■^4^ .^ife. 1*»%»*^ -.'■^ • ■■''h^.] f^^'' Amt^ jOJkM^^ ^ :f- ^ f&. /^ ,<;^^2/^w| ^uvi0n^ ^vtn* # Sketches of Landscapes. [Sec page 11 ] gliSSS (3®IL!LaeS2©SJ OF VALUABLE AND tuMIOUS ARTS, il AND il laTTSaSSTING EXPERIMBNTS, Wi'i f ARE WELL FXPLAINED AND WARRANTED GEMIINE A.VO MAT BE PERFORMED EASILY, SAFELY, AND AT LITTLE EXPENSE. — @©©-- THIRD EDITION. — e«5©— CONCORD : PUBLISHED BY RUFUS PORTER. J. B. Moore, Printer. 1826. DISTRICT OF NEW-HAMPSHIRE, to wit. Diftrid Clerk s Office. *(T^tTi^' ' *' RP-^^EMBERED, that on the twenty-second day 5L. S. JJL» ofOctobi r. A. J>. 1825, and in the fiftieth year of the In- ^'^ dependence «f the United States of America, 1< UFUS POR- TER, of the said District, has ('eposited in this Office the title of a booli, the rig-lit whereof he claims us proprietor, in the words follow- ing, to \vit :— " A Select Collection of valuable and curious Arts and interesting " Experiments, which areivell explained and warranted genuine, and " may he performed easily, safely, ai.d at little expense." In conformity lo the act of the Congress of the United States, enti- tled, "An act for the encouragement of learning, by securing the cop- ies of Maps, Charts and liooks, to the Authors and Pro;.)ri(;tors of such copies, durini; the time theiein mentiontd ;" and also to an act, entitled, " An act supplementary to an act, entitled, an act for the encourag:en)eiit of learuinf;:, by securing die copies of Maps. Charts and Books to the '\uthor3 and •-'lopiietors of such copies, during the times therein mentioned, and exttndihg the licnelits thereof to the arts oi nesigning-, eng^raving and etching l.istorical and other prints." SAMUEL CUSHMAN, Clerk of the District of New -Hampshire. A true copy of record : _ ' Attest, SAMUEL CUSHMAN, Ckrk, It is not so much the object of the author, with regard to the various arts treated of in the following pages, to convey to professed artists, a more ac» curate and extensive knowledge of those arts, as to explain some of the first lines and principles of them, for the advantage of those, who may be induced to practice them occasionally, either for profit or amusement. The chemical experiments are such as are calculated to combine recreation, with improvement in useful knowledge — a knowledge of some of the leading prin- ciples of chemistr3^ — The true chemi- cal terms, according to the nev/ nomen- clature (which, perhaps, may not be so readily understood, by some, as the more common and familiar names, but will be found sufficiently explained in the appendix) have, in this work, been IV ADVERTISEMENT. applied to the various articles occasion- ally mentioned. Very few substances have been mentioned, which are gener- ally considered poisonous, or otherwise dangerous ; but it may be proper, how- ever, for those who may attempt any of the chemical experiments, to pro- ceed with caution, and carefully avoid the fumes produced by chemicc^l action, especially in metallic solutions in nitric acid, and sublimation of mercury. Sev- eral articles in this little collection, will probabl}^ be found to contain some im- provements, and if it prove as interest- ing to others, as a similar work would formerly have been to the author, his object will have been attained. TABIiH OF COM'TEia'TS. 1. Water-proof gilding and silvering, - - - 9 2. The art of burnish gilding, .... 11 3. Ornamental bronze gilding, ... 13 4. To enamel picture glasses with gold, - - 15 6. To wash iron or steel with gold, - . - 15 6. To wash brass or copper with silver, - - 16 7. To give wood a gold, silver, or copper lustre, - 17 8. To print gold letters on morocco, - • 18 9. To dye silk a brilliant gold colour, - - 18 10. To dye silk a brilliant silver colour, - - 19 11. To silver looking glasses, ... 20 12. To wiite on paper with gold or silver, - - 22 13. To make good shining black ink, . - 23 14. , BUie ink, - - i - - 23 15. RaJlnlc, 24 16. Yellow ink, 24 n. Green ink. ..... 25 18. Purple ink, .... - 25 19. To write in various colours with the same pen, ink and paper. - - - - * j 25 20-2f>. Sympathetic inks for secret correspondence, - 27 27. Luaiinous ink that will shine in the dark, - 28 28. To make a writing appear and disappear at pleasure, 29 29. T« make a writing vanish an! another appear in its piacc. • - - . 2y 30. To restore old writing that is nearly defaced, - 30 VI TABLE OP CONTENTS. 31. To paint a picture that will appear and disappear occasionally, - - - - 3ft 32. Landscape painting on walls of rooms, - -SI 33. To paint iu figures tor carpets or bordera, - 34 34. To paint in inaitation of mahogany and maple, • 35 35. Tiie art of painting on glass, . . 36 36. Best method of polisliing steel, - - 3T 37. To make letters of blue on polished steel, - 38 33. To ijreserve tae brightness of polished steel, - 39 39 To give steel a temper to cat marble, - 40 40. To wash iron or steel with copper, . • 41 41. To give iron the whiteness of silver, - - 42 42. To wash iron with tin, - . -42 43. To give tin the whiteness and brilliancy of silver, 44 44. To ciystallize tin, ... 44 45 To make a gold coloured varnish for tin, . 45 46 To make s.'ellac varnish for japanning,, . 46 47 To make the best copal varnish. / - .47 48. To make a spi. it varnish fur maps, - . 48 49. Toraake ejastid^vamish for umbiellas, - - 49 50. To varnish maps and pictures, - - - 49 51. To make biuuswick blacking, - - , 50 52 To make a print appear on a gold ground, - 51 63 Best method of tracing or copying a picture, • 52 54 The construction and use of a copying machine, .^3 56. To pioi'uce the ►'xact likeness of any object instantly, 54 56. Copper pate engraving, • • - 57 57. Etching on copper plates, • . , 60 58. Engraving and scraping in mezzotinto, • -63 $9. Etciiing inaqua-tinta, - • • « 64 60. Copper plate printing, - - - - 65 61. Etching letters and flowers on glass, " - 67 62 To print figures with a smooth stone, - .64 63. To cut glass witi) a piece of iron, • . - 69 €4. Best cement for joining glass, - - - 70 TABLE OF CONTENTS. VU 65. Best cement for joining china or crockery, - 70 66. To make a ■^trong water proof glue, - • 71 67. The art of moulding figures in relief, - - - 72 68. To cast images in plaster, - - - 73 69. To produce embossed letters on marble, • 74 70. To soften stone. - - - - 75 71. To change wood, aiparentlv, to stone, - 76 72 To render wood, cloth or paper, nre proof - 77 73-75. To produce fire readily, - 77 76. To make suptr-combustible matches, - - 78 77. To make %un powder, - - - 79 78. To make the common fulminating powder, - 80 79. To make mercurial fulminating powder, - 80 80. To kindle a fire under water, - - 82 81. To light a candle by application of ice, - - 82 82. To form letters or flowers of real flame, - - 83 83. To produce flame of various colours, - - 84 84. To make sky rockets and fire wheels, . . 85 85. To produce detonating *alloons, . . '82 86. To prepare a phial that will give light in the dark, 89 87. To make a person's face appear luminous in the dark, 89 88. To freeze water in warm weather, - - - 90 89" To change the colours of animals, . . . 91 90. To give leather a beautiful metalliclustre, . 92 91. An easy method of extracting the essence of roses, 92 92. To prepare various kinds of essences, . . 93 93. To prepare soda water, . . , .94 94-95. To produce metallic trees, . . .95 96. To tin copper by boiling, ... 96 97. A metal that will melt in hot water, . ,96 98. Illustration of calico pi inting, . . . 9G ■ ,9^. To prepare an imitation of gold bronze, . . 99 too. To procure the exhilarating gas, . . 99 lUl. Construction of the galvanic pile or battery, . 101 102. Construciioa of the oxy-hydiogea blow-pipe, . 102 Vin - TABLE OF CONTENTS. 103. To make a dry phosphorescent powder, . 104 104. Curious experiment of pvecipitaiion, . . 105 105. To make a beautiful soft glass for jevvehy, . 105 ln6. Composition of various kinds of glass, . . 106 107. Cnmpositioo of various alloys, . . 107 103. To produce various kinds of gas, . . 108 109. Various chemical tests, . ... 110 110. To produce a picture instantly', . . Ill 111. A cheap imitation of silver bronze, . . 112 112. To make crayons of various colours, . . 113 113. To make hard sealing wax. . . . 115 114. The art of manufacturing paper hangings, . 116 115. To make elastic blacking for leather, . 118 116. Sundry experiments, . . • . 119 CCTHIOUS ARTS. — QfQO— 1. Water-proof gilding and silvering.^-— This kind of gilding, usually termed oil gild- ing, being the cheapest and most durable, is in general use for gilding or silvering letters on signs, labels, &:c. and may be performed as follows : — Giind one ounce of white lead^and two ounces of litharge, very fine, in a gill of old linseed oil, and if convenient, add nearly one-fourth of a gill of old copal varnish, and half an ounce of stone yellow; but neither of these last, are very essential ingredients. Ex^ pose this composition to the rays of the sun for a week or more in a broad open vessel, obser- ving, however, to keep it free from dust. Then pour off" the finest part, and dilute it with as much spirits of turpentine as will make it work freely with a brush or camel-hair pencil. (Oil. that will answer exceedingly well for this pur-«, pose, may sometimes be collected from the top of oil paints that have been longstanding, ancf 10 CURIOUS ARTS. maybe used directly, without being exposed to the sun as directed above.) Wliatever let- ters or figures you would gild, must be first drawn or painted with this sizing, the ground having been previously painted and varnish- ed ; and when the sizing is so dry as to be hard, but yet remains slightly adhesive, or sticky, lay on gold or silver leaves smoothly over the whole, pressing them down gently with a soft ball of cotton. The most conve- nient manner of performing this, is to lay the leaves of gold or silver, first on a piece of deer- skin or glove-leather, and cut them into pieces of a convenient size, by drawing a smooth (not sharp) edged knife over them. Then take a small block of wood, of a triangular ibrm, about half an inch thick, and two inches in diameter, and bind a strip of fine flannel round the edges; — breathe on this, and press it gent- ly on a piece of the leaf, which by this may be taken from the leather, and carried to any part of the sizing where it will best fit, and to which it will readily adhere: thus the sizing may be readily covered with the leaf, very little of which will be wasted. Afterwar i the whole may be brushed over lightlv with cotton, or a soft brush, and the superfluous gold or CURIOUS ARTS. li silver will be brushed off, leaving the letters or figures entire. When the work has thus re- mained two or three days, it may be rubbed with a piece of silk, which will increase its metallic lustre. J^''ote. — It is very essential that the varnish of the grounci should be thor- oughly dry, that it may not be adhesive in the least degree, otherwise the leaf will stick where it should not, and materially injure the work. When plain gilding is required for vanes, balls, &c. the leaves of gold or silver may be applied to the work directly from the book, without cutting or dividing them. 2. The art of burnish gilding. — Make a sizing by boiling the skins of beaver and musk rats, (which may be readily procured at a hat manufactory,) in water, till it is of sufficient strength that by cooli.ig it will become a stitV jelly ; strain the liquor while warm, and give your work one coat of it with a brush ; when thts is dry, add a little fine whiting to the siz- ing, and give the work one coat of this. Then add as much whiting as will work freely under the brush, and lay on five or six coats of this, allowing each a sufficient time to dry. Smooth the work by wetting it, and rubbing it with a 12 CURIOUS AKTS, piece of pumice stone, which should be piTvi- ously cut nd fitted to the moulding or other work that is to be gilt ; afterward, when the work is dry, ruh it with some fine sand paper. Then take some burnish-gold-size (which is composed of pipe-clay, plumbago, beef tallow and castile soap, but may be easily procured i»eady made,) and dilute it with water till it is of the consistence of very soft putty, and af- terward with the abovementioned sizing till it will flow freely from a brush, and give the work th ee successive coats of this; when the last is dry, dip a camel-hair pencil in a mix- ture of equal quantities of rum and water, and with it wet a small partot the \voik,and iinme- diuely, while it is flouirig, lay on a leaf of gold, brushing it down with a very solt, flat carael-hjir biu-h, with which also, the leaf is usually conveyed from the book to the sizing; proceed thus till the whole is gilt, and let it dry. When the work is sufficiently dry to take a fair polish by burnishing, (which can "be only ascertained by applyir.g the burnish- ei to driferent parts of the woi'k occasionally while it is drying,) rub over the whole careful- ly with a flint burnisher, or with the looih of a wolf or dog, being fixed in a convenient han- CURIOUS ARTS. 13 die, till the whole acquires a brilli?int polish, except such parts as are requiiecl to remain in a rough-gilt state, which parts are usuall^y flat- ted by a coat of thin sizing. Such are the principal rules of the art of burnish eiidino-- but as this business requires some variation of management, according to the state of the wither and other circumstances, it may not be expected that any person should become very expert in the art, without the advantage of some experience and practice. 3. Ornamental bronze oiLDiNe. — This is performed hy means of gold oi- silver, reduced to an impalpable powder, called bronze. One method of preparing it, is to levigate any quan- tity of gold or silver leaves on a stone, with some clarified honey: dilute the honey with clear water, that the bronze may setde; pour off the water and honey, and add fresh water to the bronze, which, after being thus thor- oughly washed, may be dried on paper, and is ready for use. Another method of preparing the gold bronze, is to precipitate the gold from its solution in nitro-murirtic acid, (see 5,) by adding sulphate of iron to the solution ;— then washing it, as directed above. But in general b2 '^ 14 CURIOUS ARTS. it wil: l-»e found much cheaper to huy the bronze rtadj prepared. The ground for this work must be varnished with a mixture of copal var- nish, with mi equal quantity of old' linseed oil ; and whatever figures are to be foinied injpron- zins;, must be represented by holes cut through pieces of paper. Lay these patterns on the work, when the varnish is so dry as to he I ut slightly adhesive, but not press them down any more than is requisite to keep the paper in its * place. Then take a piece of soft glove-leather, moisten it a little by breathing ou it, and dip it in some dry bronze, and ajjply it to the figures, beginning at the edges ;— tap the figure gently with the leather, and the bronze will stick to the varnish according to the pot'prn. Thus any figure may be produced in a va..ei;; of shades, by applying the bronze more freely to some parts of the work than to others. If some inteinal pans of the figures require to i-e more distinct than others, they m:iy be wrought by their peculiar patterns, or may be edged with dark coloured paint. In some work it may be well to extend the varnish no farther than the intended figures, in which case, any projecting or branching parts of tiie figures, may be drawn with a camel-hair pencil, and -*s CURIOUS ART4. 15 ihe patterns may in some measure be dispensed "vvith. In either case, the work must after- warcb have one or more coats of copal or shel- lac varnish. 4. To ENAMEL PICTURE GLASSES WITH GOLD. — The glass must lirst be washed perfectly clean and dried ; then damp it by breathing on it, or wet it with the tongue, and immediate!}' lay on a leaf of gold, and brush it down smooth. When this is dry, draw any letters or flowers on the gold with Brunswick blacking, (see 51) and when dry, the superfluous gold may be brushed off with cotton, leaving the figures en- tire. Afterward the whole may be covered with blacking, or painted in any colour, while the gold figures will appe ir to advantage on the opposite side of the glass. This work may be elegantly shaded by scratching through the gold with a small steel instrument, (in the end of which many sharp points are formed,) pre- vious to laying OD the blacking. Oil paints of any kind may be substituted in the place of the blacking, but will not dry so quick. 5. To WASH IRON OR STEEL WITH GOLD. ^ Mix together in a phial, one part of nitric acid, 16 CURIOUS ARTS. with two parts of muriatic acid, and add as much fine gold as the acid will dissolve. For this purpose gold ieaf is the most convenient, as it will be the most readily dissolved. (This solution is called the nitro-muriate of gold.) Pour over this solution, cautiously, about half as much sulphuric ether; — shake the mixture, and then allow it to settle. The ether will take the gold from the acid, and will separate itself from it also, and form an upper stratum in the phial. Carefully pour off this auriferous ether into another phial, and cork it close. Wash any piece of steel or iron with this ether, and immediately plunge it m cold water, and it will have acquired a coat of pure gold. With this also, any flowers or letters may be drawn or written, even with a pen, and will appear per- fectly gilt. The steel or iron should afterward be heated as much as it will bear without changing colour, and if the steel be previously polished, the beauty of the gilding may be much increased by burnishing with a cornelian or blood stone. 