THE GETTY CENTER LIBRARY A PRACTICAL TREATISE ON THE FABRICATION OF VOLATILE AND FAT VARNISHES, LACQUERS, SICCATIVES, AND SEALING-WAXES. FROM THE GERMAN OF ERWIN ANDRES, MANUFACTURER OF VARNISHES AND LACQUERS. WITH ADDITIONS ON THE MANUFACTURE AND APPLICATION OF VARNISHES, STAINS FOR WOOD, HORN, IVORY, BONE, AND LEATHER. FROM THE GERMAN OF Dr. EMIL WINCKLER and LOUIS E. ANDES. THE WHOLE TRANSLATED AND EDITED HY WILLIAM T. BRANNT, GRADUATE OF THE ROYAL AGRICULTURAL COLLEGE OF 1ILDINA, PRUSSIA. ILLUSTRATED. PHILADELPHIA: HENRY CAREY BAIRD & CO., INDUSTRIAL PUBLISHERS, BOOKSELLERS, AND IMPORTERS, 810 WALNUT STREET. LONDON: SAMPSON LOW, MARSTON, SEARLE & RIVINGTON, Crown Buildings, 1S8 Fleet Street. 18 8 2 . Cons. Tp 1832 . Copyright by HENRY CAREY BAIRD & CO 1S82. COLI.INS, PRINTER. THE GETTY CEKTE* LIBRARY PUBLISHERS’ PREFACE. The entire absence of any treatise now in print in the English language, containing detailed descriptions of the raw materials and the apparatus and receipts for the preparation of Varnishes and Lacquers, and the great and pressing necessity for such a volume in this country and Great Britain, have been the considera¬ tions which have induced the publishers, who desire to cover with their technical publications all of the im¬ portant branches of industry, to issue the Practical Treatise on the Fabrication of Volatile and Fat Varnishes, Lacquers, Siccatives, and Sealing- Waxes. The work upon which it is mainly founded is that of Mr. Erwin Andres, which has met with great suc¬ cess in Germany, and which is thoroughly practical, and easily comprehended by the ordinary workman. It has also been enlarged by the addition of a number of receipts for the manufacture of Varnishes and Lacquers from various sources—thus bringing the l* VI PUBLISHERS PREFACE. work up to the present date. Great care has been exercised in selecting these additional receipts, and only such have been given as have stood a practical test, and been recommended both by the manufacturer and the consumer. Most of the additional receipts have been adopted from Dr. E. Winckler and Louis E. Andes, both widely and favorably known, the first as an eminent chemical technologist, and the other as a practical manufacturer of varnishes, who received, at the Vienna Exposition of 1873, the great silver medal for his Report on Varnishes. The book has been still further enlarged by the addition of a Treatise on the Art of Varnishing, also from Dr. Winckler and Mr. Andes, included in which will be found a large number of valuable receipts for stains for wood, bone, and ivory, and putties, etc., Avhich must prove of great interest to the practical man. The whole has been translated and edited by Mr. Brannt with especial care, and with a view to its util¬ ity in actual practice, and it is believed that it cannot fail to meet with the approval of the large body of Manufacturers, Mechanics, Artisans, and Artists for whom it is especially intended. Philadelphia, June 5, 1882. CONTENTS. I. Introduction. page Classification of Lacquers and Varnishes ... 28 Fat Oil Varnishes ; Fat or Oil Lacquers ; Volatile Lac¬ quers or Varnishes . . . . . . .29 II. Raw Materials Used in the Fabrication of x Lacquers and Varnishes. Fluid Raw Materials: A. Non-volatile. Fat, Non¬ drying Oils. B. Volatile. Essential Oils and Chemi¬ cal Products. Solid Raw Materials : A. Natural Pro¬ ducts, Gums and Resins, Wax . . . . .31 Pigments—Coloring Matter. B. Chemical Products . 32 III. Drying Oils. Fats .......... 32 Composition of Fats . . . . • .33 Changes which Fats undergo exposed to the Air . . 34 The Process of Drying . . . . . . .35 The Process which Linseed Oil undergoes when exposed to the Air; The Changes which Drying Oils undergo when in contact with Oxygen ..... 