal on the top, and bind them together with stout binding wire. The mitreing of the pieces together should be perfectly true, that if, in looking down the ingot from the mouth, no light is seen, it is right; if, on the contrary, light is visible, the ingot is not perfect, and will not hold the metal when poured into it. A little wet whitening, however, applied to the place and dried will prevent that. Now the mould is made perfect it is ready for receiving the metal desired to cast, and all you have to do is to put the gold into the cavity or cup formed in the longest piece of charcoal, and blow a jet of gas from a mouth blow-pipe on to the gold until it melts. When the gold has melted, gently tilt the ingot mouth upwards, and the melted gold will at once run into the mould prepared for its reception. It will be necessary to add a little powdered borax to the gold whilst melting, in order to promote its fusion, and prevent the possibility of forming a dry alloy. The gold, having now been cast into the ingot, should be allowed to rest a little time before STRIP CASTING. 71 separating the two pieces of charcoal, in order to solidify ; when this is done, the casting will be found of the same shape as the inside of the iron rim already described. The tilting of the molten metal into the ingot should be carefully and slowly done, for if you were to do it quickly, it is very probable the gold or some portion of it would be thrown back again, in consequence of cold air in the ingot, and the gently pouring in would dispel this, by forcing it through the air-holes made across the pieces of charcoal for that purpose. A little practice is required in doing this properly, and it is at all times as well, when inexperience on the part of the workman is a feature of the case, to operate a few times with some inferior metal, and when having acquired the proper knowledge, then proceed to the melting and casting of the gold. The strip of gold having now been cast, if it is required for a wedding ring, or any plain t half- round ring, all you have to do to form it into shape is to hammer it into half-round wire in the groove of a piece of iron or steel, filed into that shape for the purpose. The groove should be smoothed, firstly with a fine file, and afterwards with a stick of wood and emery powder, before hammering in the gold; other- 72 THE MELTING AND CASTING OF GOLD. wise the marks of the file would be transferred to the gold. The smoother and nicer the groove, the better and truer is the form of half-round produced from it, and the less waste occurs by subsequent filing. Thus you save time and trouble. When you have hammered the gold into the above shape it will want annealing, that is, heating it red-hot on a piece of pumice, or some other similar sub¬ stitute, and when cold, measure the length required, turn it up into the form of a circle, see that the ends mitre nicely and evenly; then solder with gold solder, if you do not want the joint to show after¬ wards. When this is effected, you must make the ring round by tapping it with a wooden mallet on a ring triblet; then file up the soldered part to the same evenness as the other part of the ring, and finish off by polishing; the ring is then ready for either gilding or colouring. Its adaptability to which of these processes it shall be submitted can only be decided by a knowledge of the actual fine¬ ness of the metal composing the ring under mani¬ pulation. This kind of casting is simple enough in com¬ parison to more intricate work, which is cast in a different manner to that now under consideration. Ordinary plain casting can also be very effectually SCUTTLEFISH AND PLASTER-OF-PARIS. 73 accomplished without the iron rim, by simply using two pieces of wood charcoal only, and shaping the form of article required to be cast in the pieces of charcoal. This is done by means of a tool suitable for the purpose, a file or knife being sometimes used, but it chiefly depends what kind of article is to be produced as regards the tools required. Scuttlefish is coming very much into fashion for small casting purposes. It is advisable to use it in conjunction with a piece of charcoal, the piece of charcoal having the cavity cut into it for holding the metal to be melted. The impression is made in the scuttlefish by pressure, cutting out with suitable tools, and again pressing in the model of object to be cast, and this is repeated until a per¬ fect mould is obtained, when the metal is cast into it, in the manner described. Plaster-of-Paris is used for casting purposes, and this also requires a certain amount of practical knowledge to accomplish successful results. The chief feature being to well dry the mould before using, and this must be done very gradually, and therefore takes some time to do it properly; if it is too quickly dried it is liable to chip, and thus the mould would become destroyed. The material is mixed with water into a thick consistency, allowed to set a little, the pattern of object to be cast 74 THE melting and casting of gold. pressed into it, and then, as before stated, very slowly and gradually dried before using. Of course, this method of casting is only resorted to for odd articles, such as often happen in a jobbing jeweller’s trade, and not in manufacturing on a large scale. Wedding-ring makers cast their bars in the usual manner known to jewellers, rolling and slitting them into wire, and subsequently again rolling in grooves the shape required, and then drawing through draw-plates with holes in them of the shape of wedding rings, and which leaves the wire of the desired form and shape. Another system of casting is by pouring the molten metal into a mould made of sand, enclosed in a proper receptacle or ingot for that purpose. The sand is of a special kind and is best kept for some time before using it. It works all the better by doing this. A very useful and suitable ingot mould, for the purpose of casting a signet or other similar ring, is prepared as follows: Take a piece of flat iron, or copper will do if about the thickness of a shilling piece, cut it to the width of two inches, and let it be eight inches long, turn it up and solder the two ends together, and then shape it into a square. Then make another one of similar shape, size, and dimen¬ sion, file down till each part fit evenly together, INGOT CASTING MOULD. 75 Then solder a piece of wire tube on the opposite sides of one of the parts, and a piece of solid wire on the corresponding sides of the other part, so that the wires will fit truly into the tubes of the other, which are made to receive them when completed and fitted together. Each bent-up piece of metal should be about one and a quarter inch in depth, and will form a most suitable mould for casting such objects as those above named. To charge the casting frame, or in other words to make the mould, a quantity of sand is taken and slightly wetted with stale ale, or a solution of potash, and having fitted the ingot together, it is filled from the top, pressed down well, again filled up, and further pressed until a solid compact mass has been formed. The two parts of the ingot are then separated, and the surfaces which have been severed asunder smoothed, then dusted with fine charcoal secured in a fine muslin cloth or bag. The model of article to be cast is then taken, and laid on the top of the charcoaled sand contained in the lower part of the ingot, which should now be resting on a level board; the other part of the ingot is then fitted on the top and the sand well pressed downwards. This will leave the impression of the articles to be 76 THE MELTING AND CASTING OF GOLD. cast on the sand, half of it showing itself on each side of the ingot when taken asunder for the purpose of removing the model previous to the operation of casting. It is as well to have more depression in the lower part of ingot than equal in each, as better results are accomplished when this is the case. It is necessary to have on one of the sides of the ingot mould a hole for the purpose of receiving the molten metal. This should be on the opposite side to where the fastenings are soldered on. The hole in the metal is best made with a half-round file, and a part of it should be on each side of the separate pieces which constitute the ingot, and the sand is scooped out up to the impression which has been made by the model. A few scratches should now be made across the sand from the edges of the prepared mould, taking care not to interfere with the mould. These are made for the purpose of letting out the cold air when the molten metal is poured in, for without these precautions are taken, the metal would be forced back again and fly about, a portion of which would be lost and a very imperfect casting produced. The mould should be very carefully dried before using', or the same difficulties will beset the operator. CASTING NATURAL OBJECTS. 77 In making plaster-of-Paris moulds, charcoal should be dusted on the surface as a facing before pressing on the model of the object to be cast, otherwise it would stick, and as a consequence pull out pieces of plaster along with it, and so destroy the perfect symmetry of the moulding, which is everything in the production of a good casting. Natural objects are oftentimes cast by a process known as “burning out.” The natural object is imbedded in pure clay, slowly dried, and after¬ wards heated nearly red-hot, allowed to cool, when the ashes are blown out with bellows, a hole being left for that purpose, and into which the molten metal is afterwards poured. The clay mould should be heated before pouring in the fused gold or other metal of which the casting is to be composed, for the reasons already made manifest. For large work casting, frames are made in two halves, that is, they part in the middle, and are pre¬ pared by workmen specially kept for that purpose, and are therefore thoroughly trained to the work. A most important feature in the case of fine cast¬ ing is to prepare a mould with a fine face ; heat it slowly until thoroughly hot, so that the metal will not spit up in running it in, and with necessary care and experience to guide the operator in his work, perfect results will be produced. CHAPTER VIII. Electro Gilding. The art of electro-gilding is not generally prac¬ tised in gold-working establishments, and it is for this reason that we propose giving a few practical directions whereby that art may be successfully accomplished. Electro-gilding is performed by the aid of electricity, whereas gold colouring, in its more practical sense, is more chemical than otherwise. The former is the depositing of one metal upon another, usually of a superior fineness, in order to put a finish on the work and give it a much richer appearance, whilst gold colouring is the removal from the surface of the inferior metals which go to make up the article and leave behind the pure gold. To successfully perform this task the gold in the alloy should always predominate; in electro-gild¬ ing the quality of gold and quantity of alloy is im¬ material. The depositing of one metal upon another is a subject of much interest, and different names BEST BATTERY FOR GILDING. 79 are given it in accordance with the metal employed, but as we are only concerned at present with gold, the contribution forming the present chapter will be termed gilding. Electro-gilding may be done either by the aid of heat or in the cold. The work of the jeweller is commonly done with hot baths, they having the advantage of requiring less current strength from the battery, and a solution not so rich in gold, besides producing a colour of very much higher tint than would be the case with a cold bath. A particular point to be considered, and one that should be always kept well in view in electro¬ gilding, is to see that the two metals perfectly adhere, for if this is not the case the gold will peel off in the subsequent finishing process. For this purpose the articles should be chemically clean before putting into the bath, and means should be taken to prevent any film of air, or oxide, remaining on them. Electro-gilding is remarkably simple and easy to accomplish, if the main principles are understood and adhered to. We shall not enter into an elabo¬ rate history of the subject of electro-metallurgy, but content ourselves with supplying the necessary practical formulas to enable the manufacturing goldsmith to accomplish his own gilding in his own 8o ELECTRO-GILDING. workshop if he be so disposed. The first thing to be considered will be the source from which the electricity—so necessary for the purpose—is to be derived. In gilding small objects, and when not required to be in continual use, there is no better generator of electricity for this purpose than the galvanic battery. The one that we prefer is the Bunsen for depositing gold it is simple and very effective when required at irregular intervals, and is there¬ fore most suitable for the manufacturing jewellers and goldsmiths. It is a small apparatus, and thus takes up little room in the workshop, consisting of a high but narrow cylindrical stoneware jar, for the outer cell, capable of holding two quarts of acid and water; inside this jar or cell is placed a cylinder of zinc of about one-eighth of an inch in thickness, and a copper wire secured to it by means of a binding screw; a porous cell is then placed in the centre of the zinc, and a bar or rod of carbon is put into it, with another piece of copper wire fitted to it. These two wires of copper serve as conductors of electricity from the battery to the gold solution and from the gold solution to the battery again. The connections of these wires should at all times be perfect, otherwise deposition does not properly take BATTERY MIXTURE. 8l place, and a part of the current is lost, and the gilding will be of too pale a colour. A leaden collar may be fitted round the top of the carbon rod and the binding screw attached to it for the better prevention of the acid in the cell corroding the connections, and it should then be well coated with melted paraffine wax as a further protection. The binding screw attached to the zinc should also be well coated with this composition for the same purpose. Having now completed the battery ready for charging, that is, putting in the exciting fluid, into the outer cell, or that which contains the zinc, is put a mixture of oil of vitriol and water, in the proportion of i of acid to 40 of water; we have found this strength ample, and with it the zinc lasts much longer, a point of economy not to be lost sight of. Into the porous cell, or that which contains the carbon element, is put equal parts of oil of vitriol and water, to which is then added 1 oz. of nitric acid; this is our own way of charging, and we prefer it to all others, as it does not give off I such fumes as does nitric acid alone, the common way of charging the carbon cell, and by these means it lasts a long time on one charge, it being only necessary to add a small quantity of nitric G 8 2 ELECTRO-GILDING. acid occasionally to the ingredients in the cell to keep up the full current. The zinc should be amalgamated or coated with mercury. It is done as follows : Put mercury into a coarse flannel bag and repeatedly dip it into muriatic acid after each application to the surface of the zinc; to both inside and outside of the zinc should this process be applied until the zinc presents a bright silvery appearance, when the operation has been carried far enough. Other methods of amalgamation are in vogue for pro¬ tecting the zinc against the influence of the acid, and we have successfully employed corrosive sub¬ limate by adding it to the cell containing the zinc. Nitrate of mercury is also used for this purpose. Having completed all these things the battery is then ready for use. The zinc element of a battery is called the posi¬ tive and the carbon the negative pole, on the ground that the zinc engenders the electricity and leaves the cell from the carbon, and through the wire attached to it enters the solution containing the depositing metal; but in this solution the terms are reversed, for the wire proceeding from the carbon element of the battery, and to the end of which is attached the anode, or plate of gold to be dissolved in the gold solution, becomes the COLD GILDING SOLUTION. 83 positive, and the wire containing the cathode, or article to be gilt, becomes the negative pole, be¬ cause the electricity leaves the gold solution by means of this wire and travels back again to the zinc of the battery, and so the circuit continues, unless some obstacle steps in the way and cuts off the current altogether. Having now amply described the battery by which gilding may be successfully performed, we will proceed at once to describe the most eco¬ nomical and practical solutions to employ along with it. Electro-gilding is generally done in hot solu¬ tions, nevertheless it is sometimes done in cold solutions, more especially is it so with large work, and with this purpose in view we shall commence by giving a solution for cold electro-gilding. Formula No. i.—Solution for Cold Gilding. Fine gold . . . 2| dwts. Cyanide of potassium . 1 ounce. Water . . . .1 quart. In preparing the solution for use it will be neces¬ sary to dissolve the fine gold in aqua-regia , in a glass flask with a long neck, heating it over a gas jet or spirit lamp until the gold is all dissolved. The solution thus formed should be evaporated 8 4 ELECTRO-GILDING. until it becomes of a dark brown and thickly fluid mass, when it should be placed aside to cool. The heating to evaporate the acid may be continued in the flask after complete dissolution has taken place, or otherwise by pouring it into a porcelain dish. The heating should not be continued too long, or too strongly, for the reason that by so doing the chloride of gold which is now forming, and in which state it is wanted, would be converted into metallic gold again, and therefore become useless for the purposes required. The aqua-regia is pre¬ pared from a mixture of two parts of hydrochloric acid and one part of nitric acid. It is impera¬ tively necessary that both these acids should be pure, and it is only requisite that the gold in the flask be well covered over with the aqua-regia to cause its entire dissolution. For effecting this pur¬ pose about two drachms of hydrochloric acid and one drachm of nitric acid will be all that is re¬ quired to dissolve the above proportion of gold, if the heat is regulated properly. The chloride of gold having now been prepared in the manner stated, and of course cooled, is dissolved in a pint of water, and a solution of ammonia added to it gradually, and a little at a time, so long as a precipitate continues to be formed. You must avoid adding too much ammonia, how- LIQUID AMMONIA. 85 ever, under any conditions, or the precipitate, now called fulminating gold, would be re-dissolved, and your time and labour wasted. The strength of the ammonia solution may be in the proportion of one ounce of ammonia to one pint of water. Liquid ammonia of the shops may be used if preferred. The precipitate, after allowing sufficient time for it to settle to the bottom of the vessel, is washed with hot water, and then dis¬ solved in a quart of water in which has previously been dissolved one ounce of cyanide of potassium. If possible the solution should now be boiled in order to dispel the odour of ammonia, which is caused in its connection with cyanide, and the loss of water by evaporation is then made up, and when cold it is ready for use. The quantity of cyanide given in this formula may be increased or diminished, in accordance with the intensity of the current used for gilding. With a weaker current more cyanide is required than when a more powerful one is employed, and better results are oftentimes accomplished in this manner than when a current of too high intensity is used. To those persons not experienced in dissolving pure gold for the purpose of making their gold solutions, it may be more convenient to use pure chloride of gold already prepared and sold by a 86 ELECTRO-GILDING. few chemists for the purposes herein described. About 5 dwts. of this chloride of gold would be required to form a solution of the strength above given. Gold precipitated with ammonia forms ful¬ minating gold, a highly explosive compound, if allowed to become dry; it should therefore be immediately made up into solution, after precipita¬ tion and washing. Gold solutions have been made of various pro¬ portions of gold to the quart of water, in some cases as much as io dwts. has been used, but we have invariably found the proportions we have given have proved ample for all ordinary purposes. Formula No. 2.—Solution for Cold Gilding. Fine gold . . . 2 \ dwts. Cyanide of potassium . I ounce. Water . . . . I quart. Dissolve the gold in aqua-regia, as before recom¬ mended, and evaporate to crystallisation; when cool dissolve in a pint of water and precipitate with a solution of cyanide of potassium—one ounce to the pint; be careful and not add too much, or the pre¬ cipitate will become re-dissolved. The precipitate is well washed with several waters, and the cyanide in a quart of water is then added to it, the whole boiled for a short time, the lost water made up, HOT GILDING SOLUTION. 87 and when cold it is ready to receive the work it is desired to gild. It is advisable to work with as small a quantity of cyanide of potassium as is consistent with economy and efficiency, as too large a proportion only tends to produce deposits of a dirty looking and sandy pale colour. Cold electro-gilding re¬ quires a current of more power than is the case with hot gilding, and is not so uniform in its results. Nevertheless it is a great requisition when large articles are to be operated upon, and when the solutions are required too large to be conveniently heated. Formula No. 3.—Solution for Hot Gilding. Fine gold . . .18 grs. Cyanide of potassium . 10 dwts. Water 1 quart. This solution is prepared after the manner de¬ scribed for formula 1 ; the gold is taken and dis¬ solved in aqua regia and evaporated down to an oily looking mass, then dissolved in water and precipitated with ammonia as fulminating gold, the precipitate well washed, and afterwards dis¬ solved in a quart of water containing the cyanide of potassium, heating it until the smell of ammonia has entirely disappeared, and making up the quan- 88 ELECTRO-GILDING. S> tity with water to i quart again. The temperature at which the solution acts best is 150° to 160 0 Fahr. This solution produces a beautiful deep rich gild¬ ing with one quart cell of a Bunsen battery by using a fair sized gold anode with which to supply the solution with gold as it is taken up by the articles to be gilt. The quantity of cyanide is always in proportion to its purity and strength ; sometimes with us it has required as much as 1 oz. to properly work this solution, therefore always use the best cyanide procurable. Formula No. 4.—Solution for Hot Gilding. Fine gold . . .18 grs. Cyanide of potassium . 10 dwts. Water. . .1 quart. Prepare this solution in exactly the same manner as before, with the exception that a solution of cyanide of potassium is employed in precipitating the aqueous chloride of gold, and when well washed the water and cyanide above given are added until a clear solution is formed, the bath is then completed and ready for receiving the work. Sometimes the electric current is made use of for the purposeofpreparing a gold solution, and as many gilders adopt this plan, it will be as well perhaps if we explain the modus operandi. It is as follows : GOLD SOLUTION BY BATTERY. 89 A quart of distilled water, or water which has been boiled and allowed to cool again, is taken and put into an enamelled vessel and placed over a gas jet; in the centre of the enamelled vessel is placed a porous cell for the purpose of assisting the current back again to the generator or battery. In the enamelled vessel, which should be capable of holding 1 quart of water or a little more, is dis¬ solved 1 oz. of cyanide of potassium. The porous cell is filled with this solution to the same height as the outer vessel. The battery having been fitted up for working, to the wire issuing from the carbon element is secured a plate of thin rolled gold and placed in the water vessel, and a small piece of copper is attached to the wire issuing from the zinc element and placed within the porous cell; the current is continued until from 12 to 18 grs. of gold have become dissolved from the gold plate or anode, when it is discontinued and the contents in the porous cell thrown into the receptacle kept for waste waters. The porous cell is washed and placed aside until again required. The solution may then be used for gilding without further trouble, it being only necessary to hang the articles to be gilt on the wire, previously dipping into the porous cell. The porous cell may be dispensed with altogether in go ELECTRO-GILDING. making the gold solution, and a small strip of platinum attached to the zinc wire of the battery, just letting it dip into the cyanide solution, and when it begins to receive a good deposit of gold sufficient will have become dissolved to form a good depositing solution. The solution would then consist of about the following : Formula No. 5.—Solution for Hot Gilding. Fine gold . . .12 grs. Cyanide of potassium . 1 oz. Water . . . . 1 quart. The amount of gold dissolved during electri¬ cal action may be conveniently ascertained by weighing the plate of gold before and after the operation. This method of preparing the gold bath is a very simple one, and it excludes the possible loss of gold which sometimes occurs in making solutions by the chemical methods, but the gilding produced from chemically made baths is much richer and deeper than those made by means of the battery. By purchasing commercially pure chloride of gold there is not likely to be any great loss, as the dis¬ solving of the gold and subsequent evaporation is dispensed with, and it is here where the loss REGULATING GOLD SOLUTIONS. 91 is most likely to take place. We have produced very satisfactory results with the solution given as formula No. 5. It is necessary to the constant production of good gilding to maintain as far as possible the gold strength of the solution, otherwise if the solution should become exhausted of its gold the gilding would be of a dirty colour, and not at all saleable; even when they become partly exhausted, the colour is very indifferent. The only way to maintain the proper strength is to have just sufficient cyanide in the bath, combined with enough intensity of current to dissolve from the gold anode a corresponding amount to that deposited upon the articles under its action. To do this accurately requires a large amount of practical skill and knowledge of the subject, and that can only be acquired by considerable practi¬ cal experience, without which no amount of book learning will accomplish it satisfactorily. Gold solutions are frequently strengthened when they become partly exhausted by the addition of chloride of gold, or fulminating gold dissolved in cyanide of potassium, or, on the other hand, by means of the battery in the manner just described. All these processes are troublesome to prepare, however, and we prefer to keep sufficient cyanide 9^ ELECTRO-GILDING. of potassium in the solution to keep up its strength without any extraneous aid in every case possible. By the action of the air, and also through the heating of gold solutions, cyanide of potassium is converted into carbonate of potassium, and it is absolutely necessary, therefore, to continually make small additions of cyanide to the solution to keep it in proper working order. A method adopted in gilding chains and other articles manufactured from common metal, and in imitation of genuine gold articles, is the follow¬ ing : A bath is prepared by dissolving a quantity of pure gold and making a solution of it in the usual manner, and then using a large copper anode instead of a gold one in the process of gilding. On the large scale as much as i oz. of fine gold is taken and treated in this manner. The articles are gilt until they stand the nitric acid test, when they are well burnished until they present a bright gold-like appearance. If the articles are slightly gilt as a first process and then burnished, and afterwards more thickly gilt and again burnished, much less gold is required than if the process was conducted straight through to the end without any intermediate burnishing. The burnishing stops up all the pores of the metal by GILDING CHAINS. 93 the adoption oi this plan, and more quickly ren¬ ders the articles gilt acid proof, and that at the expense of much less gold being expended on them. When the solution begins to gild of an in¬ ferior colour it is abandoned and another one made. It produces a surface alloy of about 16 or 18 carat, and well answers the purpose for which it has been designed. A gold solution can also be made thus:—Take fine gold, or standard coin gold will do if the other is not readily procured, and dissolve it in nitro- muriatic acid —aqua regia —then dilute it with about 3 ozs. of water; this quantity would be to the acid proportions in which 2 dwts. of gold had been dis¬ solved. When this addition is made to the acid gold solution it should be neutralized with bi-carbonate of soda ; the point of neutralization is readily ascer¬ tained when all effervescence ceases; add i pint of water to this mixture, and afterwards pour it into another vessel of water in which 3 oz. of the purest cyanide of potassium and 2 quarts of water which has been boiled and allowed to cool again are con¬ tained. The ingredients required to make a quart of this solution would be as follows :—Fine gold for chloride, 1 dvvt.; nitro-muriatic acid, 2 drachms for dissolving the gold; bi-carbonate of soda, 5 dwts. 94 ELECTRO-GILDING. for neutralizing the acid in which the gold is dis¬ solved ; cyanide of potassium, ilr oz.; and water, i quart. This solution is simply prepared, and there is not much likelihood of losing any of the gold in its preparation if performed by an unskilful operator as there is with some other mixtures. We, however, do not like its working qualities as well as those we have previously given. The French system of gilding is rather different to our own, and we prefer giving now a few parti¬ culars regarding the methods practised. One or two mixtures only will be produced as sufficient illustration of the mode of working. No. i. —French Gilding Solution. Crystallized phosphate of soda . Bi-sulphate of soda . Cyanide of potassium Fine gold for chloride Water. 2 \ oz. io dwts. i dwt. I dwt. I quart. Dissolve the gold in aqtia regia and evaporate to crystallization, being careful not to heat it too much and cause its return to the metallic state. Dissolve the phosphate of soda in i| pints of the water by the aid of stirring and allow to cool. Dissolve the cyanide and the bi-sulphate of soda in | of a pint of water. Dissolve the chloride of gold in the re- FRENCH GILDING. 95 maining | of a pint of the water and pour it slowly into the cold solution of phosphate of soda, and then add the solution of bi-sulphate of soda and cyanide of potassium. The bath is then ready for use after it has been boiled a short time and the water of evaporation replaced; it is then a clear solution, and is worked with a platinum anode. It requires an intense electric current to deposit from this solution. Two cells of the Bunsen bat¬ tery, coupled for tension, each holding two quarts, is fully necessary to successfully operate with this solution. The bath soon becomes exhausted of its gold when in use, in consequence of there being nothing to supply the solution with gold in place of that taken from it by the articles submitted for gilding; the platinum anode being insoluble, and if it were not, is of the wrong colour to that re¬ quired. The bath, therefore, has constantly to be replenished with gold to keep it in working con¬ dition, and this is done by adding equal parts of gold ammonium and cyanide of potassium. This is commonly called aurate of ammonia, and a convenient way of preparing it is after the following manner:—Transform the gold into a precipitate of gold ammonium, or aurate of gold, by precipitating it with spirits of ammonia, or am¬ monia dissolved in water. Place this substance in 96 ELECTRO-GILDING. water in the proportion of 2 pints of water to 4 ozs. of gold, then add cyanide of potassium until the liquid becomes colourless, and in this form it is added to the gilding solution just before gilding; it produces a fine gilding, and should be added to the solution in proportion to the amount of work that has been gilt. In the small way, such as happens to take place in a manufacturing jeweller’s workshop, about 2 drachms of this replenishing mixture added every day to the gold solution will be found sufficient for the purpose. In gilding with this solution the fact must not be overlooked that it requires an in¬ tense current, for if so, failure will be the result of the operator’s labours. No. 2 .—French Gilding Solution. Phosphate of soda . . . . 2 OZS. Bi-sulphate of soda . . . . 10 dwts. Bi-carbonate of soda . . . 5 dwts. Caustic potash 5 dwts. Cyanide of potassium . . . ij dwts. Fine gold for chioiide . . . i| dwts. Water . . . . . . . 1 quart. All these ingredients may be dissolved together with the exception of the chloride of gold. The mixture is better if filtered before adding the gold chloride. It produces a very fine gilding, and re- REPLENISHING EXHAUSTED BATHS. 97 quires powerful electromotive force to work it. Its preparation is very simple, but we prefer the recipes given in the earlier part of the work for use in our own workshop. A platinum anode is used in gilding with this solution, and the exhausted gold is replaced by small additions to the bath of chloride of gold and the other ingredients. A quantity of chloride of gold may always be kept ready for adding to the bath by dissolving it in a pint of water with a corresponding proportion of the other salts added to it, and kept in a stoppered bottle ready at any time. About i oz. of this mix¬ ture should be added daily to the bath, or other¬ wise, in proportion to the amount of work daily performed. Add the mixture just before gilding. H CHAPTER IX. Some other Modes of Gilding. There are other modes by which gilding can be accomplished than by means of the battery and other electrical appliances, such as simple dipping, that is, immersing in a boiling chemical solution in which gold forms one of the ingredients; contact gilding, or immersion in a gold solution with a more positive metal which causes the solution to give up its gold; paste gilding, or the rubbing the surface of the wares to be gilt with a thick paste composed of neutral salts in which is contained a little gold ; and numerous other methods have been practised in treating for the production of those high effects which gold only of all the metals is known to give. But as the inclusion of all would be too comprehensive for a small treatise like this, only those will be given likely to prove of some service to our working metallurgists. To begin with what is known as contact gilding we should preceed thus :—■ CONTACT GILDING. 