6. To WASH BRASS OR COPrER WITH SILVER. —To half an ounce of nitric acid in a phial, add one ounce of water, and one fourth of an CURIOUS ARTS. 17 iunce of good silver. It will soonbedissohcd, and if the acid and metal are both pure, the so- lution, (which is called nitrate of silver) will be transparent and colourless. Add to this a so- lution of nearly two drachms of muriate of .so- da, in any quantity of water; this will precip- itate the silver in a white opaque mass. Pour off the water with the acid, and add to the sil- ver an equal quantity of super-tartrate of pot- ass, thus forming a soft paste ; — dip a piece of soft leather in this paste, and rub it on the metal to be silvered ; continue rubbing it till it is near- ly dr}'^ ; then wash it with water, and polish by rubbing it hard with a piece of dry leather. Another method is, to add sub-carbonate of potass to the nitrate of silver, as long as ebuli- tion ensues ; then the acid is poured off, and the 'precipitate, (which is white at first, but be- comes green when dry,) is mixed with double its quantity of muriate of soda, and super-tar- trate of potass. With this composition, being moistened, the metal is rubbed over, &c. 7. To GJVE WOOD A GOLD, SILVER, OR COFPEK LUSTUE. — Grind about two ounces of white beach sand in a gill of water, in which half an ounce of gum-arabic has been dissolved, and brush over the work with it. When this 18 OURIOUS ARTS. ii3 dry, the work may br rubbed over with a piece ol' gold, silver or copper, and will in a measure, assume their respective colours and brilliancy. This woi-k may be polished by a flint burnisher, but should not be varnished. 8. To PRINT GOLD LETTERS ON MOROCCO. FirSt wet the morocco with the whites of eggs j when this is dry, rub the work over with a little olive oil, and lay on gold leaves. Then take some common printing types, and heat them to the temperature of boiling water, and impress the letters on the gold ; — rub the whole with a ! icce of flann^^l, and the superfluous gold will come off", leaving the letters hand- somely gilt. Another method is, to strew powdered rosin over the morocco previous to laying on the leaf; the heat ol the types melts the rosin, which occasions the gold to adhere in the impressions, while the other may be brushed off". 9. To DYE SILK A BRILLIANT GOLD COLOUR. Take any quanlity of niiro-muriate of gold, (see 5) and evaporate bj'' exposing it to a gen- tle heat in a glass tum(>ler or phial ; the gold will form itseif in crystals on the bottom and CURIOUS ARTS. 19 sides of" the vessel ; collect these crystals and dissolve them in ten times their weight of pure water. Then pui a gill of water into a common flask, and ndd one ounce of granulated ztnc, and one-fourth of an ounce of sulphuric acid. Hy- drogen gas will be evolved, and rise through the neck of the flask, which must not be stopped. Immerse a piece of white siik in the above menlioned aqueous solution of gold, and ex- pose it, while wet, to th*^ current of gas as it rises from the flask ; the gold will soon be re- vived, and the silk will become beautifully and permanently gilt. Any letters or flowers may be drawn on the silk with a camel-iiair pe.'icil dipped in the solution, and on being exposed to the action of the gas, will be reviv- ed .and shine with metallic brilliancy. J^ote, — The silk must be kept moi-t with water. till the gold is revived. Zinc niuy be prepared for the above purpose, by melting it, and stirring it continually v/ith a slick or iron rod while it is cooljng ; or it may be pulverized with a hammer as soon as it becomes solid. 10. To DYE SILK A BRILLIANT SILVER CorOUB. — Proceed is directed in the last experi'nent, only use the nitrate of silver, (see 6) irioiead 20 CLFRtOUS ARTS. of nitro-miirinte of gold The process of cryslalizing, re-dissolvir g, &c. is the same. But the crysluls of silver difler in colour, be- ing while, wliereas those produced from gold arc j?elio\v. If a jar, or box be filled with hj^drogf-n gas, and the silk rsusprnded in it, the action oftiie gas, and consequently (he rcvivifi- criiion of the metals will be more uniform. Foi' small figures, however, it may be as well to fix a sto})f)er in the il isk, having a small oriiice through it, that the gas may be thrown with some force on the silk, and will have a more certain ^iTocf. A solution of muriate of tin may be managed in a similar mariner, but none of these solutions can be thus revived on paper. 11. To siLVFR LOOKi NTo GLASSES. — Lay On a smooth board, a piece of solt deer-skin leather* rather larger than the glass that is to be silver- ed ; and on the leather, having sprinkled a little fine whiting, spread a piece of tin foil of the same size. Pour on a k^w drops of mer- cury, and brush it over the tin with a smooth brush, till every part of the tin becomes bright. Then add as much mercury as will lay on the ♦in, and upon this lay the glass to be silvered : r (iURious ARTS. ;21 on the glass lay another piece of leathfir, of the same size, and on ih'it another board. — Take up the boards with the glass, and press- ing the boards together, turn them with the glass, the other side up ; take oti the upper board, and pass the glass with the tin and leather, between two rollers, similar to those of a rolling press, for copper-pbte printi/jg ; thus to pressoul the mercury from between the tin and the ghss. Then phice the glass be- tween the boards again as before, and ph\ce a heavy weight (which cannot be too heavy, un- less it breaks the glass) on the upper br,;iid, which must remain two or three d;iys. The glass may then be taken up. The practice of some is, to lay thin paper on the mercury pre- vious to laying on the glass ; this proper, being carefully drawn out, after the glass is laid on, serves to remove the superfluous mercury, that the tin may come more nearly in contact with the glass. .In this cai-e, no rollers arc used. Concave or other fancy glasses maj' be silver- ed, by making an impression with the glass, in a kind of puMy, made of line sulphate of lime and water ; and placing the glass in the impression again Aviih the tin foil and mercury, 'v!«.rn ♦iio plastrr is dry, and subjecting it la c 22 CURIOUS ARTS. pressure iwo or three days in that situation. The experiment of silvering glass may be per- formed by rubbing a drop of mercury on a small piece of tin foil, 'and pressing it upon a piece of glass with the finger, or a piece of soft leather. In this case, the glass will have ac- €|uired the reflective property of a mirror ; and if a similar pressure be continued a few hours, the tin will adhere permanently. 12. To WRITE ON PAPER WITH GOLD OR SIL- VER.-— Make a sizing as strong as will flow free- ly from the pen, by dissolving equal quantities of gum arabic and loaf sugar in water ; write with this on paper and let it dry ; then moisten the paper by breathing on it, or by holding it over hot water, and immediately lay pieces of gold or silver leaf on the lines of the writing, pressing them <]own gently with a dry hair peccil. Otherwise, brush gold or silver bronze lightly over the writing ; but this will not have so brilliant an appearance. Allow the sizing to dry again, and then brush pff the redundant gold or silver with cotton. This writing, (if performed with leaf gold or silver) may be burnished with a flint burni^^her or a cornelian or blood-stone. Gold letters may also be writ- CURIOUS ARTS. 23 ten or drav/n with a hair pencil by means of gold bronze, mixed wiih weak gum water, to which may be added a little solulion of soap, which will make it run moie freely. But no preparation of solution of gold has yet been discovered, which may be easily revived on paper. 13, To MAKE GOOD SHINING BLACK INK. Tak^ two ounces of nut-galls in coarse pow- der ; one ounce of logwood in thin chips ; one ounce of sulphate of iron ; three-fourths of an ounce of gum-arabic ; one-fourth of an ounce of sulplwte of copper ; and one-fourth of an ounce of loaf sugar. Boil the galls and log- wood together in three pints of water, till the quantity is reduced to one half. Then the liquor must be strained through a flannel into a proper vessel, and the remainder of the in- gredients be added to it. The mixture is then to be frequently stirred till tiie whole is dis- solved ; after which it must be left at rest for twenty-foi]r liours. The ink may then be de- canted from the, gross sediment, and must be preserved in a glass bottle well corked. 14, Blue ink. — Dissolve one ounce of gum- arabic in a pint of water. In a pari of this 24 CURIOUS ARTS. gntn-wateif, grind a small quantity oi' bcslprus- sian blue ; you may thus bring it to any depth of colour Y^u choose. Indigo will answer this purpose very well, but is not so fine a colour, por vvill it remain suspended so uniformly in the water. 1 b. Rkd ink. — llfi the above mentioned gum- water. u;rin(i v* ry fine, three parls of vertiiillion wi' h on<' oC lake or carmine. Thi?; is a very perfect colour, but may recjuire to be shaken up occasionally. To mak^ the common red ink, such »s is used by book I'indcrs for rul- ing, &c. irfu>e half a pound of rasped brazil- wood, for tivo or three days in a [)int of vine- ff ir ; then filter cr strain ii, and add one ounce of gum-arabic, and one ounce of alum. It may afterward be di'utcd occasionally \vithn\'ater, 16. Yellow ink. — Steep one ounce of tur- meric, in powder, p,*ii;df a gill of alcohol; let it rest twenty-four loirs, and then add an equal quantity of water ;--throvv the whole on a cloth, and qxpress the coloured liquor, which mix with gum water. Rum or othei spirits may be substituted in the place of alcohol. A •solution of gamboge in water, writes a full yel- CURIOUS ARTS. 25 iovv, but comes far short of turmeric in bright- ness. 17. Green ink. — To the tincture of turme- ric, prepared as above, add a little prussian blue. A variety of tints may be formed, by varying the proportions of these two ingredi- ents, and no artificial colour can excel it in beauty. 18. Purple ink. — To the blue ink, descri- bed at 14, add some finely ground lake ; or in- stead of this, the expressed juice of the deep- est coloured beets may be substituted, but is .more liable to fade. With either of these a variety of tints may be formed, by varying the proportions. 1 9, To WRITE IN VARIOUS COLOURS WITH THE SAME PEN, INK AND paper.^ — Take a sheet of white paper, and wet some parts of it with a solution of sub-carbonate of potass, which must be di- luted with water so as not to appear on the pa- per when dry. Wet some other parts with di- luted muriatic acid, or with juice of lemons. — Some other parts may be wet with a dilute so- lution of alum ; and others with an infusion of c 2 ^^., 26 CURIOUS ARTS. nut-galls (water in which bruised or pulverized nut-gal!? have been steeped.) None of these preparations must be so strong as to colour the paper any. When these are drj, take some finely powdered sulphate of iron, and rub it lic^htly on some parts of the paper, that, have been wet with the sub-carbonate of potass, and infusion of galls. Then with the juice of vi- olets, or of the leaves of red cabbage, write on' the paper as usual with a pen. The ink is, of itself, a faint purple ; where the paper \\ as wet with acid, the writing will be bright red ; on the sub-carbonate of potass, it will take a beau- tiful green ; on the alum it will be brown ; on the sub-carbonate of potass that was rubbed with powdered sulphate of ii'on, it will be deep yellow 5 and on the infusion of galls that was rubbed with the powder, it will be black. — The juice of violets will sometimes take a bril- liant yellow on the alkali if it be very strong. The juice of violets or red cabbage maybe kept a long time by means of the addition of a few drops of alcohol ; or the leaves may be dryed by the fire, and thus may be kept ready for use; and it is only requisite to steep them in hot water, in order to prepare the ink at any time. cATofe,— The yellow ink, described at CURIOUS ARTS, 27 16, writes a full red where the paper has been wet with the solution of sub-carbonate of pot- ass; while the solution of sulphate of iron, which has no colour of itself, writes a deep yellow on the alkali, and black on the infusion of galls. 20. SVMPATHETIC INKS TOU SECRET CORBES- rONDENCE.— Process 1.— Dissolve muriate of ammonia in water, and write; — thewritiag will be invisible. When you would make the writ- ing appear, heat the paper by the fire, and the writing will become black. 21. Process 2. — Write with a solution of sulphate of iron— the writing will be invisible. Dip a feather in an infusion of nut-galls, and with it wet the paper, and the writing will be- come black. 22. Process 3.~Write with a dilute infu- sion of galls,— it will be invisible. Dip a feather in a solution of sulphate of iron, ^nd moisten the paper with it and the writing will become black. 23. P^octss 4. — Write with a solution of siib-carbo»ate of potass ; wet this writing with 28 CURieUS ARTS. a solution of sulphate of iron, — it will take a deep yellow colour. 24. Process 5. — Write with a solution of sulphate of copper, — no writing will be visible. Wash the paper with a solution of prussiate of potass, — the writing will then get a reddish brown colour. 25. Process 6. — Write with a solution of super-carbonate of soda ; — moisten the paper with a solution of sulphate of copper, and the writing will become green. 26. Process 7. — Write with diluted nitrate of silver, and let the writing dry in the dark — it will be invisible; but expose the paper to the rays of the sun, and the writing will be- come black. 27. Luminous ink that will shine in the DARK — To half an ounce of essential oil of cin- namon, in a phial, add half a drachm of phos- phorus. Cork the phial slightly, and set it, or suspend it near a fire, where the heat may be nearly equal to boiling; continue the heat four or five hours, shaking the phial frequently, but cautiously lest any of the oil should escape, or CURIOUS ARTS. 29 come in contact with atmospheric air, in which case it would take fire. The cork should be set sufficiently light to exclude atmospheric air, but not so as to prevent the escape of any vapour that might be produced by excess of heat. The phial may be afterward removed from the fire and suffered to cool. With this phophorised oil, any letters may be written on paper, and if carried into a dark room, will ap- pear very bright, resembling fire. The phial should be kept corked close, except when used. 28. To MAKE A WRITING APPEAR AND DISAP- ^PEAR AT PLEASURE. — Dissolvc ccjual parts of sul- phate of copper and muriate of ammonia in water, and write. When you would make the writing appear, warm the paper gently by the fire ; the writing will appear in a yellow colour - but as soon as you take the paper into the cold air, the writing will vanish. This may be of- ten repeated. 29. To MAKE A WRITING VANISH AND ANOTHER APPEAR IS ITS PLACE. — Write on paper with a so- lution of sub-carbonate of potass, — the writing will be invisible. Mix togeiher equil parts of solution of sulphate of iron, and infirsion of 30 CURIOUS ARTS. galls ; write with this mixture (which is black) on the same paper. Then add to the black liquor a little sulphuric acid, sufficient to de- prive it of colour. Wet the paper with this compound ; the acid will discharge the colour from the last writing, while the alkali of the first, will precipitate the gallate of iron, and the writing will become black. 30. To RESTORE OLD WRITING THAT IS NEARLY DEFAc: D. — Boil one ounce of powdered nut- galls, for an hour or more in a pint of white wine; filter the liquor, and when cold, wet the paper with it, or pass it on the lines with a camel hair pencil, and the writing will be much revived. 