3G Effect of differently Colored Light... .37 CONTENTS. viii PAGE Acceleration of the Absorption of Oxygen by the Drying Oils; How the Fat Oils are obtained; Refining the Raw Oil ......... 38 Linseed Oil . . . . . . . . .39 Bleaching of Linseed Oil; Bleaching with a solution of Green Vitriol . . . . . . . . 40 . Bleaching with Sulphuric Acid ; Bleaching with Sulphate of Lead ; Adulteration of Linseed Oil ... 41 Hemp Oil ; Poppy Oil.. . 42 Nut Oil; Other Drying Oils . ..... 43 Adulterations of Drying Oils ...... 44 Table of the Density of Different Oils; Testing with Acids ......... 45 Tests of Oils ........ 46 IV. Volatile Fluids Used in the Fabrication of Varnishes. Oil of Turpentine ; Perfectly Pure Oil of Turpentine . 48 Camphor . . . . . . . . .49 Petroleum and Petroleum Naphtha; Volatile Hydrocar¬ bons excellent Solvents for Resins .... 50 Tar Oils ......... 51 Wood-spirit; Spirit of Wine. ..... 52 Tralles’s Alcoholometer ...... 53 Ether; Acetone ........ 54 Bisulphide of Carbon ....... 55 I V. Varieties of Gums and Resins. The Vegetable Resins, how found ..... 57 Asphaltum, Tar Asphaltum ...... 58 Amber .......... 59 Benzoin Resin ; Colophony ; Copal Resin ... 60 CONTENTS. ix PAGE Characteristics of Copal Resin; Importance of Copal Resin; Hard Copal—East India Copal, Zanzibar Copal, Copal from Sierra Leone . . . .61 Gaboon Copal, Angola Copal; Soft Copal—West India Copal, Kawrie Copal, Manilla Copal, Borneo Copal; Characteristics of Hard Copal . . . . .62 'Dammar Resin; Elemi Resin ..... 63 Gutta-Percha ........ 64 Caoutchouc; Mastic ... .... 65 Sandarac; Shellac ....... 66 Bleaching with Chloride of Lime . . . . .67 Turpentine; Wax; Cerasin . . . . . .68 Paraffin ......... 69 VI. Coloring Substances. Aniline Colors; Turmeric . . . . . .70 Dragon’s-Blood; Gamboge . . . . . .71 Indigo . . . . . - . • .72 Indigo-carmine; Lampblack. ..... 73 Seed-lac; Saffron. . . . . . . .74 Sanders Wood; Other Coloring Substances . . .75 VII. Chemical Products. Compounds of Lead—Litharge . . . . .76 Red Lead; Sugar of Lead . . . . . .77 Lead Vinegar; Disadvantages of Compounds of Lead . 78 Compounds of Manganese ...... 80 Hydrate of Protoxide and Protoxide of Manganese ; Hy¬ drate of Sesquioxide and Sesquioxide of Manganese . 81 Binoxide of Manganese ; Permanganate of Potassium ; Borate of Manganese ...... 82 Oxide of Zinc ; Other Chemical Preparations . . 84 X CONTENTS. FABRICATION OF VARNISHES AND LACQUERS IN PARTICULAR. VIIT. Dissolving, Roasting, and Distilling (Melting) of Resins. PAGE Dissolving of Resins. 85 Importance of Sorting Resins according to Color and Degree of Transparency before using; To Dissolve Resins in as short a time as possible .... 86 Apparatus for Dissolving Resins.87 Distilling (Roasting) of Resins; Process of Roasting Co P al .90 Apparatus for Melting Resins . . . . .91 Distilling Apparatus ....... 93 Solvent for Copal; Density of Oils obtained from Dis¬ tilled Copal and Amber ...... 95 Temperatures for the Dry Distillation of Copal and Amber ......... 96 IX. Preparation of Volatile Varnishes and Lacquers. Pure Spirit of Wine Varnishes. 98 Oil of Turpentine Varnishes ...... 99 Tar Oil Varnishes ....... 100 Preparation of Volatile Varnishes on a Small Scale ; Manufacturing Varnishes on a Large Scale . .102 Filtration of Varnishes. . 103 Decoloration of Varnishes ; Use of Animal Charcoal . 105 Apparatus for the Decoloration and Filtering of Varnishes 106 Coloring of Varnishes . . . . . . .108 CONTENTS. XI X. Directions for Preparing Volatile Varnishes and Lacquers. PAGE Importance of knowing for wliat purpose the Varnish is to be used; Qualities of different Varnishes, and how they may be modified . . . . . . 109 Importance of keeping a stock of dissolved Resins on hand when the business is on a large scale . . .110 Ordinary Cabinet-maker’s Polish; English Polish . . 