99 Formula for Contact Gilding. Yellow prussiate of potash . . .2 ozs. Carbonate of potash . . . . 1 oz. Common salt ... . . . iij ozs. Pure gold for chloride .... 2 dwts. Water.1 quart. The gold is first of all transformed into chloride in the usual manner. In preparing the mixture for gilding, boil the water, which may conveniently be done by putting it into an enamelled saucepan or other similar vessel; when boiling, add the salts, with the exception of the gold, one after the other, and permit them to boil for two or three minutes, carefully stirring them with a glass rod; then add the solution of chloride of gold slowly to the boiling liquid while continuing the stirring with the glass rod, and permit to boil for two or three minutes longer, after which process the liquid is allowed to cool, and then bottled for future use. The bottle should be provided with a well-ground stopper which materially assists in its preservation. When required for use take a little of the liquid and heat it to nearly the boiling point, then immerse the article to be gilt in contact with a clean and bright piece of zinc, and gold deposition will im¬ mediately take place upon the article, and also upon the zinc, which should be preserved and the 100 SOME OTHER MODES OF GILDING. gold recovered by the means presently to be re¬ lated. Gold deposition will also take place in this solution when cold, but then it takes a little longer to do it, and the film of gold is very thin ; so also in fact is it with the hot solution, for as soon as the more positive metal becomes coated with gold, deposition ceases altogether. The solution can therefore only be used for very thin deposits of gold. Ordinary cyanide solutions will deposit gold on electro-positive metals in the manner here stated. Here is another mixture capable of depositing gold by the simple immersion process, and it has the reputation of being able to colour 9-carat gold. It is thus prepared :— Phosphate of soda . Concentrated prussic acid Chloride of gold Water . . . . 2 \ ozs. 10 dvvts. 5 dwts. 1 quart. The phosphate of soda is firstly dissolved in if pints of the water, and the prussic acid is then added ; secondly, the chloride of gold is dissolved in the remaining f of a pint of the water, and then added to the other solution ; and for using it is heated to about 150° Fahr. The work is, before dipping in this solution, plunged into a prepara- MERCURY SOLUTION. IOI tion of mercury, and the adoption of this plan causes it to take the gold much better, by pre¬ senting a more positive surface to the work. The following is a good mixture for that purpose :— Nitrate of mercury . . . . .3 dvvts. Sulphuric acid . . . . .2 drachms. Water ...1 quart. The layer of mercury caused by immersion in this bath, when dipped in the gold one, is replaced by a gold one of a fine rich appearance. If not suffi¬ ciently bright the first dip, the process is repeated by re-dipping in the mercury bath, and afterwards in the gold one again until the desired colour is obtained. Sometimes it is advisable to slightly heat the work after the dipping, when this can be done without injury, and it oftentimes much im¬ proves the surface by dispelling the mercury. It is then finished by any one of the niodes apper¬ taining to that process. The assistance of the current may of course be brought into use in all these solutions, the mercury one included, if prepared from cyanide of mercury in cyanide of potassium, the mercury being after¬ wards evaporated over a clear coke fire, and the articles scratch-brushed, burnished, or polished. A method of gilding having in combination the 102 SOME OTHER MODES OF GILDING. principle of fire-gilding with that of electro-gild¬ ing, is performed according to the manner here directed:— Formula of Electro-fire Gilding. Cyanide of potassium . . IJ ozs. Cyanide of mercury . . .4 dwts. Fine gold for chloride , .2 dwts. Water . . . . .1 quart. The articles are gilt by means of a strong current from two 2 quart cells of a Bunsen’s battery, coupled for tension, and when sufficiently gilded, the mercury is evaporated by heat and the gold left behind strong and durable. The usual modes of finishing are now applied and the operation is rendered complete. Grecian Gilding. This kind of gilding is performed by taking equal parts of bi-chloride of mercury and chloride of ammonia and dissolving them in nitric acid to make a liquid substance, to which is then added a small portion of gold salt, usually the chloride, and the whole diluted with a little water, when it is ready for use. It is generally prepared for gilding silver wares, and you have only to brush them over with the composition, which turns them GILDING BY FRICTION. 103 black, but on exposure to heat in order to expel the mercury, they assume the appearance of fine gold of a dull appearance which is made bright by burnishing. Gilding by Friction. This process of gilding is commonly termed paste gilding , and is done by means of a rag, or a cork, or otherwise by using the thumb, in its application to the work which is to be gilt. It is chiefly em¬ ployed upon copper or brass articles that cannot well be gilt all over, such as the rims to compass seals, and similar wares, for which purpose it answers admirably. The following is the mode of its preparation Dissolve 2 dwts. of chloride of gold, and 1 dwt. of saltpetre, in as little water as possible. Fine linen rags are dipped in this solution until the whole is soaked up, and the rags having thus become saturated with gold, are allowed to gently dry, then burned carefully and slowly to a tinder, so as not to cause loss of gold. The substance is then reduced to a fine powder in a mortar, and the article to be gilt, which should be well polished and free from grease, is rubbed gently over with the powder by means of a cork moistened with a solution of salt and water, when 104 SOME OTHER MODES OF GILDING. the gold will appear upon the article in its true colour. It has only then to be polished up to give it lustre, with a very small quantity of rouge, by means of a piece of clean wash-leather, and the operation is finished. Solution for Gilding Iron or Steel. Saltpetre . 8 ozs. Common salt . 8 ozs. Alum . • 4 ozs. Pure gold • 5 dwts. "Water .... • 5 ozs. Reduce the saltpetre, alum, and salt, to a fine powder and well mix. Dissolve 5 dwts. of thinly rolled gold in aqua regia about 1 oz. and evaporate so as to form chloride of gold, and when this is done, add it to the other mixture, and it will be only necessary to dip in the iron or steel to enable either to become immediately gilt. The mixture acts best by heating. By means of the above solution 9-carat gold can be pot-coloured after the manner of the higher qualities, by using the present fashionable red-gold alloys in making up the articles, and using high quality solder in their manufacture. This is a secret not generally knoAvn, if at all, in the trade, and we have no doubt, some good commercial GILDING IRON OR STEEL. IO5 successes will eventually be derived from the hint here given, by those persons who hitherto have striven fruitlessly to accomplish such results. It is not necessary to evaporate the aqua regia in which the gold has been dissolved in performing the latter operations, as that mixture acts much more quickly by adding it to the other ingredients in its liquid state. CHAPTER X. Practical Manipulations. Before entering upon other matters connected with the art of the goldsmith and jeweller, it is imperatively necessary to impress the fact that absolute cleanliness is an essential element in all operations relating to the foregoing processes, as one of the greatest drawbacks to success is an unclean surface of the articles to be gilt, grease, especially, being very detrimental. The objects to be gilt, therefore, should be carefully cleaned of all fatty matters and dirt, or else the solutions will not act uniformly, and the grease would spread over the entire objects when they came to be scratch- brushed. There are various processes in use for cleaning, in accordance with the particular class of work and kind of metal of which it is composed. Gold articles are, after the process of polishing, usually washed out in a hot solution of carbonate PREPARING ARTICLES FOR GILDING. I0 7 of soda, by means of a stiff bristle brush, or, in more obstinate cases of dirt, in a hot solution of caustic soda, or potash, which is much more power¬ ful than the former solution. Old dirty articles of jewellery, when not soft-soldered, are best prepared for gilding by annealing them and scratch-brush¬ ing, when, after rinsing in clean water, they are at once transferred to the bath. New work, with perfectly plain surfaces, can, after the polishing and washing-out process, if it is to be finished bright , be at once placed in the gilding liquid, as a better and glossier surface is subsequently produced, by means of the rouging process, than if the work had been annealed, as it always leaves a boil upon the outside which no acid will effectively remove, and which, in some few cases, is most difficult even to do so by me¬ chanical means. In many instances the form the surface is finally to present, as regards the various styles of finishing gold, silver, and metal goods, is partly or entirely effected before the gilding process, and as it is not always gold that calls for treatment by the hands of the goldsmith and jeweller, we propose giving some general information with reference to the processes of preparing, frosting, and finishing silver and gilt work, which subject, we believe, IOS PRACTICAL MANIPULATIONS. will prove highly interesting to a large portion of our readers, now that silver and gilt work is so much in fashion. A few particulars, then, in this direction, while being a useful auxiliary to the previous informa¬ tion which has been imparted through the pages of this treatise, may also be the means of sug¬ gesting new ideas with regard to gold. But it must not be understood for one moment, although every process and every detail may be here laid down for the perfect and most complete accom¬ plishment of the art, that the uninitiated, or even less experienced craftsman, can do the same work, and achieve such good results, as the more skilful workman. Take the case of frosting—some workmen can accomplish this process on the three metals above- named by means of the scratch-brush, although the usual method in most workshops is different in each case; and it is a very difficult matter indeed to instil into the minds of some workmen these simple facts, which are not at all difficult to accomplish when the mind and the proper tools are brought into play. A softer metal requires less pressure on the part of the operator, and softer tools, and a harder metal just the reverse, and if these things were kept well in view FROSTING METAL GOODS. 109 it would not be difficult to surmount any obstacle which might be thought to stand in the way. Metal-work is firstly prepared for gilding by dipping in compound acid solutions, and a frost is easily produced by these means. It is much quicker than the use of the brush, although after gilding it is submitted, in the same manner as silver, to the scratch-brush. But while metal-work is most advantageously frosted by acids, no good possible results can be arrived at with silver, or by its treatment in any analogous manner, as the colour, in the first place—and this is highly im¬ portant commercially—would be very inferior to that produced by other means, and the frost would not be effected evenly, and thus in no manner compare with that produced by the scratch¬ brush. The compound dipping mixtures for metal-goods consist as follows. Each one effects a clean, bright, and frosted surface upon work submitted to their various actions, and this again, of course, is always in proportion to the nature and composition of the alloy of which the work is composed. The action being more energetic in copper zinc alloys, there¬ fore care should be taken that they are not left too long in the dipping mixture, to prevent disastrous results. I 10 PRACTICAL MANIPULATIONS. No. i. Dead Dipping Mixture. Nitric acid Sulphuric acid Common salt Sulphate of zinc io ozs. 5 °zs. I dwt. I dwt. In preparing this mixture add the sulphuric acid to the nitric, and lastly put in the common salt and sulphate of zinc, in a state of fine powder. In dipping, keep your work free from water, and let it remain in the solution from a few seconds to a few minutes, according to the nature of the work. Be¬ fore employing this mixture the work must be scrupulously clean, and free from grease of every kind, and this is effected by dipping in the follow¬ ing solution:— No. 2. Caustic Potash Dipping Mixture. Caustic potash .... 2 ozs. Boiling water 20 ozs. This solution is used at nearly the boiling point, which frees the articles from dirt and grease, the last traces being removed by using a stiff brush wet with the mixture, at which stage the articles are rinsed in water, dried in sawdust, and are then ready for the deadening mixture dip. Sometimes wares, previous to gilding, are put through another solution, subsequent to that of DIPPING MIXTURES. 111 dead-dipping, and well rinsing in water to arrest the action of the acid which still clings to the work in minute fragments, after its withdrawal from the bath. It is called the cyanide dip, and its ingre¬ dients consist as follows No. 3. Cyanide Dipping Mixture. Cyanide of potassium ... 2 ozs. Boiling water . . .20 ozs. The cyanide of potassium is dissolved in the hot water, when it is ready for use. It should always be used in a hot state to be effectual. The frosting of silver is not done with an acid or combination of acids, but is simply due, as already stated, to the effects of the scratch-brush specially provided for that purpose. The scratch-brushes take different forms, according to the kind of work to be submitted to them for frosting. They are made of various strengths; that is, the wires of them are specially prepared of several thicknesses, and when a very fine satin finish is required, a brush of very fine wire is taken, and so on. A brush with wires thicker and thicker in proportion is taken as a more extended roughness is desired. These wire scratch-brushes are fixed upon a hori¬ zontal spindle in the lathe; the latter is made to I 12 PRACTICAL MANIPULATIONS. revolve by means of the foot of the operator and a treadle attached to the crank of the lathe, but where a gas-engine can be employed it is far pre¬ ferable, as the speed is much greater and far more regular. Frosting requires great speed to do the work nicely. The wires of the scratch-brush must lie even on the surface, all of the same length, and always kept straight at the points, otherwise the frosting will not be regular. Sometimes the little hand scratch-brushes are employed for coarser work; four of them are taken and firmly secured in four corresponding grooves in a circular chuck, which screws into the lathe. The ends of the four little brushes are repeatedly cut off as occasion requires, in order to present a straight surface for continual contact with the work, without which it would not present a uniform appearance. We have frosted silver in the follow' ing mixture Dead Dipping Mixture for Silver. Sulphuric acid Water . Saltpetre I oz. . 2 dwts. I oz. The sulphuric acid is added to the water and the saltpetre in a state of fine powder is afterwards put DEEP GILDING. 1 13 in. It is used in the boiling state and takes a few minutes to accomplish the desired object. Silver wares are made to present a dead appear¬ ance by using very fine emery cloth as a last ope¬ ration previous to finishing, and when skilfully performed produces a nice effect. Gold wares can be treated in the same manner for both colouring and gilding, or they may be frosted by the scratch-brush previous to the chemi¬ cal process, or, on the other hand, well brush with pumice and a hard stiff brush, using just sufficient water to enable the pumice to hold together. Very beautiful effects may be produced by any of these means on either gold or silver goods if done with care and experience. The colour in electro-gilding is a very important matter, and a few particulars regarding its varia¬ tion and the conditions under which it changes are worthy of a place here. For deep gilding the anode or plate of gold should be large, for that at once provides a mode of at once regulating the current strength of the battery and colour of the deposit produced. It can be immersed altogether in the solution and thus gild a deep rich colour, or by immersing a small portion only, quite a pale gold colour will be pro¬ duced if the objects to be gilt are large in them- I H4 PRACTICAL MANIPULATIONS. selves and required the full size of gold plate to gild them properly. Also by a strong current and large anode quite a deep red gold colour can be produced, and the very opposite with a weak cur¬ rent and small anode. Beautiful yellow gold is produced between these two extremes. Gold solutions for gilding are kept in enamelled iron vessels, or of porcelain, placed inside of another vessel that can be heated direct by a gas jet or other means if preferable. Plain articles gild much more readily than intricate work, and with less current strength of battery power. So also does the small electro-positive metals; therefore these particulars should always be looked to in the general treatment of goods that are continually coming under the gilder’s notice. When it is intended to give an article a very thick deposit, it will be advisable to scratch-brush it several times with a solution of size and water or beer and water, between the intermediate coats of gold, and by these means a very durable and lasting casing of gold can and will be put on. There are other means of producing colour in electro-gilding than by the current and size of anode used, means by which almost any colour can be obtained. In order to obtain red gold it has been recommended to add to the bath a little of the DEAD GILDING. I 15 acetate of copper reduced to powder and dissolved in water each evening after the day’s work has been done, and to obtain green and white gilding a little powdered nitrate of silver prepared and added in the same way. A dead gilding is produced by adding a little of the fulminate of gold to the bath immediately before gilding. But a better way than either of these would be as follows : To obtain a beautiful red gold deposit with either of the formulas before given for hot electro¬ gilding, take from 6 to g grs. of cyanide of copper, and dissolve it in just sufficient cyanide of potas¬ sium for effecting that purpose and add it to the gold bath, and if the current strength, size of anode, and cyanide in the bath are equal a fine red gold deposit will be at once produced. Another way of producing red gilding is by using a large copper anode until some signs of a copper colour began to appear when it is at once aban¬ doned and replac ed by a large gold one until the surplus copper is removed from the solution, when another exchange may with advantage take place again. But the safest and best way of all is to work the Solution with an alloyed gold anode. To obtain a greenish gilding, take from 3 to 6 grs. of cyanide of silver and add it to the gold bath. The current strength of the battery in order 116 PRACTICAL MANIPULATIONS. to deposit this colour must be moderate, neither too strong nor too weak. With a weak current too much silver would be deposited, while too strong a one would deposit too much gold to produce the intermediate effects required. There are various devices for improving the bad colour of gilding when it cannot be produced rich enough looking for commercial purposes, although plenty of gold has been deposited, in fact too much from a pecuniary point of view, and this is brought about through endeavouring to procure the right colour with the solution, and in that way causing more gold to be deposited than is necessary to the proper coating of the work. This result, however, is only caused by the solution working in a defective manner ; perhaps from too much cyanide being in the bath and too little gold. It is therefore advisable to work with as little cyanide as possible compatible with the efficiency and conductability of the solution. A good mix¬ ture for improving bad gilding is composed of equal parts of saltpetre, salammoniac and borax. These ingredients are reduced to powder, mixed with a little water, the surface of the work brushed over with it, then heated on a copper pan until it assumes a dark colour, when it is plunged into a pickle of sulphuric acid and water in the proportion MIXTURE FOR IMPROVING BAD GILDING. I I 7 of i of acid to 20 of water. When the colouring salts have become dissolved by this mixture the work is removed, rinsed in clean water, and scratch- brushed or burnished, and a fine rich gold colour will be the reward of the operator for his labour. There are other recipes for effecting this end, but this one is as good as any, and may at all times be used with advantage and certainty. CHAPTER XI. Mixing Alloys. One of the most important features in gold work¬ ing establishments is that of preparing the different alloys or standards which are continually being required for use in the manufacture of the various articles peculiar to the several branches of the trade. And as accuracy is an indispensable factor in this matter, nothing but sound and reliable information will be given for the guidance of those who may prefer to adopt this system ; and having given the matter much consideration, both for our¬ selves, and others who have consulted us, we repeat, that it is a most thoroughly practical and reliable method for improving and reducing any quality of gold to higher or lower standards. To begin with, if it is desired to reduce 22-carat gold to 18-carat, proceed thus To Reduce 2 2-carat to i 8-carat Gold. Multiply 20 by the difference in carats between REDUCING 22-CARAT TO 18-CARAT. 119 22-carat and 18-carat, which is 4-carats, and then divide the result by 18, the number of carats and quality required. The result of this will be 4 dwts. iof grs. of alloy to be added to every ounce of 22- carat gold in order to reduce it to 18-carat gold of standard proportions. Example x. 20 x 4 = 80-4-18 = 4 dwts. iof grs. alloy. Or, on the other hand, you can multiply 20 by 3^ dwts. the difference between 22-carat and 18-carat in fine gold, and divide the result by 15 dwts., the amount of fine gold contained in one ounce of 18- carat gold. Example 2. 20 x = 66| -i- 15 = 4 dwts. io§ grs. alloy. Or, the difference in the standard may be taken in grains, when fractional parts appear, like the above. Multiply 20 by the grains 80, and divide by the quality required, which in this case must also be reduced to grains, when the actual quantity of alloy required will also appear in dwts. and grs. as before shown. Example 3. 20 x 80 = 1600 -4- 360 = 4 dwts. io§ grs. alloy. 120 MIXING ALLOYS. When 18-carat gold is to be the standard dealt with, the method of calculation and reduction will be the same, but the figures will be different, in accordance with the difference in the quality. To Reduce i 8-carat to 15-cARAT Gold. Multiply 20 by the difference in carats, viz., 3, between 15-carat and 18-carat, and divide the result by 15-carat, the quality required. The final result will be 4 dwts. of alloy to be added to each ounce of 18-carat in order to reduce it down to 15- carat standard gold. Example i. 20 x 3 = 60 15 =4 dwts. alloy. Or, again, you can multiply 20 by z\ dwts., the difference in fine gold between 15 and 18-carat, and divide the result by 1 z\ dwts., the amount of fine gold 15-carat contains in the above numeral of 20 dwts. The result of this will be 4 dwts., to be added to every ounce of 18-carat scrap, of copper or other alloy, to make 15-carat standard gold. Example 2. 20 x z\ = SO 12L = 4 dwts. alloy. If we reduce this quality on the principle of grains REDUCING 18-CARAT TO 15-CARAT. I 2 I being the multiplier, it would then appear as follows :— Example 3. 20 x 60 — 1200 —■ 300 = 4 dwts. alloy. This principle can be applied to all the standards alike, and in fact any quality ascertained by assay can be so treated, and if carefully calculated, the result cannot fail to be satisfactory in every degree. One more example of this principle of reducing gold alloys will be given to show its application to any possible mixture. Suppose we have a bar of metal containing 22, 18, 15, and 13-carat mixed golds, and by assay it comes out at 8 ozs. 17 dwts. per lb., fine gold, we proceed thus, if it is required to make g-carat standard gold :— To Reduce 8 ozs. 17 dwts. o grs. to 9-carat Gold. 8 ozs. 17 dwts. o gr. -4- 12 = o oz. 14 dwts. 18 g:s. o oz. 14 dwts. 18 gis. x 24 = 354 grs. 4 ozs. 10 dwts. o gr. -h 12 = o oz. 7 dwts. 12 grs. o oz. 7 dwts. 12 grs. x 24 = 180 grs. 20 x 354 = 7080 20 x 180 = 3600 7080 — 3600 - 3480 3480 -4- 180 = 19 dwts. 8 grs. alloy. There will be required to add to each ounce of this mixed alloy 19 dwts. 8 grs. of copper in order 122 MIXING ALLOYS. to make 9-carat standard gold. There are other ways of reducing, very simple in themselves when the standards are level, as the following will prove :— To Reduce i 8-carat to i 2-carat Gold, 20 x 18 = 360 20 x 12 = 240 360 — 240 = 120 120 12 = 10 dwts. alloy. To one ounce of 18-carat gold, 10 dwts. of some other alloy is required to make 12-carat gold. If it is desired to form 9-carat gold from pure gold a.s the starting point, proceed on the same principle as here shown :— 20 x 24 = 480 20 x 9 = 180 480 — 180 = 300 300 -r 9 = 33J dwts. alloy. To one ounce of fine gold therefore, in order to make 9-carat, there is required to be added 1 oz. 13 dwts. 8 grs. of alloy, making a grand total of 2 oz. 13 dwts. 8 grs. In this example the 24 represents fine gold, there being that number of carats in an ounce. The 20 as before represents the number of pennyweights in an ounce, and the 9 represents 9 carats, the quality required to be made. IMPROVING 15 AND 12-CARAT TO 18-CARAT. 123 When it is necessary to improve the quality, the system to be worked upon is somewhat different to the one here laid down. We will therefore proceed to explain what it is, and in doing so shall treat of the qualities more generally in use. To Improve 15-CARAT to i8-carat Gold. Multiply 20 by the difference short 2\ dwts. and divide the result by 5, the difference between 18- carat and fine gold per ounce. Example i. 20 x z\ ~ 50 -s- 5 = 10 dwts. fine gold. You have therefore to add to every ounce of 15- carat, 10 dwts. of fine gold , in order to make 18- carat standard gold. To Improve i 2-carat to i 8-carat Gold. Multiply 20 by the difference short of fine gold between 12 and 18-carat, viz., 5 dwts., and divide by 5 dwts., the difference between 18-carat and fine gold in the ounce, 18-carat being 5 dwts. short of purity, or containing 15 dwts. fine gold per ounce. Example 2. 20 x 5 = 100 5 = 20 dwts. fine gold. 124 MIXING ALLOYS. To make this mixture it will be seen, 20 dwts. of fine gold is necessary to make 18-carat of standard proportions. To Improve 9-carat to i 8-carat Gold. Multiply 20 again by the difference in the fineness between 9 and 18-carat, which is 7J dwts., and divide by 5 dwts., as usual in making 18-carat gold. Example 3. 20 x 71 = 150 -p 5 = 30 dwts. fine gold. To make 18-carat from 9-carat it requires 1 oz. 10 dwts. of fine gold to be added to each ounce of 9-carat it is desired to improve. In more complicated qualities, the easiest method will be, to reduce to grains the difference short of that required, and multiply them by 20, and then divide by the difference in dwts. between the quality wanted and fine gold per ounce. The result will be in grains. If the difference in the quality wanted and fine gold per ounce is divided by grains, then the result would be in dwts. and not grains. When it is desired to improve any quality of gold to a higher standard with gold coins, the following plan would be resorted to:— IMPROVING I 5-CARAT TO 18-CARAT. 125 To Improve 15-CARAT to i 8-carat with Coins. 20 x 15 = 300 20 x 18 = 360 360 — 300 - 60 60 -r- 4 = 15 dwts. gold coin. All the calculations previously elucidated can be applied to the mixing with gold coins, the only difference being the division is the number of carats, dwts., or grains, between the quality wanted and 22, whereas with fine gold mixing, it is the number between the quality wanted and fine gold, which is 24. With silver mixing it is only necessary, if it is desired to raise any quality short of standard up to that standard, to multiply the difference short of standard by 40 and then divide by 3 ; or multiply 20 by 3 and divide by ij; the result will be the quantity required of fine silver in dwts., for every ounce of the inferior mixture, in order to make standard quality. For the sake of illustration, suppose the alloy to be treated is, by assay, reported 3 dwts. per ounce worse than standard, we should proceed thus to make it standard :— 40 x 3 = 120 3 = 40 dwts. fine silver ; or 20 x 3 = 60 -1- 11 dwts. fine silver. 126 MIXING ALLOYS. It will thus be seen we have to add to each ounce of the previous mixture 2 ounces of fine silver in order to improve it to standard proportions. In reducing silver it is only requisite to multiply 20 by the difference short of purity and then divide by the standard required. For instance, if a standard of ‘8oo is wished for, proceed in the following manner :— 20 x 4 = So 16 = 5 dwts. alloy. To one ounce of fine silver 5 dwts. of alloy is required to make •800 standard. If standard silver were taken for reduction the following would be the plan :— 20 x 2-^ — 50 -5— 16 = 3 dwts. 3 grs. alloy. The latter quantity of alloy is necessary to add to the standard of silver of'925 fineness, in order to reduce it down to '800 fineness. We trust to have now made the matter plain to all who are interested ; as a quick and accurate method of preparing alloys of gold and silver is knowledge gained, and oftentimes valuable time and labour saved. CHAPTER XII. Useful Imitation Alloys. Several new alloys have been introduced of late years in imitation of gold and silver, and attempts have been made to use them in the manufacture of imitation jewellery and watch-cases, in place of gold and silver. Some few of these will be repro¬ duced here, for it is as well that the practical jeweller should have some knowledge of the vari¬ ous substitutes that are brought into competition with the genuine precious metals. In a few instances these substitutes for gold and silver have so close a resemblance to the real articles, that it has been a difficult question to decide the point by the usual tests known to practical jewellers, and thus frauds have been prac¬ tised in a most extensive manner, without the least thought of suspicion as to the absolute genuineness of the metal being created in the minds of purchasers. Were these alloys to be 128 USEFUL IMITATION ALLOYS. distinguished by a special mark a very useful purpose would be served by their manufacture, as a cheap metal, honestly used, is at the present time capable of great utility ; if it can be manufactured to resist all, or nearly all, external agents, such, for instance, as air and moisture, heat and light, the alkalies and any single acid, a very valuable addition is made to metallurgical art; and there is no knowing to what industrial purposes it might be brought to bear, even outside the jewellery trade. One of these mixtures is prepared as follows :— Fine gold O Z. . O dwts. 4 grs. 4 Pure platinum . . O 0 15 Tungstic acid . . 0 0 6 Pure copper . I 0 O i 5 i This mixture is equal to 5-carat gold in value, but has the appearance of 18-carat coloured alloy. It is named Aplithit, or unchangeable. It is melted into bars by taking the copper, platinum, and tungsten, and placing them in a crucible, to which is afterwards added a little fine powdered charcoal to prevent the oxidising influence of the air by protecting the metals. When completely melted the alloy is well stirred, and then granulated by IMITATION 18-CARAT GOLD. 129 pouring it into a deep vessel containing water, and in which has previously been dissolved a small quantity, in equal proportions, of slaked lime and carbonate of potash, it being claimed for this addition the property of making the granulated alloy much cleaner and tougher. Having collected and dried the granulated metal, it is again melted along with the gold, and run into ingot moulds, when it is ready for rolling and slitting into wire, for the purpose of being worked into the desired object. The colour of the mixture is varied by changing the proportions of the metals. A much paler colour is shown by increas¬ ing the proportions of platinum and reducing those of copper. Various fluxes have been recommended for use in the melting, but all that is required is a little powdered charcoal to prevent the air from acting on and oxidising the alloy, which it rapidly does when exposed to it in the molten state. Another alloy in which platinum enters into composition with gold, and claims to have nearly the same colour as pure gold ; it is, however, erro¬ neous, as platinum changes the colour of gold sooner than any other known metal, and that also with the smallest possible quantity mixed with it. Lecturers and demonstrators at technical colleges K 130 USEFUL IMITATION ALLOYS. put several other metals before platinum in this respect, but it is all a mistake, and proves a thorough want of practical knowledge as regards the rapid transformation of colour gold undergoes when mixed with this metal. The following is the formula for this alloy:— oz. dwts. grs. Fine gold . i o o Pure platinum. .02 t> 1 2 6 This mixture possesses great density as well as elasticity, and was therefore considered at one time a valuable alloy for dental springs. It has a colour more nearly resembling pale 18-carat gold alloys than the one claimed for it by certain writers. Another alloy which has been prepared to imitate gold, and claiming to resemble 12-carat gold in colour, is here given:— oz. dwts. grs. Pure platinum. . o 6 16 Pure copper . .10 o 1 6 16 This alloy is pale in colour, and not at all like 12-carat prepared of a deep rich colour. It may, to some extent, resemble a very pale 12-carat gold OLD IMITATION GOLD ALLOYS. 