31. To PAINT A PICTURE THAT WILL APPEAR AND DISAPPEAR OCCASIONALLY. — To half an ouncc of nitric acid, add one drachm of cobalt, one drachm of muriate of soda, and two ounces of water; set it in a sand bath or on warm ashes, where it must remain five or six hours. • Then filter the solution, (which is nitro-muriate of cobalt,) and with it draw the trees, and shrub- bery of a designed picture. Then with a so- lution of oxide of cobalt in acetic acid, draw CURIOUS ARTS. 31 some distant mountains, fences, &c. and with muriate of copper, (the compound solution des- cribed at 28,) draw some flowers, buildings, &:c. These will all be invisible when dry ; but warm the paper and the picture will appear in green, blue and yellow. It will disappear again when the paper becomes cold. 32. Landscape painting on walls of rooms. — Dissolve half a pound of glue in a gallon of water, and with this sizing, mix whatever col- ours may be required for the work. Strike a line round the room, nearly breast high ; this is called the horizon line : paint the walls from the top to within six inches of the horizon line, with sky blue, (composed of refined whiting and indigo, or slip blue,) and at the same time, paint the space from the horizon line to the blue, with horizon red, (whiting, coloured a little with orange lead and yellow ochre,) and while the two colours are wet, incorporate them partially, with a brush. Rising clouds maybe represented by striking the horizon red colour upon the blue, before it is dry, with a large brush. Change some sky blue about two shades with slip blue and paint your design for rivers, lakes or the ocean. Change some sky blue one S2 A-URIOUS ARTS. shade with forest green, (slip blue and chrome yellow,) aod paint the most distant mountains and highlands; shade them while wet, with blue, and heighten them with white, observing always to heighten the side that is towards the princi- pal light of the room. The upper surface of the ocean must be painted as high as the hori- zon line, and the distant highlands must rise from ten to twenty inches above it. — Paint the highlands, islands, &c. of the second distance, which should appear from four to six miles dis- tant, with mountain green, (two parts sky blue with one of forest green,) heighten them, v?hile wet, with sulphur yellow, (three parts whiting with one of chrome yellow,) and shade with blue-black, (slip blue and lamp black equal.) Paint the lands of the first distance, such as should appear within a mile or two, with for- est green ; heighten' with chrome yellow and shade with black; jpccasionally incorporating red ochre, french green or whiting. The near- est part, or fore ground, however, should be painted very bold wiih yellow ochre, stone brown, (red and j^ellow ochres and lamp black equal,) and black. Paint the shores and rocks of the first distance with stone brown ; height- en with horizon red. shade with black. Ff)v CURIOUS ART'S. 33 those of the second distance, each colour must be mixed with sky blue. — The wood lands, hedges and trees of the second distance are formed by striking a small flat stiff" brush end- wise, (which operation is called bushir.g. and is applied to the heightening and shading all trees and shrubbery of any distance,) with mountain green, deepened a little with slip blue; with which also the ground work for trees of the first distance is painted ; and with ihis col- our the water may be shaded a little under the capes and islands, thus representing the reflec- tion of the land in the water. Trees of the first distance are heightened with sulphur yel- low or french £;reen ; and shaded with blue- black- Every object must be painted larger or smaller, according to the distance at which it is represented; thus the proper height of treos in the second distance, is from one to two inch- es, and other objects in proportion. Those in the first distance from six to ten inches gener- ally; but those in the fore ground, which are nearest, are frequently painted as large as the walls will admit. The colours also for distant objects, houses, ships, &:c., must be varied, be- ing mixed with more or less sky blue, accord- ing to the distance of the object. By these D 34 CURIOUS ARTS. means the view will apparently recede from the eye, and will have a very striking effect, 33. To PAINT IN FIGURES FOR CARPETS OR BORDERS.— Take a sheet of pasteboard or strong paper, and paint thereon with a pencil, any flower or figure that would be elegant for a bor- der or carpet figure; then with smafl gouges and chissels, or a sharp pen knife, cut out the figure completely, that it be represented by apertures cut through the paper. Lay this pattern on the ground intended to receive the figure, whether a floor or painted cloth, and with a stiff smooth brush, paint with a quick vibrative motion over the whole figure. — Then take up the paper and you will have an entire figure on the ground. J^ote. — If a floor is to be thus painted, in imitation of a carpet, the pattern must be perfectly square, and the fig- urje so designed, that when several of theni' come tc>gether,thcy may completely match each other ; and when different colours are used in the same figure, they must be kept a little sep- arate from each other, and wrought with dif- ferent brushes. CURIOUS ARTS. S5 34. To PAINT IN IMITATION OF MAHOGANY AND MAPLE. — First give the work one or two coats of straw coloured paint, composed ot white lead and yellov/ ochre, ground in linseed oil, to which may be added a little fine litharge, that the paint may the sooner dry ; when this is dry, rub it smooth with sand-paper. Then if ma- hogany is to be imitated, stain the work over with boiled linseed oil, coloured a little with Venetian red and burnt terra-de-sienna, equal quantities. This should be applied with a short stiff brush, and spread very thin that it may not run, or drip off. Then with terra-de-sien- na,ground very thick in oil, form the dark^^hades of the graining according to your design, with a small ilat brush. For this purpose a com- mon sash-brush may be made flat, by having a small piece of wire, or wood, bound on each side near the handle. Some of the darker shades may be drawn with burnt umber and black, ground together, which may be aj)pUed with a camel hair pencil. If any part is to be made very light, the staining may be wiped off carefully with a ball of cotton. Light stripes, or lines may be produced by drawing a piece of cork or soft wood over the work, thus ta- king oft' or removing the dark colours, that tht' 36 CURIOUS ARTS, original ground may appear.— To imitate ma- ple, the work must be stained with yellow ochre, and burnt umber, ground together in boiled oil. Instead of burnt umber, tcrra-de-sietuia (unburnt) is sometimes used, but as different kinds, or parcels of it, vavy in colour, from yellow to brown, it may no^ be d» ptuded on uniformly. The birds' eyes and curls are fo CURIOUS ARTS. be more than five or six inches in diameter, and two inches thick. The steel must first be ground smooth as possible on a common, or fine grained stone ; it may then be applied to the polishing wheel, which must be turned with such velocity that the surface, or rim, may move rtt the rate of from forty to sixty feet in a second; and the leather must frequently have a powder applied, called crocus of iron, which, is prepared by calcining suli)hate of iron, in a crucible till it becomes a fine red oxide resem- bling rust. For ordinai'y woik, the leather may be moistened with olive oil, that it may the better retain the powder ; but it will give a more perfect polish if kept d y. If any per- fectly plain surfaces, such as mirrors are to be polished, they must be applied to the sides of a wheel, and not to the edge or rim, in the man- ner of other work. 37. To MAKE LETTERS OR FLOWERS OF BLUE, ON I'OLiSHED STEEL.— Hold ihc stccl ovcr 3 char- eoal fire till it becomes blue ; — let it cool. Then with equal parts of rosin and beeswax, melted together, coloured a little with lamp black, and diluted with spirits of turpentine, so as to work freely with a camel hair pencil, draw any let- CURIOUS ARTS. ^B ters or tigures on the steel, while it is a little wnrm. When the steel has become cold, wash it over with muriatic acid, diluted with two parts water, to one of acid ; thus take off the blue colour, and then wash it with clear water. Af- terward the varnish, being warmed a little, may be readily washed off with spirits of turpen- tine, and the letters or flowers will remain blue. J^ote. — If letters arc formed or poli>hed steel with this variiish, and the body of the metal be also covered wiih it, except a small space round the letters, and then bathed with muriat- ic acid, the space round the letters, will be- come a dull iron colour, while the letters and the body of the steel will retain their polished surface and brilliancy. 38. To PRESERVE THE BRIGTNESS OF POLISH- ED STEEL. — Grind an ounce of native pluraba*- go, (such as is used for making lead pencils,) very fine in a gill of spirits of turpentine; then add an ounce of clean bees wax ; apply a gen- tle heat, till the wax is melted, and continue stirring it till it is nearly cold. Brush over the steel with this composition, and when the spir- its have evaporated, rub the work hard with a piece of glove leather, and wipe off nearly all the wax, that the metal may retain its. bright- 40 CURIOUS ARTS. ness. This may be applied to iron or steel in machinery, or other work, and will be "found to answer a much better purpose than oil, as it is less liable to collect dust from the atmosphere, and is, in general, much more durable. 39. To GIVE STEEL A TEMPER TO CUT MARBLE. —No temper can be given to steel, in which hardness is combined with tenacity, more than in that given to files, at the file manufactories, which is accomplished by the following pro- cess. — To boiling water, add about twice as much finely ground m uriate of soda, as the y^/ water will dissolve, and as much rye flour as ^f will, wi*h the other, make a thick paste ; lay a coat of this paste over the steel, (which must be ground, or filed previous to tempering,) and subject it Lo a full red heat, in a fire of char- coal, mixed with about a third part of animal coal, (coal of bones, horns, leather, &c.) and then suddenly plunge it three or four feet deep, in exceeding cold water. By thus immersing the steel rather deep in the water there is a dou- ble advantage ; for the water which becomes heated, by contact with the steel,vvill rise and its . place be supplied continually by fresh cold \va- ♦er; and at the same time, the pressure of th^ OURIOUS ARTS. 41 water on the coating of paste, Avill make it ad- here inoue closf'ly to the steel while it is cool- ing. . The paste maj' then be shelled off, and the steel will be found as bright as before, oi at least, will not have been essentially oxjdized by the operation. 40. To WASH IRON OR STEEL WITH COPPER. — Dissohe sulphate of copper in water, in the p-oportion of one to three ; wash the iron or steel with ii, and it will instantly be covered with reduced copper. This is best performed hy api^lying the solution with a l;rush, which must be followed directly with a sponge of clear water. In this manner any letters or figures may be drawn with a camel-hair pencil, or a pen, and if it be on polished steel, the letters or {lowers will assume the brilliancy of the steel and appear like highly polished copper. It may sometimes be requisite to cleanse the metal by washing it with diluted muriatic acid, that the copper may adhere the more readily. If the steel thus ornamented, bie held over a charcoal fire, the copper figures become blue fii*st; and when the steel becomes blue, the copper takes a gold colour : btit is 42 - CURIOUS AETS. restored again to its original colour, by diluted muriatic acid. 41. T- GIVE IRON THE WHITENESS OF SILVER. To nitric acid, diluted with an equal quantity of water, add as much mercury as the acid will dissolve ; ihen add to the solution, three or four times as much water, and having giv- en the iron a coat of copper, as directed in the last experiment, brush it over in the same man- ner with the diluted nitrate of mercury ; its ap- pearance will be equal, if not superior to that of real silver. In this manner any common, or rough iron work, may be apparently silver- ed at a most insignificant expense. 42. To WASH IRON WITH TIN. — Small pieces of iron may be tinned, after being filed bright, bv washing them with a saturated solution of mariate of ammonia in water and dipping thfem, while moist, in a vessel of melted tin. If the iron is of such form as cannot be conve- niently filed, it may be immersed in nitric acid, diluted with as much water as acid ; when the acid begins to act sensibly on every part, it may be washed with water, and then with the muriate of ammonia, and if a little fine rosii^ CURIOUS ARTS. 43 he sprinkled on it previous to dipping it in the tin, it may be an advantage. The iron must remain in the tin till it becomes nearly as hot as the tin, otherwise it will be coated too thick. Muriatic acid may sometimes be used, instead of muriate of ammonia, and if the iron is not filed, it will answer a better purpose. The in- side of cast iron vessels may be tinned as fol- lows : Cleanse the iron by scouring or rub- bing it with a sharp grained stone, keeping the iron wet with diluted nitric acid. As the raost prominent parts of the iron will be first bright- ened by the stone, the acid will also commence its action on the same 'parts, which will very much facilitate the work, while the hollows, and deeper parts of the surface, will remain' untouched till the iron is nearly smooth. When this is accomphshed, wash the iron with water, "lud then with clear muriatic acid; turn tl?b vessel over to drain off the superfluous acid ; ^hen set it upright, and fill it with melted tin, ^ "A'hich must bs poured in cautiously, directly on the bottom of the vessel first, and the stream of tin increased till the vessel is full; then pour out the tin suddenly, and invert the ves- el till it is cold. Sheets of iron are tinned, in he manufactories of tin plate, by immersing 44 CURIOUS ARTS. the sheets, endwise, in a pot of molted tin, the top of which is covered wiih about two inches depth of tallow. This tallow answers a bet- ter purpose, after it has become brown by use, than it docs at first. The only preparation of the iron sheets is, to scour them perfectly clean and bright. 43. To GIVE TIN THE WHITENESS AND BRIL- UANCY OF SILVER. — To tiT\ outtcc of nitric acid, diluted with an equal quantity of water, add nearly an ounce ot mircury, or as much as the acid will dissolve. When this is dissolved, add to the solution, gradually, half an ounce of sulphuric acid ; this will precipitate the mercury in the form of a white powder ; when this has subsided, pour oft' the acid and add Clearwater; thus wash the powder from the acid, then pour off the water, and while the precipitate is moist, (or if it be suffered to dry, it may be again moistened with water,) rub it over the tin wit'i a piece of glove leather. — Then wash the tin with water, and when it is dry, rub it pretty hard with a piece of fine woollen cloth ; it will resemble poHshed silver. 44. To GIVE TIN A CHANGEABLE (SRYSTALLINE A-ppEABANCE. — Clcanse the tin by washing it CURIOUS ARTS. 45 with warm soap and water, and rinse it in clear water. Then heat the tin to the temperature' of bare sufferance to the hand, and pour on it, or apply with a brush or sponge, a mixture of one ounce of muriatic acid, with one fourth of an ounce of sulphuric acid, and two ounces of water; then immediately wash the tin in clear water. Another method is, to apply in the same manner a solution of two ounces of muriate of soda, in four ounces of water, with one ounce of nitric acid. In either case, if the crystalline figures are not bold enough, the op- eration may be rrpt ated. If a very small fig- ure is required, the tin may be heated nearly to flowing, and plunged into cold water, slight- ly acidulated with nitric and muri tic acids. If a little solder is drawn over the tin with a hot iron or copper, in surh manner as to form a cross, or circle, and the opi^osite sidf of the tin be afti rwards crystallized, it will have a beautiful efi\ci. 46. To MAKE A GOLD COLOURED VAUNISH FOR TIN — To haif a pint of alcohoi, in a flask, add one ounce of gum-shellac, and half an oukcc of turmeric, both in powder; set the flask in a warm place, frequently shakmg it, for twelve hours or 46 CURIOUS ARTS. more ; then filter or strain off the liquor, which may be occasionally diluted with new rum. — If a colour is required resembling duich gold, a small quantity oi dragon's blood may be ad- ded, or substituted in the place of turmeric. — When this varnish is used, it must be applied to the work freely and flowing, and mu*t not be brushed or rubbed while it is drying. One or more coats of this varnish (o ■ laquer as it is sometimes called) may be laid on the work, as the colour is rcquiieJ (o be deeper or lighter. Xote. — To make a rose coloured varnish, pro- ceed as above directed, only substitute one- fourth of an ounce of the best lake, finely o-round, in the place of turmeric. A transparent blue varnish nvAy also be made by means of Prussian blue ; and pu. pie or green, by adding a little blue to the gold, or rose coloured var- nishes. These laquers are frequently employ- ed for washing silver bronzed ornaments, to give them the appearance of gold or copper. 4f5. To MAKE SHELLAC VARNISH FOR JAPANNING. — To one quartof the best alcohol, add half a bound of the thinnest and mo.