112 Vienna Polish ; Dark-colored Polish ; Mahogany Polish ; French Polish . . . . . . . .119 White Cabinet-maker’s Polish ; Directions for Spirit of W ine Varnishes; Shellac Varnish . . . .114 Spirit Varnish for Wood-work; Pliable Sandarac Lac Varnish for Wood . . . . . . .115 Sandarac Varnish for Furniture ; English Red Furniture Varnish . . . . . . . . .116 Dutch Furniture Varnish; Lacquer for Basket and Wicker-work . . . . . . . .117 Ebony Lacquer for Wood-work; Preparation of Chinese Varnish for Wood . . . . . . .118 Bookbinder’s Varnish . . . . . . .119 Bookbinder’s Lacquer A. Bookbinder’s Lacquer B. Ordinary Brown Bookbinder’s Lacquer ; White Book¬ binder’s Lacquer ....... 120 Sohn6 Bros. Paris Brown Bookbinder’s Lacquer; New Bookbinder’s Lacquers; New Brown Bookbinder’s Lacquer . . . . . . . . .121 New White Bookbinder’s Lacquer; Volatile Copal Var¬ nish A; Volatile Copal Varnish B .... 122 Elastic Copal Varnish C ; Turner’s Lacquer . . .123 English Lac-Varnish for Boxes and Fancy Articles; Latest Lac-Varnish for Turners . . . . .124 Varnish for Bottle-caps; Lacquer for Floors A, B, and C 125 > xii CONTENTS. Bernartli’s Lacquer for Floors; Varnish for Floors ac¬ cording to Monmory and Raphanel .... Stain for Floors ....... Varnish for Imitation Gilt Cornices .... Dead Ground for Imitation Gilt Frames ; Varnish for Gilt Cornices ...... Colored Varnishes with Gold Lustre for Frame-Mouldings ; Gold Lacquers A and B ..... . Gold Lac-Varnishes A and B. English Durable Gold Lac-Varnish; Thompson’s Gold Lac-Varnish Amber Gold Lac-Varnish. Mixed Gold Lac-Varnish ; Varnish for Gilt Mouldings . Glossy Lacquer ; Wessner’s Quickly-drying Glossy Lac- Varnish ...... English Glossy Lac-Varnish ; Resin Lacquers A and B . Wood Lacquer (Red) ; Wood Lacquer (Black) ; Lac¬ quer for Comb-makers. Lacquer for Tinsmiths; Lacquer for Copperplates; French Sandarac Lac-Varnish . . Another Receipt; French Sandarac Varnish for Artists; Dutch Varnish for Artists .... Lac-Varnish for Water-color Pictures ; Lacquer for Dark Wall-paper; Lacquer for Light Wall-paper Insoluble Varnishes for Copperplates and Maps ; Mastic Varnishes A and B ..... Very Transparent Mastic Varnish for Oil-paintings; Held’s Mastic Varnish for Articles of Pasteboard; Lacquer for Brass. F <11 nish lor Metals (Colorless) ; Varnish for Photographers Varnish for Photographic Negatives; Monkhoven’s Re¬ touching Varnish for Negatives ; Retouching Varnish for Photographs .... Elastic Dammar Lacquer for Photographs ; Hard Lacquer for Photographic Negatives ; Photographer’s Lacquer A TAGE 12G 127 128 129 130 131 132 133 134 135 136 137 138 139 140 141 142 143 144 CONTENTS. Photographer’s Lacquers B and C. Lacquers for Leather ; Black Lacquer for Leather A Black Lacquers for Leather B and C Bronze-colored Shoe Lacquer; Cheap Glossy Lacquer for Leather; Lacquer for Harness-makers . Sandarac Varnish ; Lacquer for Terra Cotta ; Universal Yarnish (elastic) ; Universal Tarnish (hard) . . Tarnish for Gilders; Lacquer for Gilt Articles; Ternis d’Or (Gold Tarnish) ....... Directions for Oil of Turpentine Tarnishes ; Dammar Tarnish ......... Dammar Tarnish (mixed) ...... Dammar and Copal Tarnish ; Amber and Elemi Lacquer; Lacquer for Sheet Metal; Copal Lacquer for Book¬ binders ......... Gold Lacquer (Mixed) ; Held’s Gold Lac-Tarnish Gold Lac-Tarnish for Leather and Metal; Freudenwoll’s Gold Lac-Tarnish ; Dutch Gold Tarnish Lacquers for Carriages; Neil’s Carriage Lacquers I., II. Dark Carriage Lacquers I. and II. .... Another Receipt; Water-proof Caoutchouc Lacquer Resin Lacquer (Fat) ; Lacquer for Sign Painters ; Glazes for Barrels ........ Dammar for Barrel Glaze; Glaze for the Insides of Bar¬ rels . . . . . . . Tarnishes with Coal Tar Oil; Density of the Tar Oils which can be used for making varnishes Purification of the Oils ; Removing the Acid ; Clearness of the oil suitable for varnishes ..... Colorless Negative Tarnish ...... Excellent Asphaltum and Amber Tarnishes byLanderer; Tar Oil and Copal Tarnish . . . Elastic Tar Oil Tarnish • . . . . Printer’s Tarnish with Tar Oil; Coal Asphaltum Lacquer 2 Xlll ’ PAGE 145 146 147 148 149 150 151 152 153 154 155 156 157 158 159 160 161 162 163 164 165 XIV CONTENTS. PAGE Tar Asphaltum Lacquer.166 Double Asphaltum Lacquer . . . . . .167 Asphaltum Lacquer for Leather . . . . .168 Directions for other Volatile Varnishes—Amber Varnish ; Amber and Copal Varnish; Copal Laequer for Me¬ chanics; Varnishes for Making Rubber Balloons Im¬ permeable ......... 169 Receipt I. . . . . . . . .170 Receipts II. and III. . . . . . . .171 Black Lacquer for Iron ; Lacquer for Iron ; Caoutchouc Varnishes; Valuable qualities of these Varnishes . 172 Every solution of Caoutchouc a Varnish ; Best Method of Preparing these Varnishes. 173 Caoutchouc Varnish ; Drying Qualities . . . .174 Linseed Oil and Caoutchouc Lacquer; Elastic Caout¬ chouc Varnish; A perfectly water-proof coating . . 175 Unsatisfactory Results of endeavoring to dissolve Caout¬ chouc in common Petroleum ; Manner of treating the Petroleum as a Solvent for Caoutchouc; Hard Caout¬ chouc Lacquer . . . . . . . .176 Lacquer for Leather; Lacquers for Metals; Gold Lac¬ quer for Metals ; Black Lacquer for Metals . . 177 Hugue’s Dead Lacquer; Dead Varnish for Metal Arti¬ cles; Black Tar Lacquer . . . . . .178 Black Amber Lacquer for Metals; Lacquer for Iron ; Ozocerite . . . . . . . . .179 Varnish for Mechanics . . . . . . .180 Gold Lacquer for Metals; Black Glossy Lacquer for Metals; Wax Lacquer . . . . . .181 XI. Fat Varnishes. Chemical Process . . . . . . . .182 Mulder’s Theory of the Process by which Varnish is formed 183 Boiling and Refining Linseed Oil . . . . .184 CONTENTS. XV PAGE Wiederhold’s Process of Refining Linseed Oil; Preparing Linseed Oil by exposing to the Light . . . .185 Practical part of Varnish Boiling . . . . .186 The Boiling Apparatus . . • . • • .187 Lead, Manganese, and Zinc Varnishes . . . .189 Lead Varnishes . . . • • • • .190 Ordinary Litharge Varnish . . . . • .191 Minium (Red Lead) Varnish; Lead Varnish without Boiling . . . • • • • • .193 Litharge and Minium Varnish.194 Manganese Varnishes ; Borate of Manganese Varnish . 195 Varnish with Sesquioxide of Manganese . . .197 Varnish with Pyrolusite . . • • • .198 Varnish with Oxide of Zinc . . . • • .199 Superiority of Manganese Varnishes .... 200 Directions for preparing Fat Lacquers .... 201 Copal Lacquer; Fat Copal Lacquer by Boiling . . 202 Fat Copal Lacquer without Boiling; Apparatus for pre¬ paring Lacquer . • • • • • • .207 Colorless Copal Lacquer. 210 Properties of Fat Copal Lacquer . . . • .213 Fat Amber-Lacquers. 214 Other Fat Lacquers—Manganese and Zinc Siccative; Pllug’s so-called Platina Paints . . . • .215 Black Paint for School-Slates . . • • .216 XII. Printer’s Varnishes. Properties possessed by good Printer’s Ink . . .217 Apparatus for boiling the Oil.218 XIII. Soap Lacquers. Johnson’s Varnish for preparing Water-proof Paper and Water-proof Tissues; Coatings with Water-glass . 226 XVI CONTENTS. XIV. Fitting Up a Varnish Factory. Fabrication of Varnish by Steam .... The Superheating Apparatus. FABRICATION OF SEALING-WAX. Invention of Sealing-Wax ; Components and Qualities of Sealing-Wax ..... I. Materials Used for tiie Fabrication of Sealing-Wax. Of the P rincipal Materials. Of the Pigments which are used in the Fabrication of Seal¬ ing-Wax; Red Pigments ...... Cinnabar; Minium ..... Colcothar (Indian Red) ; Bole .... Carmine ; Vienna Lake and Madder Lake ; Yellow Pig¬ ments ; Chrome Yellow .... Mineral Yellow or Cassel Yellow; Ochre; Green Pig¬ ments . Blue Pigments ; Brown Pigments; Black Pigments \ ine Black or Frankfort Black ; W Lite Pigments Chalk. f Gypsum; Carbonate of Magnesia; Zinc-White Sulphate of Baryta (Permanent White) ; Nitrate of Bis¬ muth or Flake-White. Bronze Powder; Drying the Materials , Preparing the mass for Sealing-Wax PAGE 228 2S0 233 235 23 7 238 239 240 241 24 2 244 245 24G 247 248 249 CONTENTS. XVII II. Melting the Sealing-Wax Mass. PAGE The Melting Apparatus ....... 