13 I alloy, and that is as close as the two can be brought together in their resemblance to each other. The old-fashioned platinum alloy, in imitation of the bright gold alloys of thirty years ago, can hardly be said to have any golden tinge in its appearance. It certainly withstood the acid test very well, and this will be the only point of resem¬ blance worthy of comparison. There were two formulas for making up the mixture, as follows :— No. 1. oz. dwts. grs. Pure copper . I O O Pure platinum. . 0 8 18 Pure spelter . . 0 1 6 1 10 0 No. 2. OZ. dwts. grs. Pure copper . . I O O Pure platinum. 0 0 9 6 Fine silver . 0 0 18 I TO O The colours of these alloys were white, like the common silver alloys of -6oo standard, and without a tinge of yellow in them. There can be very little doubt but that such alloys were manufactured 132 USEFUL IMITATION ALLOYS to imitate the old pale, almost white-looking 9-carat alloys in use nearly half a century ago. An alloy of gold and platinum which we pre¬ pared some years ago for a special purpose was composed of the following :— Gold Platinum Alloy. oz. dwts. grs. Fine gold . .10 o Platinum scrap . 1 15 o Swedish copper wire 400 Pure spelter . .05 o 700 It produced an alloy resembling 9-carat bright in colour, and withstood the test of nitric acid fairly well, but was harder and more difficult to work than a gold alloy of similar colour. It cost about 17 s. 6 d. per ounce to prepare ready for working. A new alloy has of late years been sprung upon the market which stands the nitric acid test equal in every respect to 12 or 15-carat gold ; when finished by lapping it presents an appearance quite equal to these qualities. It is called false gold or mystery gold. The formula for making the com¬ pound is this :— MYSTERY GOLD. 133 Mystery Gold. OZ. dwts. grs. Pure copper wire . . I 0 O Clean platinum scrap . 0 3 18 Pure bar tin . . 0 3 18 I 7 12 This compound is very hard and difficult to work. Its cost being about 3s. per ounce. The mixture should be well stirred before pouring, otherwise it will not mix well and become homogeneous. Another alloy having a gold-like appearance is made up of the undermentioned substances :— Deep Gold-like Alloy. Swedish copper wire Pure spelter . Charcoal iron Pure lead oz. dwts. grs. . I o o . 019 . o o 15 . 006 126 This alloy is non-oxidisable by ordinary means, retains its colour for a long time, boils out a deep colour resembling 20-carat deep gold. Rolls and works fairly well, but rather more difficult to solder than the ordinary copper zinc alloys; requires no gilding, and when finished by rouging presents a rather taking appearance. Having given a few of the principal imitation 134 USEFUL IMITATION ALLOYS. gold-like alloys, we will give another one before concluding this part of the subject now under con¬ sideration. The formula is :— Imitation Gold Alloy. Pure copper Pure platinum. Fine silver Brass . . Nickel oz. dwts. grs. . I O O . O 7 12 • o 3 12 . O 7 12 . O 3 12 2 2 0 This alloy is said to be both malleable and ductile, takes a high polish, and resembles 18-carat in colour. This, however, cannot be true, as the white metals are in far too large quantities for the deep colour of the mixture to be retained, and our own opinion is it would be quite as pale as the old bright gold of a bygone day. This matter would be incomplete without a refe¬ rence to some of the mixtures that have been at¬ tempted in imitation of silver. An anti-corrosive alloy has been prepared for making into writing pens of the following composition :— oz. dwts. grs. Pure platinum. . I o o Pure silver . . o 15 o Pure copper . .05 o IMITATION SILVER AND PLATINUM. 135 This forms a very hard alloy, elastic, and of a colour between silver and platinum. Another alloy which has been tried for mirrors, and reported capable of taking a good polish, is made up of the following substances Pure copper . Pure platinum. Pure bar tin Pure spelter . Arsenic . oz. dwts. grs. . o ii 15 . O I 21 . O 5 12 . o o 16 . 00 8 100 This alloy is white m colour, and while being capable, as stated, of taking a good polish, we are doubtful as to its working capabilities. An alloy we have prepared in imitation of pla¬ tinum, capable of taking polish and standing the the following:— Pure copper . Bar tin . Nickel Platinum a very high and lustrous acid test fairly well, was oz. dwts. grs. . o 10 o .05 o . 046 . o o 18 100 This alloy retained its colour for a considerable period without tarnishing, but the greatest draw- 136 USEFUL IMITATION ALLOYS. back was its unworkable qualities. For objects that could be cast it answered admirably ; for other manipulations its brittleness practically prevented its use. An alloy of silver and platinum, and also one of silver and gold, have been reproduced from the old formula formerly used in diamond set work, and it is now being pushed into the market—under another name—as a cheap substitute for platinum, to be used alternately with red 9-carat gold for chain links, crosses, bracelets, and numerous other wares manufactured by the jeweller. For setting work it is claimed to be especially useful on account of its non-tarnishable qualities, and also of its spark-like brightness, which latter characteristic, it is asserted, it always maintains in effective brilliancy, and at the same time resists every oxidising influence. But as regards the latter quality we deny it, for when submitted to us we very quickly oxidised it, and gave it a coal-black appearance in the course of a few seconds. The formula for making it is this:— oz. dwts. grs. Fine silver . .018 o Pure platinum. .02 o SUBSTITUTES FOR PLATINUM. 137 Another formula is— oz. dwts. grs. Fine silver . . o 18 o Fine gold . .02 o 100 These alloys are easily worked, being both malle¬ able and ductile, and also possessed of tenacity. But as none of these alloys are practically likely to become of great commercial utility in the jewel¬ lery trade, further detailed description is unneces¬ sary, and we shall proceed to the next chapter and discuss matters of more general importance. CHAPTER XIII. Hints and Helps. It has been said by some writers that the value of the base metal which is required in the making up of an alloy of a certain standard is taken into con¬ sideration in determining the quality of gold by alloy for Hall-marking purposes. Now this idea is erroneous, for every standard should actually con¬ tain a fixed amount of fine gold, regardless of the value of alloy contained therein. In estimating or expressing the fineness of gold the whole quantity spoken of is to be divided into 24 equal parts, and the number of those parts that are fine gold determines the standard or quality. If 18 parts of the 24 are fine gold and 6 parts are of alloy, the quality is 18-carat. If 9 parts of the whole are fine gold and the other 15 base metal, the mass treated is 9-carat fine, and the principle continues through all the range of carats. TESTING NEEDLES. 139 The money value of the alloy added to reduce the quality of the gold does not at all enter into the determination of the standard of the work to be assayed, whether it is silver, copper, or any other metal so added ; the number of parts of fine gold only is the correct standard of the mixture, and the alloy, whatever it is, is not taken into account at all. Gold Testing Needles. Many of our readers will require to know, by reason of the necessities of their vocation, how to ascertain approximately the value and purity of the various articles of gold occasionally brought under their notice in trade. This can be done by the use of test needles , which are to be bought from assayers and material dealers. They consist of ten or twelve, and in some cases more, of little slips of metal, to the ends of which are soldered pieces of gold of known standards, from 7-carat up to 18-carat. With these and a good touchstone—a piece of black basalt—a fairly correct opinion can be formed of the quality of any gold alloy. The usual nitric acid testing mixture is also employed as an adjunct to these; in the higher qualities aqua-regia is used as the test acid because 140 HINTS AND HELPS. nitric acid does not act upon gold alloys of those qualities, and therefore gives no such indications by change of colour as is to be seen in the lower qualities. To operate with the test needles, rub the article to be tested upon the stone till you have a clear gold-like stripe of about the width of a shilling in thickness, then alongside of it rub one of the testing needles which you suppose to be about the same in quality, and apply to both at the same time a drop of the testing acid. The inferior quality will change colour firstly, under the action of the acid, and if very low in quality the streak will disappear almost immediately. The process is continued by trying the needles, higher or lower, as the case may be, till one is found whose action is the same under the acid as the alloy being tried. A full set of test needles are very useful in a business where there is often inquiry as to the quality of gold articles, and with little practice and experience nearly correct results can at all times be arrived at. It is not safe to express an opinion as to the quality of gold by inspection only, colour being in that case the principal guide, and in the present advanced state of preparing alloys of gold it cannot be depended upon in any way as tho¬ roughly sound and reliable evidence. GOLD LACQUER. 141 New Substitute for Silver. A new alloy in imitation of sterling silver has been prepared by taking and incorporating together by fusion the undermentioned substances :— Charcoal iron . OZ. . 0 dwts. 1 3 grs O Pure Nickel . 0 4 12 Tungsten . 0 0 12 Aluminum . 0 1 0 Copper . . 0 I 0 I 0 0 This mixture costs about as much as German silver, and is said to withstand the action of sul¬ phur ; is not attacked by organic acids, and only slightly by mineral acids. Gold Lacquer. Shellac, 1 oz.; turmeric, 1 oz.; sandarac, 5 dwts.; annatto, 5 dwts.; dragon’s blood in powder, 15 grs.; spirit of wine, 1 pint. Shake this mixture at inter¬ vals for a couple of days, and then pour off the clear liquor for use. The lacquer should be applied with a large camel-hair brush ; warm the article till too hot to hold, and then lacquer quickly ; cover every part, and do not go over the same twice. Bright work should be burnished before lacquering. 142 HINTS AND HELPS. Recovering Gold and Silver from Plating Solutions. Boil the solution of gold, which is usually made up of cyanide, in an enamelled iron kettle, to which is added occasionally a small portion of stannate of soda, and the boiling is continued until the gold has combined with the tin and formed a black precipitate. Silvering solutions no longer useful may be treated in exactly the same manner. Gold-coloured Alloy. This alloy is said to have a fine grain, very malle¬ able, capable of taking a high polish, and in many respects resembles gold of the highest standards. It is made of— oz. dwts. grs. Pure copper .. .10 o Pure grain tin. .03 6 Manganese . .01 3 Bitartrate of potash . o 1 18 Salammoniac . . o o 15 Chalk . . .00 6 1 7 o The copper is recommended to be first melted; the manganese, potash, salammoniac, and chalk are successively added in small quantities at a time. The tin is then added, and after fusion, VARIOUS RECIPES. 143 quickly poured and allowed to cool, when it is ready for rolling. Dead Dipping Mixture. A good recipe for producing a clear matt or fine dull dead appearance is :—Nitric acid 6 parts, sulphuric acid 2 parts, sulphate of zinc 1 part, water 2 parts. Dip the articles and rinse, again dip and rinse, until the clear matt and colour desired is obtained. To Distinguish Steel from Iron Tools. It is difficult to distinguish between iron and steel tools having the same polish and workman¬ ship. Place a drop of dilute nitric acid—four parts of water to one of acid—upon the tool; if it re¬ mains clean, it is of iron, while if of steel it will show a black mark where touched with the acid. This is a simple and ready test. A Soldering Fluid free of Acid. Take zinc or spelter in small pieces 1 oz., muri¬ atic acid 3 ozs.; when the acid has become satu¬ rated with the zinc, which is indicated by the ceasing of the effervescence of the acid, and any remaining portions of the zinc undesolved. The dissolution of the zinc is greatly assisted by gentle 144 HINTS AND HELPS. heat. Decant the clear solution from any sedi¬ ment that may remain, and add to the clear liquor i oz. of spirits of ammonia, which will neutralise all the free acid, then dilute with about 4 ozs. of water. This mixture will not rust iron or steel, and will answer all the purposes necessary to a soldering fluid. Hard Solders. For 18-carat gold, take 18-carat scrap 1 part, silver-^-th part, composition Hyth part. For 15-carat gold take 15-carat scrap 1 part, silver ^th part, composition -j-^th part. For 9-carat gold, take 9-carat scrap 1 part, silver jth part, composition J-th part. For silver, take fine silver 1 part, com¬ position ^ part. Colouring Mixture for Gilt Work. Sulphate of copper x dwt., acetate of copper 2 dwts., salammoniac 2 dwts., saltpetre 2 dwts., icy acetic acid 1 oz.; mix these ingredients well together, and brush over the articles to be coloured with it, or otherwise dip them into the mixture, and then heat them on a copper pan until quite black. They are afterwards boiled out in a pickle composed of equal parts of oil of vitriol and water, which quickly removes the black coating, and ECONOMICAL GILDING. M 5 displays a fine gold colour. If the articles are scratched before colouring they will come out of this pickle perfectly bright, when after drying the treatment is terminated. Instantaneous Silvering Mixture. Mix i part of chloride of silver, 7 parts cream of tartar, and 5 parts of common salt, finely powdered and dried in an oven. When required for use moisten a little with water, and rub it with a piece of fine linen on the object, which should be thoroughly clean. Polish with a piece of wash-leather upon which has been dusted fine chalk or whiting. Economical Gilding. The following is a good recipe for gilding com¬ mon wares by dipping, or pot gilding : Cyanide of potassium 8 ozs., carbonate of potash 1 oz., cyanure of potassium 8 dwts., water 1 pint, chloride of gold 1 dwt. The mixture must be used at the boiling point, and after it has been applied, to be lasting, the gilt surfaces should be protected by varnishing. Polishing Powder. For cleaning some articles of jewellery, silver watch-cases, &c., a good powder may be prepared L 146 HINTS AND HELPS. by means of 4 parts of whiting and 1 part of rouge ; it can either be used dry, or mixed with alcohol or water. This mixture is easily brushed out of crevices, engraved work, or anything of a similar nature. Gilding Steel. Polished steel can be readily and beautifully gilded by using the ethereal solution of gold, which is thus prepared : Dissolve a small quantity of gold in aqria-regia , evaporate gently so as to drive off the superfluous acid, re-dissolve in water, and add three times its bulk of sulphuric ether. Allow to stand for twenty-four hours in a stoppered bottle, when the ethereal solution of gold will be found floating at the top. Polished steel dipped into this is at once gilded. 18 -carat Gold. To provide good workable 18-carat gold alloys, without flaws and cracks, which are found to pre¬ sent themselves in subsequent manipulations, much depends upon the first rolling of the bar. 18-carat should be subjected to a very heavy draught, the first and second time it is passed through the rolls. This imparts a grain to it close in texture, while light draughts stretch the gold on the surface and TRANSPARENT CEMENT. 147 increase the coarseness of the grain, leaving the middle portion almost the same as when cast. This causes the gold, such as 18-carat, to crack and appear full of specks and flaws. Many good bars of 18-carat quality have been condemned and the fault laid to the melting, while it has been in the rolling all the time. We trust jewellers will act upon this hint. To take Enamel out of Work. Take powdered fluor spar, sufficient to well cover the article, mix into a thin liquid with oil of vitriol, and boil the article in the mixture, when the enamel will be removed. The fumes produced are injurious and should not be breathed. Transparent Cement. A good cement of the above description, for fastening any little thing in bezels, or settings, is made by dissolving 2\ parts of clear gum arabic and 1 part of crystallized sugar in water; the mixture should be placed in a bottle, and put in a vessel of hot water until it assumes the consistency of syrup. It is then kept well corked until re- 7 quired for use. 148 HINTS AND HELPS. Aluminum Silver. Melt together copper 13 dwts., nickel 5 dwts., and aluminum 2 dwts.; this alloy is said to receive a high lustre and polish, and in many respects to imitate real silver of good quality. Formula for Gilding like Polished Gold. The following solution may be employed for gilding metal articles so as to look like polished gold by simply dipping them into the solution at a temperature of 130° to 150" Fahr.; the articles should be made perfectly bright before dipping. Dissolve 4 dwts. of fine gold in f oz. of hydrochloric acid, and | oz. of nitric acid ; evaporate so as to expel as much of the acid as possible; dissolve in a pint of water and then throw down the gold by means of spirit of ammonia ; well wash the pre¬ cipitate. Next dissolve 2 ozs. of cyanide of potas¬ sium in just sufficient hot water to effect it, and dissolve the gold precipitate with this mixture. Filter the solution at this stage, and make up the solution to one quart by the addition of distilled water. Formula for Silvering. Dissolve 4 dwts. of fine silver in J oz. of pure SILVERING FORMULA. I49 nitric acid, and J oz. of water; precipitate the silver, to which you have added half a pint of water, with 4 dwts. of caustic soda dissolved in half a pint of water; well wash the precipitate with several fresh lots of hot water; then dissolve 1 oz. of cyanide of potassium in water, and dissolve the precipitate with it, and dilute with sufficient distilled water to make one quart of the mixture, and use in the same manner as the gilding solution. To Solder Gold without changing its Colour. Take of calcined borax 1 oz., sesquioxicle of iron i|- oz., ammonia -J- oz., mix with a little water to the consistency of cream, and apply to the surface of the article to be soldered, but not on the exact part to be joined together. Boil out in a pickle composed of oil of vitriol and water. To boil Silver White. Take cream of tartar 1 part, alum 1 part, salt 1 part, water 50 parts. Boil the work in this pre¬ paration until the desired whiteness is obtained. In common qualities it will be necessary to add some nitrate of silver to assist in its accomplish¬ ment. HINTS AND HELPS. 150 18 -carat Red Gold Alloy. To prepare the above alloy take fine gold 1 oz., fine silver 16 grs., and refined copper 6 dwts., incorporate together by fusion in a plumbago crucible. To Colour Gold a Deep Lemon Yellow. The following mixture we have employed in colouring 15 and 18-carat gold alloys especially prepared for it: Saltpetre . . 4 ounces. Common s It • 2 „ Muriatic acid • i Sulphuric acid . 1 „ Water • 2 ,, 10 ounces. After having prepared the work it is dipped into the mixture at the boiling point for a period of three minutes, and then well sluiced in hot water, and returned to the colour-pot for one minute longer, and again well rinsed in fresh hot water. It is then ready for scratching or burnishing. Yellow Metal for Gilding. Take of copper 1 oz., zinc 4^ dwts., and tin 3 dwts., mix together by fusion in a clay crucible, GILDERS’ WAX. 151 and quench in water at a red heat. This alloy dips well and of a fine colour. To give Gold a High and Fiery Colour. Take of yellow brimstone 1 part, cream of tartar 1 part, and table salt (dried) 1 part, and mix together until they are in a state of fine powder. Then take as much as you can hold between the thumb and three fingers, and add it to as much water as would fill an ordinary glass. Boil the mixture and dip in the work for about six or eight seconds, and rinse well afterwards in clean water. Gilders’ Wax. To produce a red colour on gilded, or for the matter of that, coloured work too, take of the fellowing ingredients and make into sticks for subsequent use:— Yellow wax . Verdigris Sulphate of zinc Sulphate of iron Bloodstone . Copper scales Red oxide of iron Borax . 12 parts. 4 » 4 » 2 6 ff ff 2 \ of Of f f ff ff 31 parts. 152 HINTS AND HELPS. Melt the wax gradually and put in the other in¬ gredients, which have previously been reduced to powder and intimately well mixed together, stir¬ ring gently during the operation in order to pro¬ duce one homogeneous mass, and prevent the settling of the powder to the bottom of the vessel. When cooled sufficient, form into sticks to be afterwards employed. In using this composition the articles to be coloured are slightly warmed, the wax rubbed over them, then heated on a pan until it is partly burnt off, cooled, and afterwards the coating is dissolved by means of a weak pickle of acid and water. Yellow Gold Alloy to cost 40/ per oz. Fine gold 9 dwts. 6 grs., fine silver 1 dwt. 15 grs., copper 6 dwts. 3 grs., pale composition 3 dwts., total 1 oz. This mixture produces an alloy of a fine yellow tint, but it must on no account be touched whilst hot or it will break to pieces. Old-Fashioned Bright Gold Alloy. The following is one of the old alloys of thirty years ago, and was then extensively used for all kinds of jewellery, more especially chains OLD BRIGHT GOLD ALLOY. 153 oz. dwts. grs Fine gold . I O O Fine silver . I O O Pure copper . O 15 O Composition . . O 10 O 3 5 O It was about 7J carats, and the lowest alloy worked by respectable manufacturers. Its cost would be much more than the alloys of the present time equal in the fineness of the gold, consequent on the larger proportion of silver then employed to now. It was a good workable alloy, but nearly white in colour during the manipulations preceding the finished state. CHAPTER XIV. Collecting and Refining. Under this heading we purpose describing the general mode of treatment adopted in jewellery establishments for the recovery of gold and silver which accumulates in different forms in the several workshops in accordance with the kind of work performed in each. It is known as waste, that being so because it cannot be collected and treated like ordinary scrap, but requires a special process to be adopted in order to bring it back again to the state required for working. Ordinary scrap from gold and silver working requires no special treatment, other than that of simply melting like new material, to bring it again into working order. But the materials known as lemel; gilding, and colouring waste ; scratch- brushing, polishing, and washing-out waste ; be¬ comes very impure by the accumulation of foreign FLUXES FOR LEMEL. 155 substances, and until these are removed or de¬ stroyed, it is a matter of impossibility to work them, and for that reason these products are always kept separate from all the substances which are capable of being re-melted at any time without special preparation. In treating of these processes only those methods will be given which have been proved economical and of practical utility. We shall therefore com¬ mence with the collection of jewellers’ lemel, which consists of the filings, cuttings, turnings, and all other dust-like particles which are detached from the work in the course of manufacture. As each workman has to look after, and is responsible for the care of this waste until he weighs in his work, the details of which are known to every workman and master, it therefore calls for no description here, further than that it should be weighed in as free as possible from organic matter. The lemel should be sieved through a fine sieve, and only those particles preserved which are really too fine to be melted in the ordinary manner, for treatment by this process. The operation is per¬ formed by the free use of fluxes, and many have been recommended for that purpose. Carbonate of soda and ordinary washing soda have been strongly urged and their advantages much dilated 156 COLLECTING AND REFINING. on, by scientific men and teachers of technical schools, consequent upon their cheapness; but there is such a thing as a penny-wise and pound-foolish policy sometimes engendered, and this can only be proved by the test of long practical experience in a subject to which it applies. Ordinary washing soda is by far of too watery a nature to be successfully and economically em¬ ployed in lemel reduction, and its moistness in the crucible is not in proportion, when assisted by heat, to its original nature, becoming dry and more difficult of quick fusion than some other salts to which we intend to call attention. Carbonate, or bi-carbonate of soda, is also devoid of that humidity which should be the chief characteristic of a flux for lemel reduction. Of all the fluxes there are none more useful than carbonate of potash, and bi¬ carbonate of potash, for reducing substances con¬ taining gold and silver in which organic matter is present; or for filings, dust, or powder. Of either of these it takes much less in quantity to perform its work; does it more quickly and successfully ; acts less injuriously on the pots used for the opera¬ tion ; and at the same time becomes much more liquescent ; and that more rapidly than the fluxes above named. Of course there are other fluxes possessed of SALENIXON AS FLUX. 157 great merit that can be employed in the work we are now speaking of, and some of these we shall, by way of the following example, illustrate their effectiveness, by showing the quantity of lemel a given proportion is capable of reducing into a metallic lump as being most essential to the pre¬ sent subject:— Fluxes for Lemels. Salenixon . . 8 ounces. Common salt . . 16 ,, Lemel . . . 200 ,, The cost of this flux is id. and is quite effective in collecting 200 ounces of lemel by using a large clay crucible for holding the mixture. The flux should be pounded into a fine powder, well mixed with the lemel, and placed in the crucible, but not within one inch of the top, as sometimes it rises and may overflow if this precaution is not taken. The salenixon is a good flux and prevents this tendency to a very considerable extent, but it has one disadvantage, it being liable to act somewhat on the pot if the heat is continued too long, and cause it to crack; in that case it is always advisable to keep by you, ready for use, some pounded bottle glass, which can be added to the mass in the crucible when any crack is perceived. This will make its 158 COLLECTING AND REFINING. way to the crack in the pot and so prevent the metal from running out and being lost in the fire. This flux has been prepared by ourselves, and is of general application to all the metals that are to be met with in gold and silver manufacturing estab¬ lishments. It forces the gold and silver as it becomes fused down to the bottom of the pot, and prevents ebul¬ lition or boiling over of the mass ; it forms a most liquid flux, and by that means only a small quantity is required in proportion to the lemel to be reduced ; it does not become damp under atmo¬ spheric influence ; and is, taken altogether, a most powerful flux, as its power to reduce the above fully proves. Here is another formula for col¬ lecting lemel:— Brown American potash . 8 ounces. Common salt . 4 „ Lemel .... . 100 „ The cost of this flux for reducing the above quantity of lemel into a lump will be about 2d. It is a most suitable flux for use when casting-pots are employed. These pots before using should be thoroughly well annealed, otherwise they will crumble and fall to pieces. Another formula we have used in experimenting ARGOL AND SODA AS FLUXES. 159 in this direction consisted of the following ingre¬ dients :— Carbonate of soda Common salt . 4 ounces. Salenixon . Lemel • 5 ° » It was not nearly so effective as either of the previous mixtures, and required much more of the flux to a given quantity of lemel to reduce the mass to the humid state ; and also a more extensive and longer continued heat to bring the lemel down, from the causes previously pointed out in speaking of soda as a flux at the commencement of this chapter. Here is another flux we have employed for the same purpose, but it exhibited all the defects of the last one, being much too dry in nature to ever become popular in large manufactories, as a means for collecting lemel:— Washing soda . Argol Common salt . Lemel . » 3 >> 3 >> 50 „ 3 ounces. Sometimes it is found a very difficult matter with dirty lemei to reduce the mass in the pot to a liquid state, regardless of the flux employed. It is* i6o COLLECTING AND REFINING, then, a good plan to add a small quantity of salt¬ petre occasionally to the mass, and this greatly assists the fusion and brings down the filings, &c., when other means have failed; but care should be taken not to add too much, or the pot will become broken and the lemel spilled in the fire. Plumbago crucibles may be employed for holding the lemel while melting, and in that case very little flux indeed should be used, as fluxes act on these pots, and cause a dry, dirty mass to appear in the pot from the action of the flux on the plumbago, which becomes reduced in thickness, and this refuse from the pot mixes with the lemel and causes it to become almost infusible. Carbonate of potash is the only flux that should be used in such cases. A very useful mixture for the collection of com¬ mon stuff is made up of the following ingredients, and when the lemel is intended to be sold as a waste product to the refiner, it answers its purpose admirably, its cost being next to nothing, whilst its liquidness is great. The formula is :— Soda ash . Common salt Rough lemel . • 4 „ • So „ 4 ounces. A large, ordinary clay crucible should be taken GILDING AND COLOURING WASTE. 16 I and the lemel well mixed with the flux and then placed inside the crucible, and at once transferred to the furnace for melting. The lemel requires no previous burning, and if the pot is large enough no boiling over takes place; the melted lemel by its weight forces itself down to the bottom of the pot, from which it is recovered in a lump when the pot is cooled enough to be broken for that purpose. The gilding and colouring waste requires a different flux to those above named, if the best means are utilised for their reduction into a lump of metal; as these waste products contain very much more foreign and organic substances to the worst samples of lemel, it is requisite that they should be dealt with accordingly. In the first place, if it is desired to know of the presence of gold and silver in a cyanide solution of either metal, it will only be necessary to ascertain this fact by placing in the solution a clean bright piece of zinc in the case of gold, and a clean bright piece of copper in the case of silver. In a short time some of the gold will have become precipitated on the zinc, and some of the silver on the copper, either of which is readily enough distinguishable. There are several ways for recovering gold and silver from their solutions in cyanide of potassium, a brief reference to which M COLLECTING AND REFINING. 162 will now be made. The following is the dry process :—Heat the solution and evaporate the water by driving it off as steam, until a thick pasty mass only is left; dry this in a suitable pan, and mix the dry powder with the following flux, for reducing into a lump of metal. Litharge . Soda ash . Common salt Gilding waste . 4 ounces. 4 ». SO „ Place this mixture in a fire-clay crucible and well fuse at a good heat: when the mass is reduced into quite liquid state, which is easily ascertained by stirring with a rod of iron, the pot is withdrawn from the fire, allowed to cool, and afterwards broken at the base, and the lump of mixed metals recovered for sale to the refiner, or placed aside for separate treatment for the recovery of the gold if so desired. The colouring waste—which consists of the exhausted salts and rinsing waters—is placed in a large receptacle and diluted with water, the gold precipitated with copperas, the residue collected and dried in a cast-iron or other suitable vessel; the dried powder is then mixed with the above flux in about the same proportions, and fused until CYANIDE SOLUTIONS. 163 the metal has run in a lump to the bottom of the pot. The same treatment is then adopted as recommended for gilders’ waste. This flux produces a red-looking mixture and appears in strong contrast to those used for col¬ lecting lemel. It cannot be used when it is desired or intended to work up again the waste products, such, for instance, as lemel, on account of the lead in the litharge, which mixes with the other metals and destroys their workable qualities. The metal collected by this flux, when broken short, shows a dark fracture or grain. For collecting lemel containing a variety of metals and intended for the refiner, it may be used with every advantage. It is a very suitable flux for collecting the gold from refuses, such as cyanide solutions, colour water sediment, dipping acid pro¬ ducts, and all similar refuses which accumulate in the jeweller’s workshop. The following is the wet process for the recovery of gold from exhausted cyanide gilding solutions. The gold solution should be largely diluted with water, and then muriatic acid gradually poured in until no further effervescence takes place. The vessel containing the solution should be large, as the mixture rises when the acid ife added and may boil over and thus lose a portion of the gold. The 164 COLLECTING AND REFINING. gas arising from the process is extremely poisonous, and the operation should therefore be performed in the open air. As old cyanide gilding solutions always contain mixed metals through all sorts of metals having been gilded therein, the precipitate will consist of the cyanides of gold and copper as well as chloride of silver. The clear water above this precipitate is drawn off and put into the general waste-water tub, the precipitate well washed with hot water, then boiled in suitable quantities of aqua regia, which dissolves the gold and copper and leaves the chloride of silver as before in the same state. The solution containing the gold and copper is poured from the chloride of silver and either evaporated nearly to dryness in order to drive off excess of acid, or otherwise largely diluted with water and the gold precipitated into a metallic brown powder by means of the iron salt copperas. The copper is left behind in solution in its previous state. The gold has now only to be dried and melted by means of a suitable flux, and the result will be a lump of pure gold. If preferred, after precipitating the mixed gold, silver, and copper, the sediment may be dried and the powder melted in the manner previously recommended by the dry process; but the result- RECOVERY FROM ACID MIXTURES. 