=t transparent gum shellac ; mix and shake these together, and let them stand in a warm place for two or thr^e CURIOUS ARTS. 47 days; then strain the varnish through a fine flannel, and bottle it. Shellac varnish is used for japanning lamps, tea trajs, &.c. Any of the colours commonly u^ed for oil painting, may be ground in this varnish and should be applied to the work with a smooth brush, and in a wa'm piace; and the work to be jiijian- ned, should be perfectly drj^ and warm. jVote. — IVlost of the write son the subject of japan- ningj, hive recom nend»^d seed-lac varnish ; but it is a fact, though not so generally knov>n as it ought to be, that sheliac and seed-lac are the same sul>st'ince ; the onlv difference is, that shellac is in a more clarified and refined state, than that which is called seed-lac, 47. To MAKE THE BEST COPAL VARNfSH. Take one pound of gum copal, and melt in a fl sk over a briskfireof charcoal; at the same time in another flask, boil, or heat to the point of boiHng, one pint of linseed oil ; as soon as the gum is melted, take it from the fire, and add the hot oil in small quantities, at the same tisne stirring or shaking it till the'y a e thoroughly incorporated. Allow the mixture to cool below the boiling point of water, and then add nearly a quart of spirits of turpentine : — cork the flask 48 CURIOUS ARTS. slightly, and expose it for a few clays to tiie rays of the sun, which will make it work more smooth and shining. If a larger quantity is to be made, a coj)per boiler, that is small at the top will answer to melt the gum in. Fo> ordi- nary or coarse work, a larger proportion of oil and a little rosin may be added. If oil is used in which red lead and lith;>rge (in the propor- tion of half a pound of each to a gallon of oil) have been previously boiled, the varnish will the sooner dry. 48. To MAKE A SPIRIT VARNISH FOR PICTURES AND FANCY BOXES. — To 8 pint of alcohol, in a fllask, add four ounces of gum-mystic, and one ounce of gum-sandarac, both in powder; ex- pose the mixture to a gentle heat, sufficient to produce a slight cbulition for a few minutes, fre- quently shaking it, and the gums will br dissol- ved; strain the varnish through a fine flannel, bottle and cork it. Some recommend the addi- tion of Venice turpentine, by means of which, a small quantity of gum copal, finely powdered, may also be dissolved, but as venice turpentine contains a po^'tion of spirits of turpentine, it ren- ders the varnish too penetrating for many pur- poses; and even the gum-sandarac may b(^ CURIOUS ARTS. 49 omitted without any essentia! disadvantage. This varnish should be a little warm when used. 4^. To MAKE ELASTIC VARNISH FOR UMBP EL- LAS, oa HAT CASES. — To a pint of spirits of tur- pentine, in a flask, add one ounce of gum elas- tic, rut into very small pieces ; put in the cork slightly and set the flask in a warm place, where the heat may not be equal to that of boiling wa- ter, till the gum-elastic is dissolved, which may be eff'ected in four or five hours. Then strain the solution through a strong linen or cotton cloth, and add half a pint of boiled linseed oil. J^'oie. — A larger proportion of gum-elastic may be dissolved, and aless cjuantity of oil added, by which means the varnish will be more elastic, but will not have so smooth and permanent a gloss. 50. To VARNISH MAPS AND PICTURES. — Take a piece of linen, or cotton cambric, rather larger than the map or picture to be varnished, and draw it straight upon a frame of conven- ient size, and confine it at the edges by small tacks or nails Lay a thin coat of fine rye e2 30 CURIOUS ARTS. flour pasfe on this, and on the back of the pa« per that is to he varnished ; lay the paper on the cambric and press them together till the paper adheres firmly in ever}"^ part. When this is dry, give the lace of the print two or three coats of a strong solution of gum-arabic hi water, allowing each sufficient time to be- come perfectly dry. This sizing must be ap- plied with a large smooth brush, and must be spread over the work very quickly, and with as little brushing as possil^le. Afterwards, give the work one or more coats of the varnish described at 48. J\fote. — Very small prints may not require to be pasted on cambric; and if the paper be very thick, the varnish may be applied without the previous sizing. Ising- glass, (which may be readily dissolved in boil- ing water) is sometimes added to the gum-ara- bic, and increases the strength of the sizing, but is somewhat less transparent than pure gum-arabic. A more simple method of var- nishing prints, is to si/e them with a solution of loaf sugar, and finish with a solution of ros- in in spirits of turpentine. 51. To MAKE BRUNSWICK BLACKING FOR PIC- TUBE GLASSES. — Take one pound of gum-asphal- CttRIOUS ARTS. 61 turn and melt it over a slow fire ; thrn take it fiom the fire and add spirits of turpentine in small quantities, stirring it briskly till it is of the consistence of varnish. As there is some danger of its taking fire when the spirits of turpentine is added, it may be well to be p''o- vided with a piece of wet flannel, to throw over it if that should happen. When it is nearly cold, strain it through a flannel, and bottle it for use. This blacking is u>ed for ^ordering picture glasses, and is probably the most perfect black in nature. It is water proof and dries very quick. 52. To MAKE A PRINT APPEAR ON A GOLD GROUND. — Dilute Venice turpentine with spirits of turpentine till it works fieely with a camel- hair pencil; lay a coat of this varnish on any part of a print or picture, observing to keep the pencil within the lines, that the varnish niriy not spread beyond. Then lay a coat of the varnish on the same part of the back of the paper and lay on a leaf of gold over the varnished part ; press down the gold very gent- ly with cotton, and the varnish having render- ed the paper transparent, the face of the pic- ture will appear as if those parts were printed 02 CURIOUS ARTS. in gold. By this varnish (which is Ipss liable to spread in the payjcr than oil) pictures may be so prepared, that the colours of various parts of them, may be varied and ch;inged at pie- sure, by placing pieces of siik or paper of different colours on the back of them. 53. Bfst method of tracing or copying A PICTURE. — Perhaps thr most simple method of copying the outlines of a pii ture, is to place the picture against a window, with the paper over it, on which the copy is to !>e drawn ; the principal lines of the picture will be seen through the other paper, and may readily be traced with a lead pencil. But the usual man- ner of copying, in landscape painting, and which will answer for pictures of any size, is to rub over the back of the picture with plum- bago, or red orhre; then lay the picture on the ground that is to receive the copy, and trace the lines with a smooth pointed steel, or piece of hard wood. The ground will thus be very accurately and distinctly marked, by the plumbago or ochre adhering to the ground in the lines that are traced. When several copies are to be taken from the same pattern,, (which frequently occurs in ornamental paint-' CURIOUS ARTS. 5S ing.) the outlines of the first copy may be per- forated with some pointed instrument, so that being laid on the other grounds that are to re- ceive the copies, and brushed over with a lit- tle fine dry w hiting. or red ochre, (as the case mny require) the whiting or ochre will pene- trate the pel forated lines of the patlern, and thus mark the ground on which it is laid. 54. The CONSTRUCTION and use of a copy- ing MACHINE. — Take two strips of wood, which may be aloul three feet long, one inch wide, and one-fourth of an inch thick; lay them on a table, parallel to each other, and eighteen inches apart. Across these, lay three other strips, which must be eighteen inches long, that each end of each I'iece may rest on one of the longer strips. Two of these must lie across the opposite ends of the longer pieces, and the other across the centre, thus forming two squares. Drive a pin through the ends of the short pieces, or confine them by rivets to the others, but not so as to prevent their play- ing circularly on the rivets. Then drive a pin or pivot through the centre of the middle cross- bar into the table, or board on which the work ?ies. In one end of one of the long strips 54 CURIOUS ARTS. (which may project a little over the cross-bar) fix a lead pencil, wiih the point downward, so that it may bear lightly on the bonrd ; and un- der this pencil, place the paper that is to re- ceive the copy. And in the opposite end of the other piece, fix a smooth iron point, in a manner similar to that ofe.the pencil, and under this point place the picture that is to be copied. Then with the iron point, carefully trace the lines of the picfure, and the pencil in the op- posite corner will move in a transverse direc- tion, and draw the same picture very accurate- ly on the other paper. If you fix the pencil half way between its fc^rmer place and the middle crosh-bav, and remove the pivot to a point that is directly in a li^e with the pencil and the iron point, it will give a copy in ex- act proportion, but onlj' one foui'lh part as large as the picture that is copied. Thus the copy may be decreased or increased to any size, and still retain its regular proportions. In this manner, painting on wood or canvass may be copied, w'lich could not readily he done in any other way. 55. To PRODUCE THE EXACT LIKENESS OF ANY ©EJECT, iNSTAKTLY ON PAPER. — This may be CURIOUS ARTS. 56 reauily effected by laying the paper on a ta- ble, and holding a double convex lens (a com- mon sun-glass^ over it, and then placing a mir- ror over the lens, in an oblique posi ion so as to face partly downward, and partly towards the object that is to be represented. The rays of light passing from the object to the mirror, will be reflected downward through the lens, and produce the likeness of the object in full colours on the papet'., This experiment may be easily made in ihe evening, by reflecting the flame of a candle in this manner, which will * appear very brilliant on the papr-r. But in or- der to render the reflection of an object dis- tinctly visible by day light, it maybe requisite to exclude nearly all the light from the paper, except what falls through the lens. In all cas- es, the lens must be placed at a distance above the paper, according to its focus, or the dis- tance at which it would contract the ra^ys of the sun to the smallest point. A very conven- ient camera obscura, for drawing landscapes, or even portraits may be constructed as follows; Make a box of boards, in the form of a regular" cube,t).eingone foot in length, breadth and height; bor a hole of one inch dia neter, through the centre of the top ; and on this, fix a double 36 CURIOUS ARTS. convex lens, the focus of which must reach the bottom of the box. Make an aperture of about SIX inches in length, and one in breadti;, through one side of the box at the top, by shaving off, or hollowing the edge in such manner that when you put your face to the aperture to look into the box, it will exclude all the light except what falls through the lens. Make a hole through each end of the box, near the bottom, large enough to put in the hands, with paper and pencil. On the top of the box, on the right and left sides of the lens, fix two pieces of boards, which may be about four inches high, eight inches long, and three inches distant from each other. Between these boards, fix a piece of looking glass, three inches square, and fac- ing from you; the lower edge of the glass, be- ing near the lens, on the side towrw ds you ; and the upper edge inclining towards you about thirty degrees from a perpendicular. Directly over, and nearly four inches above the lens, place another mirror, the centre o' which must face directly towards the lower edge of the first. Cover the glass-box so as to exclude all the light from the glasses except what falls on them horizontally from objects directly in front of you, and place a sheet of paper on the bottom CURIOUS ARTS. 67 of the box inside. The rays of lierht, passing from objects in front, will be reflected tVom the first mirror to the second, and fiom the second, through the lens to the paper, where you will have a perfect similitude of the objects in view, in full colours, and true perspective, and may trace them on the paper, with a pencil or pen, 56. Copper-plate engraving. — Fo'" this pur- pose, provide a plate of copper, rather larger than the design Uiat is to be engraved, and may be about one sixteenth of an inch thick ; plan- ish by rubbing it, fir.-t, directly length-wise, and afterwards breadth-wise with a piece of pum- ice-stone, which may be dipped occasionally in a mixture of one part nitric acid, with six or seven parts water. — Then wash the copper with clear water, and rub it with an oil stone that h;is a plane surface; and then polish it with a piece of charcoil, that has been ignited to redness and quenched in cold water. After- wards burnish the copper by rubbing it with polished steel. Lay a piece of transparent pa- per on the design that is to be engraved, and trace the principal Hues with a lead pencil ; — then brush over the copy or tracing with dry F 1(8 CURIOUS ARTS. red ochre, and having rubbed the copper plate with a piece of bees-wax, lay the red side of the tracing on the plate; then with a smooth iron point, trace the same lines again, that they ma}^ thus be trajisferred to the plate by means of the red ochre and wax. Take up the paper and trace the lines on the plate with a needle, thus scoring the lines slightly on the copper. Then warm the plate and wipe off the wax, or wash it off with spirits of turpeniine, and rub the plate with fine dry whiting. The next instru- ment to proceed with is the graver; consisting of a bhide of steel about three inches long, which is fixed in a convenient handle like an awl. . The form of the grave.r should be trian- gular, or between a triangle and lozengr, hav- ing two sides plane and the other round or swell- ed; and should taper regularly from the han- dle to the point, or nearly so, but the point must be ground off obliquely so that the edge may extend a little farther than the back; and the edge should rise a little rounding towards the point. It is very essential that the edge and point of the graver should be kept very sharp. The m:mner of holding the graver, is to take the handle into the hollow of the hand, pressing it with three fingers, on one side, and the thumb CCTRIOUS ARTS. 59 on the other, and extend the fore fino-er on the back of the blade towards the point. — The edge of the graver must rest on the plate, and its motion when cutting muist be endwise in all cases ; though there evidently m.ight be a grav- er constructed, which might, in some easel, be handled in a manner more similar to that of a pen or pencil. A graver of a square form may also be requisite, for cutting large and broad lines occasionally. In proceeding to engrave the plate, begin with the outlines, observing to press harder or lighter on the graver, as the lines require to be larger or smaller, and finish each line with the same motion if possible, without taking the graver off the plate. Hav- ing cut the outlines, proceed to fill up, and shade the work discretionally, according to the design. It may le requisite, after part of the ■work is engraved, to scrape it lightly with the edge of the graver, to take off any roughness, that may have been formed on the part engrav- ed. If after finishing the design, any part ap- pears to have been improperly executed, such parts may be erased by the burnisher, and may be re-engraved with the requisite amendments. 60 CURIOUS ARTS. 57. Etching on copper plates. — Melt to- gether two ounces of bees-wax, and one ounce of Venice turpentine, and when the wax is melted and boils, add by small quantities, two ounces of gum-asphaltum, stirring the mixture hriskiy at the same time ; and when the mix-' ture is wes, virgin wax, calcined asphaUum, gum mastic, amber, colophony, greek pitch, burgun- dy pitch, black pilch, resin, shoe makers' wax, &c. &c. are mentioned. But it is believed that the above described varnish, while it is much more simple, will answer equally as well for young practitioners ; and it is not expected that any will attempt very nice work, without fur- CURIOUS ARTS. 63 ^ ther information than they could expect to ob- tain from the sketches in this little collection. 58. Engraving and scraping in mezzotinto. — Having prepared a plate of copper, proceed to score it so full of lines, cross-lines and diag- onal lines, that when they arc filled with ink, the plate may appear quite black. For this purpose an instrument will be requisite that is fashioned similar to a chissel, the round or slop- ing side being scored or filed near the point, with lines or notches very near to each other, so as to form a set of sharp uniform teeth at the edge ; this instrument is called a cradle, and should be a little round at the corners. This cradle must be moved over the plate, in the ( manner of a graver, scoring the plate uniform- ly in various directions. When the scoring is ' finished, take a scraper, which may be similar to a knife, having two edges, and sloping on j each side towards the point ; with this, scrape oft'the roughness of the plate, in such places as is required to be the lightest in the print; such parts as recjuire to be shaded partially, may not be scraped so deep, while the points that ai e to be the brightest may be burnished quite smooth with the polished end of a piece 64 CURIOUS ARTS. of sleel, about the size of a large nail, and some of the heaviest out-lines ma)' be cut with a graver. Thus any poriraits or other figures may be formed on the plate, with due propor- tion of light and shade, and will, if properly managed, give an impression on paper, equal in elegance to any that might be produced by other means. 