252 III. Fohming or Moulding the Sealing-Wax. IV. Polishing the Sticks of Sealing-Wax, V. Receipts for Sealing-Wax. Red Sealing-Wax ^ 261 A. Very Fine Red Sealing-Waxes I., II., III. . . 202 B. Medium Fine Red Sealing-Waxes I., II., and III. . 263 C. Common Parcel Wax I., II. ; Very common Parcel Wax . . . , , . . . . , 204 R. Wagner’s Receipts for preparing Sealing-Wax : A. Fine Red Sealing-Wax ; B. Ordinary Red Sealing- Wax; C. Black Sealing-AVax ..... 265 Parcel AVax ; Yellow Sealing-Wax; Fine Yellow Seal¬ ing-AVax .266 Green Sealing-AVax I. (Fine); Green Sealing-AVax II. (Ordinary) . , . . . . . .267 Blue Sealing-AVax ....... 268 Brown Sealing-Wax ; Black Sealing-AA^axes I. and II. , 209 Preparing Sealing-Waxes of different Shades . , ..270 Specialties in Sealing-Wax ; Sealing-Wax for Bottles . 271 Transparent Sealing-AVax . . . . . .272 Ground Masses for Translucent Sealing-AVax, I., II., and III. ......... 273 Sealing-AVax for Deeds, etc. ; Sealing-Wax I. . . 274 Sealing-AVaxes II. and III. ...... 275 Blue Lacquer Appendix, 276 XV1I1 CONTENTS. THE ART OF VARNISHING AND LACQUERING. Section I. PAGE Preparation of Putties required for the Varnishing and Lacquering; Thompson’s Glue Putty . . . 280 Putty with Linseed Oil Varnish ; Putty of Isinglass and Chalk ; Filling Up ....... 280 Section II. Preparation of Stains to be used in the Art of Varnishing and Lacquering. Mahogany Stains .... Mahogany Stains continued. Red Stains; Purple Stain ...... Red Stain for Horn, Ivory, and Bone; Purple Stains for Horn, Ivory, and Bone. Bright Red Stain for Horn, Ivory, and Bone ; Bright Red Stain for Bone and Ivory; Red Stain for Leather Cochineal Stain for Leather; Scarlet Stain for Leather ; Purple Stain for Leather ...... Crimson Stain ; Black Stains for Wood .... Runge’s Chrome Ink as a Black Stain for Wood; Aliza¬ rine Ink as a Black Stain for Wood .... Black Stain for Horn; Finest Black Stain for Horn ; Black Stain for Leather ..... Blue Stains ....... Another Receipt; Blue Stain of Elder-berries for Leather; Blue Stain for Wood ..... Blue with Aniline; Yellow Stains ; Yellow Stains for Wood ........ Yellow Stain for Horn ; Yellow Stain for Leather . Bright Yellow Stains for Leather. 281 282 288 284 285 286 287 288 289 290 291 292 293 294 CONTENTS. XIX PAGE Yellow Stain from Weld ; Yellow Stain for Wood . 295 Bright Goklen-Yellow Stain; Golden-Yellow Stains for Bone and Ivory ........ 296 Green Stain for Wood ; Green Stain for Horn, Ivory, and Bone ; Green Stains for Leather . . . .297 Green Stains for Wood, Horn, Ivory, Bone, and Leather 298 Tortoise-shell Stain for Horn ; Brown Stains for Leather 299 Hirschberg’s Stain for Walnut; Walnut Stain for Soft Wood ......... 300 Violet Stain for Leather ...... 301 Section III. Workshop and Tools ....... 301 Section IV. Art of Lacquering and Varnishing; General Buies . 302 Priming ......... 303 Pumicing and Priming ; Laying on the Color . . 304 Pumicing the Paint; Varnishing ..... 305 Pumicing Lae-Varnishes ; Polishing Lae-Varnishes . 307 Materials used in Pumicing in the Art of Lacquering; Varnishing of Wooden Articles, Carriages, and Furni¬ ture .......... 308 Examination of the Article; Soaking with Linseed-Oil Varnish ; Puttying ; Laying on the Priming Coat . 309 Pumicing the Ground; Ground Coat (DisguiseCoat) and its Application . . . . . . . .310 Pumicing the Disguise Coat; Laying on the Principal Color; Pumicing the Principal Paint . . . . 311 Decorating and Striping; Laying on the Varnish . . 