16 ing lump from that operation will be one of mixed metals, and not pure gold as in the case just described. Another method for collecting the gold from old gilding solutions is the following : Take a piece of platinum, or a plate of carbon, and con¬ nect it as an anode to the positive wire of the battery, and attach a piece of copper to the nega¬ tive wire, and suspend these in solution and pass a strong current through it until the gold has all become deposited on the copper. It may then either be used as an anode—if the gold is pure enough—or the gold dissolved off and recovered by the usual means. The gold is recovered from acid mixtures , such as stripping, dead and bright pickling solutions, &c., by precipitation with copperas , added in excess. The acid mixture containing the gold should be diluted with water before the copperas is added. The precipitate is washed, dried, and then fused into a solid lump with carbonate of potash and a little saltpetre. The silver is recovered from stripping acids and other pickling mixtures by diluting with water and then adding common salt or muriatic acid, either of which will throw down the dissolved silver in the form of chloride. This is collected, dried, and melted until it assumes the metallic state. The 166 COLLECTING AND REFINING. supernatant waters, as well as the rinsing waters from all these processes, should not be thrown away, but emptied into the general waste-water tub, as a further protection against the loss of any gold or silver which may have escaped recovery in any of these processes. It is very seldom that these processes are required to be put in operation in the jeweller’s workshop, as they do not pay for the cost of time and labour in¬ volved, regardless of the expense in providing the materials requisite for the purpose, nevertheless we give them for what they are worth. Probably the best and most economical plan would be to evapo¬ rate all excess of liquid by heat, and then mix the residues with the polishings, and sell to a refiner of jeweller’s sweep. Acid mixtures should be evapo¬ rated in acid proof stoneware vessels, but alkaline mixtures can be reduced to a pasty mass in iron or cast-iron utensils manufactured for that purpose. We have been often asked the question if it is possible to work up gold filings, little scraps of gold, and gold plated waste, See. Now, as our view of the matter is to advance practical art by giving a comprehensive knowledge of the general and practical details of the alloying, working, and treating of gold and its useful compounds, by stating some of the results of our long experience, LEAD AND SOFT SOLDER. 167 we gladly embrace the opportunity, more especially as the question has been asked and answered in several of the leading trading and scientific jour¬ nals. Invariably the information imparted is not practical, or, in other words, such as could not be successfully applied in practice by the ordinary workman or jobbing jeweller to his pecuniary advantage, because it is imperfect in all practical details of mechanical art. The regime of gold-working can only be ade¬ quately described by those who have actually played some practical part in it, and gained work¬ ing knowledge by a display of experimental work¬ shop manipulations. We claim to have had this experience, and as such, probably our remarks will be all the more welcomed by our readers. Lead and soft solder are, amongst the metals, the most objectionable and the most likely to get mixed with jewellers’ filings ; especially will this be the case in a jobber’s trade, from the repairing of articles containing portions of soft solder. Now, in the re-melting of gold this solder is found most troublesome and difficult to deal with; and if this be the case with gold, how much more so must it be with filings or dust which contain impurities of all kinds. Contemporary works and trade journals have recommended the picking out of all 168 COLLECTING AND REFINING. impurities of a nature likely to prove injurious in the subsequent working of the prepared metal. This idea is at once preposterous to the practical working metallurgist, for all such-like feculent matter is too infinitesimal to be detected by the human eye; and as science has not yet discovered any mechanical contrivance in her deep researches to assist in and make the process an available one, we must adopt some other mode of treatment if we desire to be successful in the task of removing or destroying all extraneous matter with which dust or filings become impregnated. The best, most exact, and cheapest way to deal with substances of that kind is to well burn the filings in an iron ladle or some other equal substitute. This operation burns and destroys all organic matter, such as dirt, grease, and all other ingredients of a kindred nature, and thus brings the bulk down into a smaller compass. When this has cooled off a little the contents should be thoroughly magneted to re¬ move therefrom every trace, if possible, of iron or steel filings, which are sure to get into the dust in the course of working the mother material. These extracted filings should be again preserved, and when a sufficient quantity has been accumulated, they may be sold to the gold refiner. The gold dust should, after this operation, be put MELTING LEMEL. 169 into a fire-clay crucible—not plumbago—with the fiux before recommended, and the top well covered with dried common salt, so as to protect the con¬ tents from the air and draught of the flues of the furnace. A good heat should be given of half an hour or so to enable the dust to become properly melted, to assist which a few crystals of saltpetre may be added towards the end of the operation to perfect the process. When the dust has become properly fused it will work its way to the bottom of the crucible. At this stage it should be with¬ drawn from the furnace and placed aside to cool in a secure place, and then the crucible may be broken at its base with a hammer, and the lump of gold will present itself in a form corresponding to the shape of the crucible. As we have said before, the best and cheapest plan to deal with this kind of waste is to sell it to a gold refiner who has large appliances, and does his work on a large scale and consequently at the lowest possible cost, and he will either pay for the precious metals extracted in current coin or exchange the amount in new gold or silver, which¬ ever is required. We may observe that no refiner will take an assay from the lump in its present form, therefore before submitting it for his test it will be absolutely necessary to again melt the 170 COLLECTING AND REFINING. compound. This time it may be done in a plum¬ bago pot with a little charcoal only as flux to pro¬ tect it from the air, and when properly fused it becomes a liquid, and may at once be removed from the fire and poured into an ingot mould in the same manner as an ordinary melting. The previous lump of metal will now be in the form of an ordinary bar, and in a perfect state for the operation of the refiner. Having now described the common and more general method of treating the precious metal¬ worker’s lemel, we now go a step further by entering into the details of a plan whereby all such waste may be made to do duty again by its previous operation, although we distinctly say that it is not profitable with present prices for the small or large manufacturer to undertake unless special advan¬ tages exist upon the premises for conducting the process on a most economical scale ; and as such advantages seldom do exist, we are justified in writing these remarks in opposition to the intro¬ duction of the process by those persons less experienced in jeweller’s work, and whose labours would be certain to result in ignominious failure. The plan we intend now to speak of is called the “ Refining of Lemel,” whereas the one already described was simply the “Collecting of Lemel.” GOLD MIXTURE FOR PARTING. 17 I The former branch of the art is more chemical than the latter, and is always performed with an acid or acids which destroy the baser alloys from the more precious metal. Whenever this process is about to be performed, it will be necessary to first collect the lemel in the way already laid down, and then to ascertain its quality by means of the testing acid and needles. If the alloy is too good in quality it will not be so easily parted or separated from its baser ingredients by the acid which is to be subse¬ quently introduced for its purification, therefore in the remelting it will be imperative that some extra alloy should be added to bring down the gold to the proper quality for parting; and as silver is the best metal to employ, enough of that material should be added so as to make the gold occupy the position of one-fourth part in the whole composi¬ tion. This is to be added to the pot in the second melting process : and instead of pouring the con¬ tents of the crucible into an ingot mould it should be poured into a deep vessel of water from some height, in order to the more finely granulate the mixture; the molten mass must be very gradually poured in, or it will not be properly granulated, that is, reduced to fine grains ; stirring the water briskly in a circular direction greatly assists the operation of graining. 172 COLLECTING AND REFINING. The mixture will now be found at the bottom of the vessel in irregular grains or nuggets if the pro¬ cess has been well performed. These grains must be carefully collected and dried and subsequently placed in a glass flask free from lead—or any other suitable vessel will do—and treated with acid. The acid employed is that most corrosive one known as nitric acid ; it may be used as follows, and shuuld always be in proportion to a given weight of the material to be parted or purified. If the nitric acid is of the best quality, and this is necessary, it will be the safest to prepare the solu¬ tion in these proportions :— Alloy for parting . . i ounce. Pure nitric acid . . I ,, Water . . . . 2 „ The mixture emits dangerous fumes, and great care is required in the manipulation thereof to pre¬ vent danger to health. In the absence of proper mechanical appliances, the process may be con¬ ducted upon a hearth, taking care that the fumes escape effectually. Towards the end of the opera¬ tion the fumes will begin to cease, partly because the acid has done its work, and partly because its action has been retarded by the amount of work done ; therefore, before drawing off the PURE GOLD. 173 acid, it will be advisable to increase the tempera¬ ture a little, in order to keep up the requisite chemical action and vigour. In this way all the ingredients except the gold gradually become dissolved, and in order to per¬ fectly complete the process, it will be absolutely necessary for a fresh supply of nitric acid to be added to the semi-dissolved mass, always removing the first one before an addition is made. By a repetition of these means the gold becomes pure and is in the form of a dark powder at the bottom of the operating vessel, and only required to be melted with a little flux, such as carbonate of potash, to show its true form and nature. The undissolved gold at the bottom of the vessel should be well washed with hot water to remove all trace of acid previous to melting. If the gold has not been properly purified from its base ingredients it will not work properly, but be possessed of a brittleness most difficult to get rid of. To perform the process properly is more diffi¬ cult than it appears to be. The nitric acid destroys the copper, silver, lead, tin, or pewter, with which the lemel may be contaminated, and, in fact, every¬ thing except the gold, always providing that the mixture has been properly prepared. The silver in the acid is recovered by largely 174 COLLECTING AND REFINING. diluting with water and precipitating with common salt or muriatic acid, which throws it down as chloride, in which state it is washed, dried, and melted. The copper can be precipitated by the immersion of a few pieces of iron in the solution withdrawn from the chloride of silver. CHAPTER XV. Sundry Gold Alloys. This book would not be complete were we to omit from its pages a list of the gold alloys used in the various branches of the goldworker’s trade for what may be justly termed special purposes, and as these mixtures are differently prepared to those used for regular purposes, we shall describe them as Fancy Alloys , so as to render them readily dis¬ tinguishable from those in common use by giving a chapter to themselves. i8-carat Pale Gold. Fine gold oz. . I dwt?. O grs, O Fine silver . 0 4 16 Pure copper . 0 2 O I 6 l 6 Cost £1 4J. 9 d. per oz. 6 SUNDRY GOLD ALLOYS. i8 -carat for Watch Casks. OZ. dwts. grs. Fine gold . . I O O Fine silver . . o 4 O Pure copper . . o 2 16 I 6 l6 Cost 4r. 8d. per OZ. i 8 -carat Coloured Gold. OZ. dwts. grs, Fine gold . . I O O Fine silver . . o 3 8 Pure copper . . O 3 8 I 6 16 Cost 4J. 6 d. per OZ. i8-carat Burnishing Gold. OZ. dwts. grs. Fine gold . . I O O Fine silver . . o 2 l6 Pure copper . . O 4 O I 6 l6 Cost £i 4-r. 5 I O 12 0 7 15 I 8 3 17 I O 12 O 6 0 I 6 12 18 I 0 12 O 4 12 I 5 0 19 I O 12 0 3 4 I 3 16 20 I 0 12 0 2 0 I 2 12 21 I O 12 0 1 0 I I 12 22 I 0 12 Coins are made of this Quality. 23 I 0 12 Better than Coins. 24 I 0 12 Better than Coins. 20-carat H.M. Alloys.' Table showing the Proportions of Alloy with from 1 oz. up to 13 ozs. of Fine Gold, and containing ABOUT ii DWTS. OF FlNE SILVER PER OZ. Cost 71/9 per oz. Fine gold. Fine silver. Copper. Total. oz. oz. dwts. grs. OZ. dwts. grs. OZ. dwts. grs. I 0 I 18 0 2 6 I 4 0 2 0 3 12 0 4 12 2 8 0 3 O 5 6 0 6 18 3 12 0 4 O 7 0 0 9 0 4 l6 0 5 0 8 18 0 II 6 6 0 0 6 0 IO 12 0 13 12 7 4 0 7 O 12 6 0 IS 18 8 8 0 8 O 14 O O 18 O 9 12 0 9 O 15 18 I O 6 IO l6 0 IO 0 17 12 I 2 12 12 O 0 I E 0 19 6 I 4 18 13 4 0 12 I I O I 7 O 14 8 0 13 I 2 18 I 9 6 15 12 0 ALLOY TABLES. 207 20-carat H.M. Alloys. Table showing the Proportions of Alloy with from 4 up to 50 Sovereigns, and containing about i£ dwts. of Fine Silver per oz. Cost 71/6 per oz. £ Gold coins. Fine silver. Copper. Total. OZ. dwts. grs. OZ. dwts. grs. OZ. dwts. grs. OZ. dwts. grs. 4 I O 12 0 I 12 0 0 12 I 2 12 8 2 I O 0 3 0 0 1 O 2 5 O 12 3 I 12 0 4 12 0 1 12 3 7 12 16 4 2 O 0 6 0 0 2 O 4 10 0 20 5 2 12 0 7 12 0 2 12 5 12 12 24 6 3 O 0 9 O 0 3 O 6 15 0 28 7 3 12 0 10 12 0 3 12 7 17 12 32 8 4 O 0 12 O 0 4 O 9 0 0 36 9 4 12 0 13 12 0 4 12 10 2 12 40 IO 5 O 0 15 0 0 5 0 11 5 O 44 I I 5 12 0 16 12 0 5 12 12 7 12 48 12 6 O 0 18 O 0 6 0 G IO O SO 12 16 6 0 18 18 0 6 6 H I 6 18-earat H.M. Alloys. Table showing the Proportions of Alloy with from 1 oz. up to 13 ozs. of Fine Gold, and containing ABOUT 11 DWTS. OF FlNE SILVER PER OZ. Cost 64/6 per oz. Fine gold. Fine silver. Copper. Total. OZ. OZ. dwts. grs. OZ. dwts. grs. OZ. dwts. grs. I 0 2 0 0 4 16 I 6 16 2 0 4 0 0 9 8 2 13 8 3 0 6 0 0 14 O 4 0 0 4 0 8 O 0 18 ifa 5 6 16 5 0 IO 0 I 3 8 6 13 8 6 0 12 0 I 8 0 8 O 0 7 0 14 0 I 12 16 9 6 16 8 0 16 0 I 17 8 IO G 8 9 0 18 0 2 2 O 12 0 0 IO 1 0 0 2 6 16 13 6 16 11 1 2 O 2 II 8 14 13 8 12 1 4 O 2 16 O 16 O 0 13 1 6 0 3 0 16 17 6 16 20 8 GOLD VALUES, 18-carat H.M. Alloys. Table showing the Proportions of Alloy with from 4 up to 50 Sovereigns, and containing about ii dwts. of Fine Silver per oz. Cost 64/3 per oz. £ Gold coins. Fine silver. Copper. Total. oz. dwts. grs. oz. dwts. gjs. oz. dwts. gjs. oz. dwts. grs. 4 I 0 12 O I 12 0 3 0 I s o 8 2 I 0 0 3 0 O 6 0 2 10 0 12 3 I 12 0 4 12 0 9 O 3 15 o | l6 4 2 0 O 6 O 0 12 O 5 O 0 20 5 2 12 0 7 12 O G 0 b 5 0 i 24 6 3 0 0 9 O 0 18 0 7 IO 0 ! 28 7 3 12 O 10 12 I I 0 8 IS 0 ; 32 8 4 0 O 12 O I 4 0 10 0 0 36 9 4 12 O 13 12 I 7 0 11 5 0 40 10 5 O O g O I 10 0 12 10 0 44 11 5 12 0 16 12 I 13 0 13 IS 0 48 12 6 O O 18 0 I 16 0 IS O 0 5° 12 16 6 0 18 18 I 17 12 is 12 12 16-carat Coloured Alloys. Tajble showing the Proportions of Alloy with from 1 oz. up to 13 ozs. of Fine Gold, and containing ABOUT ii DWTS. OF FlNE SILVER PER OZ. Cost 57/6 per oz. Fine gold. Fine silver. Copper. Total. oz. oz. dwts. grs- oz. dwts. grs. oz. dwts. g r5 - I O 2 6 0 7 18 I 10 0 2 O 4 12 0 15 12 3 O 0 3 0 6 18 I 3 6 4 10 0 4 O 9 0 I 11 O 6 0 0 5 0 11 6 I 18 18 7 10 0 6 0 13 12 2 6 12 9 0 0 7 O IS 18 2 14 6 10 10 0 8 0 18 0 3 2 O 12 0 0 9 I O 6 3 9 18 13 10 0 10 I 2 12 3 17 12 15 0 0 I I I 4 18 4 5 6 16 10 0 12 I 7 O 4 13 O 18 0 0 I 9 6 s O 18 19 10 0 ALLOY TABLES 209 16 -carat Gold Alloys. Table showing the Proportions of Alloy with from 4 up to 50 Sovereigns, and containing about itr dwts. of Fine Silver per oz. Cost 57/3 per oz. £ Gold coins. Fine silver. Copper. Total. OZ. dwts. grs. OZ. dwts. grs. OZ. dwts. grs. oz. dwts. grs. 4 I O 12 0 I 21 0 5 18 I 8 3 8 2 I 0 0 3 18 0 11 12 2 16 6 12 3 I 12 0 S 15 0 17 6 4 4 9 16 4 2 O 0 7 12 I 3 0 5 12 12 20 5 2 12 O 9 9 I 8 18 7 O 15 24 b 3 0 0 11 6 I 14 12 8 8 18 28 7 3 12 0 13 3 2 0 6 9 16 21 32 8 4 0 0 iS O 2 6 O 11 S 0 36 9 4 12 0 16 21 2 11 18 12 13 3 40 10 5 0 0 18 18 2 17 12 14 I 0 44 11 5 12 I 0 IS 3 3 6 IS 9 9 48 12 6 O I 2 12 3 9 0 16 17 12 So 12 16 6 I 3 12 3 11 21 17 11 15 15 -carat H.M. Alloys. Table showing the Proportions of Alloy with from 1 oz. up to 13 ozs. of Fine Gold, and containing ABOUT ij DWTS. OF FlNE SILVER PER OZ. Cost 54 / per oz. Fine gold. Fine silver. Copper. Total. oz. oz. dwts. grs. OZ. dwts. grs. OZ. dwts. grs. I 0 2 9 0 9 IS I 12 O 2 O 4 18 0 19 6 3 4 O 3 0 7 3 I 8 21 4 16 O 4 O 9 12 I 18 12 6 8 O 5 O 11 21 2 8 3 8 0 O 6 0 14 6 2 17 18 9 12 O 7 0 lb IS 3 7 9 11 4 O 8 O 19 0 3 17 O 12 16 O 9 1 1 9 4 6 15 14 8 O 10 1 3 18 4 16 6 l 6 O O 11 1 6 3 S S 21 17 12 O 12 1 8 12 5 IS 12 19 4 O 13 I 10 21 6 5 3 20 16 O P 210 GOLD VALUES. 15 -carat H.M. Alloys. Table showing the Proportions of Alloy with from 4 up to 50 Sovereigns, and containing about i£ dwts. of Fine Silver per oz. Cost 53/9 per oz. £ Gold coins. Fine silver. Copper. Total. oz. dwts. grs. oz. dwts. grs. oz. dwts. grs. oz. dwts. grs. 4 I 0 12 O 2 0 0 7 12 I IO O 8 2 I 0 0 4 O O 15 0 3 0 O 12 3 I 12 O 6 0 I 2 12 4 IO O 16 4 2 O 0 8 0 I IO 0 6 0 O 20 5 2 12 0 IO O I 17 12 7 IO O 2 4 6 3 0 0 12 O 2 5 0 9 0 O 28 7 3 12 O 14 O 2 12 12 10 IO 0 32 8 4 O O 16 0 3 O 0 12 0 0 36 9 4 12 O 18 O 3 7 12 13 IO 0 40 10 5 O I O O 3 is O 15 0 0 44 11 5 12 I 2 O 4 2 12 l6 IO 0 48 12 6 O I 4 O 4 IO 0 18 0 0 So 12 16 6 I 5 O 4 13 18 18 15 0 14 -carat Coloured Alloys. Table showing the Proportions of Alloy with from 1 oz. up to 13 ozs. of Fine Gold, and containing about i-|- dwts. of Fine Silver per oz. Cost 50/3 per oz. Fine gold. Fine silver. Copper. Total. oz. oz. dwts. grs. oz. dwts. grs. OZ. dwts. grs. I O 2 12 O II 18 I 14 6 2 O 5 O I 2 12 3 8 12 3 O 7 12 I 15 6 5 2 18 4 0 IO 0 2 7 O 6 15 0 5 0 12 12 2 18 18 8 II 6 6 0 is 0 3 IO 12 10 5 12 7 O 17 12 4 2 6 I I 19 18 8 I O O 4 14 0 13 14 O 9 1 2 12 s s 18 IS 8 6 IO 1 s 0 s 17 12 17 2 12 11 1 7 12 6 9 6 18 16 18 12 I IO 0 7 I O 20 11 O 13 I 12 12 n / 12 18 22 s 6 ALLOY TABLES. 21 I 14 -earat Coloured. Alloys. Table showing the Proportions of Alloy with from 4 up to 50 Sovereigns, and containing about i|- dwts. of Fine Silver per oz. Cost 50/ per oz. £ Gold coins. Fine silver. Copper. Total. OZ. dwts. grs. OZ. dwts. grs. OZ. dwts. grs. OZ. dwts. grs. 4 I 0 12 0 2 6 0 9 12 I 12 6 8 2 1 O 0 4 12 O 19 0 3 4 12 12 3 1 12 0 6 18 1 8 12 4 16 18 16 4 2 O 0 9 O I 18 0 6 9 0 20 S 2 12 0 11 6 2 7 12 8 1 6 24 6 3 O 0 13 12 2 17 O 9 13 12 28 7 3 12 0 G 18 3 6 12 11 S 18 32 8 4 O 0 18 O 3 16 O 12 18 0 36 9 4 12 I 0 6 4 5 12 14 10 6 40 10 s O I 2 12 4 IS O j6 2 12 44 11 5 12 I 4 18 5 4 12 17 14 18 48 12 6 O I 7 O s 14 O 19 7 0 50 12 16 6 I 8 3 5 18 18 20 3 3 Wet Coloured Alloys. Table showing the Proportions of Alloy with from 1 oz. up to 13 ozs. of Fine Gold, and containing ABOUT 1^ DWTS. OF FINE SILVER PER OZ. Cost 45/6 per oz. Fine gold. Fine silver. Copper. Total. oz. oz* dwts. g-s. OZ. dwts. grs. OZ. dwts. grs. I 0 2 18 0 IS 6 I 18 O 2 0 s 12 I 10 12 3 16 O 3 0 8 6 2 S 18 s 14 O 4 0 11 O 3 I O 7 12 0 s 0 13 18 3 16 6 9 10 O 6 0 16 12 4 11 12 11 8 O 7 0 19 6 5 6 18 13 6 O 8 I 2 O 6 2 O IS 4 O 9 1 4 18 6 17 6 17 2 O 10 1 7 12 7 12 12 19 O 0 11 I IO 6 8 7 18 20 18 O 12 1 13 O 9 3 O 22 16 O 13 1 15 18 9 18 6 24 14 0 212 GOLD VALUES. Wet Coloured Alloys. Table showing the Proportions of Alloy with from 4 up to 50 Sovereigns, and containing about ii dwts. of Fine Silver per oz. Cost 45/ per oz. £ Gold coins. Fine silver. Copper. Total. oz. dwts. grs. oz. dwts. grs. oz. dwts. grs. OZ. dwts. grs. 4 I O 12 O 2 12 0 13 O I 10 O 8 2 I 0 O 5 0 I 6 O 3 12 O 12 3 I 12 O 7 12 I 19 O 5 8 O l6 4 2 O O 10 0 2 12 0 7 4 O 20 5 2 12 O 12 12 3 5 0 9 O O 24 b 3 0 O is O 3 18 0 IO l6 0 28 7 3 12 O 17 12 4 11 0 12 12 O 3 2 8 4 O I O O 5 4 0 14 8 0 36 9 4 12 I 2 12 5 17 0 l6 4 O 40 IO 5 O I 5 0 6 10 0 18 O O 44 II s 12 I 7 12 7 3 0 19 l6 O 48 12 6 O I 10 0 7 16 0 21 12 0 SO 12 16 6 I 11 6 S 2 12 22 IO O Wet Coloured Solder. Table showing the Proportions of Alloy with from 1 oz. up to 13 ozs. of Wet Coloured Scrap, and CONTAINING ABOUT 4^ DWTS. OF FlNE SILVER PER OZ. Cost 38/6 per oz. Wet-Cold. Scrap. Fine silver. Spelter. Total. oz. oz. dwts. grs. oz. dwts. grs. oz. dwts. grs. I O 3 12 0 0 12 I 4 0 2 O 7 O O I O 2 8 O 3 O 10 12 O I 12 3 12 O 4 0 *4 O O 2 O 4 16 0 s O 17 12 O 2 12 6 O 0 6 I I O O 3 O 7 4 0 7 I 4 12 O 3 12 8 8 0 8 I 8 O O 4 O 9 12 0 9 1 I I 12 O 4 12 10 16 0 10 I IS O O s O 12 O 0 II I 18 12 0 5 12 13 4 0 12 2 2 O 0 6 O 14 8 0 13 2 5 12 0 6 12 is 12 0 ALLOY TABLES 213 20-carat H.M. Reduced to 18-carat H.M. Table showing the Proportions of Alloy with from 1 oz. up to 13 ozs. of 20-carat Scrap, and containing ABOUT DWTS. OF FlNE SILVER PER OZ. Cost 64/6 per oz. 20-c. H.m. Scrap. Fine silver. Copper. Total. OZ. OZ. dwts. grs. OZ. dwts. grs. OZ. dwts. grs. I 0 O 3 0 2 0 I 2 3 2 0 O 6 0 4 0 2 4 6 3 0 0 9 0 6 0 3 6 9 4 0 0 12 0 8 0 4 8 12 5 0 0 15 0 IO 0 5 IO 15 6 0 0 18 0 12 0 6 12 18 7 0 0 21 0 14 0 7 14 21 8 0 I O 0 l6 0 8 17 O 9 0 I 3 0 18 0 9 19 3 IO 0 I 6 1 O 0 11 I 0 11 0 I 9 1 2 0 12 3 9 12 0 I 12 I 4 0 13 5 12 13 0 I >5 I 6 0 14 7 IS 20-carat H.M. Reduced to 16-carat H.M. Table showing the Proportions of Alloy with from 1 oz. up to 13 ozs. of 20-carat Scrap, and containing ABOUT \\ DWTS. OF FlNE SILVER PER OZ. Cost 57/6 per oz. 20-c. H.m. Scrap. Fine silver. Copper. Total. oz. OZ. dwts. grs. OZ. dwts. grs. OZ. dwts. grs. I 0 O 9 0 4 15 I 5 O 2 0 O 18 0 9 6 2 IO O 3 0 I 3 0 US 21 3 15 O 4 0 I 12 0 18 12 5 0 O 5 0 I 21 I 3 3 6 S O 6 0 2 6 I 7 18 7 IO O 7 0 2 IS I 12 9 8 IS O 8 0 3 0 I 17 O IO O 0 9 0 3 9 2 1 is II 5 0 IO 0 3 18 2 6 6 12 IO O 11 0 4 3 2 IO 21 13 IS O 12 0 4 12 2 15 12 IS O O 13 0 4 21 3 0 3 16 S O GOLD VALUES. 2 14 20-carat H.M. Reduced to 15-carat H.M. Table showing the Proportions of Alloy with from 1 oz. up to 13 ozs. of 20-carat Scrap, and containing ABOUT ii DWTS. OF FlNE SILVER PER OZ. Cost 53/9 per oz. 20-c. H.m. Scrap. Fine silver. Copper. Total. oz. oz. dwts. grs. oz. dwts. grs. oz. dwts. grs. I O 0 12 0 6 4 I 6 16 2 0 I O 0 12 8 2 13 8 3 0 I 12 0 18 12 4 0 0 4 0 2 O I 4 l6 5 6 16 5 O 2 12 I 10 20 6 13 8 6 0 3 O I 17 0 8 0 O 7 O 3 12 2 3 4 9 6 16 8 0 4 0 2 9 8 10 13 8 9 O 4 12 2 IS 12 12 O 0 10 0 5 O 3 I l6 13 6 16 11 0 S 12 3 7 20 14 13 8 12 0 6 O 3 14 0 16 O 0 13 0 6 12 4 0 4 i 7 6 16 20-carat H.M. Reduced to 14-carat H.M. Table showing the Proportions of Alloy with from 1 oz. up to 13 oz. of 2 0-carat Scrap, and containing ABOUT i| DWTS. OF FlNE SILVER PER OZ. Cost 50/ per oz. 20-c. H.m. Scrap. Fine silver. Coppe r. Total. oz. oz. dwts. grs. oz. dwts. grs. OZ. dwts. grs. I O O is 0 8 3 I 8 18 2 0 I 6 0 16 6 2 17 12 3 O I 21 I 4 9 3 6 6 4 O 2 12 I 12 12 s IS 0 5 O 3 3 2 O is 7 3 18 6 0 3 18 2 8 18 8 12 12 7 0 4 9 2 16 21 10 I 6 8 O 5 0 3 5 O II 10 O 9 0 s is 3 13 3 12 18 18 10 O 6 6 4 1 6 14 7 12 11 O 6 21 4 9 9 IS l6 6 12 0 7 12 4 17 12 17 s O 13 0 8 3 5 5 is 18 13 18 ALLOY TABLES. 215 20-carat H.M. Reduced to 124-carat. Table showing the Proportions of Alloy with from 1 oz. up to 13 ozs. of 20-carat Scrap, and containing ABOUT l 4 DWTS. OF FINE SILVER PER OZ. Cost 45/ per oz. 20-c. H.m. | Scrap. Fine silver. Copper. Total. OZ. oz. dwts. grs. OZ. dwts. grs. OZ. dwts. grs. I O I 0 0 11 0 I 12 O 2 0 2 O I 2 O 3 4 0 3 0 3 O I 13 0 4 16 0 4 0 4 O 2 4 O 6 8 0 5 0 5 O 2 15 0 8 O O 6 0 6 0 3 6 0 9 12 O 7 0 7 0 3 1 7 0 11 4 0 8 0 8 0 4 8 0 12 16 0 9 0 9 0 4 19 O 14 8 0 10 0 IO 0 5 10 O 16 O O 11 0 II 0 6 1 O 17 12 O 12 O 12 0 6 12 0 19 4 O 13 0 13 0 7 3 O 20 l6 O 18-carat H.M. Reduced to 16-carat. Table showing the Proportions of Alloy with from 1 oz. up to 13 ozs. of i8-carat Scrap, and containing about i 4 dwts. of Fine Silver per oz. Cost 57/6 per oz. 18-c. H.m. Scrap. Fine silver. Coppe r. Total. OZ. oz. dwts grs. oz. dwts. grs. oz. dwts. grs. I O O 4 O 2 8 I 2 12 2 O O 8 O 4 16 2 5 O 3 0 O 12 O 7 O 3 7 12 4 0 O 16 0 9 8 4 10 O 5 O O 20 0 11 16 5 12 12 6 0 I 0 O 14 O 6 x s O 7 0 I 4 0 16 8 7 17 12 8 0 I 8 O 18 16 8 O O 9 O I 12 I I O 9 2 12 10 O I l6 1 3 8 IO s 0 11 0 I 20 I 5 16 I I 7 12 12 0 2 O 1 8 0 12 10 0 13 0 2 4 1 10 8 x 3 12 12 2 16 GOLD VALUES. 18 -carat H.M. Reduced to 15 -carat H.M. Table showing the Proportions of Alloy with from i oz. up to 13 ozs. of i8-carat Scrap, and containing ABOUT il DWTS. OF FlNE SILVER PER OZ. Cost 53/9 per oz. 18 -c. H.m. Scrap. Fine silver. Copper. Total. oz. oz. dwts. grs. OZ. dwts. grs. oz. dwts. grs. I O O b 0 3 18 I 4 O 2 O O 12 0 7 12 2 8 O 3 0 0 18 0 11 6 3 12 O 4 0 I O 0 J 5 O 4 16 O 5 0 I 6 0 18 18 6 0 O 6 0 I 12 I 2 12 7 4 0 7 0 I 18 I 6 6 8 8 0 8 0 2 O I 10 O 9 12 0 9 0 2 6 I r 3 18 IO 16 0 IO O 2 12 I 17 12 12 O 0 I I O 2 18 2 I 6 13 4 0 12 O 3 O 2 5 O 14 8 0 13 O 3 6 2 8 18 15 12 0 18-carat H.M. Reduced to 14-carat. Table showing the Proportions of Alloy with from 1 oz. to 13 ozs. of i8-carat Scrap, and containing ABOUT l|- DWTS. OF FlNE SILVER PER OZ. Cost 50/ per oz. x8-c. H.m. Scrap. Fine silver. Copper. Total. oz. OZ. dwts. grs. oz. dwts. grs. oz. dwts. grs. I 0 O 9 O s 9 I 5 18 2 0 O 18 O IO 18 2 II 12 3 0 I 3 0 l6 3 3 17 6 4 0 I 12 I I 12 5 3 O s 0 I 21 I 6 21 6 8 18 6 0 2 6 I 12 6 7 14 12 7 0 2 IS I 17 IS 9 O 6 8 0 3 O 2 3 O IO 6 O 9 0 3 9 2 8 9 II II 18 IO O 3 18 2 13 18 12 17 12 II 0 4 3 2 19 3 14 3 6 12 O 4 12 3 4 12 is 9 O 13 O 4 21 3 9 21 xb 14 18 ALLOT TABLES. 217 18 -carat ELM. Reduced to 12 i-carat. Table showing the Proportions of Alloy with from 1 oz. up to 13 ozs. of i8-carat Scrap, and containing ABOUT ii- DWTS. OF FlNE SILVER PER OZ. Cost 4;/ per oz. 18-c. H.m. Scrap. Fine silv er. Copper. Total. oz. oz. dwts. grs. oz. dwts. grs. OZ. dwts. grs. I O O 18 0 8 O I 8 18 2 0 I 12 O 16 0 2 17 12 3 0 2 6 1 4 O 4 6 6 4 0 3 0 1 12 O 5 15 0 s O 3 18 2 O O 7 3 18 6 O 4 12 2 8 O 8 12 12 7 0 5 6 2 16 O 10 I 6 8 0 6 0 3 4 O 11 10 0 9 O 6 18 3 12 O 12 18 18 10 O 7 12 4 0 O 14 7 12 11 O 8 6 4 8 O 15 16 6 12 0 9 O 4 l6 O 17 5 O 13 0 9 18 5 4 0 18 r 3 18 16 -carat Reduced to 15 -carat ELM. Table showing the Proportions of Alloy with from 1 oz. up to 13 ozs. of i6-carat Scrap, and containing ABOUT IA DWTS. OF FlNE SILVER PER OZ. Cost 54/ per oz. 16-carat Scrap. F ne silver. Copper. Total. oz. OZ. dwts. grs. OZ. dwts. gfrs. OZ. dwts. grs. i 0 O 3 0 I 3 I I 6 2 0 O 6 0 2 6 2 2 12 3 0 O 9 0 3 9 3 3 18 4 0 O 12 0 4 12 4 5 O 5 0 O 15 0 5 15 5 6 6 6 0 O 18 0 6 18 6 7 12 7 0 O 21 0 7 21 7 8 18 8 0 I O 0 9 0 8 IO 0 9 0 I 3 O 10 3 9 11 6 10 0 I 6 O 11 6 10 12 12 11 0 I 9 O 12 9 11 13 18 12 0 I j 2 O x 3 12 12 15 O 13 0 I r 5 O 14 15 13 l 6 6 2 l8 GOLD VALUES 16 -carat Reduced to 14 -carat. Table showing the Proportions of Alloy with from i oz. up to 13 ozs. of i6-carat Scrap, and containing ABOUT DWTS. OF FlNE SILVER PER OZ. Cost 50/ per oz. 16-carat Scrap. Fine silver. Copper. Total. oz. 0, dwts grs. OZ. dwts. grs. oz. dwts. grs. I 0 O 6 0 2 18 I 3 O 2 0 O 12 0 5 12 2 6 O 3 0 0 18 0 8 6 3 9 O 4 0 I O O 1 I O 4 12 O 5 0 I 6 O 13 18 5 LS 0 6 O I 12 0 l6 12 6 18 0 7 0 I 18 0 19 6 8 I O 8 O 2 O I 2 O 9 4 O 9 O 2 6 I 4 18 10 7 0 10 O 2 12 I 7 12 11 10 0 11 O 2 l8 I 10 6 12 13 0 12 O 3 0 I 13 0 13 l6 0 r 3 O 3 6 I 15 18 14 19 0 16 -carat Reduced to 12 j-carat. Table showing the Proportions of Alloy with from 1 oz. up to 13 ozs. of i6-carat Scrap, and containing ABOUT I-o- DWTS. OF FlNE SILVER PER OZ. Cost 45/ per oz. i6-carat Scrap. Fine silver. Copper. Total. oz. oz. dwts. grs. oz. dwts. grs. OZ. dwts. grs. I O O 9 O 5 6 I s IS 2 O O 18 O IO 12 2 11 6 3 O I 3 O is 18 3 16 21 4 O I 12 I I 0 s 2 12 5 O I 21 I 6 6 7 8 3 6 O 2 6 I II 12 8 13 18 7 O 2 15 I 16 18 9 19 9 8 0 3 O 2 2 0 10 S 0 9 O 3 9 2 7 6 II 10 15 10 O 3 18 2 12 12 12 16 6 II O 4 3 2 17 18 14 I 21 12 O 4 12 3 3 O IS 7 12 l 3 0 4 21 3 8 6 lb 13 3 ALLOY TABLES. 2IQ 15 -carat H.M. Reduced to 14 -carat. Table showing the Proportions of Alloy with from i oz. up to 13 ozs. of 15-CARAT Scrap, and containing ABOUT 1 1 DWTS. OF FINE SILVER PER OZ. Cost 50/ per oz. 15-c. H.m. Scrap. Fine silver. Copper. Total. OZ. oz. dwts. grs. OZ. dwts. grs. OZ. dwts. grs. I O 0 3 0 I 9 I I 12 2 0 O 6 0 2 18 2 3 O 3 0 O 9 O 4 3 3 4 12 4 0 O 12 0 5 12 4 6 O S 0 0 15 0 6 21 5 7 12 6 O 0 18 O 8 6 6 9 O 7 O 0 21 O 9 IS 7 10 12 8 O I 0 O 11 O 8 12 O 9 O I 3 O 12 9 9 13 12 10 O I 6 0 13 18 10 IS O II 0 I 9 O IS 3 11 16 12 12 0 I 12 0 16 12 12 18 O 13 0 I 15 0 17 21 13 19 12 15 -carat H.M. Reduced to Wet-Coloured. Table showing the Proportions of Alloy with from 1 oz. up to 13 ozs. of 15-CARAT Scrap, and containing ABOUT ij DWTS. OF FlNE SILVER PER OZ. Cost 45/ per oz. 15-c. H.m. Scrap. Fine silver. Copper. Total. oz. oz. dwts. grs. OZ. dwts. grs. OZ. dwts. grs. I 0 O 6 0 3 18 I 4 O 2 0 O 12 0 7 12 2 8 O 3 0 O 18 0 11 6 3 12 O 4 O I 0 0 15 O 4 16 O 5 O I 6 0 18 18 6 0 O 6 0 I 12 I 2 12 7 4 O 7 O I 18 I 6 6 8 8 O 8 0 2 0 I 10 0 9 12 O 9 O 2 6 I 13 18 10 16 O 10 O 2 12 I 17 12 12 0 O II 0 2 18 2 I 6 13 4 O 12 0 3 0 2 S 0 14 8 O 13 O 3 6 2 8 18 15 12 O 220 GOLD VALUES. 14 -carat Reduced to 12 ^-carat. Table showing the Proportions of Alloy with from i oz. up to 13 ozs. of 14-CARAT Scrap, and containing about 1 i dwts. of Fine Silver per oz. Cost 45/ per oz. 14-carat Scrap. Fine silver. Copper. Total. oz. oz. dwts. grs. OZ. dwts. grs. oz. dwts. grs. I O O 4 0 2 2 I 2 6 2 0 0 8 0 4 4 2 4 12 3 O O 12 0 6 6 3 6 18 4 O O l6 0 8 8 4 9 O 5 O O 20 0 10 10 5 II 6 6 O I O 0 12 12 6 13 12 7 O I 4 0 14 4 7 i.S 18 8 O I 8 0 l6 16 8 18 0 9 O I 12 0 18 18 10 O 6 10 O I l6 I c 20 II 2 12 11 O I 20 I 2 22 12 4 18 12 0 2 0 I s O g 7 0 13 0 2 4 I 7 2 14 9 6 12-carat H.M. Alloys. Table showing the Proportions of Alloy with from 1 oz. up to 13 ozs. of Fine Gold, and containing ABOUT 2 DWTS. OF FlNE SILVER PER OZ. Cost 43/6 per oz. Fine gold. Fine silver. Copper. Total. OZ. OZ. dwts. grs. oz. dwts. grs. OZ. dwts. grs. I O 4 O O ID O 2 O 0 2 O 8 O I 12 O 4 O 0 3 O 12 0 2 8 O 6 O 0 4 O 16 O 3 4 O 8 O 0 s I 0 O 4 O O IO O 0 6 I 4 O 4 l6 0 12 O 0 7 I 8 O 5 12 0 14 0 0 8 I 12 O 6 8 0 l6 O 0 9 1 l6 0 7 4 0 18 O 0 IO 2 0 0 8 O 0 20 O 0 II 2 4 0 8 16 0 22 O 0 12 2 8 0 9 12 0 24 O 0 13 2 12 0 IO 8 0 20 O 0 ALLOY TABLES. 22 1 12 -carat H.M. Alloys. Table showing the Proportions of Alloy with from 4 up to 50 Sovereigns, and containing about 2 dwts. of Fine Silver per oz. Cost 43/3 per oz. . £ Gold coins. Fine silver. Copper. Total. oz. dwts. grs. OZ. dwts. grs. OZ. dwts. grs. OZ. dwts. grs. 4 I O 12 0 3 12 0 13 12 I 17 12 8 2 I 0 0 7 O I 7 O 3 15 O 12 3 I 12 0 10 12 2 O 12 s 12 12 16 4 2 O 0 14 O 2 14 O 7 10 O 20 5 2 12 0 17 12 3 7 12 9 7 12 24 6 3 0 I 1 O 4 I 0 1 c S O 28 7 3 12 I 4 12 4 H 12 13 2 12 32 8 4 O I 8 O 5 8 O IS O O 36 9 4 12 I 11 12 6 1 12 16 17 12 40 10 S 0 I i.S 0 6 i.S 0 18 is O 44 I I 5 12 I 18 12 7 8 12 20 12 12 48 12 6 O 2 2 O 8 2 O 22 IO O 50 12 l6 6 2 3 18 8 8 18 23 8 18 10 -carat Full Alloys. Table showing the Proportions of Alloy with from 1 oz. up to 13 ozs. of Fine Gold, and containing ABOUT 2 \ DWTS. OF FlNE SILVER PER OZ. Cost 36/6 per oz. Fine gold. Fine silver. Coppe Total. oz. oz. dwts. grs. oz. dwts. grs. OZ. dwts. | grs. I 0 5 12 I 2 12 2 8 O 2 0 I I O 2 5 O 4 16 0 3 0 16 12 3 7 12 7 4 0 4 I 2 O 4 10 O 9 12 O 5 I 7 12 5 12 12 12 0 O 6 I 13 O 6 IS O 14 8 0 7 1 18 12 7 17 12 16 16 0 8 2 4 O 9 O O 19 4 O 9 2 9 12 10 2 12 21 12 O 10 2 IS 0 II 5 0 24 O O 11 3 0 12 12 7 12 26 8 O 12 3 6 O 13 IO 0 28 16 0 U • 3 11 12 14 12 12 31 4 0 222 GOLD VALUES. 