59. Etching in aqua-tinta. — Polish the plate of copper, the same as for engraving; moisten the plate with water and sift on finely powder- ed rosin and gum asphaltura, so as to nearly cover the plate ; then warm the plate sufficient to make the powder adhere, but not to melt it entirely. Transfer the design to the plate, and cover such parts as are intended to remaiis white, with a varnish composed of bees wax and linseed oil, which may be coloured a very little with black, and must be applied to the work, while warm, with a camel hair pencil. Then fix a border of wax round the plate, and pour on diluted nitric acid. In about one min- ute, pour off the acid, and wash theplite with clear water, but without refecting the varnish ; — dry the plate, and apply the varnish to such parts of the design as are intended to have but, CURIOUS ARTS. 65 a faint shade ; then apply the acid for a minute or two longer. Thus proceed biting in, and stopping out alternately, till every part of the design has acquired its proper shade. But if any part requires a darker shade than the ground, the powdered rosin may be removed from such parts with a scraper. When the plate has become sufficiently corroded, the varnish may be washed off with oil, or spirits of turpen- tine, and the plate may be cleansed with whit- ing. 60. Copper-plate printing. — The paper on ■which impressions from a copper-plate are to be taken, should be moistened, or wet down two or three days previous to printing ; this is performed by dipping the sheets in water sev- erally', and then laying them all together under a heavy Aveight till they are used. When the paper is ready, the copper-plate may be warm- ed over a chafing dish of coals, and the engrav- ed side completely covered and all the lines fill- ed with common printing ink, or ink made of Frankfort black, finely ground in old linseed oil. This may be done by means of a printing bab, or the ink may be spread on the plate with a smooth stiff brush. The plate may then be 66 CURIOUS ARTS. wiped with a piece of linen or cotton cloth, and afterward with the hand, being passed slowly but hardly over the plate to take off all the ink except what remains in the lines of the engrav- ing; to accomplish which more effectually, the hand may be rubbed occasionally with dry whiting. When the plate is thoroughly clean- ed of the redundant ink, it may be laid on the table of a rolling press, and having a sheet of the moistened {)apcr laid upon the face ot it, and a piece of fine broad-cloth over the paper, the whole may be passed through the press. Then on taking up the paper, it will be found to have received a black impression from the plate, according to the engraving or etching, and the plate may be (gain carried to the lire, to be blacked again as before. This is the us- ual manner of printing; but when a rolling press is not at hand, the plate and moistened paper may by other means, be pressed hard and firmly together, and the paper will have received the impression e-qually as fair. Any of the -colours, commonly used in oil painting, being ground very thick in oil may be substi- tuted for ink in copper-plate printing. The plate, after being used, should be wiped clean with a piece ot flannel, moistened with olive oil. CURIOUS ARTS. 67 61. Etching letters or. flowers on glass. — Select a piece of glass that is thick and straight, and lay a coat of melted bees-wax on the fair- est side ; then with a needle, pen-knife, or any- other convenient pointed instrument, trace any design, or picture, which being placed under the glass, may be seen through the wax ; or form any letters or figui-es on the glass, care- fully cutting or scoring quite through the wax, and making the Unes large or small as occasion may require. Then warm a piece of the wax, so as to form it into a roll, about one fourth of an inch in diameter; lay this roll round the work upon the glass, and press it down so as to make it adhere to the glass, thus forming a border. Then take some finely powdered flu- ate of lime, and strew it evenly over the glass, on the waxed side, that it may fill all (he lines in the wax; and then gently pour upon it, so as not to displace the powder, as much sulphuric acid, diluted with thrice its weight of v.'ater, as is sufficient to cover the powdered fluate of lime. Let every thing remain in this state for three hours ; then pour off the mixture, and clean the glass, by washing it with spirits of turpentine. The figures which were scored in the wax, will be found engraven on the glass ; 68 CURIOUS ARTS, while the parts which the wax covered, will be uncorrodcd. — This glass plate may be charged with ink, (or any thick oil paint) and impres- sions may be taken from it on paper, the same as from copperplates, only caution is requisite, that the glass be not broken by the pressure, JVb/fi.— The fluoric acid, which is partly absorb- ed by the water, in the above process, being very corrosive, should not be suffered to touch the hands, nor any valuable vessel whatever. 62. To PRINT FIGURES WITH A SMOOTH STONE, —Take a piece of marble or slate, and form a smooth plane surface on one side, and on this, paint any letters or figures with common oil paint of any colour. When this is dry, wet the stone with water, which will not adhere to the painted figures, especially if the points were mixed with old linseed oil, that will produce a sharp gloss. Then apply a printer's ink-ball to the plane surface, by which means the dry painted figures will be covered with the ink, while the bare surface ofthesione, being wet, will not be blackened or affected by if. Presii the figured surface upon some moistened paper, and it will give a fair impression of the painted figures, on the paper. The block of stone must CURIOUS ARTS. 69 be then dipped in the water, and again inked as before. Thus many impressions may be taken with a tolerable degree of accuracy. 63. To CUT GLASS WITH A PIECE OP IRON. Draw with a pencil on paper, any pattern to which you would hnve thr gUiss conform ; place the pattern nndf r the glass, holding hoth togeth- er in the left hand, (for the gUiss must not rest on any plane surface ;) then take a common spike or some similar piece of iron, — heat the point of it to redness, and apply it to the edge of the glass; draw the iron slowly forward, and the edge of the glass will immediately crack; continue moving the iron slowly over the glass, tr-.icing th.e pattern, and the chink in the glass will follow at the distance of about half an inch, in evi^ry dii-ection according to the motion of the iron. It m:iy sometimes be found requisite, however, espi'cially informing corners, to apply a wc!. finger to fhf^ opposite side of the glass. TumHlrrs and other glasses may be cut or divided very fancifully hy simi- lar means. The iron must be reheated as of- ten as the crevice in the glass ceases to loUow, 70 CURIOUS ARTS^ 64. Best cement for joining glass.- — If the glass is not likely to be exposed to moisture, the pieces may be joined by a solution of equal parts of gum-arabic and loaf sugar in water; or if these are not at hand, the white oi an egg may answer nearly as well. But a strong wa- ter proof cement that is equally transparent, may be made by digt'sting finely powdered gum-copal, in thrice its weight of suipuric ether tilUt is dissolved. This solution may be ap- plied to the edges of the broken glass, with a camel hair pencil, and th< pieces must be put together immediately and pressed close till they adhere. 65. Best cement for joining china or CROCKERY. — H« at a pit ceot chalk to a full red heat in a fire; and while this is healing, take the" white of an egg, and mix and beat tog^th- er with it, one fourth of its weight of powder- ed or scraped ch(^i se, (such as is most voiti of cream, or; oily matter is preferable) or the curd that is formed by adding vineg;ir to skimmed milk; — take (he chalk from tee fire, and before it is cold, reduce it to powder, and a'id as much of^it to the mixture as will form a fhirl piste, and beat them anew all together, and u>o tlu; CURIOUS ARTS. 71 composition immk, with af oui ft)ur ounces of alcohol; susfi'-nd this ov^r a fire so as to boil it gently for an hour, having the cork set in slightly to prevent its t^kii.g fire, hu' not so as to prevent thf> Vi^p' ur entirely. Th* ii take out the paper ((!;e only use of whi. h is to give the glue more surface for the action of the alcohol) and add one ouiue of gum'shellac in powder ; continue the heat, often shaking the mixture till the shellac is dissolved. 1 hen evaporate it to the piopi T consistence for use. Mote. — Many ex- pf'riments have been made, in order to discov- er some aqueous size, that when dry, would resist moistur< : and some have recommended ckimmed milk, and ottiers vinegar as a men- 12 CURIOUS ARTS. struum for the glue. But it does not appear from trial, that either of these are but very lit- tle better for this purpose than water; nor is it probable that any similar tuimposition of size will resist moisture much better Ci\\n comnion glue, especially if it be mixed with t>ulptate of lime, or some similar substance by way of support. 67. The art of moulding figures in re- lief. — Mix together and temper with a solu- tion of gum-arabic in water, on^ part of clean sifted wood-ashes, and two parts ol fine sulphate of lime. Knead this composition on a board, till it has the consistence of putty. Press a ball of this putty on any medal, coin or carved work in relief, (which must be previously oiled) and let it dry; then take off the mould thus formed, and oil the part that has received the impression of the figure, with olive oil ; — make a small orifice through the mould, from the Centre, or deepest part of the impre-^sion; al- so, pare oft' the border of tne mould, to within half an inch of the impressed fiuurc. Then lay a small piece of the putty on the board and press the mould down hard upon it, that it may not only fill the mould, but that the CURIOUS ARTS. 73 redundant part may he pressed out beyond the border of the mould : raise the mould a little and blow through the orfice, to detach the new moulded figure from the mould. Thus any number of figures may be readily pro- duced, suitable for ornamentmgchimnf}' pieces, or mouldings, and which will be very hard when dry, and may be painted with any col- oured oil paints, which will also preserve them from moisture. 68. To CAST IMAGES IN PLASTER. For thls purpose a model of the figure that is to be cast, must be provided, and suspended by a rod or staff, one inch in diameter, and fixed in the top of the head. This model may be made of wood, chalk, or any other substance that is smooth," and sufficiently cohesive to support itself. This being prepared, mix fine sulphate of lime with water, to the consistence of soft putty, and having brushed some olive oil over the model, cover it completely with the plaster, which must be applied, and spread over it with the hands, to the depth of two inches or ni fote. — In handling phos- phorus, it is proper to have apiece ofpnper or cloth intervene between the stick of phosjihos us and the fingers ; and the phosphorus should be kept under water except when wanted for use. 76. To MAKE SUPER-COMBUSTIBLE MATCHES. Pr' pf re any nunjber of small strips or splinters of pine or other light wood, which may be about two inches in length and one twelfth of an inch in diameter; dip one end ofea< h in melted sul- phur to the depth of one fourth of an inch. "V\ hen they are cold, scrape off most of the sul- phur, and dip the ends of them slightly in a paste made of ten parts of chlorate of potass, five parts of loaf sugar and one part of red lead, ^gURlOUS ARTS. 79 mixed and ground toirethcr in alcohol. After- wards they may be readily ignited or kindled at any time by application of the smallest cjuan- tity of sulphuric acid. For this purpose, the ends of them may be dipped or rather barely touched to the acid in a phial, or, which is a bet- ter way, a strip of glass, or even wood may be dipped in the acid and applied to the match. 77. To MAKE GUN POWDER. — PuIvcrizc sep- arately, five drachms of nitrate of potass, one of sulphur, and one of newly burnt charcoal. Mix them together with a little water, so as to make the compound into a dough ; form this dough into rolls of the size of a small wire, which may be done by rolling small quantities be tween two boards. Lay a few of these rolls together, and cut them into very small grains, and place them on a sheet of paper, in a warm place, to dry. The dough may be prevented sticking tothe board while rolling it, by rubbing on the board,a little of the dry compound pow- der. When the grains are thoroughly dry, they arc ready for use or experiment. On the same principle, gun powder is manufactured on the large scale, but then the several parts of the 80 CURIOUS ARTS. operation, are performed by machinery, otii- erwise it would be a very expensive commodity. 78. To MAKE THE COMMON FULMINATING POW- DERS. — Grind and mix intimately, three parts of nitrate of potass, with two of sub-carbonate of potass, and one of sulphur. If half a drachm of this compound be placed on a shovel, and held over a gentle fire, it will soon explode with a loud report. It is not, however, attended with any danger. If two grains of chlorate of pot- ass in powder and one of sulphur be mixed to- gether, and wrapped in a piece of strong paper, and the paper be then struck with a hammer, it will also explode with detonation. This ex- periment may require some caution. Note, — The percussion powder, such as is used for priming the patent percussion rifles, is compos- ed of chlorate of potass, and flour of sulphur, •with a trifling proportion of charcoal and loaf sugar, being made into a paste or dough with alcohol, — then grained and dried. 79. To MAKE THE MERCURIAL FULMINATING POWDER. — Dissolve half an ounce of mercury in three ounces of nitric acid, assisting the so- lution by a gentle heat. When the solution CURIOUS ARTS. 81 is cold, pour it upon an equal quantity of strong alcohol previously introduced into a flask, and apply a moderate heat till effervescence is excited. (Do not forget that the mercurial so- lution must be poured upon the alcohol, and not the alcohol upon the solution.) A white fume will soon begin to undulate on the surface of the liquor, and flow through the nock of the flask, and a white powder will be gradually precipitated. As soon as any precipitate ceas- es to fall, quickly pour the contents of the flask on a filter; wash the powder with pure water, and cautiously dry it by a heat not ex- ceeding that of boiling water. The immediate washing the powder is material, because it is liable to the re-action of the nitric acid ; and while any of that acid adheres to it, it is very subject to be decomposed by the action of light. This powder, if very pure and nicely made, explodes by percussion, or a moderate degree of heat. Experiment, — Place one- fourth of a grain of this powder, between the ends of two slips of paste-board, and paste, or bind them firmly together; — hold the ends of the slips over the flame of a candle, and as soon as it becomes warm, it will explode with a loud report. This composition is less dangerous n 'S2 CURIOUS ARTS. than the fulminating compounds of gold or sil- ver, as it never explodes spontaneously; but yet it cannot be handled with too much caution. J^ote. — The silver powder, or fulminating sil- ver, with which torpedoes and Waterloo crack- ers are charged, is prepared in a similar man- ner; pure silver being dissolved instead of mercury, but it is too dangerous to be trifled tvith. 80. To KINDLE A FIRE UNDER WATER. Put into a deep wine-glass, that is small at the bot- tom, three or four bits of phosphorus, about the size of flax seeds, and two or three times the quantity of chlorate of potass, in grains or crystalls, and fill the glass nearly full of water. Then place the end of a tobacco-pipe stem di- rectly on, or over the chlorate and phosphorus, and pour nearly a tea-spoon full of sulphuric acid into the bowl of the pipe, that it may fall dirertly on the phosphorus; a violent action will ensue, and the phosphorus will burn vi- vidly, with a very curious light under the water. tSl. To LIGHT A CANDLE BY APPLICATION OF ICE. — Attach to the wick of a candle, a small CURIOUS ARTS. bS piece, or s;lobQle of potassium (the metallic base of potass) of the size of a small shot. Apply an icicle or point of ice to the metal, and it will instantly inflame. J^ote. — This curious sub- stance, which has the pecuhrir property of be- ing ignited by coming in contact with ice or water, has been lately discovered by Sir Hum- phrey Davy. It is produced by n)aking pure potass a part of the circuit of a powerful Vol- taic battery. It cannot be preserved but by being kept immersed in naptha, a kind of oil of which oxygen is not a co^ituent. 82. To FORM LETTERS OR FLOWERS OF REAL TLAME. — I^rovide a tin chest of aljout eighteen inches in length, equal in height and one inch in breadth. Chalk any design, of letters or flow- ers on the face of this chest, and pierce each line with rows of small holes, which should be about half an inch distant from each other. — Make an aperture at the top, through which pour about a pint of a mixture of rum and spirits of turpentine. Place two or three lamps undrr the bottom of the chest (which must be raised a little from the floor for that purpose) to warm the spirits, but not so as to cause them to boil. Stop the aperture at the top and af- 84 CURIOUS ARTS. ter eight or ten minutes (which time should be allowed for the vapour to expel the atmos- pheric air, which otherwise would cause an explosion) apply the flame of a lamp to the pierced lines ; — in an instant, all the lines will be covered with flame, which will continue till the spirits are exhausted. 