312 Pumicing and Polishing; The Last Coat of Varnish; Varnishing of Furniture, Cases, Instruments, etc. ; Wooden Articles to be Varnished .... 313 XX CONTENTS. Sizing for Mixing the Color. Priming Coat of Oil Paint; Yeining . Colors for Oak, Curled Maple, Walnut, Rosewood, and Mahogany...... Articles of Tin and Metal which arc to be Lacquered Articles of Iron and Steel, Copper, Brass, and Zinc; Colors used in Lacquering the above-named wares Preparation of the Colors—Black, Brown, Red, Green . Yellow, Chamois, Blue, Marble Ground, Tortoise-shell Ground . . . , Rosewood Ground; Decorations with Copperplates and Lithographs .... Bronze Painting ; Lacquering of Leather Simple I rocess of Removing a Coat of Lacquer, etc., from Tinned Metal Plate . APPENDIX. Japanese and Chinese Lacqueks. Japanese Lacquers .... Names of these Lacquers Pigments, acids used ...... Baron Yon Ransonnet on the Application of Japanese Yarnishes ....... Japanese Fluid Lacquers .... Chinese Lacquers ...... PAGE 314 315 316 317 318 319 320 321 322 323 327 328 329 330 331 332 Index . . 335 PRACTICAL TREATISE ON THE FABRICATION OF VARNISHES, LACQUERS, ETC. i. INTRODUCTION. By lacquers and varnishes we understand fluids which, in a short time after they have been laid on an article, undergo such a change as to leave a color¬ less, or, at least, only faintly colored coating behind; though, of course, there are varnishes which have been colored intentionally. This coating has a smooth, glossy surface, and serves either for embellishing the article thus coated, or for protecting it against out¬ ward influences. A good lacquer or varnish, when once applied, should dry quickly, and form a uniform layer of con¬ siderable thickness and bright lustre ; it should pre¬ serve these properties for a long time, should neither break nor crack, and should possess sufficient elasti¬ city to allow the varnished or lacquered article (tor 3 26 FABRICATION OF VARNISHES, LACQUERS, ETC. instance, wood or leather) to be bent to a certain ex¬ tent without cracking the coating. The old civilized races of Eastern Asia, the Hindus, Chinese, but particularly the Japanese, are masters of the art of manufacturing varnishes and lacquers. Especially the last-named nation occupies such a high rank in this art, that, speaking without prejudice, we must admit that in this respect they are far in advance of us. We have seen Japanese lacquer-work at the International Exhibition at Vienna, in 1873, and a still larger display in Paris in 1878, which, on account of the excellent quality of the lacquer, attracted the attention of all judges of such things. But it is by no means our opinion that these nations surpass the Europeans in chemical knowledge of the manufacture of lacquers and varnishes ; just the re¬ verse, in this respect we may be rather their teachers, but next to the conscientious labor which marks all Japanese work, we attribute the excellent quality of their products to the raw materials they use. They have at their command oils and resins furnished to them from the rich treasury of vegetable products of the tropics, materials, many of which we do not know at all, but which seem to be especially adapted for the fabrication of varnishes and lacquers. We believe we do not speak erroneously when we express the opinion that the stock of materials for the manufacture of lacquers and varnishes will be substantially increased before long from Japan, as it is well known that at the INTRODUCTION. 