10 -carat Full Alloys. Table showing the Proportions of Alloy with from 4 up to 50 Sovereigns, and containing about 2 1 dwts. of Fine Silver per oz. Cost 36/3 per oz. £ Gold coins. Fine silver. Copper. Total. oz. dwts. grs. oz. dwts. grs. OZ. dwts. grs. OZ. dwts. grs. 4 1 O 12 0 4 18 0 19 18 2 S 0 8 2 I O 0 9 12 I IQ 12 4 IO 0 12 3 I 12 0 14 6 2 19 6 6 is O 16 4 2 0 O 19 O 3 19 0 9 O O 20 5 2 12 I 3 18 4 18 18 I I 5 O 24 6 3 O 1 8 12 5 18 12 13 IO 0 28 7 3 12 I 13 6 0 18 6 15 is O 32 8 4 O 1 18 O 7 18 0 18 O 0 36 9 4 12 2 2 18 8 17 18 20 5 O 40 IO 5 O 2 7 12 9 17 12 22 IO 0 44 I I 5 12 2 12 6 IO 17 6 24 15 0 48 12 6 0 2 17 0 11 17 O 27 O O 50 12 l6 6 2 19 9 12 6 21 28 2 12 9 -carat H.M. Alloys. Table showing the Proportions of Alloy with from 1 oz. up to 13 ozs. of Fine Gold, and containing ABOUT 2b DWTS. OF FlNE SILVER PER OZ. Cost 33 / per oz. Fine gold. Fine silver. Coppe r. Total. OZ. OZ. dwts. grs. oz. dwts. grs. OZ. dwts. grs. I O 6 l6 I 6 l6 2 13 8 2 0 13 8 2 13 8 5 6 l6 3 I 0 0 4 O O 8 0 0 4 1 6 16 s 6 16 10 13 8 5 I 13 8 6 13 8 13 6 16 6 2 O O 8 0 0 16 0 O 7 2 6 16 9 6 16 18 13 8 8 2 13 8 IO 13 8 21 6 16 9 3 O O 12 O 0 24 0 O IO 3 6 l6 13 6 16 26 13 8 II 3 13 8 14 13 8 29 6 16 12 4 O 0 16 0 O 32 O 0 13 4 6 16 17 6 l6 34 13 8 ALLOY TABLES 223 9 -carat H.M. Alloys. Table showing the Proportions of Alloy with from 4 up to 50 Sovereigns, and containing about 2 \ dwts. of Fine Silver per oz. Cost 32/9 per oz. £ Gold coins. Fine silver. Copper. Total. OZ. dwts. grs. 07. dwts. grs. oz. dwts. grs. oz. dwts. grs. 4 I O 12 O 6 O I 3 12 2 IO O 8 2 1 0 O 12 O 2 7 O 5 O O 12 3 I 12 O 18 O 3 10 12 7 IO 0 16 4 2 O 1 4 O 4 14 0 IO O 0 20 5 2 12 1 10 0 5 17 12 12 IO O 24 6 3 0 1 16 O 7 1 O 15 O ° 1 28 7 3 12 2 2 O 8 4 12 17 IO O 32 8 4 O 2 8 O 9 8 O 20 0 O 36 9 4 12 2 14 O 10 11 12 22 IO O 40 10 5 O 3 0 O 11 15 0 25 0 0 44 11 5 12 3 6 O 12 18 12 27 IO O 48 12 b 0 3 12 O 14 2 0 30 0 0 So 12 16 12 3 15 O 14 13 18 31 5 O 9 -carat Regular Alloys. Table showing the Proportions of Alloy with from 1 oz. up to 13 ozs. of Fine Gold, and containing about 3 dwts. of Fine Silver per oz. Cost 31/ per oz. Fine gold. Fine silver. Copper. Total. OZ. oz. dwts. grs. OZ. dwts. grs. oz. dwts. grs. I 0 8 12 I 8 b 2 16 18 2 0 17 O 2 16 12 5 13 12 3 1 5 12 4 4 18 8 IO b 4 1 14 O 5 13 0 II 7 0 5 2 2 12 7 1 6 14 3 18 6 2 11 O 8 9 12 17 O 12 7 2 19 12 9 17 18 19 17 6 8 3 8 0 11 b O 22 H 0 9 3 16 12 12 14 6 25 10 18 10 4 5 O 14 2 12 28 7 12 11 4 13 12 15 10 18 31 4 6 12 5 2 0 16 19 0 34 1 0 13 5 10 12 18 7 6 36 17 18 224 GOLD VALUES 9-carat Regular Alloys. Table showing the Proportions of Alloy with from 4 up to 50 Sovereigns, and containing about 3 dwts. of Pine Silver per oz. Cost 30/9 per oz. £ Gold coins. Fine silver. Copper. Total. oz. dwts. grs. oz. dwts. ffrs. oz. dwts. grs. oz. dwts. grs. 4 I O 12 0 7 12 I 5 12 2 13 12 8 2 I 0 O 15 0 2 I I O s 7 O 12 3 I 12 I 2 12 3 l 6 12 8 0 12 16 4 2 O I IO 0 5 2 O IO 14 O 20 5 2 12 I 17 12 6 7 12 13 7 12 24 0 3 O 2 5 O 7 13 O 16 1 O 28 7 3 12 2 12 12 8 18 12 18 14 12 3 2 8 4 O 3 O O 10 4 O 21 8 O 3 6 9 4 12 3 7 12 II 9 12 24 I 12 40 IO 5 O 3 !S O 12 15 O 2b IS O 44 I I 5 12 4 2 12 14 O 12 29 8 12 48 12 b O 4 IO O 15 6 0 32 2 0 50 12 l 6 6 4 13 18 15 18 18 33 8 18 Bright Gold Solder. Table showing the Proportions of Alloy with from 1 oz. up to 13 ozs. of Fine Gold, and containing about 6 dwts. of Fine Silver per oz. Cost 30/ per oz. Fine gold. Fine silver. Composition. Total. oz. oz. dwts. grs. oz. dwts. grs. oz. dwts. grs. I O 18 O I 2 O 3 0 0 2 I 16 0 2 4 O t> O O 3 2 14 0 3 6 0 9 0 O 4 3 12 0 4 8 0 12 O O 5 4 IO 0 5 10 0 is O 0 6 5 8 0 6 12 0 18 O O 7 6 6 0 7 14 0 21 O O 8 7 4 0 8 16 0 24 O O 9 8 2 0 9 18 0 27 O 0 IO 9 O 0 I I O 0 30 O O 11 9 18 0 12 2 0 33 O O 12 IO 16 0 13 4 0 3 6 O O 13 II 14 0 14 6 0 39 O 0 ALLOY TABLES. 225 12-carat HM. Reduced to 10-carat. Table showing the Proportions of Alloy with from 1 oz. up to 13 ozs. of 12-carat Scrap, and contain¬ ing ABOUT 2 \ DWTS. OF FINE SILVER PER OZ. Cost 36/6 per oz. i2-ra'-at Scrap. Fine silver. Copper. Total. OZ. oz. dwts. grs. OZ dwts. gTS. OZ. dwts. gTS. I O 0 16 0 3 8 I 4 0 2 0 I 8 0 6 16 2 8 O 3 0 2 O 0 10 0 3 12 0 4 0 2 16 0 13 8 4 16 0 5 0 3 8 0 16 16 6 O 0 6 0 4 0 I 0 0 7 4 O 7 0 4 l6 I 3 8 8 8 O 8 0 5 8 I 6 16 9 12 O 9 0 6 O I 10 0 10 16 0 10 0 6 16 I 13 8 12 O 0 11 0 7 8 I 16 16 13 4 O 12 0 8 O 2 O O 14 8 O 13 0 8 16 2 3 8 IS 12 O 12-carat H.M. Alloys Reduced to 9-earat H.M. TAELE SHOWING THE PROPORTIONS OF ALLOY WITH FROM I OZ. UP TO 13 OZS. OF 12 -CARAT SCRAP, AND CONTAIN¬ ING ABOUT 2 \ DWTS. OF FlNE SILVER PER OZ. Cost 33/ per oz. 12-carat Scrap. Fine silver. Copper. Total. OZ. OZ. dwts. grs. OZ. dwts. grs. OZ. dwts. grs. I O 1 9 0 5 3 I 6 12 2 O 2 18 0 10 6 2 13 O 3 0 4 3 0 iS 9 3 19 12 4 0 s 12 I O 12 5 6 O 5 O 6 21 I 5 IS 6 12 12 6 0 8 6 I 10 18 7 19 O 7 O 9 IS I IS 21 9 5 12 8 O 11 O 2 I O 10 12 O 9 0 12 9 2 6 3 11 18 12 10 O 13 18 2 11 6 13 s O II O IS 3 2 16 9 14 11 12 12 O 16 12 3 I 12 15 18 O 13 0 17 21 3 6 is 17 4 12 Q 226 GOLD VALUES. 12-carat H.M. Reduced to 9-carat Begular. Table showing the Proportions of Alloy with from i oz. up to 13 ozs. of i2-carat Scrap, and contain¬ ing ABOUT 3 DWTS. OF FlNE SILVER PER OZ. Cost 31/ pf.r oz. 12-carat Scrap. Fine silver. Copper. Total. oz. oz. dwts. grs. oz. dwts. grs. oz. dwts. grs. I 0 2 6 O 6 6 I 8 12 2 O 4 12 0 12 12 2 17 0 3 O 6 18 O 18 18 4 S 12 4 O 9 O I 5 0 s 14 O 5 O I I 6 I I I 6 7 2 12 6 O 13 12 I 17 12 8 II O 7 0 IS 18 2 3 18 9 19 12 8 O 18 0 2 IO O II 8 O 9 I O 6 2 16 6 12 16 12 IO 1 2 12 3 2 12 14 5 O 11 I 4 18 3 8 18 is 13 12 12 1 7 O 3 IS 0 17 2 O !3 I 9 6 4 I 6 18 IO 12 10-carat Reduced to 9-carat H.M. Table showing the Proportions of Alloy with from 1 oz. up to 13 ozs. of io-carat Scrap, and contain¬ ing about 2§ dwts. of Fine Silver per oz. Cost 33/ per oz. 1o-carat Scrap. Fine silver. Copper. Total. oz. oz. dwts. grs. OZ. dwts. grs. oz. dwts. grs. 1 O O 12 0 I 15 I 2 3 2 0 I O 0 3 6 2 4 6 3 0 I 12 O 4 21 3 6 9 4 0 2 O O 6 12 4 8 12 s O 2 12 O 8 3 s IO 15 6 O 3 O O 9 18 6 12 18 7 O 3 12 O I I 9 7 14 21 8 O 4 O O 13 O 8 17 O 9 O 4 12 O 14 IS 9 19 3 IO 0 5 O O l6 6 II I 6 11 O s 12 O 17 21 12 3 9 12 0 o 0 0 19 12 13 5 12 13 0 6 12 I I 3 14 7 15 ALLOY TABLES. 227 10-carat Reduced to 9-carat Regular. Table showing the Proportions of Alloy with from I OZ. UP TO 13 OZS. OF IO-CARAT SCRAP, AND CONTAIN¬ ING ABOUT 3 DWTS. OF FlNE SILVER PER OZ. Cost 31/ per oz. 10-carat Scrap. Fine silver. Copper. Total. oz. OZ. dwts. grs. OZ. dwts. grs. OZ. dwts. grs. 1 0 I 6 0 2 18 I 4 O 2 0 2 12 0 5 12 2 8 O 3 0 3 18 0 8 6 3 12 O 4 0 5 O 0 11 0 4 16 O s 0 6 6 O 13 18 6 O 0 6 0 7 12 O 16 12 7 4 0 7 0 8 18 0 19 6 8 8 0 8 O 10 O 1 2 O 9 12 0 9 0 11 6 1 4 18 10 16 0 10 0 12 12 1 7 12 12 O O 11 0 13 18 1 10 6 13 4 O 12 O is O I 13 0 11 8 O 13 0 16 6 1 IS 18 15 12 O 9-carat H.M. Reduced to 9-carat Regular. Table showing the Proportions of Alloy with from 1 oz. up to 13 ozs. of 9-carat H. M. Scrap, and CONTAINING ABOUT 3 DWTS. OF FlNE SILVER PER OZ. Cost 31/ per oz. 9-c. H.m. Scrap. Fine silver. Copper. Total. oz. oz. dwts. grs. OZ. dwts. grs. oz. dwts. grs. 1 O 0 18 0 O 18 1 I I 2 2 0 1 12 0 I 12 2 3 O 3 O 2 6 0 2 6 3 4 12 4 0 3 O 0 3 O 4 6 O s O 3 18 0 3 18 5 7 12 6 O 4 12 O 4 12 6 9 O 7 0 s 6 0 5 6 7 IO 12 8 O 6 0 O 6 O 8 12 O 9 O 6 18 0 6 18 9 13 12 IO 0 7 12 O 7 12 IO 15 O 11 O 8 6 0 8 6 11 16 12 12 0 9 0 0 9 0 12 18 O 13 O 9 18 O 9 18 13 19 12 228 GOLD VALUES, Decimal Tables. Table showing the Conversion of Pennyweights and Grains into Decimals of an Ounce. Grains. Ounces. Pennyweights. Ounces. 1 2 *001 1 •os I •002 2 •10 2 •004 3 •is 3 ■006 4 •20 4 •00S 5 •25 5 •010 0 •30 6 •012 7 *35 7 •015 8 •40 8 •017 9 •45 9 •019 10 •50 IO *021 11 •55 II •023 12 *60 12 •025 !3 •65 13 •027 14 •70 14 •029 is •75 15 •031 16 *80 16 •033 17 •85 17 •03 s 18 •90 18 •037 19 •95 19 •O4O 20 I'OO 20 •042 21 •044 22 •046 23 •048 24 •050 INDEX. ^CID gold mixture, 6 Acid-proof vessels, 166 Action of fluxes on gold, 3 Alloy for parting, 172 money value of, 139 new coloured, 196 of gold with copper, 19 old-fashioned, 152 old gold, 199 parting, 8 tables, 203—227 to stand acid, 198 values, 203 with fine gold, 34, 35 with sovereigns, 32, 34 yellow to cost 40/-, 152 18-carat red, 150 •250 silver, 199 Alloys, imitation gold, 128—135 mixing, 118—126 of gold with silver, 19 sundry, 175—192 Aluminum silver, 148, 200 Amalgam of gold, 11, 19 American potash, 158 Ammonia in gold solutions, 14 liquid, 85 Anode, copper, 92 platinum, 95, 97 Aphthit, 128 Apparatus for gilding, 80 Aqua-Regia , 7, 86, 87, 93, 104 Arsenious silver, 200 solder, 201 Aurate of ammonia, 95 Aurum, 4 Australian sovereigns, 31, 34 gAD gilding, improving, 117 Base metals, separating, 8, 11 Batch of work, 59 Baths, replenishing, 97 Battery, constant, 197 description, 81, 82 for gilding, 79 mixture, 81 solution, 89 Beautiful colour for jobs, 67 red gilding, 115 Bi-carbonate of potash, 156 Bi-chloride of mercury, 82 Black gold, 200 Black-lead colour pot, 52 230 INDEX Blue gold, 24 Boiling silver white, 149 Borax and pale gold, 3 in melting, 27 Box-wood sawdust, 61 Bright fancy gold, 184 finishing, 48 gold, 179 gold, old, 153 gold solder, 184 work, gilding, 107 yellow gold, 181 Brown gold powder, 6 potash, 158 Bunsen’s battery, 80, 95 Burnishing, 63 gold alloy, 176 CARBONATE of soda, 17 Casting gold, 69 mould, 75 natural objects, 77 strips, 71 Caustic potash mixture, no Cell, porous, 89 Cement, transparent, 147 Chains, gilding, 93 Charcoal iron, 141 Chemical properties of gold, 3 Chemicals for precipitating gold, 13 Chloride of gold, 84 Choice recipes, 193 Cold gilding solution, 83 Cold gilding No. 2, 86 Collecting and refining, 155—160 Collecting mixed metals, 163 from acid mixtures, 165 Coloured alloy, 18-carat, 176 alloy, 15-carat, 178 alloy, 12-carat, 188 solder, wet, 184 Coloured dry, 187 Colour in gilding, 91, 113, 115 Colouring deep, 43 dry, 36 Etruscan colour, 45 gilt work, 144 jobs, 67 lower qualities, 65 of gold, 36—40 on the pan, 47 pale, causes, 39 waste, 161 wedding rings, 55 wet, 37, 64 22-carat, 49 18-carat, 57 16-carat, 59 9-carat, 104 Colours of alloys, 131 of gold, 22—26 Compositions, various, 191 Constant battery, 197 Contact gilding, 99 Copper influence on gold, 19 Curb solder, 185 Cyanide, effects of, 116 solutions, 100, 163 £)EAD dipping mixture, 110 Dead dipping silver, 112 Dead gilding, 115 Decimal tables, 229 Deep colour for gold, 198 gold alloy, 206—220 gold anode, 195 gold-like alloy, 133 gilding, 113 lemon colour, 150 rich colour for 18-carat, 57 yellow composition, 191 yellow for gold, 201 INDEX. 231 Deepening the colour of gold, 43 Deposition of gold, 100 Different colours of gold, 22—26 flux for colour waste, 161 tints, how produced, 65 Diluted solutions of gold, 13 Dipping acids, 58 mixtures, no, lit yellow metal, 196 watch movements, 194 Dissolving alloyed gold, 7 colouring salts, 46—52 copper, 198 fine gold, 3 standard gold, 5 with mercury, 11 15-carat gold, 7 Distinguishing steel from iron, 143 Dry colouring gold, 36—40 lowest qualities, 42 solder, 187 18-carat gold, 57 Ductility of gold, 2 JTASY gold solder, 187 Easy coloured solder, 187 Easy silver solder, 190 Economical gilding, 145 Educator, Cassell’s, 54 Electricity, 80 Electro-gilding, 79 Elements of battery, 82 Enamel out of work, 147 Enamelled iron vessels, 114 Enamelling gold, 186 alloy, transparent, 186 Etruscan jewellery, 44 gold colour, 45 Examples of mixing gold, 118—126 Exhausted baths, 97 salts, 162 Exhausted rinsing waters, 162 Extra red gold, 177 red 15-carat, 178 pTANCY coloured alloy, 184 work, alloy for, 186 Fashioned old alloy, 152 Fiery colour for gold, 151 Film, 5 Finishing coloured work, 61 Fire gilding, 102 Flask for dissolving gold, 5 Fluid for soldering, 143 Fluxes for gold, 3 for lemel, 157—160 for gilding and colouring waste, 162 Force, electro-motive, 97 Formula for contact gilding, 99 for gilding like polished gold, 148 for silvering, 148 for wet-colouring, 64 another, 65 job colouring, 67 French gilding, 94 formula No. r, 94 formula No. 2, 96 silver aluminum alloy, 200 Frictional gilding, 103 Frosting metal goods, 109 silver goods, 112 Fulminating gold, 86—91 QILDER’S wax, 151 solutions, 163 waste, 162 Gilding bad colour, 117 battery for, 197 dead, 113 INDEX. 232 Gilding greenish, 113 metal, 197 $ red, 113 Gold, alloy to stand acid, 198 alloys, 175 anode for gilding, 195 baths, replenishing, 195 black, 200 blue, 24 bright old alloy, 152 burnishing 18-carat, 176 castings, 68—77 carat values, 203 chloride, 83—85 collecting, 154—174 coloured 18-carat, 176 common, for gilding, 181 cracky, 28 curb solder, 185 dead leaf green, 24 deep coloured, 113 deep lemon yellow, 150 dissolving 15-carat, 7 dissolving in mercury, 11 dissolving standard, 5 dry colouring, 36—62 ductility, 2 dust, 168 Etruscan colour, 45 extra red, 177 fiery colour, 151 fine, 2 for gold-beaters, 200 for setting, 177 frosting, 108 green, 23 grey, 25 greyish yellow, 23 greyish white, 25 hard, 27 imitation, 134 imitation, 129—130 Gold, imitation 18-carat, 130 imitation 12-carat, 130 imparting a deep colour, 191 improving, 123—125 lacquer, 141 like alloy, 142 mixing and melting, 29 mixture for parting, 172 mystery, 133 new alloy for colouring, 196 new colour, 198 old alloy, 199 orange yellow, 2 pale 18-carat, 175 pale white, 202 perchloride, 6 polishing powder, 145 pouring into moulds, 70 pouring into open ingots, 33 preparing for gilding and colouring, 113 prices, table of, 4 red, 23 red 18-carat, 150 red 18-carat, 176 reducing, 118—123 recovery from gilding solutions, 142 reducing, 196 reviving jewellery, 193 ring alloys, 182, 183 solder, bright, 224 solder for repairing, 187 solder, coloured, 187 solder, dry colouied, 187 solder, pale, 187 soldering without changing colour, 149 soldering without changing its colour, [94 solders, 144 solders, 184 INDEX. 233 Gold, solutions for gilding, 83—105 specific gravity, 3 sponge, 12 strip casting, 71 testing needles, 139 to produce a yellow colour, 201 undissolved, 173 value for hall-marking, 138 various qualities, 203—206 watch cases, 18-carat, 176 water green, 25 wet coloured table, 2ti wet colouring, 62—67 white, 26 Yankee, 182 yellow alloy, 152 yellow, pale, 22, 32 yellow, 181 6- carat pale, 186 7- carat bright, 181 8- carat for gilding, 180 8-carat for polishing, 181 8- carat, to resist acid, 182 9- carat, 180 9-carat polishing, 180 9-carat red, 180 9- carat for pins, 185 10- carat bright, 179 12-carat, 179 12-carat red, 179 12-carat enamelling, 186 12- carat coloured, 188 I2|-carat green, 188 I2|-carat red, 188 13- carat, 183 14- carat, 183, 184 14- carat table, 2x0 15- carat yellow, 178 15-carat coloured, 178 15-carat red, 178 15-carat extra red, 178 15-carat table, 209 Grid, 16-carat, 177 16-carat red, 177, 186 j 16-carat table, 209 18-carat, 29, 146 18-carat cracking, 30 18-carat alloy, 34 18-carat table, 207 '"t 20-carat green, 185 20-carat enamelling, 186 20-carat table, 206 20-carat reduced to 18-carat, 2X2, 213 20-carat reduced to 16-carat, 213 20-carat reduced to 15-carat, 214 20-carat reduced to 14-carat, 214 20-carat reduced to I2i-carat, 215 18-carat reduced to 16-carat, 215 18-carat reduced to 15-caiat, 216 18-carat reduced to 14-carat, 216 18-carat reduced to 12J carat, 217 16-carat reduced to 15-caiat, 217 16-carat reduced to 14-carat, 218 16-carat reduced to 12^-carat, 218 15-carat reduced to 14-carat, 219 14-carat reduced to 12^-carat, 220 12-carat reduced to 10-carat, 225 12-carat reduced to 9-carat, 225, 226 234 INDEX. Gold, io-carat reduced to 9-carat, i 226, 227 9- carat reduced to 9-carat R., 227 12-carat alloys, 220, 221 10- carat alloys, 221, 222 9-carat alloys, 222, 223 Granulation, 8 ||ALL-marking 9-carat, 192 Hall-marking silver alloy, 189 alloy for watch cases, 188 marks, 47 Hammered gold, 3 Hard elastic alloy, 135 gold, 27 silver solder, 190 solders, 144 Heating dissolved gold, 84, 94 colour for 18-carat, 52 power of gold, 2, 3 High colour to gold, 151 Hints and helps, 138—135 Hollow coloured work, 196 cup for melting, 68 Hot gilding, 87—90 Hydrochloric acid, 3 Hydrogen, 3 JMITATION alloys, 127—137 deep gold, 133 gold articles, 92 new gold alloy, 133 platinum, 135—137 silver, 135 12-carat, 130 18-carat, 128 Imparting a deep colour to gold, 198 Improving bad gilding, 117 Improving silver to standard, 1.25 9-carat to 18-carat, 124 12-carat to 18-carat, 123 15-carat to 18-carat, 123, 125 Ingot, pouring into open, 33 casting into, 70 casting mould, 75 fitting, 75 » 76 for large work, 77 making, 74 mould, 69 Ingredients for gold solution, 93 Inquartation, 8, 9 Instantaneous silvering mixture, 145 Instructions in melting, 29—35 by other writers, 54—56 in colouring, 36—44 in casting, 68—77 Iron sulphate, 12, 15 gilding, 104 ladles, 43 JEWELLER, our conversation J with, 17 Jewellers and waste waters, 14, 15 Jewellers’ alloy tables, 203—227 alloys of present day, 26 art, 19 how they alloy, 20 lemel, 155—160, 201 method in melting 18-carat, 33 method of refining, 170—174 old gold alloy, 199 scrap, 154 solders, 144 special alloys, 175—192 table of values, 203 testing needles, 139 waste, 161 —167 INDEX. 235 Jewellers’ white gold, 202 Jewellery, Etruscan, 44 colouring, 55 frosting, 111 practical manipulations, 107 to revive, 193 to refine, 171 KENSINGTON solder, 185 Kettle, enamelled, 142 J^AMP, spirit, 83 Latin name for gold, 4 Lasting gold colour, 62 Lead collar, 81 solder, 167 Lemel, 155, 201 fluxes, 156 mixtures, 157—160 Liquid ammonia, 85 for colouring, 196 to blacken gold, 200 to dissolve copper, 198 to remove silver from plated goods, 200 Litharge, 162 JyfALLEABILITY of gold, 2 Manganese, 142 Manipulations, practical, 106—117 Master jeweller’s idea, 17 Mechanical operations, 1 Medium silver solder, 190 Melting and casting gold, 68—77 gold, 29—35 lemel, 169 Mercury and gold, 11 solution, 101 suboxide, 13 Metal, breaking down, 27 for gilding, 197 for gilding, 150 wax gilders, 151 goods, 109 Metallic zinc, 13 Metals in combination with gold, 19 Method of deepening gold, 43 Mitreing ingots, 70 Mixing alloys, 118—126 Mixture for battery, 81 for bi-chloride, 102 for colouring 22-carat, 49 for colouring gilt work, 144 for dead dipping, 143 for dipping watch movements, 194 for instantaneous silvering, 145 for jobs, 67 for replenishing gold baths, 195 18-carat, 57 16-carat, 59 I2|-carat, 65 Mixtures for dipping, no—112 Mould ingot, 69, 75 Muffle, 11 Mystery gold, 133 •J K-A-TURAL objects, casting, 77 Needles test, 139, 140 Neutraliser, soda as such, 17 Neutralising waste waters, 15 New alloy with German silver, 183 of 14-carat, 183 of 12-carat coloured alloy, 188 colour for red gold, 198 substitute for silver, 141 Nickel, 141 Niello work, 199 Nitrate of suboxide of mercury, 13 INDEX. 236 Nitrate of mercury, 101 of potash, 45 Nitric acid, 3, 10, 172 QBJECTS, natural, casting, 77 Obtaining red gilding, 115 green, 115 Oil of vitriol, 81 Old gold alloy, 199 Old-fashioned colour for gold, 65 bright gold alloy, 153 Open ingots, 33 Operandi, modus, 57 Ordinary gold, 179, 180 Oxalic acid, 13 pALE gold, 32, 39, 175 gold, causes, 40, 41 gold solder, 187 yellow compo, 191 Pan colouring, 47 Parting mixture, 172 Paste for colouiing, 49 Patchy colour, 46 Perchloride of gold, 6 Phosphate of soda, 40, 100 Physical properties of gold, 2 Pin alloy, 185 repairing solder for, 187 Platinum, 128, 130, 131, 132, 133, 134. I3S, 136 gold alloy, 182 solder, 202 substitute, 137 Plaster of Paris, 73 Polished gold, 148 18-carat, 35 Polishing gold, 178, 179, 180, 181, 186 powder, 145 Potash, caustic, 110 Potassium, cyanide, 90, 96, 102 Pouring 18-carat, 33 Practical gold-worker, 29 manipulations, 106—117 Precipitating gold, 12, 13, 15 Preparing ingot mould for casting, 69. 75 - 77 Process of inquartation, 9 parting, 9 Producing a soft, deep colour, 47 Protochloride of tin, 13 Protosulphate of iron, 12 Prussiate of potash, 99 Purchasable values of gold, 4 Pure gold, 3, 173 Purifying gold with mercury, 11 QUALITIES of gold, 204—227 ~ Quick-running coloured solder, 184 curb solder, 185 for repairing, 187 Kensington s rider, 185 pale, 187 silver, 190 J^ECIPES of other writers, 54—56 various, 143—153 Recovering gold from old solutions, 142 acid solutions, 165 Red gold, 23, 176, 178, 186, 188 Reducing 20-carat to 18-carat, 2 3 20-carat to 16-carat, 213 20-carat to 15-carat, 214 20-carat to 14-carat, 214 20-carat to 12^-carat, 215 18-carat to 16-carat, 215 18-carat to 15-carat, 196, 216 INDEX. 237 Reducing 18-carat to r^-carat, 216 18-carat to 12^-carat, 217 16-carat to 15-carat, 217 16-carat to 14-carat, 218 16-carat to I2|-carat, 218 15-carat to 14-carat, 219 15-carat to wet-coloured, 219 14-carat to 12^-carat, 220 12-carat to 10-carat, 223 12-carat to 9-carat, 225 12-carat to 9-carat R., 226 10-carat to 9-carat, 226 10-carat to 9-carat R., 227 9-carat to 9-carat R., 227 Refining, 171—174 of gold, 11 Regular gold, 177 Regulating solutions, 91 Removing silver from plated articles, 200 Replenishing exhausted baths, 97, r 95 Reviving jewellery, 193 silver work, 194 Ring, wedding, 53 Rough lemel, 160 SALENIXON, 157 Scratch-brushing, 63 S cuttlefish, 73 Setting gold alloy, 177 Signet ring, 73 Silver alloy ’250, 199 solder for steel, 199 hard, 190 medium, 190 easy, 190 for stampings, 189 platinum alloys, 135—137]-! •800 alloy, 189 •750 alloy, 189 Silver -500 alloy, 190 S lvering formula, 149 mixture, 145 Soda ash, 161 carbonate, 17, 159 washing, 159 Soft solder, 167 Solder aluminum, 201 bright gold, 224 curb, 185 dry-coloured, 187 easy, 187 easy coloured, 187 for rings, 184 Kensington, 185 pale, 187 platinum, 202 wet-coloured, 2x2 wet-coloured, 184 Soldering fluid, 143 gold, 149 18-carat, 194 Solution of mercury, 101 Solutions, cyanide, 163 for gilding, 83—97 neutralising, 15—18 Sovereigns, Australian, 30—32 Special alloy for dry-colouring, 37 Sponge gold, 12 Standard gold, 5 Steel solution, 104 Strip casting, 71 Substitute for silver, 141 Symbol for gold, 4 'pABLE of gold prices, 4 Testing needles, 139 Test for gold, 12—14 Thermometer, 2 Transparent cement, 147 Treatment for hard gold, 27 INDEX. 238 Treatment of blue goll, 24 lemel, 154 — 169 yellow gold, 22 Tungstic acid, 128 Twenty-carat gold, 47 Twenty-two carat gold, 49—53 |TSE of testing needles, 139, 140 Useful imitation of alloys, 127 —137 table of compositions, IOI tables of gold alloys, 203—227 test for steel or iron, 143 Uses of iron ladles in colouring, 43 of plaster of Paris, 73 of stick charcoal, 68 of scratch-brush, 111 'y’ALUE of gold, 4 Values of gold, 203 Various gold alloys, 175 modes of gilding, 98—105 metallic alloys, 127—137 methods of mixing, 118—126 of preparing the work, 113 recipes, 139— 153, 1 93 — 202 tints in gilding, 115 qualities of gold, 203—227 ■^yASTE, gilders’ and colourers’, 161 Wastewaters, 15 Watch-case alloy, 176 Watch-case silver alloy, 188, 189 movements, dipping, 194 Watch-cases, 201 Water-green gold, 25 Wax gilders, 151 Wedding-ring colouring, 35 Wet-colouring, 62—67 White gold, 26, 202 Whitening silver, 149 Work, niello, 199 YANKEE gold, 182 Yellow pale gold, 22, 32, 35, 40 colour to gold, 201 composition, 191 composition, deep, 191 deep lemon, 150 gold alloy, 152 gold for bright-finishing, 181 greyish, 23 metal for dipping, 196 metal for gilding, 150 pale gold, 175 polishing gold, 178 prussiate of potash, 99 14-carat gold, 183 2INC, 13, 22 cylinder, 80, 81, 82 melting, 201 or Spelter, 131, 132, 133, 135, 150, 185 sulphate, 45, 46, 49 THE END. 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And containing a large collection of Rules and Practical Data relating to recent Practice in Designing and Constructing all kinds of Engines, Boilers, and other Engineering work. The whole constituting a comprehensive Key to the Board of Trade and other Examinations for Certi¬ ficates of Competency in Modern Mechanical Engineering. By Walter S. Hutton, Civil and Mechanical Engineer, Author of “The Works’ Manager’s Handbook for Engineers,” &c. With upwards of 370 Illustrations. Fourth Edition, Revised, with Additions. Medium 8vo, nearly 500 pp., price 18s. Strongly bound. [Just published. This work is designed as a companion to the Author's “Works' Manager’s Hand-book.” It possesses many new and original features , and con¬ tains, like its predecessor , a quantity of matter not originally intended for publica¬ tion, but collected by the author for his own use in the construction of a great variety of modern engineering work. *** Opinions of the Press. 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In the Third Edition, the following among other additions have been made, viz.: Rules for the Proportions of Riveted Joints in Soft Steel Plates, the Results of Experi¬ ments by Professor Kennedy for the Institution of Mechanical Engineers — Rules for the Proportions of Turbines—Rules for the Strength of Hollow Shafts of Whit¬ worth's Compressed Steel, &c. *»* Opinions of the Press. “The author treats every subject from the point of view of one who has collected workshop* notes for application in workshop practice, rather than from the theoretical or literary aspect. The volume contains a great deal oi that kind of information which is gained only by practical experi¬ ence, and is seldom written in books."— Engineer. “The volume is an exceedingly uselul one, brimful with engineers’ notes, memoranda, and rules, and well worthy' of being on every mechanical engineer's bookshelf.”— Mechanical World. “ The information is precisely that likely to be required in practice. . . . The work form? a desirable addit : on to the library not only of the works manager, but of anyone connected witfc> general engineering."— Mining Journal. “A formidable mass of facts and figures, readily accessible through an elaborate index . . . . Such a volume will be found absolutely' necessary as a book of reference in all sorts of ‘works ’ connected with the metal trades."— Ryland’s Iron Trades Circular. “ Brimful of useful information, stated in a concise form, Mr. Hutton’s books have met a press¬ ing want among engineers. The book must prove extremely useful to every practical man possessing a copy,"— Practical Engineer . Practical Treatise on Modern Steam-Boilers. STEAM-BOILER CONSTRUCTION. A Practical Handbook for Engineers, Boiler-Makers, and Steam Users. Containing a large Col¬ lection of Rules and Data relating to tbe Design, Construction, and Working of Modern Stationary, Locomotive, and Marine Steam-Boilers. By Walter S. Hutton, C.E., Author of “The Works’ Manager’s Handbook,” &c.. With upwards of 300 Illustrations. Medium 8vo, 18s. cloth. [Just published. “Eve’-y detail, both in boiler design and management, is clearly laid before the reader. The volume shows that boiler construction bas been reduced to the condition of one oi the most exart sciences; and such a book is of the utmost value to the Jin de siecle Ergineer and Works Manager "— Marifte Engineer. “ There has long been room for a modem handbook rn steam boilers ; there is not that roc re, row, because Mr. Hutton has filled it. It is a thoroughly practical bcok for those who are ccct>- pied in the construction, design, se ection, or use of boilers.’’— Engineer. “ The Modernised Temjdleton.” THE PRACTICAL MECHANIC'S WORKSHOP COM- PANION. Comprising a great variety of the most useful Rules and Formulae in Mechanical Science, with numerous Tables of Practical Data and Calcu¬ lated Results for Facilitating Mechanical Operations. By William Temple¬ ton, Author of “The Engineer’s Practical Assistant,” &c. &c. Sixteenth Edition, Revised, Modernised, and considerably Enlarged by Walter S. Hutton, C.E., Author of “The Works’ Manager’s Handbook,” "The Practical Engineer’s Handbook,” &c. Fcap. 8vo, nearly 500 pp., with Eight Plates and upwards of 250 Illustrative Diagrams, 6s., strongly bound for workshop or pocket wear and tear, [Just published * *** Opinions of the Press. “In its modernised form Hutton's ' Templeton ’ should have a wide sale, for it contains much valuable information w hich the mechanic will often find of use, and not a few tables and notes which he might look for in vain in other w-orks. This modernised edition wi be appreciated by all who have learned to value the original editions of * Templeton.’ ’ —English Mechanic. “ It has met with great success in the engineering workshop, as we can testify; and there are a great many men w ho. in a great measure, owe iheir rise in life to this little book."- Building Neu.s. “ This familiar text-book—w ell known to all mechanics and engineers—is of essential service to the every-day reqivrements of engineers, millwrights, and the various trades connected with engineering and building. The new modernised edition is worth its weight in gold.”— Building News. (Second Notice.) . , 4 , . , • This well-known and largely used book contains information, bre’ ght up to cate, of the sort so useful to the foreman and draughtsman. So much fresh information has been ii trodi ced as to constitute it poetically a 1 ew took. It will be largely u:ed in the cffice and wciksfccp. — Mechanical World. MECHANICAL ENGINEERING, etc , 3 Stone-ivorking Machinery. STONE-WORKING MACHINERY, and the Rapid, and Economi¬ cal Conversion of Stone. With Hints on the Arrangement and Management of Stone Works. By M. Powis Bale, M.I.M.E. With Musts. Crown tivo, 9s. “ Should be in the hands of every mason or student of stone-work.”— Colliery Guardian. “ A capital handbook tor all who manipulate stone for building or ornamental purposes.”— Machinery Market. Pump Construction and Management. PUMPS AND PUMPING : A Handbook Joy Pump Users. Being Notes on Selection, Construction and Management. By M. Powis Bale, M.I.M.E., Author of “ Woodworking Machinery,” &c. Crown 8vo, 2s. 6 d. “The matter is set forth as concisely as possible. In fact, condensation rather than diiTuseness has been the author's aim throughout; yet he does not seem to have omitted anything likely to be of use.”— Journal of Gas Lighting. Milling Machinery, etc. MILLING MACHINES AND PROCESSES: A Practical Treatise on Shaping Metals by Rotary Cutters, including Information on Making and Grinding the Cutters. By Paul N. Hasluck, Author of “ Lathe- work.” With upwards of 300 Engra\ings. Large crown 8vo, 12s. 6rf. cloth. Turning. V u5t P' Mished - LATHE-WORK : A Practical Treatise on the Tools, Appliances, and Processes employed in the Art of Turning. By Paul N. Hasluck. Fourth Edition, Revised and Enlarged. Cr. 8vo, 5s. cloth. “Written by a man who knows, not only how work ought to be done, but who also knows how to do it, and how to convey his knowledge to others. To all turners this book would be valuable.” —Engineering. “ We can safely recommend the work to young engineers. To the amateur it will simply be invaluable. To the student it will convey a great deal of useful information.”— Engineer. Screw-Cutting. SCREW THREADS : And Methods of Producing Them. With Numerous Tables, and complete directions for using Screw-Cutting Lathes. By Paul N. Hasluck, Author of “ Lathe-Work,” &c. With Fifty Illustra¬ tions. Third Edition, Enlarged. Waistcoat-pocket size, is. 6 d. cloth. “ Full of useful information, hints and practical criticism. Taps, dies and screwing-tools gene* rally are illustrated and their action described.”— Mechanical World. “ It is a complete compendium of all the details of the screw cutting lathe ; in fact a multum- in-farvo on all the subjects it treats upon."— Carpenter and Builder. Smith’s Tables for Mechanics, etc. TABLES, MEMORANDA, AND CALCULATED RESULTS, FOR MECHANICS, ENGINEERS, ARCHITECTS, BUILDERS, etc. Selected and Arranged by Francis Smith. Fifth Edition, thoroughly Revised and Enlarged, with a New Section of Electrical Tables, Formulae, and Memoranda. Waistcoat-pocket size, is. 6 d. limp leather. [Just published, “ It would, perhaps, be as difficult to make a small pocket-book selection of notes and formulae to suit ALL engineers as it would be to make a universal medicine; but Mr. Smith's waistcoat- pocket collection may be looked upon as a successful attempt.”— Engineer. “The best example we have ever seen of 250 pages of useful matter packed into the dimen¬ sions of a card-case.”— Building News. “A veritable pocket treasury of knowledge.”— Iron. Engineer’s and Machinist’s Assistant. THE ENGINEER'S, MILLWRIGHT'S, and MACHINIST’S PRACTICAL ASSISTANT. A collection of Useful Tables, Rules and Data. By William Templeton. 7th Edition, with Additions. i8mo, zs. 6 d. cloth. “ Occupies a foremost place among books of this kind. A more suitable present to an appren¬ tice to any of the mechanical trades could not possibly be made.”— Building News. “A deservedly popular.work.it should be in the ‘drawer’ of every mechanic.”— English Mechanic. Iron and Steel. “ IRON AND STEEL A Work for the Forge, Foundry, Factory, and Office. Containing ready, useful, and trustworthy Information for Iron¬ masters ; Managers of Bar, Rail, Plate, and Sheet Rolling Mills; Iron and Metal Founders; Iron Ship and Bridge Builders ; Mecnanical, Mining, and Consulting Engineers ; Contractors, Builders, &c. By Charles Hoare Eighth Edition, Revised and considerably Enlarged. 32ir.o, 6s. leather. “ One of the best of the pocket books.”— English Mechanic. “We cordially recommend this book to those engaged in considering the details of all kinds of Iron and steel works.”— Naval Science. 4 CROSBY LOCKWOOD &■ SON'S CATALOGUE. Engineering Construction. PATTERN-MAKING : A Practical Treatise, embracing the Main Types of Engineering Construction, and including Gearing, both Hand and Machine made, Engine Work, Sheaves and Pulleys, Pipes and Columns, Screws, Machine Parts, Pumps and Cocks, the Moulding of Patterns in Loam and Greensand, &c., together with the methods of Estimating the weight of Castings; to which is added an Appendix of Tables for Workshop Reference. By a Foreman Pattern Maker. With upwards of Three Hundred and Seventy Illustrations. Crown 8vo, 7s. 64 . cloth. “ A well written technical truitlc, evidently written by a man who understands and has prac¬ tised what he has written about. . . . Wee rdially recommend it to engineering students young journeymen, and others desirous of being initiated into the mysteries of patt rn-making.”— Builder. “ We can confidently recomm nd this comprehei sive treati e.‘ — BuildingNavs. “ Likely to prove a welcome guide to many workmen, especially to draughtsmen who have lacked a training in the shops, pupils pursuing their practical studies m our factories, and to em¬ ployers and managers in engineering work s."—Hardware Trade Journal. “More than 370 illustrations help to explain the text, which is, however, always clear and ex¬ plicit, thus rendering the w ork an excellent vade mecum for the apprentice who desires to become master of his trade."— English Mechanic. Dictionary of Mechanical Engineering Terms. LOCKWOOD’S DICTIONARY OF TERMS USED IN THE PRA CTICE OF MECHA NIC A L ENGINEERING, embracing those current in the Drawing Office, Pattern Shop, Foundry, Fitting, Turning, Smith’s and Boiler Shops, &c. &c. Comprising upwards of 6,000 Definitions. Edited by A Foreman Pattern-Maker, Author of “Pattern Making.” Crown 8vo, 7s. 6 d. cloth. “Just the sort of handy dictionary required by the various trades engaged in mechanical en¬ gineering. The practical engineering pupil will find the book of great value in his studies, and every foreman engineer and mechanic should have a copy.' —Building News. “After a careful examination of the book, and trying all manner of words, we think that the engineer will here find all he is likely to require. It will be largely used." —Practical Engineer. “One of the most useful books which can be presented to a mechanic or student."— English Mechanic. “ Not merely a dictionary, but. t^ a certain extent, also a most valuable guide. It strikes us as a happy idea to combine with a definition of the phrase useful information on the subject of which it treats."— Machinery Market. “No word having connection with any branch of constructive engineering seems to be omitted. No more comprehensive work has been, so far, issued. — Knowledge. “We strongly commend this useful and reliable adviser to our friends in the workshop, and to students everywhere.”— Colliery Guardian. Steam Boilers. A TREATISE ON STEAM BOILERS: Their Strength, Con¬ struction, ami Economical Working. By Robert Wilson, C.E. Fifth Edition, nmo, 6s. cloth. “The best treatise that has ever been published on steam boilers."— Engineer. “The author shows himself perfect master of his subject, and we heartily recommend all em¬ ploying steam power to possess themselves of the work."