83. To PRODUCE FLAME OF VARIOUS COLOURS. — This may be effected by mixing certain substances with burning alcohol, or by apply- ing them with the point of a pen-knife, to the wick of a burning lamp or candle. Thus a beautiful rose or carmine coloured flame may be produced by muriate of strontia : this is prepared by dissolving carbonate of strontia in oniriatic acid, and evaporating it to dryness. The pi-< paration for an orange colour, is muri- ate of lime; (a solution of miirble in muriatic acid, evaporated to crystallization) which should be exposed to a moderate heat till it is deprived of its water of crystallization and falls to powder. A fine green tinge is produced by acetate of copper, or boracic acid ; which last ' is procured by adding sulphuric acid to a solu- tion of borate of soda (in hot water) till it has a sensibly acid taste ; as it cools, the boracic acid CURIOUS ARTS. 85 IS deposited in crystals on the sides of the ves- sel. Camphor gives to flame a blue colour ; and nitrate of strontia (prepared the same as the muriate) a purple. A brilliant yellow may also be produced by muriate of soda. Any of these preparations being reduced to powder, may be ignited with three or four times their weight of alcohol, which should be previously warmed ; and if the vessel that contains it be kept heated also, the combustion will be the more brilliant, 84. To MAKE SKY-ROCKETS AND FIRE WHEELS. —Grind and mix together, (dry) one pound of gun-powder, ixvo ounces of sulphur, two ounces of nitrate of potass, and four ounces of newly burnt charcoal. Then make several strong paper cases or cartridges, by wrapping some strong paper (being moistened with paste.) fif- teen or twenty times round a mould made of wood, which may be one inch in diameter, and ten inches in length. One end of this mould must be made smaller, being only one fourth of an inch in diameter for the space of an inch of its length : The paper must be drawn up close round this neck, and strongly bound with twine, being thus brought to a shape similar to h2 86 CURIOUS ARTS. the neck of a phial. This neck is called the ciioke of the cartridge. Take the paper from the mould, and proceed in the same manner Wiih another. When a sufficient number of cartrid^^es are thus made and dry, place one of them in a socket which it will fill up closely, &UV. then fill the cartridge with the above de- scribed compound powder, which must bo thrown into the cartridge in small quantities, and each several quantity must be rammed or beat down veiy hard, with a suitable sized rammer and mallet. In filling the cartridge, small quanlilies of any of the flame-colouring preparations, described in the precfding arti- cle, may be added occasionally. When the cartridge is nearly full, some small barlls of cot- ton, dipped in spirits of turpentine, may be ad- ded, to produce the appearance called stars. — These also, may have some muriate of slrontia, or boracic acid strewed on them. Then place a circular piece of thick paste board, on the materials in the cartridge, having a small hole • through it, communicating with the powder be- low; lay upon this, half an ounce of fine gun powder, and fold the paper down upon it from §11 sides, cementing the folds firmly with glue, ihus giving the end of the cartridge a conical CURIOUS ARTS. 87 tbrm. Then bore a hole about two thirds of the length of the cartridge from the choke with a gimblet or bit. Fill this hole (which must be as large as the choke, but tapering towards the other end with fine gunpowder, to the choke, and fill the choke with the compound, the outside of which may be moistened a little, the better to keep it in its place. Finish the others in the same manner, and keep them in a warm dry place till used. They are then to be lashed firmly to the end of a light pine rod, with the choke towards the opposite end. The length of the rod, should be about nine times that of the cartridge. The rocket then being elevated by the rod, and being ignited at the choke, the compound inside burning in- tensely, acts upon the air, and causes it to as- cend. The cartridges for fire wheels, are pre- pared in the same manner, but are generally smaller; and instead of being lashed to a rod, they are lashed to the arms of a wheel, in such manner, that n violent rotary motion is produc- jed by their combustion. 85. To PRODUCE DETONATING BALLOONS. Moisten and compress a bladder till no air re- mains in it, and tic the neck of it upon a per- 88 CURIOUS ARTS. forated cork ; set the cork in a flask contain- ing the materials for producing hydrogen gas (see 9.) Thus convey into the bladder a quantity of the gas, and then remove the cork to another flask, containing two or three oun- ces of black oxide of manganese, moistened with sulphuric acid, sufficient to form with it a soft paste ; apply the heat of a lamp, and oxy- gen gas will be evolved, and will also rise through the neck of the flask ; in this manner, convey into the bladder, nearly half as much oxygen gas, as it previously contained of hy- drogen. Then tie the stem of a tobacco-pipe in the neck of the bladder, and dip the bowl of the pipe in a solution of soap in water, (soap- suds^) and compress the bladder a little, so as to swell a bubble from the bowl of the pipe ;— shake off the bubble, which being lighter than atmospheric air will naturally rise, or float horizontally in the air. If the flame of a can- dle be brought in contact with one of these balloons, or floating bubbles, it will explode with a violent detonation, resembling the re- port of a pistol. If this compound gas be for- ced into the water, so as to form several bub- bles on the surface, and flame be then applied to them, a volley of explosions will be the re- CURIOUS ARTS. 89 suit. Caution is requisite in these experiments, that the fire be not communicated to the blad- der, as such an explosion might not be saf^ 86, To PREPARE A PHIAL THAT WILL GIVE LIGHT IN THE DARK. — Fill a Small phial about one third full of olive oil ; add to this a piece of phos- phorus equal to one tenth of the weight of the oil. Cork the phial and wrap it in paper to exclude the light, and set it, or suspend it in a warm place, but where the heat may not be equal to that of boiling water, till the phos- phorus appears to be dissolved. This phial may be carried in the pocket, and whenever the cork is started in the night, the phial will evolve light enough to show the hour on a watch. 87. To MAKE A person's FACE APPEAR LUMIN- OUS IN THE DARK. — Prepare some phosphorized oil, (as directed 27,) and rub it over the face. This oil, though it appears luminous in the dark has not power to burn any thing, so that it may be rubbed on the face or hands without danger; and the appearance thereby produ- ced, is most hideously frightful. All the parts of the face that have been rubbed, appear try 90 CURIOUS AETS. be covered with a luminous bluish flame, and the mouth and eyes appear as black spots. — The luminous appearance may also be repeat- edly heightened, by the friction of a handker- chief, being rubbed over the luminous part. 88. To FREEZE WATER IN WARM WBATHER. Draw a thread through a small glass tube j close one end and then fill the tube with wa- ter. Mix together equal parts of nitrate of ammonia and water, and immerse the tube in this mixture. The water in the tube will be frozen immediately, and may be drawn out by the thread. The same effect may be pro- duced by a mixture of one part muriate of am- monia, one part nitrate of potass, and three parts of water. For these experiments, the above mentioned salts should be fresh, dry and finely pulverized previous to mixing; the mix- ture should be made in a tin vessel that is coat- ed inside with bees- wax, and has a flannel wrapper round the outside, and the tube should be immersed quickly, as soon as the in- gredients are mixed. To produce a greater, or intense degree of cold, a small vessel of wa- ter is first set in one of those freezing mixtures till it becomes very cold, and then the due. CURIOUS ARTS. 91 proportion of the salts are added to that, and the tube, &:c. immersed in it. The water in the tube may also be frozen, by continually bathing the outside of it with sulphuric ether : the evaporation of the ether, carries off the caloric of fluidity, and the water congeals. 89. To CHANGE THE COLOURS OF ANIMALS. Any black, or dark coloured spots on some an- imals, especially horses, may be effectually changed to white, by means of any substance that will chafe or blister the skin ; thus a white spot of any shape may be produced on a black horse, by shaving; off the hair from the part that is to be thus marked, and applying a plaster of Spanish flies, or of quick lime moistened with vinegar; this plaster must be cut to the rsize •and form recpiired for the mark, and must be kept bound on, lill the skin is blistered, or nearly so. The next coat of hair will infalli- bly be white. White spots can be changed to black or brown, only by means of oils or grease. Bacon fat has been recommended for this pur- pose, but if the oil or fat of a bear can be pro- cured, it will prove more eflicacious, as this fat is well known to havp a remarkable tendency to darken the colour of animals and even com= 92 CURIOUS ARTS. plexions. But either of these, and in fact, ma- ny other kinds, will answer this purpose if properly applied, and frequently repeated. 90. To GIVE LEATHER A BEAUTIFUL METALLIC LUSTRE. — Levigate one ounce of soft lead-col- oured plumbago, and an equal quantity (in bulk) of lamp-black, in a gill of alcohol; then add half an ounce of loaf sugar, moistened with water and grind all together. The leather must first be brushed over smoothly with this composition, and when dry, it must be brushed hard and quickly with a dry smooth brush; or may be rubbed with a piece of woollen cloth. This blacking will be found useful for some ornamental purposes, but may be rather too brilliant for boots and shoes. This composi- tion, however, may be mixed occasionally with other kinds of blacking, and will tend to in- crease their brightness. 91. An EASY METHOD OF EXTRACTING THE ES- SENCE OF ROSES. — Take the leaves of roses, and pound or bruise them: then stratify them with an equal weight of muriate of soda, in a glaz- ed carthern vessel : — when thus filled to the top, cover it well, and set it in the cellar, and CURIOUS ARTS. - 93 let it remain at rest a month or more. After- wards, strain offthc essence therefrora, through a strong cloth by pressure. The essence thus procured, is quite equal if not superior for culi- nary purposes, to that which is procured by distillation. 92. To PREPARE VARIOUS KINDS OF ESSENfcES. —The manner of extracting the essential oils, being attended with considerable expense of preparations, of stills, &c. a particular descrip- tion of the process, would not, it is presumed, be sufficiently interesting to warrant its inser- tion. But the manner of reducing the oils to the state in which they are more generally sold, and is distinguished by the term " essen- ces" is as follows. To half a pint of alcohol, add one ounce of any of the essential oils, (lemon, cinnamon, foxberry, peppermint, &c.) and shake them together ; set the mixture in a warm place for a few minutes, and if then any .opaque or milky appearance remains, a little more alcphol must^ be added. When this has become clear, it may be diluted occasionally with new rum. The essences of foxberry and ^innamon are coloured with a few drops of tine- 94 CURIOUS ARTS. ture of red saunders ; and the essence of lem- on, Avith tincture of turmeric. 93. To PREPARE SODA wATER.^Only two ar- ticles are requisite for this preparation ; one of which is super-carbonate of soda, or of pot- ass (sal eratu?,) and the other is citric or tar- taric acid. The super-carbonates are formed by passing a stream of carbonic acid gas (which is produced by adding muriatic acid to pulver- ized marble) through a solution of soda or pot- ass in water ;— then evaporating till it crystal- lizes. Citric acid is prepared from the juice of lemons: and tartaric acid (which is more generally employed) is procured from super- tartrate of potass. But these being common articles of commerce, a more minute descrip- tion of the process of preparing them, may not, in this place, be expedient. The compound called soda-powders, consists of about ten grains of either of the super-carbonates, with an equal quantify of either of the acids, in each paper; this compound being dissolved in a glass of water, produces violent effervescence, and if drank off at the time, gives the water a smart and agreeable acid taste. The salt and acid, if mixed in powder, must be kept perfect- CURIOUS ARTS. do ]y dry ; otherwise, they would acton each oth- er, and soon be spoiled. On this account, they arc frequently prepared in separate papers, and sold by sets. Soda water is siniilarlj' pre- pared on the larger scale ; the salts and acid being put into a cask of water, which is so confined, that the carbonic acid can have no other vent than by forcing out the water through a pipe fixed for the purpose with a tube, &,c. 94. To PRODUCE METALLIC TREES. PrOCesS I. — Mix one part of a saturated solution of ni- trate of silver, with twenty parts of pure water, and pour the mixture upon two parts of mercu- ry in a phial. After some time (the mercury being left standing quietly,) the branches and the figure of a tree, formed of brilliant silver, will appear to grow from the mercury in a very beautiful manner. The silver in solution being thus robbed of its oxygen by the metal- lic mercury, and consequently precipitated. 95 Process 2. — Dissolve two drachms of acetate of lead, in six ounces of water; filter the solution, and pour it into a clean wide phi- al. Then suspend a granule of zinc, by a thread or wire fastened to the cork of the 96 CURIOUS ARTS. phial, in the middle of the solution, and place the phial where it will not be disturbed. Af- ter a few hours the lead, being de-oxydized by the zinc,' will be precipitated on the zinc, in the shape of leaves, which will have a very brilliant appearance. 96. To TIN COPPER By BOILING. — Boil half a pound of granulated tin, and six ounces of super tartrate of potass in three pints of water ; when they have boiled half an hour, put in any piece of copper ware, and continue the boiling fifteen minutes longer. The copper may then be taken out, and will have been handsomely coated with tin. 97. A METAL THAT WILL MELT IN HOT WA- TER. — Melt together eight parts of bismuth, five of lead and three of tin. This alloy, though hard and brilliant, when cold, is so ea- sily fusible that it may be melted on a paper, being held over the flame of a candle. Tea spoons may be made of ihis compound metal, which may be melted by putting them in a cup of hot tea. 93. Illustration of calico printing. — It frequently occurs, that substances of difler- CURIOUS ARTS. 9*1 ent colours, or even without colour, by coming in contact, produce colours very different from that of either of the ingredients when separate ; thus, if a sheet of paper be striped in one di- rection with a hair pencil dipped in a solution of sub-carbonate of potass; and then crossed with a solution of sulphuric acid, diluted with five times as much water, it will be colourless ; but dip it in a mixture of a weak solution of sul- phate of iron, and infusion of nut galls, and it will instantly become a beautiful plaid; the ground being purple, striped one way with black and crossed with white. If a similar paper be striped with sub-carbonate of potass, and crossed with infusion of galls, and after- ward dipped in a solution of sulphate of iron, it will become purple, yellow, black and white. Dip a piece of white calico in a cold solution of sulphate of iron and let it dry. Then im* print any figures upon it with a strong solution of colourless citric acid, and let this dry also* If the piece be then well washed in waim wa- ter, and afterwards boiled in a decoction of log- wood, the ground will be dyed either a slate or a black colour, according to the strength of the metallic solution, while the printed figures will remain beautifully w hite. Stain some parts of a I 2 98 CURIOUS ARTS. sheet of paper a purple brown, with a mixture of infusion of galls and sulphate of iron; stain other parts green with a mixture of tinctures of turmeric and litmus; stain other parts purple with juice of red cabbage; other parts red with tincture of litmus and muriatic acid ; oth- er parts yellow with tincture of turmeric : wash the remainder of the sheet with a solu- tion of sulphate of iron, which will remain white. Then print, or draw with a camel- hair pencil, any figure or figures on every part of the paper, with a solution of sub-carbonate of potass. On the purple brown, the figure will be black ; on the green it will be purple ; on the purple it will be green ; on the red it will be blue; on the yellow, red ; and on the white, it will take a yellow colour. Thus the figure will appear in colors different from the ground in every part. Immerse a piece of white cotton in a solution of sulphate of iron — it will re- main white; dip another piece in tincture of turmeric, it will take a yellow ; wet another piece with juice of red cabbage, containing also, a few drops of muriatic acid, — it will be red; dye another piece green, by immersing it in a mixture of tincture of turmeric and lit- mus : and another, purple by a mixture of in- CURIOUS ARTS. 99 lusion of galis and sulphate of iron. Let them dry; then immerse them all together in a so- lution of sub-carbonate of potass. The white will be changed to a yellow ; the yellow to a red ; the red to green ; the green to purple ; and the purple to black; and it is not improb- able that some black might be materially changed or bleached by the same simple solu- tion. 99. To PREPARE AN IMITATION OF GOLD BRONZE. — Melt two ounces of tin, and mix with it one ounce of mercury; when this is cold pulverize it and add one ounce of muriate of ammonia, and one ounce of sulphur, and grind them all together. Put the compound in a flask and heat it in a clear fire (carefully avoid- ing the fumes) till the mercury sublimes, and rises in vapour. When the vapour ceases to rise, take the glass from the fire. A flaky gold colored powder will remain in the flask, which may be applied to ornamental work in the manner of gold bronze, of which it is a toler- able imitation. 