27 present time the country is being opened up more and more to the Europeans. We know of few products of the chemical industry which find such universal use as lacquers and var¬ nishes. They are absolutely indispensable to the me¬ chanic as well as to the artist. We only need call to mind that the wood of our floors and furniture, many articles of leather, our carriages, the component parts of iron bridges, and other articles of metal exposed to the weather, are varnished or lacquered for the pur¬ pose of giving them a pleasing appearance or to pro¬ tect them against the weather; we would further remind the reader that the painter, the gilder, the mechanic, the photographer, in short all those engaged in the art of manifolding articles require varnish or lacquer in one form or another for their purposes. In the following pages we have endeavored to de¬ scribe the fabrication of all kinds of varnishes and lacquers in such a manner as to be easily understood by all. Whatever chemical processes are treated of, we have explained the nature of these processes in such a way that even those who have received no in¬ struction in this highly important science can easily comprehend it. As varnishes and lacquers and the substance to which the name of sealing lacquer has been given, are closely related to each other, and as both industries can be very well carried on together, we have added to this work a treatise on the fabrication of the dif¬ ferent kinds of sealing lacquer and sealing wax. 28 FABRICATION OF VARNISHES, LACQUERS, ETC. Classification of Lacquers and Varnishes. We cannot draw a sharp line of distinction between varnishes and lacquers. By varnishes we generally understand certain fat oils which, by proper chemical treatment, have acquired the property of hardening in a short time to a transparent mass when they are exposed to the air in thin layers. The term lacquer is generally given to solutions of different kinds of gum or resin, dissolved in proper solvents, and when these become hard when exposed to the air, the dis¬ solved resin is either held inclosed by the solvents or the latter simply evaporate and leave the dissolved substance behind. As the first group of lacquers is prepared with fat oils, they are called fat or oil varnishes. The oil varnishes are without doubt the most valuable pro¬ ducts of our branch of industry, because, besides possessing considerable hardness and bright lustre, they are more durable and possess a greater power of resistance than other kinds of lacquers or var¬ nishes. Those kinds of lacquer in which the gum or resin is dissolved by a volatile solvent are usually called spirit varnishes, because formerly, besides oil of turpentine, spirit of wine was exclusively used as a solvent. But, as in the present state of our industry this term is no longer a proper one, we consider it necessary to desig¬ nate these kinds of lacquers as volatile lacquers. Be¬ sides ethylic alcohol (spirit of wine or alcohol in com- INTRODUCTION. 29 mon language) methylic alcohol (wood-spirit), benzine, petroleum, naphtha, and many other volatile sub¬ stances are used as solvents. According to what has already been said, we may divide varnishes and lacquers into several groups, namely: — 1. Fat oil varnishes obtained by a chemical change of certain oils of vegetable origin, the so-called drying oils. 2. Fat or oil lacquers obtained by dissolving differ¬ ent kinds of gum or resin in the above named fat dry¬ ing oils. 3. Volatile lacquers or varnishes , prepared by dis¬ solving different kinds of gum in volatile fluids, such as oil of turpentine, ethylic alcohol, methylic alcohol, ethylic ether, benzine (by benzol or benzine we under¬ stand certain volatile fluids which are obtained by dis¬ tilling coal tar, and the terms benzol or benzine are to be understood in this sense in the following pages), and naphtha. Although it is absolutely necessary that every manufacturer should have a thorough knowledge of the raw materials used in his branch of industry, yet for two reasons this seems to be doubly necessary for the manufacturer of lacquers and varnishes; for, on the one hand, the quality of the products depends in a higher degree on the choice of the