— Ryland's Iron Trade Circular. Ftnilpr* BOILER AND ^FACTORY CHIMNEYS; Their Draught-Power and Stability. With a Chapter on Lightning Conductors. By Robert Wilson, A.T.C.E., Author of “A Treatise on Steam Boilers,” &c. Second Edition. Crown 8vo, 3 s. 6 d. cloth. “Full of use r ul information, definite in statement, and thoroughly practical in treatment. — The Local Government Chronicle. “ A valuable contribution to the iterature of scientific building."— The Builder. Boiler Making. THE BOILER-MAKER’S READY RECKONER &• ASSIST¬ ANT. With Examples of Practical Geometry and Templating, for the Use of Platers, Smiths and Riveters. By John Courtney, Edited by D. K. Clark, M.I.C.E. Third Edition, 480 pp., with i4oIllusts. Fcap. 8vo, 7s. half-bound. “ No workman or apprentice should be without this book.’’— Iron Trade Circular. “ Boiler-makers will readily recognise the value of this volume. . . . The tables are clearly printed, and so arranged that they can be referred to with the greatest facility, so that it cannot be doubted that they wifl be generally appreciated and much used .”—Mining Journal. Warming. HEATING BY HOT WATER; with Information and Sug¬ gestions on the best Methods of Heating Public, Private and Horticultural Buildings. By Walter Jones. With Illustrations, crown 8vo, 2$. cloth. “ We confidently recommend all interested in heating by hot water to secure a copy of this valuable little treatise."— The Plumber and Decorator . MECHANICAL ENGINEERING, etc. 5 Steam Engine. TEXT-BOOK ON THE STEAM ENGINE. With a Sup¬ plement on Gas Engines, and Part II. on Heat Engines. By T. M. Goodeve, M.A., Barrister-at-Law, Professor oi Mechanics at the Normal School cf Science and the Royal School of Mines; Author of “The Princi¬ ples of Mechanics,” "The Elementsot Mechanism,” &c. Eleventh Edition, Enlarged. With numerous Illustrations. Crown 8vo, 6s. cloth. "Professor Goodeve has given us a treatise on the steam engine which will bear comparison with anything written by Huxley or Maxwell, and we can award it no higher praise."— Engtticer. “ Mr. Goodeve's text-book is a work of which every young engineer should possess himself." —Mining yournal. Gas Engines. ON GAS-ENGINES. Being a Reprint, with some Additions, of the Supplement to the Text-book on the Steam Engine , by T. M. Goodeve, M.A. Crown 8vo, 2s. 6 d. cloth. “ Like all Mr. Goodeve's writings, the present is no exception !n point of general excellence. It is a valuable little volume."— Mechanical IVorld. Steam. THE SAFE USE OF STEAM. Containing Rules for Un¬ professional Steam-users. By an Engineer. Sixth Edition. Sewed, 6 d. “ If steam-users would but learn this little book by heart boiler explosions would become sensations by their rarity."— English Mechanic. Beference Book for Mechanical Engineers. THE MECHANICAL ENGINEER'S REFERENCE BOOK, for Machine and Boiler Construction. In Two Parts. Part I. General Engineering Data. Part II. Boiler Construction. With 51 Plates and numerous Illustrations. By Nelson Foley, M.I.N'.A. Folio, £5 5s. half¬ bound. [Just published. Coal and Speed Tables. A POCKET BOOK OF COAL AND SPEED TABLES, for Engineers and Steam-users. By Nelson Foley, Author of “ Boiler Con¬ struction.’* Pocket-size, 3s. 6 d. cloth; 4s. leather. “ These tables are designed to meet the requirements of every-day use ; and may be com¬ mended to engineers and users of steam. Iron. “ This pocket-book well merits the attention of the practical engineer. Mr. Foley has com¬ piled a very useful set of tables, the information contained in which is frequently required by engineers, coal consumers and users of steam."— Iron and Coal Trades Review. Fire Engineering. FIRES, FIRE-ENGINES, AND FIRE-BRIGADES. With a History of Fire-Engines, their Construction, Use, and Management; Re¬ marks on Fire-Proof Buildings, and the Preservation of Life from Fire ; f-oreign Fire Systems, &c. By C. F. T. Young, C.E. With numerous Illustrations, 544 pp., demy 8vo, £1 4s. cloth. "To such of our readers as are interested in the subject of fires and fire apparatus, we can most heartily commend this book."— Engineering. " It displays much evidence of careful research; and Mr. Young has put his facts neatly together. It is evident enough that his acquaintance with the practical details of the construction ot steam fire engines is accurate and full.”— Engitieer. Estimating for Engineering Work, etc. ENGINEERING ESTIMATES, COSTS AND ACCOUNTS: A Guide to Commercial Engineering. With numerous Examples of Esti¬ mates and Costs of Millwright Work, Miscellaneous Productions, Steam Engines and Steam Boilers; and a Section on the Preparation of Costs Accounts. By A General Manager. Demy 8vo, 12s. cloth. " This is an excel’ent and very useful book, covering subject-matter in constant requisition in every factory and workshop. . . . The book is invaluable, not only to the young engineer, but also to the estimate department of every works."— Builder. “We accord the work unqualified praise. The information isgiven in a plain, straightforward manner, and bears throughout evidence of the intimate practical acquaintance of the author with every phrase of commercial engineering."— Mechanical IVorld. Elementary Mechanics. CONDENSED MECHANICS. A Selection of Formulae, Rules, Tables, and Data for the Use of Engineering Students, Science Classes, &c. In Accordance with the Requirements of the Science and Art Department By W. G. Crawford Hughes, A.M.I.C.E. Crown 8vo, is. 6 d. cloth. [Just published. 6 CROSBY LOCKIVOOD &■ SON'S CATALOGUE. THE POPULAR WORKS OF MICHAEL REYNOLDS ("The Engine Driver’s Friend”). Locomotive-Engine Driving. LOCOMOTIVE-ENGINE DRIVING : A Practical Manual for Engineers in charge of Locomotive Engines. By Michael Reynolds, Member of the Society of Engineers, formerly Locomotive Inspector L. B. and S. C. R. Eighth Edition. Including a Key to the Locomotive Engine. With Illus¬ trations and Portrait of Author. Crown 8vo, 4s. 6 d. cloth. “Mr. Reynolds has supplied a want, and has supplied it well. We can confidently recommend the book, not only to the practical driver, but to everyone who takes an interest in the performance of locomotive engines."— The Engineer. “ Mr. Reynolds has opened a new chapter in the literature of the day. This admirable practical treatise, of the practical utility of which we have to speak in terms of warm commendation.' — A thenceum,. “ Evidently the work of one who knows his subject thoroughly.*’— Railway Service Gazette. “Were the cautions and rules given in the book to become part of the every-day working of our engine-drivers, we might have fewer distressing accidents to deplore."— Scotsman. Stationary Engine Driving. STATIONARY ENGINE DRIVING : A Practical Manual for Engineers in charge of Stationary Engines. By Michael Reynolds. Fourth Edition, Enlarged. With Plates and Woodcuts. Crown 8vo, 4s. 6 d. cloth. “ The author is thoroughly acquainted with his subjects, and his advice on the various points treated is clear and practical. . . . He has produced a manual which is an exceedingly useful one for the class for whom it is specially intended."— Engineering. “ Our author leaves no stone unturned. He is determined that his readers shall not only know something about the stationary engine, but all about it." — Engineer. “An engineman who has mastered the contents of Mr.Reynolds’s book will require but little actual experience with boilers and engines before he can be trusted to look after them.' —EnglishMechanic. The Engineer, Fireman , and Engine-Boy. THE MODEL LOCOMOTIVE ENGINEER, FIREMAN, and ENGINE-BOY. Comprising a Historical Notice of the Pioneer Locomotive Engines and their Inventors. By Michael Reynolds. With numerous Illus¬ trations and a fine Portrait of George Stephenson. Crown 8vo, 4s. 6 d. cloth. “ From the technical knowledge of the author it will appeal to the railway man of to-day more forcibly than anything written by Dr. Smiles. . . . The volume contains information of a tech¬ nical kind, and facts that every driver should be familiar with.”— English Mechanic. “We should be glad to see this book in the possession of everyone in the kingdom who has ever laid, or is to lay, hands on a locomotive engine."— Iron. Continuous Bailivay Brahes. CONTINUOUS RAILWAY BRAKES: A Practical Treatise on the several Systems in Use in the United Kingdom; their Construction and Performance. With copious Illustrations and numerous Tables. By Michael Reynolds, Large crown 8vo, 9s. cloth. “A popular explanation of the different brakes. It will be of great assistance in forming public opinion, and will be studied with benefit by those who take an interest in the brake."— English Mechanic. “ Written with sufficient technical detail to enable the principle and relative connection ot the various parts of each particular brake to be readily grasped.”— Mechanical World . Engine-Driving Life. ENGINE-DRIVING LIFE : Stirring Adventures and Incidents in the Lives of Locomotive-Engine Drivers. By Michael Reynolds. Second Edition, with Additional Chapters. Crown 8vo. 2s. cloth. “From first to last perfectly fascinating. Wilkie Collins's most thrilling conceptions are thrown nto the shade by true incidents, endless in their variety, related in every page.”— Xorlh British Mail. “Anyone who wishes to get a real insight into railway life cannot do better than read ‘ Engine- Driving Life' for himself; and if he once take it up he will find that the author's enthusiasm and real ove of the engine-driving profession will carry him on till he has read every pa gz. "—Saturday Review. Docket Companion for Enginemen. THE ENGINEMAN’S POCKET COMPANION AND PRAC¬ TICAL EDUCATOR FOR ENGINEMEN, BOILER ATTENDANTS, AND MECHANICS. By Michael Reynolds. With Forty-five Illustra¬ tions and numerous Diagrams. Second Edition, Revised. Royal iSmo, 3s. 6d. t strongly bound for pocket wear. “ This admirable work is well suited to accomplish its object, being the honest workmanship of a competent engineer."— Glasgow Herald. “ A most meritorious work, giving in a succinct and practical form all the Information an engine- minder desirous of mastering the scientific principles of his daily calling would require.'— Miller. “ A boon to those who are striving to become efficient mechanics ."—Daily Chronicle. CIVIL ENGINEERING, SURVEYING, etc. 7 French-English Glossary for Engineers, etc. A POCKET GLOSSARY of TECHNICAL TERMS: ENGLISH- FRENCH, FRENCH-ENGLISH ; with Tables suitable for the Architectural, Engineering, Manufacturing and Nautical Professions. By John James Fletcher, Engineer and Surveyor. 2co pp. Waistcoat-pocket size, is. 6 d, t limp leather. ** It ought certainly to be in the waistcoat-pocket of every professional man."— Iron. “It is a very great advantage for readers and correspondents in France and England to have so large a number of the words relating to engineering and manufacturers collected m a liliputian volume. The little book will be useful both to students and travellers. — Architect. “ The glossary of terms is very co nplete, and many of the tables are new and well arranged. We cordially commend the book Mechanical World, Portable Engines. THE PORTABLE ENGINE; ITS CONSTRUCTION AND MANAGEMENT. A Practical Manual for Owners and Users of Steam Engines generally. By William Dyson Wansbrough. With 90 Illustra¬ tions. Crown 8vo, 3s. 6^f. cloth. “ This is a work of value to those who use steam machinery. . . . Should be read by every¬ one who has a steam engine, on a farm or elsewhere."— Mark Lane Express. “ We cordially commend this work to buyers and owners of steam engines, and to those who have to do with their construction or use."— Timber Trades journal. •• Such a general knowledge of the steam engine as Mr. Wansbrough furnishes to the reader should be acquired by all intelligent owners and others who use the steam engine. ”— Building News. “ An excellent text-book of this useful form of engine, which describes with all necessary minuteness the details of the various devices. . . 4 The Hints to Purchasers contain a good deal of commonsense and practical wisdom.’’— English Mechanic. CIVIL ENGINEERING, SURVEYING, etc. MR. HUMBER'S IMPORTANT ENGINEERING BOOKS. The Water Supply of Cities and Toivns. A COMPREHENSIVE TREATISE on the WATER-SUPPLY OF CITIES AND TOWNS. By William Humber, A-M.Inst.C.E., and M. Inst. M.E., Author of “Cast and Wrought Iron Bridge Construction,” Sec. &c.^ Illustrated with 50 Double Plates, 1 Single Plate, Coloured Frontispiece, and upwards of 250 Woodcuts, and containing 400 pages of Text. Imp. 4to, £6 6s. elegantly and substantially half-bound in morocco. List of Contents. I. Historical Sketch of some of the means that have been adopted for the Supply of Water to Cities and Towns.—II. Water and the Fo¬ reign Matter usually associated with it.—III. Rainfall and Evaporation.—IV. Springs and the water-bearing formations of various dis¬ tricts.—V. Measurement and Estimation of the flow of "Water—VI. On the Selection of the Source of Supply.—VII. Wells —VIII. Reser¬ voirs.—IX. The Purification of Water.—X. Pumps. — XI. Pumping Machinery — XII. Conduits.—XIII. Distribution of Water.—XIV, Meters, Service Pipes, and House Fittings.— XV. The Law and Economy of Water Works. XVI. Constant and Intermittent Supply.— XVII. Description of Plates. — Appendices, giving Tables of Rates of Supply, Velocities, &c. &c., together with Specifications of several Works illustrated, among which will be found: Aberdeen, Bideford, Canterbury, Dundee, Halifax, Lambeth, Rotherham, Dublin, and others. “The most systematic and valuable work upon water supply hitherto produced In English, or In any other language. ... Mr. Humber's work is characterised almost throughout by an exhaustiveness much more distinctive of French and German than of English technical treatises.” —Engineer. “ We can congratulate Mr. Humber on having been able to give so large an amount of Infor¬ mation on a subject so important as the water supply of cities and towns. The plates, fifty in number, are mostly drawings of executed works, and alone would have commanded the attention of every engineer whose practice may lie ir this branch of the profession."— Builder. Cast and Wrought Iron Bridge Construction. A COMPLETE AND PRACTICAL TREATISE ON CAST AND WROUGHT IRON BRIDGE CONSTRUCTION, including Iron Foundations. In Three Parts—Theoretical, Practical, and Descriptive. By William Humber, A.M.Inst.C.E., and M.Inst.M.E. Third Edition, Re¬ vised and much improved, with 115 Double Plates (20 of which now first appear in this edition), and numerous Additions to the Text. In Two Vols., imp. 4to, £S 16s. 6 d. half-bound in morocco. “A very valuable contribution to the standard literature of civil engineering. In addition to elevations, plans and sections, large scale details are given which very much enhance the instruc¬ tive worth of those illustrations ."—Civil Engineer and Architect’s yoiirnal. “Mr. Humber’s stately volumes, lately issued—in which the most important bridges erected during the last five years, under the direction of the late Mr. Brunei, Sir W. Cubitt, Mr. Hawk- shaw, Mr. Page, Mr. Fowler, Mr. Hemans, and others among our most eminent engineers, are drawn and specified in great detail.”— Engineer. 8 CROSBY LOCKWOOD & SON'S CATALOGUE . MR. HUMBER’S GREAT WORK ON MODERN ENGINEERING. Complete in Four Volumes, imperial 4to, price £12 12s., half-morocco. Eacb Volume sold separately as follows:— A RECORD OF THE PROGRESS OF MODERN ENGINEER¬ ING. First Series. Comprising Civil, Mechanical, Marine, Hydraulic, Railway, Bridge, and other Engineering Works, &c. By William Humber, A-M.Inst.C.E., &c. Imp. 4to, with 36 Double Plates, drawn to a large scale, Photographic Portrait of John Hawkshaw, C.E., F.R.S., &c., and copious descriptive Letterpress, Specifications, &c., £3 3s. half-morocco. List of the Plates and Diagrams. Victoria Station and Roof, L. B. & S. C. R. (8 plates); Southport Pier (2 plates); Victoria Station and Root, L. C. & D. and G. W. R. (6 plates); Roof of Cremome Music Hall; Bridge over G. N. Railway ; Roof of Station, Dutch Rhenish Rail (2 plates); Bridge over the “ Handsomely lithographed and printed. It will find favour with many who desire to preserve In a permanent form copies of the plans and specifications prepared for the guidance of the con¬ tractors for many important engineering works.’— Engineer. Thames, West London Extension Railway (5 plates); Armour Plates: Suspension Bridge, Thames (4 plates'; The Allen Engine; Sus¬ pension Bridge, Avon (3 plates); Underground Railway (3 plates). HUMBER'S RECORD OF MODERN ENGINEERING. Second Series. Imp. 4to, with 36 Double Plates, Photographic Portrait of Robert Stephenson, C.E., M.P., F.R.S., &c., and copious descriptive Letterpress, Specifications, &c., £3 3s. half-morocco. List of the Plates and Diagrams. Birkenhead Docks, Low Water Basin (15 ] and Abergavenny Railway; Ebbw Vlad ucl, plates); Charing Cross Station Roof, C. C. j Merthyr, Tredegar, and Abergavenny Raif- Railway (3 plates); Digswell Viaduct, Great way; College Wood Viaduct, Cornwall Rail- Northern Railway ; Robbery Wood Viaduct, 1 way ; Dublin Winter Palace Roof (3 plates) ; Great Northern Railway; Iron Permanent Bndge over the Thames, L. C. & D. Railway WayjClydach Viaduct, Merthyr, Tredegar, I (6 plates); Albert Harbour, Greenock (4 plates). “ Mr. Humber has done the profession good and true service, by the fine collection of examples he has here brought before the profession and the public .”—Practical Mechanic s Journal. HUMBER’S RECORD OF MODERN ENGINEERING. Thikd Series. Imp. 4to, with 40 Double Plates, Photographic Portrait of J. R. M'Clean, late Pres. Inst. C.E., and copious descriptive Letterpress, Speci¬ fications, &c., £3 3s. half-morocco. List of the Plates and Diagrams. Main Drainage, Metropolis.— North Side. —Map showing interception of Sewers; Middle Level Sewer (2 plates); Outfall Sewer, Bridge over River Lea (3 plates); Outfall Sewer, Bridge over Marsh Lane, North Woolwich Railway, and Bow and Barking Railway Junc¬ tion ; Outfall Sewer, Bridge over Bow and Barking Railway (3 plates); Outfall Sewer. Bridge over East London Waterw orks' Feeder (2 plates); Outfall Sewer, Reservoir (2 plates); Outfall Sewer, Tumbling Bay and Outlet; Out¬ fall Sewer, Penstocks. South Side. —Outfall Sewer, Bermondsey Branch (2 plates); Outfall “ The drawings have a constantly increasing sentations of the two great works carried out ‘ volume."— Engineer. Sewer, Reservoir and Outlet f4 plates); Outfall Sewer, Filth Hoist; Sections of Sewers (North and South Sides). Thames Embankment.—S ection of Rive? Wall; Steamboat Pier, Westminster (2 plates); Landing Stairs between Charing Cross and Waterloo Bridges; York Gate (2 plates); Over¬ flow and Outlet at Savoy Street Sewer (3 plates ) r Steamboat Pier, Waterloo Bridge (3 plates) ; Junction of Sewers, Plans and Sections; Gullies, Plans and Sections; Rolling Stock; Granite and Iron Forts. value, and whoever desires to possess clear repre- our Metropolitan Board will obtain Mr. Humber’s HUMBER'S RECORD OF MODERN ENGINEERING. Fourth Series. Imp. 4to, with 36 Double Plates, Photographic Portrait of John. Fowler, late Pres. lust. C.E., and copious descriptive Letterpress, Speci¬ fications, &c., £3 3s. half-morocco. List of the Plates and Diagrams. Abbey Mills Pumping Station, Main Drain¬ age, Metropolis (4 plates); Barrow Docks (5 plates); Manquis Viaduct, Santiago and Val¬ paraiso Railway (2 plates); Adam’s Locomo¬ tive, St. Helen’s Canal Railway (2 plates); Mesopotamia; Viaduct over the River Wye, Midland Railway (3 plates); St. Germans Via- " ” nlw duct, Cornwall Railway (2 plates); Wrought- Iron Cylinder for Diving Bell; Millw^all Docks (6 plates); Milroy s Patent Excavator; Metro¬ politan District Railway (6 plates); Harbours, Ports, and Breakwaters (3 plates). Cannon Street Station Roof, Charing Cross Railway (3 plates); Road Bridge over the River Moka (2 plates); Telegraphic Apparatus for “We gladly welcome another year's issue of this valuable publication from the able pen or Mr. Humber. The accuracy and general excellence of this work are well known, while its useful¬ ness in giving the measurements and details of some of the latest examples of engineering, as car-ied out by the most eminent men in the profession, cannot be too highly prized.' —Artizan, CIVIL ENGINEERING, SURVEYING, etc. 9 MR. HUMBER'S ENGINEERING BOOKS—continued. Strains, Calculation of. A HANDY BOOK FOR THE CALCULATION OF STRAINS IN GIRDERS AND SIMILARSTRUCTURES, AND THEIR STRENGTH, Consisting of Formulae and Corresponding Diagrams, with numerous details for Practical Application, &c. By William Humber, A-M.Inst.C.E., &c. Fifth Edition. Crown 8vo, nearly ioo Woodcuts and 3 Plates, 7s. 6d. cloth “ The formulae are neatly expressed, and the diagrams good.”— Athenautn. " We heartily commend this really handy book to our engineer and architect readers.”— Eng¬ lish Mechanic, Barlow’s Strength of Materials, enlarged by Humber A TREATISE ON THE STRENGTH OF MATERIALS: with Rules for Application in Architecture, the Construction of Suspension- Bridges, Railways, &c. By Peter Barlow, F.R.S. A New Edition, revised by his Sons, P. W. Barlow, F.R.S., and W. H. Barlow, F.R.S. ; to which are added, Experiments by Hodgkinson, Fairbairn, and Kirkaldy; and Formulae for Calculating Girders, &c. Arranged and Edited by W. Humber, A-M.Inst.C.E. Demy 8vo, 400 pp., with 19 large Plates and numerous Wood- cuts, 18s. cloth. " Valuable alike to the student, tyro, and the experienced practitioner. It will always rank in future, as it has hitherto done, as the standard treatise on that particular subject."— Engineer. “ There is no greater authority than Barlow."— Building News. “ As a scientific work of the first class, it deserves a foremost place on the bookshelves of every- civil engineer and practical mechanic."— English Mechanic. Trigonometrical Surveying. AN OUTLINE OF THE METHOD OF CONDUCTING A TRIGONOMETRICAL SURVEY, for the Formation of Geographical and Topographical Maps and Plans, Military Reconnaissance, Levelling, &c., with. Useful Problems, Formulae, and Tables. By Lieut.-General Frome, R.E. Fourth Edition, Revised and partly Re-written by Major General Sir Charles Warren, G.C.M.G., R.E. With 19 Plates and 115 Woodcuts, royal 8vo, r6s, cloth. "The simple fact that a fourth edition has been called for is the best testimony to its merits. No words of praise from us can strengthen the position so well and so steadily maintained by this work. Sir Charles Warren has revised the entire work, and made such additions as were necessary to bring every portion of the contents up to the present date.”— Broad Arrow. Field Fortification. A TREATISE ON FIELD FORTIFICATION, THE ATTACK OF FORTRESSES, MILITARY MINING, AND RECONNOITRING. By Colonel I. S. Macaulay, late Professor of Fortification in the R.M.A., Wool¬ wich. Sixth Edition, crown 8vo, cloth, with separate Atlas of iz Plates, 12s. Oblique Bridges. A PR A OTIC A LAND THEORETICA L ESS A Y ON OBLIQ UE BRIDGES. With 13 large Plates. By the late George Watson Buck, M.I.C.E. Third Edition, revised by his Son, J. H. Watson Buck, M.I.C.E. ; and with the addition of Description to Diagrams for Facilitating the Con¬ struction of Oblique Bridges, by W. H. Barlow, M.I.C.E, Royal 8vo, 12s. cloth. " The standard text-book for all engineers regarding skew arches Is Mr. Buck’s treatise, and it would be impossible to consult a better ."—Engineer. “Mr. Buck’s treatise is recognised as a standard text-book, and his treatment has divested the subject of many of the intricacies supposed to belong to it. As a guide to the engineer and archi¬ tect, on a confessedly difficult subject, Mr. Buck’s work is unsurpassed.”— Building News, Water Storage, Conveyance and Utilisation. WATER ENGINEERING : A Practical Treatise on the Measure¬ ment, Storage, Conveyance and Utilisation of Waterfor the Supply of Towns, for Mill Power, and for other Purposes. By Charles Slagg, Water and Drainage Engineer, A.M.Inst.C.E., Author of “ Sanitary Work in the Smaller Towns, and in Villages,” &c. With numerous Illusts. Cr. 8vo, ys. 6d. cloth. " As a small practical treatise on the water supply of towns, and on some applications of water-power, the work is in many respects excellent.”— Engineering. “ The author has collated the results deduced from the experiments of the most eminent authorities, and has presented them in a compact and practical form, accompanied by very clear and detailed explanations. . . . The application of water as a motive power is treated very carefully and exhaustively.”— Builder. “ For anyone who desires to begin the study of hydraulics with a consideration of the practical 1 applications of the science there is no better guide-"—Architect, 10 CROSBY LOCKWOOD &■ SON'S CATALOGUE. Statics, Graphic and Analytic. GRAPHIC AND ANALYTIC STATICS, in their Practical Appii- cation to the Treatment of Stresses in Roofs, Solid Girders, Lattice, Bowstring and Suspension Bridges, Braced Iron Arches and Piers, and other Frameworks. By R. Hudson Graham, C.E. Containing Diagrams and Plates to Scale. With numerous Examples, many taken from existing Structures. Specially arranged for Class work in Colleges and Universities. Second Edition, Re¬ vised and Enlarged. 8vo, 16s. cloth. "Mr. Graham's book will find a place wherever graphic and analytic statics are used or studied." — Engineer . “The work is excellent from a practical point of view, and has evidently been prepared with much care. The directions for w orking are ample, and are illustrated by an abundance of well- selected examples. It is an excellent text-book for the practical draughtsman. — Athenaum. Student’s Text-Book on Surveying. PRACTICAL SURVEYING : A Text-Book for Students pre- paring for Examination or for Survey-work in the Colonies. By George W. Usill, A.M.I.C E., Author of “The Statistics of the Water Supply of Great Britain.” With Four Lithographic Plates and upwards of 330 Illustra¬ tions. Second Edition, Revised. Crown 8vo, ys. 6 d. cloth. " The best forms of instruments are described as to their construction, uses and modes of employment, and there are innumerable hints on work and equipment such as the author, in his experience as surveyor, draughtsman and teacher, has found necessary, and which the student in his inexperience will find most serviceable."— Engineer. “ The latest treatise in the English language on surveying, and we have no hesitation in say¬ ing that the student will find it a better guide than any of its predecessors .... Deserves to be recognised as the first book which should be put in the hands of a pupil of Civil Engineering, and every gentleman of education who sets out for the Colonies would find it well to have a copy."— Architect. “A very useful, practical handbook on field practice. Clear, accurate and not too con¬ densed."— Journal 0/ Education . Survey Practice. AID TO SURVEY PRACTICE, for Reference in Surveying, Level¬ ling, and Setting-out; and in Route Surveys of Travellers by Land and Sea. With Tables, Illustrations, and Records. By Lowis D'A. Jackson, A.M.I.C.E., Author of “ Hydraulic Manual,” ‘‘Modern Metrology,” &c. Second Edition, Enlarged. Large crown 8vo, 12s. 6 d. cloth. “Mr. Jackson has produced a valuable vade-mecum for the survej^or. We can recommend this book as containing an admirable supplement to the teaching of the accomplished surveyor."— Athenaum. "As a text-book we should advise all surveyors to place it in their libraries, and study well the matured instructions afforded in its pages."— Colliery Guardian. “ The author brings to his work a fortunate union of theory and practical experience which, aided by a clear and lucid style of writing, renders the book a very useful one."—Builder. Surveying, Land and Marine. LAND AND MARINE SURVEYING, in Reference to the Pre- paration of Plans fjr Roads and Railways; Canals, Rivers, Towns’ Water Supplies; Docks and Harbours. With Description and Use of Surveying Instruments. By W. D. Haskoll, C.E., Author of “ Bridge and Viaduct Con¬ struction,’’ &c. Second Edition, Revised, with Additions. Large cr. 8vo, gs. cl. “ This book must prove of great value to the student. We have no hesitation in re commend¬ ing it, feeling assured that it will more than repay a careful study.”— Mechanical World. “ A most useful and well arranged book for the aid of a student. We can strongly recommend it as a carefully-written and valuable text-book. It enjoys a well-deserved repute among surveyors." — Builder. “ This volume cannot fail to prove of the utmost practical utility. It may be safety recommended Co all students who aspire to become clean and expert surveyors."— Mining Journal. Tunnelling. PRACTICAL TUNNELLING. Explaining in detail the Setting, out of the works, Shaft-sinking and Heading-driving, Ranging the Lines and Levelling underground, Sub-Excavating, Timbering, and the Construction of the Brickwork ot Tunnels, with the amount of Labour required for, and the Cost of, the various portions of the work. By Frederick W. Simms, F.G.S., M.Inst.C.E. Third Edition, Revised and Extended by D. Kinnear Clark, M.Inst. C.E. Imperial 8vo, with 21 Folding Plates and numerous Wood Engravings, 30s. cloth. “The estimation in which Mr. Simms’s book on tunnelling has been held for over thirty years cannot be more truly expressed than in the words of the late Prof. Rankine :—‘ The best source of in- formation on the subject of tunnels is Mr.F.W. Simms's work on Practical Tunnelling.’ "— A rchitect. " It has been regarded from the first as a text book of the subject. . . . Mr. Clarke has added immensely to the value ot the book.”— Engineer. CIVIL ENGINEERING, SURVEYING, etc. i r Levelling. A TREATISE ON THE PRINCIPLES AND PRACTICE OF LEVELLING. Showing its Application to purposes of Railway and Civil Engineering, in the Construction of Roads; with Mt.Telford's Rulesfor the same. By Frederick W. Simms, F.G.S., M.Inst.C.E. Seventh Edition, with the addition of Law’s Practical Examples for Setting-out Railway Curves, and Trautwine’s Field Practice of Laying-out Circular Curves. With 7 Plates and numerous Woodcuts, 8vo, 8s. 6 d. cloth, *** Trautwine on Curves may be had separate, 5s. '* The text-book on levelling in most of our engineering schools and colleges."— Engineer. " The publishers have rendered a substantial service to the profession, especially to the younger members, by bringing out the present edition of Mr. Simms’s useful work,"— Engineering. Heat, Exjiansion by. EXPANSION OF STRUCTURES BY HEAT. By John Keily, C.E., late of the Indian Public Works and Victorian Railway Depart¬ ments. Crown Svo, 3s. 6 d. cloth. Section I. Formulas and Data. Section II. Metal Bars. Section III, Simple Frames. Section IV. Complex Frames and Plates. Section V. Thermal Conductivity. Summary of Contents. Section VI. Mechanical Force of Heat. Section VII. Work of Expansion and Contraction. Section VIII. Suspension Bridges. Section IX. Masonry Structures. ' The aim the author has set before him, viz., to show the effects of heat upon metallic and other structures, is a laudable one, for this is a branch of physics upon which the engineer or archi¬ tect can find but little reliable and comprehensive data in books."— Builder. “ Whoever is concerned to know the effect of changes of temperature on such structures as suspension bridges and the like, could not do better than consult Mr. Keily's valuable and handy exposition of the geometrical principles involved in these changes.’’— Scotsman. Practical Mathematics. MATHEMATICS FOR PRACTICAL MEN: Being a Common- place Book of Pure and Mixed Mathematics. Designed chiefly for the use of Civil Engineers, Architects and Surveyors. By Olinthus Gregory, LL.D., F.R.A.S., Enlarged by Henry Law, C.£. 4th Edition, carefully Revised by J. R. Young, formerly Professor of Mathematics, Belfast College. With 13 Plates, 8vo, £1 is. cloth. “ The engineer or architect will here find ready to his hand rules for solving nearly every mathe¬ matical difficulty that may arise in his practice The rules are in all cases explained by means of examples, in which every step of the process is clearly worked out."— Builder. “ Ons of the most serviceable books for practical mechanics. . . It is an instructive book for the student, and a text-book for him who, having once mastered the subjects it treats of, needs occa sionally to refresh his memory upon them ."—Building News. Hydraulic Tables. HYDRAULIC TABLES , CO-EFFICIENTS, and FORMULAS for finding the Discharge of Water from Orifices, Notches, Weirs, Pipes, and Rivers. With New Formula, Tables, and General Information on Rainfall, Catchment-Basins, Drainage, Sewerage, Water Supply for Towns and Mill Power. By John Neville, Civil Engineer, M.R.I.A. Third Ed., carefully Revised, with considerable Additions. Numerous Illusts. Cr. 8vo, 14s. cloth. " Alike valuable to students and engineers in practice ; its study will prevent the annoyance of avoidable failures, and assist them to select the readiest means of successfully carrying out any given work connected with hydraulic engineering .”—Mining Journal. “ It is, of all English books on the subject, the one nearest to completeness. . . . From the good arrangement of the matter, the clear explanations, and abundance of formula, the carefully calculated tables, and, above all, the thorough, acquaintance with both theory and construction, which is displayed from first to last, the book w be found to be an acquisition. '—Architect. Hydraulics. HYDRAULIC MANUAL. Consisting of Working Tables and Explanatory Text. Intended as a Guide in Hydraulic Calculations and Field Operations. By Lowis D’A. Jackson, Author of “Aid to Survey Practice," “Modern Metrology,’’ See. Fourth Edition, Enlarged. Large cr. 8vo, 16s. cl. " The author has had a wide experience in hydraulic engineering and has been a careful ob¬ server of the facts which have come under his notice, and from the great mass of material at his command he has constructed a manual which maybe accepted as a trustworthy guide to this branch of the engineer's profession. We can heartily recommend this volume to all who desire to be acquainted with the latest development of this important subject ."—Engineering. “ The standard-work in this department of mechnnics.' —Scotsman. “ The most useful feature of tnis work is its freedom from what is superannuated, and Its thorough adoption of recent exneriments; the text is, in fact, in great part a short account of the great modem experiments."