100. To PROCURE THE EXHILARATING GAS. Put a quantity of nitrate of ammonia into a 100 CURIOUS ARTS. / flask, and apply the heat of a lamp, which must be gentle, and well regulated. The salt will in a short time liquify, and must then bcS kept quietly simmering, avoiding violent ebulli- tion. The gas will be evolved, and rise through the neck of the flask, and may be collected in a bladder containing a small quantity of water, and should be allowed to stand a few hours, and shifted into another bladder, or silk var- nished bag before it is used. Though this gas is not fitted to support life, yet it may be respired for a short time, and the eff'ects produced by it upon the animal frame, are its most extraordi- nary properties. The effects of this gas, are in general, highly pleasurable, and resemble those attendant on the agreeable period of in- toxication. Exquisite sensations of pleasure} an irresistable propensity to laughter ; a rapid flow of vivid ideas; a strong incitement to muscular Motion, are the ordin^-y feelings pro- duced by it. And what is exceedingly re- markable, is, that the intoxication thus produ- ced, instead of being succeeded by the debil- ity subsequent to intoxication by ardent spir- its, does, on the contrary, generally render the person who takes it, cheerful and high spirited for the remainder of the day. ; curious arts. 101 101. Construction of a galvanic pile or BATTERY. — Procure fifty or more thin plates of copper, and the same number of plates of zinc, all of which may be about the size of a dollar, "but not so thick. The copper and zinc plates, may be either cast in moulds, or may be cut out of rolled plates of the metals. In addi- tion to the plates of copper and zinc, it is ne- cessary to be provided with an equal number of pieces of woollen cloth, rather smaller than the metallick plates in size. Let these be soak- ed in a solution of muriate of soda, till they have thoroughly imbibed it ; then take them out of the solution, and squeeze them gently, to force out, the superabundant water. Then, having pro<^ided a circular piece of wood, rather larger than the plates, cover it with tin foil, and on this lay a plate of zinc, upon that a plate of copper, and then apiece of moisten- ed cloth ; next a plate of zinc, »Sz;c. Continue this arrangement of zinc, copper and cloth, till all the pieces that have been provided are laid on. As the pile began with zinc, it must be concluded with copper. This pile may be braced occasionally with strips of glass to pre- vent its being overthrown. Fix the end of a piece of metallic wire, in contact with the 102 CURIOUS ART3. base, and lay the end of another piece upon the top of the pile; if thus, the opposite ends of the wire be brought in contact with each other, or if they are connected by any con- ducting body, so as to form a circuit of con- ductors, the pile will afiord a constant and pow- erful current of the galvanic fluid through them for many hours. If the hands be moist- ened, and one of them applied to each of the wires, a shock will be received. Gold and other metals have been melted, and even burnt ; and potass, soda and lime have been reduced to their respective metallic states, by being made to form part of a galvanic circuit. "When the pile is not in use, it should be taken down, which will preserve it from wear, and th€ plates will require to be cleansed occasionally, which may be easily done by diluted muriatic acid. 102. Construction of the oxv-hydrogen BLOW-PIPE.— This useful instrument consists of a cubical vessel, made of tin plate, being from ten to twenty .inches in length, breadth and heighth. The.in4de is divided into four equal, apartments, by two partitions, crossing each other in the centre. The two front apartments are covered at the top, and each of them have CURIOUS ARTS. 1 ^ a lube fixed in the front side, near the top, with a stopcock. The other apartments are open at the top, and communicate with those in front, by a small aperture near the bottom of each. These apartments being all filled with water, those in front are tilled, the one with oxygen, and the other with hydrogen gas, which is done ^y forcing the gases into them through the tubes in front, which causes the water to re- cede through the aperture at the bottom, and consequently, part of the water is forced over the top of the other apartments ; or rather, may run off through small tubes, fixed for the purpose, near the top, similar to those in front. When tWe front apartments are filled Avith the gases, (which may be known by the bubbling in the others) the tubes are stopped, and two leaden pipes are fixed in them, the opposite ends of which, are so placed, that the two streams of gas, when expelled from the gas holders, may come in contact very near the ends of the pipes. When the tubes are open, the pressure of the water will expel the gases, and will consequently setde, and must be re- plenished, so as to keep the apartments nearly full. When the two streams of gas are igni- ted at the point of contact, a flame is produced 104 CURIOUS ARTS. of sufficient intensity to burn'gold, silver, cop- per or tin, with a very brilliant combustion. 103. To MAKE A DRY PHOSPHORESCENT POW- DER. — Take some thick oyster shells, wash them, and calcine by keeping them red hot in an open fire for half an hour : then, select the clearest and whitest parts, and reduce them to powder. Mix three parts of this powder, with one of the flour of sulphur; fill a crucible with this compound, pressing or beating it down as hard and solid as may be, without breaking the crucible. Set the crucible in the fire, and heat it moderately at first, but increase the heat gradually for an hour, in which time it must approach nearly to a white heat. Then let it cool, and again select from the mass, the whitest and purest parts, which must be pre- served in a phial with a glass stopper. This powder has the peculiar property of imbibing the rays of the sun in the day time, and emit- ting them again in the night ; or if the phial containing it, be exposed for a few minutes to the direct rays of the sun and then carried into a dark room, light enough will be evolved to render it distinctly visible. curious arts. 105 104. Curious experiment of precipitation. — Set five glasses on the table, and nearly fill one of them with a solution of sulphate of iron ; and another with a solution of sulphate of copper j a third with a solution of nitrate of bismuth ; pour into the fourth, a solution of nitro muriate of cobalt, and into the fifth a solution of acetate of lead, or salphate of zinc. These liquid solutions may all be diluted so as to be colourless. Then pour into each glass, a few drops of a colourless solution of prus- siate of potass. The contents of the first glass will be instantly changed to a full blue colour; those of the second to a reddish brown ; those of the third, to a yellow; the fourth to a green, and the fifth to a white. Thus five dis- tinct colours will be given, by the addition of one colourless solution. 105. To MAKE A beautiful SOFT GLASS FOR JEWELRY. — Take six ounces of clean fine white sand, three ounces of red lead, three ounces of pure sub-carbonate of potass, one ounce of nitrate of potass, half an ounce of borate of soda, and two drachms of arsenic; mix and pound them all together. Put the compound in a crucible, and set it in a common fire, often K 106 CURIOUS ART5. Stirring it with an iron rod, till it is well melted, and becomes transparent. This compound will liquify very easily without any great heat, if the sand is fine, (which sometimes requires to be ground or pounded in a glass or flint mor- tar,) and if it be kept melted awhile, will be- come beautifully transparent, and may be cast or blown in the manner of other glass. This glass may be changed to a red or ruby colour, by adding and fusing together with it, a small quantity of finely powdered precipitate of gold, (gold prev-ipitated from solution in nitro-muri- atic acid by the addition of tin.) It may be also changed to blue by the addition of zai^re, (an ore of cobalt,) and magnesia: a green col- our may be given by a precipitate of copper; and yellow by calcined iron, and white by cal- cined bones. This subject is treated of large- ly in the Handmaid of the Arts, to which, for further information on the subject, the reader is referred. 106. Composition of various kinds of GLASS.— The best flint glass is composed of 129 lbs. of white saud, 50 lbs. of red lead, 40 lbs. of sub carbonate of potass, 20 lbs. of nitrate of potass, and 3 oz. of magnesia. The best crown CURIOUS ARTS. 107 glass is composed of 60 lbs. of white sand, 30 lbs. of sub-carbonate of potass, 15 ll?s of ni- trate of potass, 1 lb. of borate of soda and ^ lb. of arsenic. The composition of common green window glass, is 120 lbs. of white sand, 30 lbs. of sufi-carbonate of potass, CO lbs. of wood ashes, 20 lbs. of muriate of soda and 5 lbs. of arsenic. The composition for looking glass plates, is 60 lbs. of clean white sand, 25 lbs. of purified sub-carbon Tte of potass, Id lbs. of nitrate of potass, and 7 lbs. of borate of so- da. Common green bottle glass is made from 200 lbs. of wood ashes, and 100 lbs. of sand. The materials for making glass, is first reduced to powder ; then mixed and exposed to a strong heat, in suitable pots and furnaces, till the whole mass liquifies and becomes thoroughly commixed and transparent. 107. Composition of various alloys.-— Brass is composed of two parts of copper to one of zinc; or copper and calamine, (an ore of zinc,) equal quantities. Pinchbeck con- sists of from five to ten parts co})per, and one of zinc. Bell metal is composed of three parts copper and one of tin. Gun mt tal, nine parts copper and one of tin. Tombac, sixteen parts 108 CURIOUS ARTS. copper, one part zinc and one of tin. The composition of pewter is seven pounds of tin, one of lead, four ounces of copper and two of zinc. That of type-metal is nine parts lead, two parts antimony and one of bismuth. Sol- der, two parts of lead with one of tin. Queen's metal, nine parts dmin, one of bismuth, one of antimony and one of lead. Jewel gold is com- posed of twenty-five parts gold, four parts sil- ver, and seven parts fine copper. In forming metallic compounds or alloj^s, it is proper to melt such of the ingredients as are the least fusible first, and afterwards add the others, stirring them briskly till they are thoroughly commixed. 108. To PRODUCE VARIOUS KINDS OF GAS. To three or four ounces of pulverized chalk or marble, moistened in a flask, with an equal quantity of water, add one ounce of sulphuric acid; — carbonic acid gas will be evolved in abundance, and will rise through^ahe neck of the flask, and may be conducted by pipes, to any j^rro^r receiver. Instead of the marble or chalk, substitute granulated zinc; — in this case hydrogen gas will be evolved ; but this may require a larger proportion of water. Pour CURIOUS ARTS, 109 sulphuric acid upon a similar quantitj^ of dry muriate of soda;— muriatic acid gas will be rapidly evolved. Proceed in the same man- ner with a similar quantity of black oxide of manganese,— apply theiieatof a lamp, and ox- ygen gas will be produced* Put into the flask, two or three ounces of lean beef, cutinto small pieces ; pour over them one ounce of nitric acid diluted with three ounces of water; apply the heat of a lamp, and nitrogen gas will be lib- crated. Powder separately, equal quantities of muriate of ammonia and newly burnt lime ; put them together into a flask and apply gentle heat; ammoniacal gas will be evolved. Pour an ounce of nitric acid, diluted with five times its weight of water, upon one ounce of shreds or turnings of copper; nitrous gas will be rapidly evolved. Grind three parts of muriate of soda with two parts of black oxide of manganese ; in- troduce this mixture into the flask, and add two parts of sulphuric acid, diluted with an equal quantity of water ; apply a gentle heat and chlorine gas will be evolved. Mte When either of the last mentioned gases are produced, great caution is requisite that they do not es- cape into the room, in any considerable quan- ** K 2 110 CURIOUS ARTS. tity, as their action on the lungs is exceeding- ly injurious. 109. Various chemical tests. — When wa- ter is suspected to hold any foreign substance in solution, various nieans may be used to de- tect and ascertain the quality of the sub- stances combined ; thus, acids may be detect- ed by immersing in the water, a slip of litmus colored paper, which, if acid be present, will be changed to red. In the same manner, al- kalies may be detected by a strip of turmeric yellow paper, which will be also changed to red by alkalies. These tests are sensible to the presence of an acid or alkali in the pro- portion of one to ten thousand. Iron may be detected by a drop of infusion of galls, which will give to the water (if iron be present) a brown tinge. A drop of sulphuric acid, pre- cipitates barites in the form of a white powder. Clear transparent lime-water (water in which lime has been slaked and then suffered to set- tle) will indicate the presence of carbonic acid by a milky whiteness. On the same principle, 1 a solution of super-carbonate of potass will de- tect lime. A few drops of nitrate of silver will instantly discover muriatic acid, by a CURIOUS ARTS. Ill white flaky precipitate. Muriatic acid, conse- quently, i* a good test for silver. Acetate of lead, in solution, is a lest tor sulphurcted hy- drogen, which occasions a precipitate of a black colour. Nitrate of mercury is an excel- lent test for ammonia, one part ol which, with 30,000 parts of water is indicated by a black- ish yellow tinge on adding the test. Liquid ammonia is a very sensible test for copper, with which it strikes a fine blue colour. Ni- *v., rtro muriate of gold will discover the presence of tin, by a beautiful purple precipitate. Ni- tro muriate of tin is, on the same principle, an excellent test for gold. 110. To PRODUCE A PICTURE INSTANTLY, IN A VARIETY OF COLOURS. — Pa>nt any picture on pa- per in the usual way, only instead of colours, use the following substitutes : for green, use a solution of nitro-muriate of cobalt, for blue, a solution of sulphate of iron — for yellow, a solution of nitrate of bismuth — and for a brown, a solution of sulphate of copper. Any of these solutions may be more or less dilut- ed, as the respective parts of the picture are to be light or dark, but none of them must b^ strong enough to colour the paper. This pifl 112 CURIOUS ARTS. tHre is invisible : but when it is required to ap- pear, the paper inaj be tacked up on the wall, and having a glass of the transparent solution of prussiate of potass (which by sight cannot be distinguished from clear water) dashed sud- denly upon it, the picture will instantly ap- pear in its fulj colours. A similar effect may be produced, by drawing the picture with in- fusion of galls, and sub-carbonate of potass ; this is revived by a solution of sulphate of iron, and appears in a yellow and a brown colour. 111. A CHEAP IMITATION OF SILVER BRONZE. Put into a crucible, an ounce of pure tin, and set it on a fire to melt ; when it begins to melt, add to it an equal quantity of bismuth, and stir the mixture with an iron rod till the whole is entirely melted and incorporated. Take the crucible then from the fire, and after the melt- ed composition has become a little cooler, but while it is yet irt a fluid state, pour into it grad- ually, an ounce of mercury, stirring it at the same time, that the mercury may be thorough- ly conjoined with the other ingredients. When the whole is thus commixed, pour the mass out 3f the crucible on a stone, where, as it cools, CURIOUS ARTS. 113 it will take the form of an amalgam, or metal- lic paste; which will be easily bruised into a flaky powder, and may then be applied to si- zed figures in the manner of gold or silver bronze, or may be tempered with gum water, and applied to the work with a brush or ca a; til- hair pencil ; and if properly secured with var- nish or laquers will be even more durable than either silver leaf or silver bronze. 