— Nature, 12 CROSBY LOCKWOOD <5- SON’S CATALOGUE. Drainage. ON THE DRAINAGE OF LANDS. TOWNS AND BUILD - INGS. By G. D. Dempsey, C.E., Author of “ The Practical R til way En¬ gineer," &c. Revised, with large Additions on Recent Practice in Drainage Engineering, by D. Kinnear Clark, M.Inst.C.E. Author of “Tramways,” “A Manual of Rules, Tables, and Data for Engineers," 6lc. Second Edition. i2mo, 5s. cloth. 11 The new matter added to Mr. Dempsey's excellent work is characterised by the comprehen¬ sive grasp and accuracy of detail for which the name of Mr. D. K. Clark is a sufficient voucher.' 1 — Athenaum. “Asa work on recent practice in drainage engineering, the book Is to be commended to all who are making that branch of engineering science their special study.'— Iron. “ A comprehensive manual on drainage engineering, and a useful introduction to the student. - ' Bu tiding News. Tramways and their TVorJcing. TRAMWAYS : THEIR CONSTRUCTION AND WORKING. Embracing a Comprehensive History of the System ; with an exhaustive Analysis of the various Modes of Traction, including Horse-Power, Steam, Heated Water, and Compressed Air ; a Description of the Varieties of Rolling Stock; and ample Details of Cost and Working Expenses: the Progress recently made in Tramway Construction, &c. &c. By D. Kinnear Clark. M.Inst.C.E. With over 200 Wood Engravings, and 13 Folding Plates. Two Vols., large crown 8vo, 30s. cloth. “ All interested in tramways must refer to it, as all railway engineers have turned to the author’s work 1 Railway Machinery.’”— Engineer. " An exhaustive and practical work on tramways, in which the history of this kind of locomo¬ tion, and a description and cost of the various modes of laying tramways, are to be found. — Building News. “ The best form of rails, the best mode of construction, and the best mechanical appliances are so fairly indicated in the work under review, that any engineer about to construct a tramway will be enabled at once to obtain the practical information which will be of most service to him.’ — Athenaum. Oblique Arches. A PRACTICAL TREATISE ON THE CONSTRUCTION OP OBLIQUE ARCHES. By John Hart. Third Edition, with Plates. Im¬ perial Svo, 8s. cloth. Curves, Tables for Setting-out. TABLES OF TANGENTIAL ANGLES AND MULTIPLES for Setting-out Curves from 5 to 200 Radius. By Alexander Beazeley, M.Inst.C.E. Third Edition. Printed on 48 Cards, and sold in a cloth box, waistcoat-pocket size, 3s. 6 d. “ Each table is printed on a small card, which, being placed on the theodolite, leaves the hands free to manipulate the instrument—no small advantage as regards the rapidity of work."— Engineer. “Very handy ; a man may know that all his days work must fa on two of these cards, which he puts into his own card-case, and leaves the rest behind.'— Athetuzum. Earthwork. EARTHWORK TABLES. Showing the Contents in Cubic Yards of Embankments, Cuttings, &c., of Heights or Depths up to an average of 80 feet. By Joseph Broadbent, C.E., and Francis Campin, C.E. Crown 8vo, 5s. cloth. “The way in which accuracy is attained, by a simple division ot each cross section into three elements, two in which are constant and one variable, is ingenious.”— Athetuzum. JOuixTtd ShaftSo THE CONSTRUCTION OF LARGE TUNNEL SHAFTS: A Practical and Theoretical Essay. By J. H. Watson Buck, M.Inst.C.E.. Resident Engineer, London and North-Western Railway. Illustrated with Folding Plates, royal 8vo, 12s. cloth. “Many of the methods given are of extreme practical value to the mason ; and the observations on the form of arch, the rules for ordering the stone, and the construction of the templates will be found of considerable use. We commend the book to the engineering profession.” —Building News. “Will be regarded by civil engineers as of the utmost value, and calculated to save much time and obviate many mistakes."— Colliery Guardiati. Girders, Strength of. GRAPHIC TABLE FOR FACILITATING THE COMPUTA. TION OF THE WEIGHTS OF WROUGHT IRON AND STEEL GIRDERS, etc., for Parliamentary and other Estimate?. By J. H. Watson Buck, M.Inst.C.E. On a Sheet, 2s.6d. CIVIL ENGINEERING, SURVEYING, etc. 13 River Engineering. RIVER BARS: The Causes of their Formation, and their Treat¬ ment by “ Induced Tidal Scour; ” with a Description of the Successful Re¬ duction by this Method of the Bar at Dublin. By I. J. Mann, Assist. Eng. to the Dublin Port and Docks Board. Royal 8vo, 7s. 6 d. cloth. ** We recommend all interested in harbour works—and, indeed, those concerned in the im¬ provements of rivers generally—to read Mr. Mann's interesting work on the treatment of river bars. '— Engineer. Trusses. TRUSSES OF WOOD AND IRON. Practical Applications of Sciencein Determining th( Stresses, Breaking Weights, Safe Loads, Scantlings, and Details of Construction, with Complete Working Drawings. By William Griffiths, Surveyor, Assistant Master. Tranmere School of Science and Art. Oblong 8vo, 4s. 6 d. cloth. ** This handy little book enters so minutely into every' detail connected with the construction of roof trusses, that no student need be ignorant of these matters."— Practical Engineer. Railway Working. SAFE RAILWAY WORKING. A Treatise on Railway Acci¬ dents: Their Cause and Prevention; with a Description of Modern Appliances and Systems. By Clement E. Stretton, C.E., Vice-President and Con¬ sulting Engineer, Amalgamated Society of Railway Servants. With Illus¬ trations and Coloured Plates. Second Edition, Enlarged. Crown 8vo, 3s. 6 d. cloth. [Just published. " A book for the engineer, the directors, the managers ; and, in short, all who wish for informa- tion on railway matters will find a perfect encyclopaedia in * Safe Railway Working. "—Railway RenHrtu. "We commend the remarks on railway signalling to all railway managers, especially where a uniform code and practice is advocated."— Hercpath's Railway Journal. "The author maybe congratulated on having collected, in a very convenient form, much valuable information on the principal questions affecting the safe workii g of railways.”— Rail • •way Engineer. Field-Book for Engineers. THE ENGINEER’S, MINING SURVEYOR'S, AND CON¬ TRACTOR’S FIELD-BOOK. Consisting of a Series of Tables, with Rules, Explanations of Systems, and use of Theodolite for Traverse Surveying and Plotting the Work with minute accuracy by means of Straight Edge and Set Square only ; Levelling with the Theodolite, Casting-out and Reducing Levels to Datum, and Plotting Sections in the ordinary manner; setting-out Curves with the Theodolite by Tangential Angles and Multiples, with Right and Left-hand Readings of the Instrument: Setting-out Curves without Theodolite, on the System of Tangential Angles by sets of Tangents and Off¬ sets ; and Earthwork Tables to 80 feet deep, calculated for every 6 inches in depth. By W. Davis Haskoll, C.E. With numerous Woodcuts. Fourth Edition, Enlarged. Crown 8vo, 12s. cloth. "The book is very handy; the separate tables of sines and tangents to every minute will make it useful for many other purposes, the genuine traverse tables existing all the same."— Athenaum. " Every person engaged in engineering field operations will tstimite the importance of such a ■work and the amount of valuable time which will be saved by referente to a set of reliable tables prepared with the accuracy and fulness of those given in this volume."— Railway News. Earthwork, Measurement of. A MANUAL ON EARTHWORK. By Alex. J. S. Graham, C.E. With numerous Diagrams. Second Edition. i8mo, 2 s. 6d. cloth "A great amount of practical information, very admirably arranged, and available for rough estimates, as well as for the more exact calculations required in the engineer’s and contractor's offices. "—A rtisan. Strains in Ironivork. THE STRAINS ON STRUCTURES OF IRONWORK; with Practical Remarks on Iron Construction. By F. W. Sheilds, M.Inst,C.E. Second Edition, with 5 Plates. Royal 8vo, 5s. cloth. The student cannot find a better little book on this subject."— Engineer, Cast Iron and other Metals, Strength of. A PRACTICAL ESSAY ON THE STRENGTH OF CAST IRON AND OTHER METALS. By Thomas Tredgold, C.E. Fifth Edition, including Hodgkinson's Experimental Researches. 8vo, 12s. cloth. M CROSBY LOCKWOOD &■ SON’S CATALOGUE. ARCHITECTURE, BUILDING, etc. (J 0 10 y \, 9 THE SCIENCE OF BUILDING : An Elementary Treatise on the Principles of Construction. By E. Wyndham Tarn, M.A., Architect. Third Edition, Enlarged, with 59 Engravings. Fcap. 8vo, 4s. cloth. " A very valuable book, which we strongly recommend to all students. — Builder. “ No architectural student should be without this handbook. — Architect . Villa Architecture. A HANDY BOOK OF VILLA ARCHITECTURE : Being a Series of Designs for Villa Residences in various Styles. With Outline Specifications and Estimates. By C. Wickes, Author of “The Spires and Towers of England," &c. 61 Plates, 4to, £1 ns. 6 d. half-morocco, gilt edges. “ The whole of the designs bear evidence of their being the work of an artistic architect, and they will prove very valuable and suggestive.”— Building Actus. Text-Booh for Architects. THE ARCHITECT’S GUIDE: Being a Text-Book of Useful Information for Architects, Engineers , Surveyors , Contractors , Clerks of Works, &c. &c. By Frederick Rogers, Architect, Author of “ Specifica¬ tions for Practical Architecture,” &c. Second Edition, Revised and Enlarged. With numerous Illustrations. Crown Svo, 6s. cloth. " As a text-book of useful information for architects, engineers, surveyors, &c., It would be hard to find a handier or more complete little volume."— Standard. “A young architect could hardly have a better guide-book."— Timber Trades Journal, Taylor and Cresy’s Rome. THE ARCHITECTURAL ANTIQUITIES OF ROME. By the late G. L. Taylor, Esq., F.R.I.B.A., and Edward Cresy, Esq. New Edition, thoroughly Revised by the Rev. Alexander Taylor, M.A. (son of the late G. L. Taylor, Esq.), Fellow of Queen's College, Oxford, and Chap¬ lain of Gray’s Inn. Large folio, with 13c Plates, halt-bound, £3 3s. “ Taylor and Cresy's work has from its first publication been ranked among those professional books which cannot be bettered. . . . It would be difficult to find examples of drawings, even among those of the most painstaking students of Gothic, more thoroughly worked out than are the one hundred and thirty plates in this volume."— Architect. Linear Perspective. ARCHITECTURAL PERSPECTIVE : The whole Course and Operations of the Draughtsman in Drawing a Large House in Linear Per¬ spective. Illustrated by 39 Folding Plates. By F. O. Ferguson. Demv 8vo, 3s. 6 d. boards. [Just published. Architectural Drawing. PRACTICAL RULES ON DRA WING, for the Operative Builder and Young Student in Architecture. By George Pyne. With 14 Plates, 4to, ys. 6 d. boards. Sir Win. Chambers on Civil Architecture. THE DECORATIVE PART OF CIVIL ARCHITECTURE. By Sir William Chambers, F.R.S. With Portrait. Illustrations, Notes, and an Examination of Grecian Architecture, by Joseph Gwilt, F.S.A Revised and Edited by W. H. Leeds, with a Memoir of the Author. 66 Plates, 4to, 21s. cloth. House Building and Repairing. THE HOUSE-OWNER'S ESTIMATOR ; or, What will it Cost to Brill, Alter, or Repair? A Price Book adapted to the Use of Unpro¬ fessional People, as well as for the Architectural Surveyor and Builder. By James D. Simon, A.R.I.B.A. Edited and Revised by Francis T. W. Miller, A.R.I.B.A. With numerous Illustrations. Fourth Edition, Revised. Crown 8vo, 3s. 6 d. cloth. “In two years it will repay its cost a hundred times over."— Field. Cottages and Villas. COUNTRY AND SUBURBAN COTTAGES AND VILLAS: How to Plan and Build Them. Containing 33 Plates, with Introduction, General Explanations, and Description of each Plate. By James W. Bogue, Architect, Author of “ Domestic Architecture," &c. 4to, 10s. 6 d. cloth. ARCHITECTURE, BUILDING, etc. IS The Xew Builder’s Price Booh, 1802. LOCKWOOD'S BUILDER'S PRICE BOOK FOR 1892. A Comprehensive Handbook of the Latest Prices and Data for Builders, Architects, Engineers and Contractors. Rc-co istructed, Re-written and Further Enlarged, By Francis T. W. Miller. ;oo closely-printed pages, crown 8vo, 4s. cloth. [Just published. '• This book is a very useful one, and should find a place in every English office connected with the building and engineering professions."— Industries. “This Price Book has been set up in new type. . . . Advantage has been taken of the transformation to add much additional information, and the volume is now an excellent book of reference .I rch itcct. “ In its new and revised form this Price Book is what a work of this kind should be—compre¬ hensive, reliable, well arranged, legible and well bound .’—British Architect. •* A work of established reputation."— Athcnceum . “This very useful handbook is well written, exceedingly clear in its explanations and great care has evidently been taken to ensure accuracy ."—Morning Advertiser. Designing, Measuring, and Valuing. THE STUDENTS GUIDE to the PRACTICE of MEASUR¬ ING AND VALUING ARTIFICERS' WORKS. Containing Directions for taking Dimensions, Abstracting the same, and bringing the Quantities into Bill, with Tables of Constants for Valuation of Labour, and for the Calcula¬ tion of Areas and Solidities, Originally edited by Edward Dobson, Architect. With Additions on Mensuration and Construction, and a New Chapter on Dilapidations, Repairs, and Contracts, by E. Wyndham Tarn, M.A. Sixth Edition, including a Complete Form of a Bill of Quantities. With 8 Plates and 63 Woodcuts. Crown Svo, 7s. 6 d. cloth. •' Well fulfils the promise of its title-page, and we can thoroughly recommend it to the class for whose use it has been compiled. Mr. Tarn's additions and revisions have much increased the usefulness of the work, and have especially augmented its value to students."— Engineering. " This edition will be found the most complete treatise on the principles of measuring and valuing artificers’ work that has yet been published."— Building News. Pocket Estimator and Technical Guide. THE POCKET TECHNICAL GUIDE, MEASURER AND ESTIMATOR FOR BUILDERS AND SURVEYORS. Containing Tech- nical Directions for Measuring Work in all the Building Trades, Complete Specifications for Houses, Roads, and Drains, and an easy Method of Estimat¬ ing the parts of a Building collectively. By A. C. Beaton, Author of “Quantities and Measurements,” &c. Sixth Edition, Revised. With 53 Woodcuts, waistcoat-pocket size, is. 6 d. gilt edges. [Just published. " Xo builder, architect, surveyor, or valuer should be without his ‘ Beaton.' ’ — Building News. "Contains an extraordinary amount of information in daily requisition in measuring and estimating. Its presence in the pocket will save valuable time and trouble ."—Building World. Donaldson on Specifications. THE HANDBOOK OF SPECIFICATIONS; or, Practical Guide to the Architect, Engineer, Surveyor, and Builder, in drawing up Specifications and Contracts for Works and Constructions. Illustrated by Precedents of Buildings actually executed by eminent Architects and En¬ gineers. By Professor T. L. Donaldson, P.R.I.B.A., &c. New Edition, in One large Vol., 8vo, with upwards of 1,000 pages of Text, and 33 Plates, £1 ns. 5 d. cloth. " In this work forty-four specifications of executed works are given, including the specifica¬ tions for parts of the new Houses of Parliament, by Sir Charles Barry, and for the new Royal Exchange, by Mr. Tite, M.P. The latter, in particular, is a very complete and remarkable document. It embodies, to a great extent, as Mr. Donaldson mentions, ‘the bill of quantities with the description of the works.’ . . . It is valuable as a record, and more valuable still as a book of precedents. . . . Suffice it to say that Donaldson's ' Handbook of Specifications must be bought by all architects."— Builder. Bartholomew and Rogers’ Specifications. SPECIFICATIONS FOR PRACTICAL ARCHITECTURE. A Guide to the Architect, Engineer, Surveyor, and Builder. With an Essay on the Structure and Science of Modern Buildings. Upon the Basis of the Work by Alfred Bartholomew, thoroughly Revised, Corrected, and greatly added to by Frederick Rogers, Architect. Second Edition, Revised, with Additions. With numerous Illustrations, medium 8vo, 15s. cloth. " The collection of specifications prepared by Mr. Rogers on the basis of Bartholomew's work is too well known to need any recommendation from us. It is one of the books with which every young architect must be equipped ; for time has shown that the specifications cannot be sot aside through any defect in them Architect. ROSBY LOCKWOOD 6- SON’S CATALOGUE. 16 Building ; Civil and Ecclesiastical. A BOOK ON BUILDING, Civil and Ecclesiastical, including Church Restoration ; with the Theory of Domes and the Great P>ramid f &c. By Sir Edmund Beckett, Bart., LL.D , F.R.A.S., Author of ‘‘Clocks and Watches, and Bells,” &c. Second Edition, Enlarged. Fcap. 6vo, 5s. cloth. " A book which is always amusing and nearly always instructive. The style throughout is in •the highest degree condensed and epigrammatic.” — Times. Ventilation of Buildings. VENTILATION. A Text Book to the Practice of the Art oj Ventilating Buildings. With a Chapter upon Air Testing. By W. P. Buchan, R.P., Sanitary and Ventilating Engineer, Author of “ Plumbing," &c. With 170 Illustrations i2mo, 4 s. cloth boards. [ Just published. The Art of Plumbing. PLUMBING. A Text Book to the Practice of the Art or Craft of the Plumber , with Supplementary Chapters on House Diainage, embodying the latest Improvements. By William Paton Buchan, R.P., Sanitary Engineer and Practical Rlumber. Sixth Edition, Enlarged to 370 pages, and 380 Illustrations. i2mo, 4s. cloth boards. “A text book which may be safely put in the hands of every voung plumber, and which will also be found useful by architects and medical professors.”— Builder. “ A valuable text book, and the only treatise which can be r. garded as a really reliable manual of the plumber's art."— Building News. Geometry for the Architect, Engineer, etc. PRACTICAL GEOMETRY, for the Architect, Engineer and. Mechanic. Giving Rules for the Delineation and Application of various Geometrical Lines, Figures and Curves. By E. W. Tarn, M.A., Architect, Author of “The Science of Building,” &c. Second Edition. With 172 Illus¬ trations, demy 8vo, gs. cloth. “No book with the same objects in view has ever been published in which the clearness of the rules laid down and the illustrative diagrams have been so satisfactory.”— Scotsman. The Science of Geometry. THE GEOMETRY OF COMPASSES; or, Problems Resolved by the mere Description of Circles , and the use of Coloured Diagrams and Symbols . By Oliver Byrne. Coloured Plates. Crown 8vo, 3s. 6 d. cloth. “ The treatise is a good one, and remarkable—like all Mr. Byrue’s contributions to the science of geometry—for the lucid character of its teaching.”— Building News. DECORATIVE ARTS, etc. Woods and Marbles (Imitation of). SCHOOL OF PAINTING FOR THE IMITATION OF WOODS AND MARBLES, as Taught and Practised by A. R. Van der Burg and P. Van der Burg, Directors of the Rotterdam Painting Institution. Royal folio, 1S5 by 12^ in., Illustrated with 24 full-size Coloured Plates; also 12 plain Plates, comprising 154 Figures. Second and Cheaper Edition, Price jfi ns.6d. List of Plates. t. Various Tools required for Wood Painting —2, 3. Walnut: Preliminary Stages of Graining end Finished Specimen — 4. T ools used for Marble Painting and Method of Manipulation— f,6. St. Remi Marble: Earlier Operations and Finished Specimen—7. Methods of Sketching different Grains, Knots, &c.—8. 9. Ash: Pre¬ liminary Stages and Finished Specimen —-10. Methods of Sketching Marble Grains—n, 12. Breche Marble: Preliminary Stages of Working and Finished Specimen—13. Maple: Methods of Producing the different Grains—14,15. Bird’s- eye Maple: Preliminary Stages and Finished Specimen—16. Methods of Sketching the dif¬ ferent Species of White Marble—17, 18. White Finished Specimen—19. Mahogany: Specimens of various Grains and Methods of Manipulation —20, 21. Mahogany: Earlier Stages and Finished Specimen—22,23, 24. Sienna Marble: Varieties of Grain, Preliminary Stages and Finished Specimen—25, 26, 27. Juniper Wood : Methods of producing Grain, &c.: Preliminary Stages and Finished Specimen—28, 29, 30. Vert de Mer Marble: Varieties of Grain and Methods of Working Unfinished and Finished Speci¬ mens—31. 32. 33. Oak: Varieties of Grain, Tools Employed, and Methods of Manipulation, Pre¬ liminary Stages and Finished Specimen—34, 25, 36. Waulsort Marble: Varieties of Grain, Un¬ finished and Finished Specimens. Marble: Preliminary Stages of Process and *„* Opinions of the Press. “ Those who desire to attain skill in the art of painting woods and marbles will find advantage in consulting this book. . . . Some of the Working Men’s Clubs should give their young men the opportunity to study it .''—Builder. “ A comprehensive guide to the art. The explanations of the processes, the manipulation and management of the colours, and the beautifully executed plates will not be the least valuable to the student who aims at making his work a faithful transcript of nature .”—Building News. DECORATIVE ARTS, etc. 1 7 House Decoration. ELEMENTARY DECORATION. A Guide to the Simpler Forms of Everyday Art, as applied to the Interior and Exterior Decoration of Dwelling Houses, &c. By James W. Facey, Jun. With 68 Cuts. i2mo, 2S. cloth limp. PRACTICAL HOUSE DECORATION : A Guide to the Art of Ornamental Painting, the Arrangement of Colours in Apartments, and the principles of Decorative Design. With some Remarks upon the Nature and Properties of Pigments. By jAMES William Facey, Author of “ Elementary Decoration,” &c. With numerous Illustrations, itmo, 2S. 6d. cloth limp. N.B. — The above Two Works together in One Vol., strongly half-bound, 5s. Colour. A GRAMMAR OF COLOURING. Applied to Decorative Painting and the Arts. By George Field. New Edition, Revised, Enlarged, and adapted to the use of the Ornamental Painter and Designer. By Ellis A. Davidson. With New Coloured Diagrams and Engravings. i2mo, 3s. 6 d, cloth boards. "The book is a most useful resume of the properties of pigments."— Euildcr, House Painting, Graining, etc. HOUSE PAINTING. GRAINING, MARBLING, AND SIGN WRITING, A Practical Manual of. By Ellis A. Davidson. Sixth Edition. With Coloured Plates and Wocd Engravings, icmo, 6s. cloth boards. “ A mass of information, of use to the amateur and of value to the practical man ."—English Mechanic. “Simply invaluable to the youngster entering upon this particular calling, and highly service able to the man who is practising it .”—Furniture Gazette. Decorators, Beceipts for. THE DECORATOR'S ASSISTANT : A Modern Guide to De¬ corative Artists and Amateurs, Painters, Writers, Gilders, &c. Containing upwards of 600 Receipts, Rules and Instructions ; with a variety of Informa¬ tion for General Work connected with every Class of Interior and Exterior Decorations, &c. Fourth Edition, Revised. 152 pp., crown 8vo, is. in wrapper, “ Full of receipts of value to decorators, painters, gilders &c. The book contains the gist of larger treatises on colour and technical processes. It would be difficult to meet with a work so full of varied information on the painter’s art."— Building News. “We recommend the work to all who, whether for pleasure or profit, require a guide to decora* tion."— Plumber and Decorator. Moyr Smith on Interior Decoration. ORNAMENTAL INTERIORS, ANCIENT AND MODERN. By J. Moyr Smith. Super-royal 8vo, with 32 full-page Plates and numerous smaller Illustrations, handsomely bound in cloth, gilt top, price 18$. “ The book is well illustrated and handsomely got up. and contains some true criticism and a good many good examples of decorative treatment. ’— The Builder. “ This is the most elaborate and beautiful work on the artistic decoration of interiors that we have seen. . . . The scrolls, panels and other designs from the author's - own pen are very beautiful and chaste ; but he takes care that the designs of other men shall figure even more than his own.”— Liverpool Albion. “To all who take an interest in elaborate domestic ornament this handsome volume will be welcome. ”— Graph ic. British and Foreign Marbles. MARBLE DECORATION and the Terminology of British an& Foreign Marbles. A Handbook for Students. By George H. Blagrove, Author of “ Shoring and its Application,” &c. With 28 Illustrations. Crown* 6 vo, 3s. 6 d. cloth. “ This most useful and much wanted handbook should be in the hands of every architect and! builder."— Building IForld. “ It is an excellent manual for students, and interesting to artistic readers generally. "—Saturdety Revicru. “ A carefully and usefully written treatise ; the work is essentially practical."— Scotsman. Marble Working, etc. MARBLE AND MARBLE WORKERS: A Handbook for Architects, Artists, Masons and Students. Ey Arthur Lee, Author of “ A Visit to Carrara,” “ The Working of Marble,” &c. Small crown 8vo, 2s. cloth. “ A really valuable addition to the technical literature cf architects and masons. "—Building Neivs C CROSBY LOCKWOOD &■ SON’S CATALOGUE. DELAMOTTE'S WORKS ON ILLUMINATION AND ALPHABETS. A PRIMER OF THE ART OF ILLUMINATION, for the Use of Beginners : with a Rudimentary Treatise on the Art, Practical Directions for its exercise, and Examples taken from Illuminated M SS., printed in Gold and Colours, By F. Delamotte. New and Cheaper Edition. Small 4to, 6s. orna¬ mental boards. “ The examples of ancient MSS. recommended to the student, which, with much good sense, the author chooses from collections accessible to all, are selected with judgment ar.d knowledge, as well as taste."— Athcnaum. ORNAMENTAL ALPHABETS, Ancient and Medictval, from the Eighth Century, with Numerals; including Gothic, Church-Text, large and small, German, Italian, Arabesque, Initials for Illumination, Monograms, Crosses, &c. &c., for the use of Architectural and Engineering Draughtsmen, Missal Painters, Masons, Decorative Painters, Lithographers, Engravers, Carvers, &c. &c. Collected and Engraved by F. Delamotte, and printed in Colours. New and Cheaper Edition. Royal 8vo, oblong, 2s. 6 d. ornamental boards. * “For those who Insert enamelled sentences round gilded chalices, who blazon shop legends over shop-doors, who letter church walls with pithy sentences from the Decalogue, this book will be use¬ ful. "—A thenaum. EXAMPLES OF MODERN ALPHABETS, Plain and Ornamental; including German, Old English, Saxon, Italic, Perspective, Greek, Hebrew, Court Hand, Engrossing, Tuscan, Riband, Gothic, Rustic, and Arabesque; with several Original Designs, and an Analysis of the Roman and Old English Alphabets, large and small, and Numerals, for the use of Draughtsmen, Sur¬ veyors, Masons, Decorative Painters, Lithographers, Engravers, Carvers, &c. Collected and Engraved by F. Delamotte, and printed in Colours. New and Cheaper Edition. Royal 8vo, oblong, 2s. 6d. ornamental boards. “There is comprised in it evsry possible shape into which the letters of the alphabet and numerals can be formed, and the talent which has been expended in the conception of the various plain and ornamental letters is wonderful.”— Standard. MEDIAEVAL ALPHABETS AND INITIALS FOR ILLUMI¬ NATORS. By F. G. Delamotte. Containing 21 Plates and Illuminated Title, printed in Gold and Colours. With an Introduction by J. Willis Brooks. Fourth and Cheaper Edition. Small 4to, 4s. ornamental boards. “ A volume In which the letters of the alphabet come forth glorified in gilding and all the colours of the prism interwoven and intertwined and intermingled."— Sun. THE EMBROIDERER’S BOOK OF DESIGN. Containing Initials, Emblems, Cyphers, Monograms, Ornamental Borders, Ecclesiastical Devices, Mediaeval and Modern Alphabets, and National Emblems. Col¬ lected by F. Delamotte, and printed in Colours, Oblong royal 8vo, is. 6 d. ornamental wrapper. “The book will be of great assistance to ladles and young children who are endowed with the art of plying the needle in this most ornamental and useful pretty work."— East Anglian Ti*ncs. Wood Carving. INSTRUCTIONS IN WOOD-CARVING, for Amateurs; with Hints on Design. By A Lady. With Ten Plates. New and Cheaper Edition. Crown 8vo, 2s. in emblematic wrapper. “ The handicraft of the wood-carver, so well as a book can Impart it, may be learnt from ' A Lady's' publication."— Athenaum. '■ The directions given are plain and easily understood."— English Mechanic . Glass Painting. GLASS STAINING AND THE ART OF PAINTING ON GLASS. From the German of Dr. Gessert and Emanuel Otto Fromberg. With an Appendix on The Art of Enamelling. i2mo, 2S. 6 d. cloth limp. Letter Painting. THE ART OF LETTER PAINTING MADE EASY. By James Greig Badenoch. With 12 full-page Engravings of Examples, is. 6 d . cloth limp. “ The system is a simple one, but quite original, and well worth the careful attention of letter painters. It can be easily mastered and remembered,"— Building; News, CARPENTRY, TIMBER, etc. CARPENTRY, TIMBER , etc. Tredgold’s Carpentry, Revised & Enlarged by Tarn THE ELEMENTARY PRINCIPLES OF CARPENTRY, A Treatise on the Pressure and Equilibrium of Timber Framing, the Jv: 'it ance of Timber, and the Construction of Floors, Arches, Bridges, Roofs. Uniting Iron and Stone with Timber, &c. To which is added an Essay on the Nature and Properties of Timber, &c., with Descriptions of the k ; nd of Wood used in Building; also numerous Tables of the Scantlings of Tim¬ ber for different purposes, the Specific Gravities of Materials, &c. By T o -; • Tredgold, C.E. With an Appendix of Specimens of Various Roofs o lr; and Stone, Illustrated. Seventh Edition, thoroughly revised and considerably enlarged by E. Wyndham Tarn, M.A., Author of “The Science of Bui! ing,” &c. With 61 Plates, Portrait of the Author, and several Woodcuts. In one large vol., 4to, price £i 5s. cloth. “Ought to be in every architect's and every builder’s library.”— Builder. '* A work whose monumental excellence must commend it wherever skilful carpentry - rnr- r^rned. The author's principles are rather confirmed than impaired by time. The ad plates are of great intrinsic value.”— Building’ News. Woodworkin g Mach inery. WOODWORKING MACHINERY: Its Rise, Progress Construction. With Hints on the Management of Saw Mills and the Economi cal Conversion of Timber. Illustratedjwith Examples of Recent Designs by leading English, French, and American Engineers. By M. Powis Bale. A.M.Inst.C.E., M.I.M.E. Large crown 8vo, 12s. 6 d. cloth. “Mr. Bale is evidently an expert on the subject and he has collected so much Information that feis book is all-sufficient for builders and others engaged in the conversion of timber."— A £ . “The most comprehensive compendium of wood-working machinery we have seen. The Author is a thorough master of his subject.”— Building News. “The appearance of this book at the present time will, we should think, give a consid rable impetus to the onward march of the machinist engaged in the designing and manufact: re of wood-working machines. It should be in the office of every wood-working factory."— E> glish Mechanic. Saiv Mills. SAW MILLS : Their Arrangement and Management, an iu Economical Conversion of Timber. (A Companion Volume to “ Wood work¬ ing Machinery.”) By M. Powis Bale. With numerous Illustrations. Cow 8vo, 10s. 6 d. cloth, “ The administration of a large sawing establishment is discussed, and the subject ex : ■ from a financial standpoint. We could not desire a more complete or practical treatise ."—Buil Ur “ We highly recommend Mr. Bale’s work to the attention and perusal of all those who are en¬ gaged in the art of wood conversion, or who are about building or remodelling saw-mills on proved principles.”— Building News. Carpentering. THE CARPENTER'S NEW GUIDE; or, Book of Lines for Car¬ penters ; comprising all the Elementary Principles essential for acquiring a knowledge of Carpentry. Founded on the late Peter Nicholson’s Standard Work. A New Edition, Revised by Arthur Ashpitel, F.S.A. Together with Practical Rules on Drawing, by George Pyne, With 74 Plates, 4to, £1 is. cloth. Handrailing and Stairbuilding. A PRACTICAL TREATISE ON HANDRAILING : Showing New and Simple Methods for Finding the Pitch of the Plank, Drawing the Moulds, Bevelling, Jointing-up, and Squaring the Wreath. By George Collings. Second Edition, Revised and Enlarged, to which is added A Treatise on Staireuilding. With Plates and Diagrams. i2mo. 2s, £ i, cloth limp. *' Will be found of practical utility in the execution of this difficult branch of joiner y."~Builde} “ Almost every difficult phase of this somewhat intricate branch of joinery is elucidated y the aid of plates and explanatory letterpress .”—Furniture Gazette . Circular Worlc. CIRCULAR WORK IN CARPENTRY AND JOINERY /, Practical Treatise on Circular Work of Single and Double Curvatur B . George Collings, Author of “ A Practical Treatise on Handrailing.’ Ib : trated with numerous Diagrams. Second Edition. i2mo, 2S. 6 d. cloth limp. “ An excellent example of what a book of this kind should be. Cheap in price, clear tion and practical in the examples selected.”— Builder. 20 CROSBY LOCKWOOD 6- SON'S CATALOGUE. Timber Merchant’s Companion. THE TIMBER MERCHANTS AND BUILDER'S COM- PANION. Containing New and Copious Tables of the Reduced Weight and Measurement of Deals and Battens, of all sizes, from One to a Thousand Pieces, and the relative Price that each size bears per Lineal Foot to ar.v given Price per Petersburg Standard Hundred ; the Price per Cube Foot of Square Timber to any given Price per Load of 50 Feet; the proportionate Value ol Deals and Battens by the Standard, to Square Timber by the Load of 50 Feet; the readiest mode of ascertaining the Price of Scantling per Lineal Foot of any size, to any given Figure per Cube Foot, &c. &c. By William Dowsing. Fourth Edition, Revised and Corrected. Cr. 8vo, 3s. cf "We are glad to see a fourth edition of these admirable tables, which for correctness. and simplicity of arrangement leave nothing to be desired."— 1 es Journal. "An exceedingly well-arranged, clear, and concise manual of tables lor the use of all who buy or sell timber —Journal of forestry. Practical Timber Merchant. THE PRACTICAL TIMBER MERCHANT. Being a Guide for the use of Pudding Contractors, Surveyors, Builders, &c., comprising useful Tables for al'l purposes connected with the Timber Trade, Marks of Wood, Essay on the Strength of Timber, Remarks on the Growth of Timber, &c. By W. Richardson. Fcap. 8vo, 3s. 6 d. cloth. "This handy manual contains much valuable information for the use of timber merchant', builders, foresters, and all others connected with the growth, sale, and manufacture of timber. — Journal of Forestry. Timber Freight Boole. THE TIMBER MERCHANT'S, SAW MILLER'S, AND IMPORTER'S FREIGHT BOOK AND ASSISTANT. Comprising Rules, Tables, and Memoranda relating to the Timber Trade. By William Richardson, Timber Broker; together with a Chapter on “ Speeds of Saw Mill Machinery,” by M. Powis Bale, M.I.M.E., &c. i2mo, 3s. 6 d. cl. boards, “ A very useful manual of rules, tables, and memoranda relating to the timber trade. We re¬ commend it as a compendium of calculation to all timber measurers and merchants, and as supply¬ ing a real want in the trade.”— Building News. Facking-Case Makers, Tables for. PACKING-CASE TABLES; showing the number of Super¬ ficial Feet in Boxes or Packing-Cases, from six inches square and upwards. By W. Richardson, Timber Broker. Third Edition. Oblong 4to, 5s. 6 d. cl " Invaluable labour-saving tables."— Ironnunif'er. "Will save much labour and calculation."— Grocer . Superficial Measurement. THE TRADESMAN’S GUIDE TO SUPERFICIAL MEA¬ SUREMENT. Tables calculated from 1 to 200 inches in length, by 1 to 108 inches in breadth. For the use of Architects, Surveyors, Engineers, Timber Merchants, Builders, &c. By James Hawkings. Third Edition. Fcap., 3s. 6 d. cloth. " A useful collection of tables to facilitate rapid calculation of surfaces. The exact area of any surface of which the limits have been ascertained can be instantly determined. The book will be found of the greatest utility to all engaged in building ODerations."— Scotsman. " These tables will be found of great assistance to all who require to make calculations in super¬ ficial measurement."— English Mechanic. Forestry. THE ELEMENTS OF FORESTRY. Designed to afford In- formation concerning the Planting and Care of Forest Trees for Ornament or Profit, with Suggestions upon the Creation and Care of Woodlands. By F.B. Hough. Large crown 8vo, 10s. cloth. Timber Importer’s Guide. THE TIMBER IMPORTER'S, TIMBER MERCHANT’S AND BUILDER'S STANDARD GUIDE. By Richard E. Grandy. Compris¬ ing an Analysis of Deal Standards, Home and Foreign, with Comparative Values and Tabular Arrangements for fixing Nett Landed Cost on Baltic and North American Deals, including all intermediate Expenses, Freight, Insurance, &c. &c. Together with copious Information for the Retailer and Builder. Third Edition, Revised, izmo, 2s. cloth limp. “ Everything it pretends to be: built up gradually, it leads one from a forest to a treenail, ar.d throws in, as 2 makeweight, a host of material concerning bricks, columns, cisterns, &c ."—English Mechanic. MARINE ENGINEERING, NAVIGATION, etc. 21 MARINE ENGINEERING, NAVIGATION, etc. Chain Cables. - CHAIN CABLES AND CHAINS. Comprising Sizes and Curves of Links, Studs, &c., Iron for Cables and Chains, Chain Cable and Chain Making, Forming and Welding Links, Strength of Cables and Chains, Certificates for Cables, Marking Cables, Prices of Chain Cables and Chains, Historical Notes, Acts of Parliament, Statutory Tests, Charges for Testing, List of Manufacturers of Cables, &c. &c. By Thomas W. Traill, F.E.R.N., M. Inst. C.E., Engineer Surveyor in Chief, Board of Trade, Inspector of Chain Cable and Anchor Proving Establishments, and General Superin¬ tendent, Lloyd's Committee .on Proving Establishments. With numerous Tables, Illustrations and Lithographic Drawings. Folio, £2 is. cloth, bevelled boards. "It contains a vast amount of valuable information. Nothing seems to be wanting to make it a*, complete and standard work of reference on the subject."— Nautical Magazine. Marine Engineering. MARINE ENGINES AND STEAM VESSELS (A Treatise on). By Robert Murray, C.E. Eighth Edition, thoroughly Revised, with considerable Additions by the Author and by George Carlisle, C.E., Senior Surveyor to the Board of Trade at Liverpool, nmo, 5s. cloth boards. “ Well adapted to give the young steamship engineer or marine engine and boiler maker a general introduction into his Dra-tical work ."—Mechanical l For Id. "We fee 1 sure that this thoroughly revised edition will continue to be as popular in the future as it has been in the past, as, for its size, it contains more useful information than any similar treatise."— Industries. The information given is both sound and sensible, and well quali^ed to direct young sea¬ going hands on the straight road to the extra chiet’s c’rtficate. Most useful to survej ors, i-ispectors, draughtsmen, and all >oung engineers who take an interest in their profession."— Glasgow Herald . “An indispensable manual for the student of marine engineeiing."— Liverpool Mercury. Eocket-Booh for Naval Arch itects and Sh ipbuilders. THE NAVAL ARCHITECT’S AND SHIPBUILDER'S POCKET-BOOK of Formula,Rules.and Tables,and MARINE ENGINEER’S AXD SURVEYOR'S Handy Book of Reference. By Clement Mackrow, Member of the Institution of Naval Architects, Naval Draughtsman. Fourth Edition, Revised. With numerous Diagrams, &c. Fcap., 12s. 6 d. strongly bound in leather. “ A ill pe found to contain the most useful tables and formulae required by shipbuilders, carefully co’.ected from the best authorities, and put together in a popular and simple form."— Engineer. " The professional shipbuilder has now, in a convenient and accessible form, reliable data for solving many of the numerous problems that present themselves in the course of his work."— Iron. “There is scarcely a subject on which a naval architect or shipbuilder can require to refresh his memory which will not be found within the covers of Mr. Mackrovv’s book ."—English Mechanic. Pocket-Book for Marine Engineers. A POCKET-BOOK OF USEFUL TABLES AND FOR- MUL/E FOR MARINE ENGINEERS. By Frank Proctor, A.I.N.A. Third Edition. Royal 32010, leather, gilt edges, with strap. 4s. “We recommend it to our readers as going far to supply a long-felt want."— Naval Science . “A most useful companion to all marine engineers."— United Service Gazette. Introduction to Marine Engineering. ELEMENTARY ENGINEERING : A Manual for Young Marine Engineers and Apprentices . In the Form of Questions and Answers on Metals, Alloys, Strength of Materials, Construction and Management of Marine Engines and Boilers, Geometry, &c. &c. With an Appendix of Useful Tables. By John Sherren Brewer, Government Marine Surveyor, Hong¬ kong. Smallcrown 8vo, 2 s. cloth. “ Contains much valuable information for the class for whom it is intended, especially in the chapters on the management of boilers and eng nes ."—Nautical Magazine. *• A useful introduction to the more elaborate text books."— Scotsman. “ To a student who has the requisite desire and resolve to attain a thorough knowledge, Mr. Brewer offers decidedly useful help."— Alhenceum. Navigation. PRACTICAL NAVIGATION. Consisting of The Sailor's Sea-Book, by James Greenwood and W. H. Rosser; together with the requisite Mathematical and Nautical Tables for the Working of the Problems, by Henry Law, C.E., and Professor J. R. Young. Illustrated. i2mo, ys. st-ongly half-bound. 22 CROSBY LOCKWOOD &- SON’S CATALOGUE. MINING AND METALLURGY. Ietalliferous Mining in the United Kingdom. BRITISH MINING : A Treatise on the History .Discovery , Practical Development , and Future Prospects of Metalliferous Mines in the United King¬ dom. By Robert Hunt, F.R.S., Keeper of Mining Records; Editor oi “ Ure’s Dictionary of Arts, Manufactures, and Mines,” &c. Upwards of 950 pp., with 230 Illustrations. Second Edition, Revised. Super-royal 8vo, £ 2 25. cloth. " One of the most valuable works of reference of modern times. Mr. Hunt, as keeper cf mining records of the United Kingdom, has had opportunities for such a task not enjoyed by anyone *!be,. and has evidently made the most of them. . . . The language and style adopted are good, and 1 the treatment of the various subjects laborious, conscientious, and scientific."— Engineering. “The book is, in fact, a treasure-house of statistical information on mining subjects, and wc- cnow of no other work embodying so great a mass of matter of this kind. Were this the only merit of Mr. Hunts volume, it would be sufficient to render it indispensable in this library oi everyone interested in the development cf the mining and metallurgical industries of this country.' — Athetuzum. “A mass of information not elsewhere available, and of the greatest value to those who may _>e interested in our great mineral industries."— Engineer. “A sound- business-like collection of interesting facts. . . . The amount of information Air. Hunt has brought together is enormous. . . . The volume appears likely to convey mere instruction upon the subject than any work hitherto published."— Mining Journal. Colliery Management. THE COLLIERY MANAGER'S HANDBOOK: A Compre¬ hensive Treatise on the Laying-out and Working of Collieries, Designed as a Book of Reference for Colliery Managers, and for the Use of Coal-Mining Students preparing for First-class Certificates. By Caleb Pamely, Mining Engineer and Surveyor; Member of the North cf England Institute of Mining and Mechanical Engineers; and Memter of the South Wales Ins i- tute of Mining Engineers. With nearly 500 Plans, Diagrams, and other Illustrations. Medium 8vo, about Coo pages. Price £1 ;s. strongly bound. [Just published. UoaT and I pon THE COAL AND IRON INDUSTRIES OF THE UNITED KINGDOM. Comprising a Description of the Coal Fields, and cf the Principal Seams of Coal, with Returns of their Produce and its Distribu¬ tion, and Analyses of Special Varieties. Also an Account of the occurrence of Iron Ores in Veins or Seams; Analyses of each Variety ; and a History of the Rise and Progress of Pig Iron Manufacture. By Richard Meade, Assistant Keeper of Mining Records. With Maps. 8vo, £i 8s. cloth. “The book is one which must find a place on the shelves of all interested in coal and iroa production, and in the iron, steel, and other metallurgical industries."— Engineer. “ Of this book we may unreservedly say that it is the best of its class which we have ever met. . . A book of reference which no one engaged in the iron or coal trades should omit from his library." —Iron and Coal Trades Review. . Prospecting for Gold and other Metals. THE PROSPECTOR'S HANDBOOK: A Guide for the Pro- spector and Traveller in Search of Metal-Bearing or other Valuable Minerals. By J. W. Anderson, M.A. (Camb.), F.R.G.S., Author of “Fiji and New Caledonia,” Fifth Edition, thoroughly Revised and Enlarged. Small crown 8vo, 3s. 6 d. cloth. “Will supply a much felt want, especially among Colonists, in whose way are so often thrown many mineralogical specimens the value of which it is difficult to determine. "— Engineer. “How to find commercial minerals, and how to identify them when they are found, are the leading points to which attention is directed. The author has managed to pack as much practical detail into his pages as would supply material for a book three times its size.”— -Mining Journal. Mining Notes and Formulae. NOTES AND FORMULAS FOR MINING STUDENTS. By John Herman Merivale, M.A., Certificated Colliery Manager. Professor of Mining in the Durham College of Science, Newcastle-upon-Tyne. Third Edition, Revised and Enlarged. Small crown 8vo, as. 6rf. cloth. “ Invaluable to anyone who is working up for an examination on mining subjects .''—Coal and Iron Trades Review. “ The author has done his work in an exceedingly creditable manner, and has produced a book that will be of service to students, and those who are practically engaged in mining operations. — Engineer. “ A vast amount of technical matter of the utmost value to mining engineers, and of consider¬ able interest to students."— Schoolmaster. MINING AND METALLURGY. 23 Explosives. A HANDBOOK ON MODERN EXPLOSIVES. Being a Practical Treatise on the Manufacture and Application of Dynamite, Gun- Cotton, Nitro-Glycerine and other Explosive Compounds. Including the Manufacture of Collodion-Cotton. By M. Eissler, Mining Engineer and Metallurgical Chemist, Author of “ The Metallurgy of Gold,” &c. With about 100 Illustrations. Crown 8vo, 10s. 6 d. cloth. “Usefulnot only to the miner, but also to officers of both services to whom blasting and the use of explosives generally may at any time become a necessary auxiliary."— Nature. “ A veritable mine of information on the subject of explosives employed for military, mining ar.d blasting purposes.”— Army and Navy Gazette. " The book is clearly written. Taken as a whole, we consider it an excellent little book and oae that should be found of great service to miners and others who are engaged in work requiring the use of explosives.’’— Athenaum. Gold, Metallurgy of. THE METALLURGY OF GOLD : A Practical Treatise on the Metallurgical Treatment of Gold-bearing Ores. Including the Processes of Concentration and Chlorination, and the Assaying, Melting and Refining of Gold. By M. Eissler, Mining Engineer and Metallurgical Chemist, formerly Assistant Assayer of the U. S. Mint, San Francisco. Third Edition, Revised and greatly Enlarged. With 187 Illustrations. Crown 8vo, 12s. 6 d. cloth. “ This book thoroughly deserves its title of a 4 Practical Treatise.’ The whole process of gold milling, from the breaking of the quartz to the assay of the bullion, is described in clear and orderly narrative and with much, but not too much, fulness of detail."— Saturday Review. “ The work is a storehouse of information and valuable data, and we strongly recommend it to all professional men engaged in the gold-mining industry."— Mining yournal Silver, Metallurgy of. THE METALLURGY OF SILVER : A Practical Treatise on the Amalgamation, Roasting and Lixiviation of Silver Ores, Including the Assaying, Melting and Refining of Silver Bullion. By M. Eissler, Author of “The Metallurgy of Gold ’’ Second Edition, Enlarged. With 150 Illus¬ trations. Crown 8vo, 10s. 6 d. cloth. [Just published. “ A practical treatise, and a technical work which we are convinced will supply a long-felt want amongst practical men, and at the same time be of value to students and others indirectly connected with tne industries.”— Mining yournal. “ From first to last the book is thoroughly sound and reliable.”— Colliery Guardian. 44 For chemists, practical miners, assayers and investors alike, w e do not know of any work on the subject so handy and yet so comprehensive."— Glasgow Herald. Silver-Lead, Metallurgy of. THE METALLURGY OF ARGENTIFEROUS LEAD: A Practical Treatise on the Smelting of Silver-Lead Ores and the Refining of Lead Bullion. Including Reports on various Smelting Establishments and Descriptions of Modern Furnaces and Plants in Europe and America. By M. Eissler, M.E., Author of “The Metallurgy of Gold,” &c. Crown 8vo. 400 pp., with numerous Illustrations, 12s. 6 d. cloth. [Just published. Metalliferous Minerals and Mining. TREATISE ON METALLIFEROUS MINERALS AND MINING. By D. C. Davies, F.G.S., Mining Engineer, &c., Author of “A Treatise on Slate and Slate Quarrying.” Illustrated with numerous Wood Engravings. Fourth Edition, carefully Revised. Crown 8vo, 12s. 6 d. cloth. “ Neither the practical miner nor the general reader interested in mines can have a better book for his companion and his guide.”— Mining yournal. _ [ Mining World. We are doing our readers a service in calling their attention to this valuable work. — "Asa history of the present state of mining throughout the world this book has a real value, and it supplies an actual want.”— Athenaum . Earthy Minerals and Mining. A TREATISE ON EARTHY &■ OTHER MINERALS AND MINING. By D. C. Davies, F.G.S. Uniform with, and forming a Com¬ panion Volume to, the same Author’s “ Metalliferous Minerals and Mining.” With 76 Wood Engravings. Second Edition. Crown 8vo, 12s. 6 d. cloth. 44 We do not remember to have met with any English work on mining matters that contains the same amount of information packed in equally convenient form.”— Academy. " We should be inclined to rank it as among the very best of the handy technical and trades manuals which have recently appeared.”— British Quarterly Review. 24 CROSBY LOCKIVOOD < 5 - SON'S CATALOGUE. Mineral Surveying and Valuing. THE MINERAL SURVEYOR AND VALUER'S COMPLETE GUIDE, comprising a Treatise on Improved Mining Surveying and the Valua¬ tion of Mining Properties, with New Traverse Tables. By Wm. Lintekn, Mining and Civil Engineer. Third Edition, with an Appendix on “ Magnetic and Angular Surveying,” with Records of the Peculiarities of Needle Dis- tunbances. With Four Plates of Diagrams, Plans, &c. i2mo, 4s. cloth. “ Mr. Lintern's book forms a valuable and thoroughly trustworthy guide ."—Iron and Coal Trades Review. ‘‘ This new edition must be of the highest value to colliery surveyors, proprietors and mana¬ gers.”— Colliery Guardian. Asbestos and its Uses. ASBESTOS: Its Properties, Occurrence and Uses. With some Account of the Mines of Italy and Canada. By Robert H. Jones. With Eight Collotype Plates and other Illustrations. Crown 8vo, 12s. 6 d. cloth. “ An interesting and invaluable work.”— Collierv Guardian. “ We counsel our readers to get this exceedingly interesting work for themselves : they will find in it much that is suggestive, and a great deal that is of immediate and practical usefulness."— Builder. “ A valuable addition to the architect's and engineer's library.''— Building News. Underground Pumping Machinery. MINE DRAINAGE. Being a Complete and Practical Treatise on Direct-Acting Underground Steam Pumping Machinery, with a Descrip¬ tion of a large number of the best known Engines, their General Utility and the Special Sphere of their Action, the Mode of their Application, and their merits compared with other forms of Pumping Machinery. By Stephen Michell. 8vo, 15s. cloth. “Will be highly esteemed by colliery owners and lessees, mining engineers, and students generally who require to be acquainted with the best means of securing the drainage of mines. It is a most valuable work, and stands almost alone in the literature of steam pumping machinery.' — Colliery Guardian. “ Much valuable information is given, so that the book is thoroughly worthy of an extensive circulation amongst practical men and purchasers of machinery."— Mining Journal. Mining Tools. A MANUAL OF MINING TOOLS. For the Use of Mine Managers, Agents, Students, &c. By William Morgans, Lecturer on Prac¬ tical Mining at the Bristol School of Mines. i2mo, 2s. 6 d. cloth limp. ATLAS OF ENGRAVINGS to Illustrate the above, contain¬ ing 235 Illustrations of Mining Tools, drawn to scale. 4to, 4s. 6 d. cloth. “ Students in the science of mining, and overmen, captains, managers, and viewers may gain practical knowledge and useful hints by the study of Mr. Morgans' manual."— Colliery Guardian. “A valuable work, which will tend materially to improve our mining literature.”— Mining Journal. Coal Mining. COAL AND COAL MINING: A Rudimentary Treatise on. By the late Sir Warington W. Smyth, M.A., F.R.S., &c., Chief Inspector of the Mines of the Crown. Seventh Edition, Revised and Enlarged. With numerous Illustrations. i2mo, 4s. cloth boards. “As an outline is given of even' known coal-field in this and other countries, as well as of the principal methods of working, the book will doubtless interest a very large number of readers.”— Mining Journal. Subterraneous Surveying. SUBTERRANEOUS SURVEYING, Elementary and Practical Treatise on, with and without the Magnetic Needle. By Thomas Fenwick, Surveyor of Mines, and Thomas Baker, C.E. Illust. i2mo, 3s. cloth boards. Granite Quarrying. GRANITES AND OUR GRANITE INDUSTRIES. By George F. Harris, F.G.S., Membre de la Societe Beige de Geologie, Lec¬ turer on Economic Geology at the Birkbeck Institution, &c. With Illustra¬ tions. Crown 8vo, 2S. 6 d. cloth. “A clearly and well-written manual for persons engaged or interested in the granite industry.’ — Scotsman. “ An interesting work, which will be deservedly esteemed.”— Colliery Guardian. “ An exceedingly interesting and valuable monograph on a subject which has hitherto received unaccountably little attention in the shape of systematic literary treatment /’—Scottish Leader. ELECTRICITY, ELECTRICAL ENGINEERING, etc. 25 ELECTRICITY ELECTRICAL ENGINEERING, etc. Electrical Engineering. THE ELECTRICAL ENGINEER'S POCKET-BOOK OF MODERN RULES, FORMULAE, TABLES AND DATA. By H. R. Kempe, M.Inst.E.E., A.M.Inst.C.E., Technical Officer Postal Telegraphs, Author of “A Handbook of Electrical Testing,” &c. With numerous Illus¬ trations, royal 321110, oblong, 5s. leather. L Just published. “ There is very little in the shape of formulae or data which the electrician is likely to want in a hurry which cannot be found in its pages.”— Practical Engineer. • 4, A very useful book of reference for daily use in practical electrical engineering and its various applications to the industries of the present day."— Iron. “ It is the best book of its kind.”— Electrical Engineer. ‘‘The Electrical Engineer's Pocket-Book is a good one."— Electrician. “Strongly recommended to those engaged in tne various electrical industries.”— Electrical Reziew. Electric Lighting. ELECTRIC LIGHT FITTING: A Handbook for Working Electrical Engineers, embodying Practical Notes on Installation Manage¬ ment. By John W. Urquhart, Electrician, Author of “ Electric Light,” &c. With numerous Illustrations, crown 8vo, 5s. clotb. [Just published. " This volume deals with what may be termed the mechanics of electric lighting, and is addressed to mm who are already engaged in the work or are training for it. The work traverses a great deal of ground, and may be read as a sequel to the same author's useful work on ‘ Electric Light.’ ”■— Electrician. “ This is an attempt to state in the simplest language the precautions which should be adopted in instal ing the electric light, and to give information.for the guidance of those who have to run the plant when installed. The book is well worth the perusal of the workmen for whom it is written."— Electrical Review. * Eminently practical and useful. . . . Ought to be in the hands of everyone in charge of an electric light plant."— Electrical Engineer. " A really capital book, which we have no hesitation in recommending to the notice of working electricians and electrical engineers— Mechanical World. Electric Light. ELECTRIC LIGHT : Its Production and Use. Embodying Plain Directions for the Treatment of Dynamo-Electric Machines, Batteries, Accumulators, and Electric Lamps. By J. W. Urquhart, C.E., Author of “Electric Light Fitting,’’ &c. Fourth Edition, Revised, with Large Additions and 145 Illustrations. Crown 8vo, 7s. 6 d. clotb. [Just published. “ The book is by far the best that we have yet met with on the subject."— Atkencrum. “It is the only work at present available which gives, in language intelligible for the most part to the ordinary reader, a general but concise history of the means which have been adopted up to the present time in producing the electric light."— Metropolitan. “The book contains a general account of the means adopted in producing the electric light, not only as obtained from voltaic or galvanic batteries, but treats at length of the dynamo-electric machine in several of its forms."— Colliery Guardian. Construction of Dynamos. DYNAMO CONSTRUCTION : A Practical Handbook for the Use of Engineer Constructors and Electricians in Charge . With Examples of leading English, American and Continental Dynamos and Motors. By J. W. Urquhart, Author of “ Electric Light,” &c. Crown 8vo, ys. 6d. cloth. [Just published. 1 The author has produced a book for which a demand has long existed. The subject is treated in a thoroughly practical manner. '— Mechanical World. Dynamic Electricity and Magnetism. THE ELEMENTS OF DYNAMIC ELECTRICITY AND MAGNETISM . By Philip Atkinson, A.M., Ph.D. Crown 8vo. 400 pp. With 120 Illustrations. 10s. 6 d. cloth. [Justpublished. Text Booh of Electricity. THE STUDENT’S TEXT-BOOK OF ELECTRICITY. By Henry M. Noad, Ph.D., F.R.S., F.C.S. New Edition, carefully Revised. With an Introduction and Additional Chapters, by W. H. Preece, M.I.C.E., Vice-President of the Society of Telegraph Engineers, See. With 470 Illustra¬ tions. Crown 8vo, 12 s. 6 d. cloth. ‘We can recommend Dr. Noad’s book for clear style, great range of subject, a good index d a plethora of woodcuts. Such collections as the present are indispensable/’— Athenaum. “ An admirable text book for every student — beginner or advanced — of electricity."— Engineering. 26 CROSBY LOCKWOOD SON’S CATALOGUE. A Complete Epitome of the Laws of this Country. EVERY MAN’S OWN LAWYER: A Handy-Book of the Principles of Law and Equity. By A Barrister. Twenty-ninth Edition. Revised and Enlarged. Including the Legislation of 1691, and including careful digests of The Tithe Act, 1891 ; the Mortmain and Charitable Uses Act, 1891; the Charitable Trusts (Recovery) Act, 1891; the Forged Transfers Act, 1891; the Custody of Children Act, 1891; the Slander of Women Act, 1891; the Public Health ( London) Act, 1891; the Stamp Act, 1891; the Savings Bank Act, i8gi; the Elementary Education (“ Free Education ”) Act, 1891; the County Councils ( Elections ) Act, 1891; and the Land Registry (Middlesex Deeds) Act, 1891; while other new Acts have been duly noted. Crown 8vo, 688 pp., price 6s. 8d. (saved at every consultation!), strongly bound in cloth. [fust published. * v * THE BOOK WILL BE FOUND TO COMPRISE (AMONGST OTHER MATTER)— The Rights and Wrongs of Individuals—Landlord and Tenant—Vendors and Purchasers—partners and Agents—Companies and Associations—Masters, Servants and workmen—Leases and Mortgages—Church and Clergy, Ritual —Libel and Slander—contracts and agreements-bonds and Bills of Sale- Cheques, Bills and Notes—Railway and Shipping Law—bankruptcy and In¬ surance-Borrowers, Lenders and Sureties—Criminal Law—Parliamentary elections—County Councils—Municipal corporations—Parish Law, church¬ wardens, etc.—Public Health and Nuisances—Friendly and Building societies—Copyright and Patents—Trade Marks and designs-husband and Wife, divorce, etc.—Trustees and Executors—intestacy, Law of—Guardian and Ward, infants, etc.—Game Laws and Sporting—Horses, Horse-dealing and dogs—Innkeepers, Licensing, etc.—forms of Wills, agreements, etc. etc. Note. —The object of this work is to enable those who consult it to help them¬ selves to the law; and thereby to dispense, as far as possible, with professional assistance and advice. There are many wrongs and grievances which persons sub¬ mit to from time to time through not knowing how or where to apply for redress ; and many persons have as great a dread of a lawyer's office as of a lion's den. With this book at hand it is believed that many a Six-and-Eightpence may be saved ; many a wrong redressed; many a right reclaimed; many a law suit avoided; and many an evil abated. The work has established itself as the standard legal adviser of all classes, and also made a reputation for itself as a useful book of reference for lawyers residing at a distance from law libraries, who are glad to have at hand a work em¬ bodying recent decisions and enactments. %* Opinions of the Press. “ It is a complete code of English Law, written in plain language, which all can understand. . . Should be in the hands of every business man, and all who wish to abolish lawyers' bills.'— Weekly Times. “ A useful and concise epitome of the law, compiled with considerable care ."—Law Magazine. “A complete digest of the most useful facts which constitute English law."— Globe. “ Admirably done, admirably arranged, and admirably cheap."— Leeds Mercury. ' A concise, cheap and complete epitome of the English law So plainly written that he who runs may read, and he who reads may understand."— Figaro. ■■ A dictionary of legal facts well put together. The book is a very useful one."— Spectator. "Thelatest edition of this popular book ought to be in every business establishment, and on every library table .”—Sheffield Post. Private Bill Legislation and Provisional Orders. HANDBOOK FOR THE USE OR SOLICITORS AND EN- GINEERS Engaged in Promoting Private Acts of Parliament and Provi¬ sional Orders, for the Authorization of Railways, Tramways, Works for the Supply of Gas and Water, and other undertakings of a like character. By L. Livingston Macassey, of the Middle Temple, Barrister-at-Law, M. Inst.C.E.; Author of “ Hints on Water Supply.’ 1 8vo, 950 pp., 25s. cloth. “ The volume is a desideratum on a subject which can be only acquired by practical experi¬ ence, and the order of procedure in Private Bill Legislation and Provisional Orders is followed. The author’s suggestions and notes will be found of great value to engineers and others profession¬ ally engaged in this class of practice. '— Building News. “ The author’s double experience as an engineer and barrister has eminently qualified him for the task, and enabled him to approach the subject alike from an engineering and legal point of view. The volume will be found a great help both to engineers and lawyers engaged in promoting Private Acts ct Parliament and Provisional Orders.”— Local Government Chronicle. OGDEN, SMALE AND CO. LIMITED. PRINTERS, GREAT SAFFRON HILL, E.C Beale’s Mutmnentaq) Iserie#. LONDON, 1862. aLBiTHE PRIZE MEDAL mm Was awarded to the Publishers of “WEALE'S SERIES." A NEW LIST OF WEALE’S SERIES RUDIMENTARY SCIENTIFIC,EDUCATIONAL, AND CLASSICAL. Comprising nearly Three Hundred and Fifty distinct works in almost every department of Science, A rt, and Education, recommended to the notice o f Engineers, Architects, Builders, Artisans, and Students generally, as well as to those interested in Workmen's Libraries, Literary and Scientific Institutions, Colleges, Schools, Science Classes, Ore ., ire. 1 ST “ WEALE’S SERIES includes Text-Books on almost every branch of Science and Industry, comprising such subjects as Agriculture, Architecture and Building, Civil Engineering, Fine Arts, Mechanics and Mechanical Engineering, Physical and Chemical Science, and many miscellaneous Treatises. The whole are constantly undergoing revision, and new editions, brought up to the latest discoveries in scientific research, are constantly issued. The prices at which they are sold are as low as their excellence is assured.”— American Literary Gazette. “ Amongst the literature of technical education, Weale’s Series has ever enjoyed a high reputation, and the additions being made by Messrs. Crosby Lockwood & Son render the series more complete, and bring the informa¬ tion upon the several subjects down to the present time.”— Mining Journal. “ It is not too much to say that no books have ever proved more popular with, or more useful to, young engineers and others than the excellent treatises comprised in Weale’s Series.” — Engineer. “ The excellence of Weale’s Series is now so well appreciated, that it would be wasting our space to enlarge upon their general usefulness and value.”— Builder. ‘‘The volumes of Weale’s Series form one of the best collections of elementary technical books in any language.”— Architect. “ WEALE’S SERIES has become a standard as well as an unrivalled collection of treatises in all branches of art and science.”— Public Opinion. PHILADELPHIA, 1876. THE PRIZE MEDAL Was awarded to the Publishers for Books: Rudimentary, Scientific, "WEALE’S SERIES," ETC. CROSBY LOCKWOOD & SON, 7 , STATIONERS’ HALL COURT, LUDGATE HILL, LONDON, E.C. 2 weale’s rudimentary series. WE ALE’S RUDIMENTARY SCIENTIFIC SERIES. i ^ameir *** The volumes of this Series are freely Illustrated with Woodcuts, or otherwise, where requisite. Throughout the fol¬ lowing List it must be understood that the books are bound in limp cloth, unless otherwise stated ; but the volumes marked with a i may also be had strongly bound in cloth boards for 6 d. extra. IV.B. —In ordering from this List it is recommended, as a means of facilitating business and obviating error, to quote the numbers affixed to the volumes, as well as the titles and prices. CIVIL ENGINEERING, SURVEYING, ETC. No. 31. WELLS AND WELL-SINKLNG. By John Geo. Swindell, A.R.I.B.A., and G. R. Burnell, C.E. Revised Edition. With a New Appendix on the Qualities ot Water. Illustrated. 2s. 35. THE BLASTING AND QUARRYING OF STONE , for Building and other Purposes. By Gen. Sir J. Burgoyne, Bart. is. 6d. 43. TUBULAR, AND OTHER IRON GIRDER BRIDGES, par¬ ticularly describing the Britannia and Conway Tubular Bridges. By G. Drysdale Dempsey, C.E. Fourth Edition. 2s. 44. FOUNDATIONS AND CONCRETE WORKS, with Practical Remarks on Footings, Sand, Concrete, Beton, Pile-driving, Caissons, and Cofferdams, &c. By E. Dobson. Seventh Edition, is. 6d. 60. LAND AND ENGINEERING SURVEYING. By T. Baker, C.E. Fifteenth Edition, revised by Professor J. R. Young. 2s.t 80*. EMBANKING LANDS FROM THE SEA. With examples and Particulars of actual Embankments, &c. By J. Wiggins, F.G.S. 2s. 81. WATER WORKS, for the Supply of Cities and Towns. With a Description of the Principal Geological Formations of England as in¬ fluencing Supplies of Water, &c. By S. Hughes, C.E. New Edition. 4s,t 118. CIVIL ENGINEERING IN NORTH AMERICA, a Sketch of. By David Stevenson, F.R.S.E., &c. Plates and Diagrams. 3s. 967. IRON BRIDGES, GIRDERS, ROOFS, AND OTHER WORKS. By Francis Campin, C.E. 2s. 6d.$ 197. ROADS AND STREETS. By H. Law, C.E., revised and enlarged by D. K. Clark, C.E., including pavements of Stone, "Wood, Asphalte, &c. ds. 6d.t 203. SANITARY WORK IN THE SMALLER TOWNS AND IN VILLAGES. By C. Slagg, A.M.I.C.E. Revised Edition. 3s .t 2 12. GAS- WORKS, THEIR CONSTR UCTIONAND ARRANGE - MENT ; and the Manufacture and Distribution of Coal Gas. Originally written by Samuel Hughes, C.E. Re-written and enlarged by William Richards, C.E. Eighth Edition, with important additions. 5s. 6d.t 213. PIONEER ENGINEERING. A Treatise on the Engineering Operations connected with the Settlement of Waste Lands in New Coun¬ tries. By Edward Dobson, Assoc. Inst. C.E. 4s. 6d.t 216. MATERIALS AND CONSTRUCTION; A Theoretical and Practical Treatise on the Strains, Designing, and Erection of Works of Con¬ struction. By Francis Campin, C.E. Second Edition, revised. 3s.$ 219. CIVIL ENGINEERING. By Henry Law, M.Inst. C.E. Including Hydraulic Engineering by Geo. R. Burnell, M.Inst. C.E. Seventh Edition, revised, with large additions by D. Kinnear Clark, M.Inst. C.E. 6s. 6d., Cloth boards, 7s. 6d. 268. THE DRAINAGE OF LANDS, TOWNS, dr 9 BUILDINGS. By G. D. Dempsey, C.E. Revised, with large Additions on Recent Practice in Drainage Engineering, by D. Kinnear Clark, M.I.C.E. Second Edition, _Corrected. 4s. 6d.t_ \fust published. 6^5"^ The t indicates that these vols, may be had strongly bound at 6d. extra. LONDON : CROSBY LOCKWOOD AND SON 3 weale’s rudimentary series. 3 MECHANICAL ENGINEERING, ETC. 33. CRANES, the Construction of, and other Machinery for Raising Heavy Bodies. By Joseph Glynn, F.R.S. Illustrated, is. 6d. 34. THE STEAM ENGINE. By Dr. Lardner. Illustrated, is. 6d. 59. STEAM BOILERS: their Construction and Management. By R. Armstrong, C.E. Illustrated, is. 6d. 82. THE POWER OF WATER, as applied to drive Flour Mills, and to give motion to Turbines, &c. By Joseph Glynn, F.R.S. 2s4 98. PRACTICAL MECHANISM, the Elements of; and Machine Tools. By T. Baker, C.E. 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