1 1 2. - To MAKE CRAYONS OF VARIOUS COLOURS. — Crayons or pastils consist of various colour- ed pigments or paints, formed into sticks or rolls for the purpose of drawing and shading with them in the manner of lead pencils. But that thej may be of uniform texture or hard- ness, different ingredients and materials require some variation in the management. To make white crayons, nothing more is requisite than to mix superfine or refined whiting with alco- hol, to the consistence of soft putty ; form it into rolls of a convenient length and size and let them dry : or the whiting may be mixed with water and a sufficient quantify of burnt or calcined sulphate of lime to give the crayons a sufficient degree of hardness when dry. A great variety of elegant light colours may be 114 G-URIOUS ARTS. formed by adding to the whiting preptired as above, small quantities of any of the coloured pigments. The most proper colors for cray- ons are lamp-black, prussian blue, bm-nt um- ber, burnt te^-ra-de-sienna, red ochre, vermil- ion, lake, rose-pink, chrome yellow, yellow ochre and mineral green. Many other hand- some greens are formed by mixing chrome yellow with prussian blue, varying the propor- tions ; and purples are produced by mixing rose pink efe lake with blue. Prussian blu^ and lake being each naturally of a binding natvare, require only to be ground in water ; but red ochre and vermilion should be ground in alcohol, or may have some quantity of the sulphate of lime mixcU with them. Any of these colours may be mixed in any proportion with whiting or with each other, each compound having a sufficient proportion of the sulphate of lime, to give it a proper degree of hardness and strength when dry. The proper length for crayons is from two to three inches, and the size about the same as that of a tobacco- pipe stem. It is customary in making crayons, to have at hand a large piece of chalk with a plane surface, on which to lay the crayons as soon as they are roiled ; the chalk absorbs a CURIOUS ARTS. J 15 part of the moisture, which makes them dry the sooner and without cracking. 1 1 3. To MAKE HARD SEALINGt WAX, OF VARIOUS COLOURS. — Take of gum shellac and rosin each two ounces; and of gum mastic one ounce j reduce them to powder and mix and melt them together over a gentle fire. Then if a red colour is required, add to the mixture one ounce of fine vermilion ; for a black colour, add half an ounce of a m.ixture of lamp black with rum ; for a blue, half an ounce of white lead with one fourth of an ounce of prussiaa blue; which should be previously ground to™ gether dry. To give a green colour, add finely ground verdegris ; a yellow is produced by chrome yellow or gamboge; and while, by adding pure white lead to the mixture. Whea the desired colour is formed by the mixture and incorporation of any of the above men- tioned colouring ingredients, take out a part of the mixture, sufficient to form a slick or roll of the usual size, and roll it between two smooth metallic plates, which should also be previously warmed to prevent the wax from becoming too hai'd. When the stick is reduc- ed to a proper size, flatten it a little and let it 116 CURIOUS ARTS. • cool. Proceed in the same manner with the rest of the composition ; afterward hold each stick severally over a fire of charcoal, turning Ait quickly till the surface of the wax is com- pletely melted, by which means the sticks will have acquired a very smooth and shining pol- ish at the surface, which they will retain when cold again. If a softer wax is required, a small quantity of bees-wax and of linseed oil may be added to the above composition, or may be substituted in the place of the gum- mastic, 1 1 4. l^HE ART OF MANUFACTURING PAPER HANGINGS. — This biisiness, which has been usu- ally, though improperly termed paper staining, consists principally in stamping or painting va- rious figures in water colours on paper. The paper for this purpose is formed inio long strips or rolls, by pasting the edges of several sheets together. The edges of the sheets should not lap on each other more than half an inch, and the usual length of a roll is about nine yards. These rolls are first painted plain with a large brush ; the paint is composed of refined whi- ting with some colouring ingredient, being ground in water and tempered with a sufficient CURIOUS ARTS. 117 quantity of glue to prevent it from rubbing off; when a new design or figure is to be introduced, several colours are prepared, i. e. as many as are required in such design, and with these the design is painted on a sheet of paper. The paper is then laid on a smooth birch or maple board, and such parts of the paper as contain the colour that was last applied in the drawing (which is usually the white) are coff.pletely cut out, with a sharp pen-knife, and the parts thus cut out, are pasted down upon the board, immediately, in the places and positions they occupied in the design. The sheet is then re- moved to another board, and another col- our is cut out in the same manner; thus the several colours are distributed in their proper arrangements on as many different boards. Each board is then cut away Avith chissels and gouges, to the depth of a fourth, or an eighth of an inch, in every part except where the pieces of paper are fixed. These boards or prints are supported by other thin pieces, which are fixed firmly on the backs of them by screws, in such manner that the grain of one, crosses that of the other, and thus pre- vents their warping. They have also cleats orpins attached to theoi which serve as han- L 118 CURIOUS ARTS. dies. A trough is provided, a litde larger than the prints, of one inch in depth, and having a smooth bottom, on which is laid three or four pieces of fine flannel or cassimere, each of which is at least as laige as the prints. Then somo of the colour with which the first part of the design was painted, is spread upon the cloth with a brush ; and upon this, the print containing the corresponding parts of the fig- ure, is pressed, (the pieces of paper having been previously scraped oft';) ihc print being thus chiirged with the colour, is placed upon one end of a roll of the prepared paper, which is laid on a table for th^t purpose, and is press- ed down hard by a lever or screw. It is then returned to the trough, and again charged with the colour, and again impressed on i he pap^r at a proper distance above the oiher impres- sion. In this manner several rolls are print- ed with one colour. Then the next colour in the design is applied to the paper in the same manner by another print; — a third colour by .a third print^and so on till the paper is com- pletely printed wiih every colour in the design, each in its proper place. These prints should be washed and kept dry for future use. A variety of figures may be produced with the same print, by varying the colours. CURIOUS ARTS. 119 115. To MAKE ELASTIC BLACKING FOR LEATH- j;r. — Dilute one ounce of gum-asphaltum with a pint of spirits of turpentine, in the manner described at 51 ; — put this into a flask, and add one ounce of gum-elastic rut into very small pieces, and halt an ounce of gum-shellac pre- viously reduced to powder. Suspend the flask unstopped over a fire of charcoal, or set it in a sand l^ath where it may boil gently till the quantity is reduced to a gill ; then strain it through a flannel, and when nearly cold, bottle and cork it. The leather should lie thoroughly bl 'ckeiied with some liquid blacking and wax- ed over slightly wiih bees-wax before the elas- tic blacking is applied. If the blacking should be too thick, it may again be diluted with spirits of turpentine. Ii should be warmed when applied, and the work may require sev- eral coats, and a considerable time for each to dry. Any of the above mentioned gums may also be dissolved in sulphuric ether, and thus produce a fine drying varnish, but the prepar- ation is much more difficult as the volatile na- ture of the ether will not admit oi much heat, whereby to facilitate the solution. 120 CURIOUS ART3. 1 IG. Sundry Experiments. — Rub together a little dry powdered alum, and acetate of lead ; both will become fluid. To a saturated solution of muriate of lime, add a saturated solution of sub carbonate of potass, (both transparent liquids,) the mixture will be nearly solid. Rub together a little pure white calo- mel(subllmed mercury)and pure white ammonia (being moistened ;) both will become intensely black. Fill a flask nearly half full of water, and apply heat till it boils; take it from the fire and (when it has done boiling) cork it; pour cold water upon the flask, and the water inside will re-commence boiling. EjK* a glass with water, and lay a piece of paper upon the top of it ; place your hand upon the paper, and invert the glass; the hand may be re- moved and the glass may be suspended in that position by a thread, and the water will not be spilled. Expose a piece of ice to the action of (cold) muriatic gas; the ice will be instantly melted. Drop a piece of phosphuret of lime, into a glass of water; bubbles will soon rise, and on reaching the surface of the water will spontaneously explode. Apply the end of a roll of brimstone to a hot bar of iron ; a part,^i CUI^IOUS ARTS. 121 the iron will be instantly melted, and will fall. Write with dihited sulphuric acid, on paperthat has been coloured brown by a mixture of sul- phate of iron, and infusion of galls; the writ- ing will be while. Moisten the under lip, and lay upon it a piece of silver money, (not less than a twenty cent piece) with the edge of it beneath the tongue; lay a piece of zinc, of nearly an equal size, upon the tongue, and bring the edges of the pieces of metal into con- tact; you will instantly drop the money. X. 'l A catalogue of the various articles mentioned in the preceding pages, with the prices, ex- planations, &c. HyThe ariiclei which have this mark * prefixed may be _ procured at 135, Washington-street, Boston. Acetate of cobalt, produced by di- Cis, " gesting: the oxide of cobalt in strong tinegar, * Acetate of lead, (sugar of lead) procured by dissolving white lead in vinegar, and evaporating, oz. 6 * Acetic acid, vinegar concentrated dy distillation, pU 25 * * Alcohol, rectified spirit of wine, pt. 25 ^ * Alum, sulphate of alumine and pot- ass, oz. 3 * Ammonia, (hartshorn) a volatile al- .k;?li, oz. 12 * Antimony, a dark porous metal, oz. 6 124 APPENBIX. * BiES WAX, a yellowish resinous sub- Cts. stance procured from honey, or honey combs, oz. 6 * Bismuth, (tin glass) a reddish white metal, oz. 12 * BoRACic ACin, procured by adding sulphuric acid to a hot solution of borax; the acid crystallizes, oz. 100 * Brazil-wood, (red-wood) lb. 6 * Borate of soda, or sub-borate of SODA, (borax) is brought from the East-Indies in an impure state call- ' ed tincal, 02. 6 Burnish gold-size, and burnishers, may be had of Bittle and Cooper, Pem- berton's-hiil, Boston, prices vari- ous, * Camphor, obtained from a species of laurel tree, oz. IS * Carbonate of copper, (French green) produced by adding a solu- tion of super carbonate of soda, to a hot solution of sulphate of cop- per, lb. 515 ■* Carbonate of lead, (white lead) is formed by e tposing thin sheets of lead to the vapour of vinegar, APPENDIX. 12$ after which they abstract the car- Cts. bonic acid from the atmosphere, Ih. 16 * Carbonate of strontia, a native mineral, oz. 50 Carbonate of lime, (marble, chalk) a native earth, * Chlorate of potass, procured by passing a current of chlorine gas through a solution of pearl-ash, oz. 100 * Chrome yellow, a pigment, is form- ed by the combination of a metallic substance with the chromic acid, oz. 12 * Cobalt, (Zatfre) a metal of a red- dish grey colour; when exposed to a gentle heat, it becomes oxidized and takes the form of a black pow- der, oz. 50 * Citric acid, procured from lemons, limes, &c. oz. 75 * Calomel, white sublimate of mer- cury, oz. 20 * Dragon's blood, a red mucilage ex- * tracted from a plant, oz. 10 * Fluate of lime, (fluor spar) is found in abundance in Derbyshire, Eng- land, its acid constituent has the pe- culiar property of dissolving glass, lb. 50 oz. 12 ez. 16 lb. 25 p-wt. 75 book 45 126 aJtendix. * Frankfort black, which takes its Cfs. name from Frankfort, in Germany, is manufactured from the leea of wine, * Gamboge, a yellow opaque gum, or mucilage, * Glue, (gelatine) a jelly procured from skins of animals, * Gold bronze, gold in fine powder, * Gold leaf, thin laminas of gold, * Gum ARABIC, a mucilaginous sub- stance thai exudes from certain trees in Arabia, oz. 6 * Gum asphaltum, a bitumen, or min- eral pitch, oz. 8 * Gum copal, a hard transparent resin, lb. 40 * Gum elastic, (indian rubber, caout- chouc) exudes from trees in the West- In dies, oz. 8 *' CrUM SANDARAc, a Tcsin, Similar to rosin but much harder, lb. 100 * Gum shellac, a compound, resinous substance, procured from the nests, or cells of an insect, oz. 6 * Gum elastic, a hard, transparent res- * in, Ih. 100 APPENDIX. 127 * IsiNG-GLASS, a kind of transparent Cts^ glue procured from various kinds of fish, oz. 25 * Lake, (drop lake) a rose coloured pigment, prepared from brazil wood, oz. 200 * Lead, a brown heavy metal, lb. 12 Lime, an oxide of calcium, is procured by calcining lime stone, marble or chalk, * Linseed oil, is expressed from ground flaxseed, pt. 15 * Litharge, (gold litharge) an oxide of lead, oz. 4 * Litmus, a blue colouring vegetable, oz. 10 * Mercury, (quick silver) a metal that remains fluid in the common temperature of the atmosphere, oz. 8 * Muriate of ammonia, (sal ammoni- ac) is forme0^- Muriate of soda, (culinary salt) is pro- cured by evaporating the water of the ocean, * Muriate of strontia, procured by dissolving native carbonate ofstron- 128 APPENDIX. tia, in muriatic acid, and evapora- ting, oz. 75 Muriate of lime, formed by evapora- ting a solution of marble in muriat- ic acid, * Muriatic acid, (marine acid, spirit of salt) is extracted from sea-salt, oz. 12 * Nitrate of ammonia, procured by dissolving carbonate of ammonia (common smelling salts) in nitric acid, ' oz. 20 * Nitrate of potass, (nitre, salt-petre) may be procured by adding nitric acid to a solution of sub-carbonate of potass, and crystallizing by evap- oration, 02. S * Nitrate ©f strontia, procured the same as the muriate, oz. 76 * Nitric acid, (aquafortis) is obtained bj distilling two parts of sulphuric acid, together with one part of salt- petre, .^ oz. 12 * Nut galls, are formed on the leaves of a species of oak, oz. 6 * Olive oil, (sweet oil,) oz. 3 * Oil of cinnamon, extracted from cionamon by distillation, oz. 75 APPENDIX. 129 * Oil or rosemary, procured also by Cts. distillation, oz. 25 * Orange lead, a scarlet pigment sim- ilar to red lead, oz. 3 * Oaide of manganese, a black powder consisting of a metal combined with oxygen, 02. 10 * Phosphorus, a simple substance pro- cured from bones; its greatest pe- culiarity is extraordinary combusti- bility, oz. 200 * Phosphuret of lime, a combination of lime and phosphorus, oz. 200 * Plumbago, (black lead) a carburet of iron, lb. 16 * Potassium, the metallic base of pot- ass, may be readily obtained from pearl ash by any one who has a gal- vanic apparatus, * Prussiate of iron, (prussian blue) may be formed by adding prussiate of potass, to a solution of copperas, oz. 25 * Prusslate of potass, a combination of potass and prussic acid, oz. 50 * Pumice stone, i(,, \ g * Red lead, (minium) is obtained by melting lead in an open vessel, and H lb. 6 pwt. 50 book 30 130 APPENDIX. exposing it in that state to the ac- Cts^ tion of the atmospheric air, oz. 3 * Red ochre, (Spanish brown) a native oxide of iron, lb. 6 * Rosin, the resinous part of turpen- tine, * Silver bronze, * Silver leaf, * Slip blue, (wet blue) an aqueous preparation of prussian blue, lb. 30 * Spirits of turpentine, (oil of tur- pentine) is procured by distilling common or crude turpentine ; the residuum is rosin, pt. 12 * Sub acetate of copper, (verdigris,) oz. 3 * Sue carbonate of potass, (pearlash) potass refined by calcination, lb. 12 * Sulphate of copper, (blue vitriol, roman vitrol, oz. 3 * Sulphate of iron, (copperas, green vitriol,) oz. 6 Sulphate of lime, (plaister of paris, alabaster, gypsum.) * Sulphate of zinc, (white vitriol,) oz. 3 * Sulphur (brimstone) is generally found combined with ores of metals, oz. 3 APPENDIX. 131 * Sulphuric acid, (oil of vitrei) the Cis. condensed vapour of burning sul- phur, OS. 16 * Sulphuric ether, procured by dis- tilling alcohol with sulphuric acid, oz. 25 * Super carbonate of potass (sal era- tus) is formed by passing a current of carbonic acid gas, through a solu- tion of pearl ash, oz. 3 * Super carbonate of soda, may be prepared in the same manner from the sub-carbonate, oz. 12. * Super tartrate of potass (cream of tartar) is found encrusted on the sides of casks in which wine has been kept, oz. 4 * Ta?.taric acid, procured from cream of tartar, oz, 12 * Terra-re-sienna, an oxide of iron that becomes dark red by burning, * Tin, (grain, or gianuialed tin,) * Tin foil, metallic tin rolled to thin Jaminas or sheets like paper, * Turmeric, the root of a vegetable, * Umber, a brown earth that becomes nearly black by burning, * Venice turpentine, oz. 6 oz. 12 oz. 12 oz. 3 oz. oz. 6 IS2 APPENDIX. * Vermilion, asulphuret o§ mercury, Cts. is sometimes found native, but may be procured by grinding sulphur and mercury together, and heating them, first in an open vessel, till the mixture takes a violet colour ; and afterward in a fiask or matrass, oz. 12 * Whiting, (Spanish white) refined, lb. 12 * Yellow ochre, (spruce yellow) an oxide of iron, Ih. 12 * Zinc (spelter) a metal of which, with copper, brass is made, ozv Q UO y-^ '9k r>fi^ *J5.-- ■^ 0t>M^ ^m ^i^ ?•*" > r- ^•»^- „*^i:;^:. -•s!:'-* JV '.1 '-^ i«k >-■?,' * «w -*^,*