proper raw mate¬ rials than is the case in any other industry ; and, on the other, because the elementary materials we have 3* 30 FABRICATION OF VARNISHES, LACQUERS, ETC. to use are frequently brought into the market adulte¬ rated in an almost incredible manner. In view of the last-named circumstance we would advise every manufacturer to procure the necessary chemicals from well known manufacturers only, and to buy the raw materials from firms of good standing, but especially the foreign gums and resins, as they are very frequently adulterated on account of their costli¬ ness. But as it is always of the utmost importance for every one to be able to form for himself a decisive judgment as to the quality of the raw products, we have briefly mentioned in the following chapter of this work, which treats of the raw materials, the physical and chemical characters of all the materials, and in doing this we believe we have rendered a service to every manufacturer. II. RAW MATERIALS, USED IN THE FABRICATION OF LACQUERS AND VARNISHES. The raw materials used in our industry are so nu¬ merous that we must endeavor to find some practical classification. First, the nature of the materials them¬ selves furnishes such a classification, namely, fluid and solid raw materials. The fluid raw materials are either non-volatile or volatile ; the solid raw materials are RAW MATERIALS. 31 either natural products or products of chemical in¬ dustry. Using this as a basis of our classification we can now proceed to a description of the different raw materials. Fluid Raw Materials. A.— Non-volatile. Fat , Non-drying Oils. Of these the following are used in the manufacture of lacquers and varnishes: hemp oil, pumpkin oil, lin¬ seed oil, grape-seed oil, poppy oil, nut oil, and castor oil. But only a few of those mentioned are used to any large extent, and linseed oil occupies the foremost place in this respect. B.— Volatile. Essential Oils and Chemical Products. Acetone, ether, camphor, benzol, wcod spirit, petro¬ leum, naphtha, sulphuret of carbon, oil of turpentine, tar oil, spirit of wine. Solid Raw Materials. A.— Natural Products. Crums and Resins , Wax. The numerous substances belonging to this group are mostly of vegetable origin, though some of them 32 FABRICATION OF VARNISHES, LACQUERS, ETC. are also derived from the mineral kingdom, and only one from the animal kingdom. The following are of special importance :— Asphaltum, amber, benzoin, colophony, capal, dam¬ mar, elemi, gutta percha, caoutchouc, mastic, sandarac, shellac, turpentine, wax. Pigments .— Coloring Matter. Aniline colors, turmeric, curcuma, dragon’s blood, gamboge, indigo, lampblack, seed lac, saffron, sanders wood. B.— Chemical Products. Compounds of lead: protoxide of lead (litharge), acetate of lead (sugar of lead), red oxide (red lead, or minium). Compounds of manganese: pyrolusite (peroxide of manganese), permanganate of potassium, borate of manganese, etc. Compound of zinc: oxide of zinc (flowers of zinc, or zinc-white). Mineral tar oil, refined paraffin, hard caoutchouc. III. DRYING OILS. In conformity with their chemical properties, the drying oils must be classed with the large group of combinations known under the general term of fats. But as the drying oils form the basis of the fabrication DRYING OILS. 33 of lacquers and varnishes, we consider it necessary to devote a somewhat larger space to the explanation of these bodies, so as to give those who possess no chem¬ ical knowledge an insight into those points to which special attention has to be paid in our branch of industry. Fats in general are combinations consisting, as far as their combinations are concerned, of a so-called base and several acids. As chemists designate com¬ binations of a base and acids by the general term of salts, we may say: fats are salts containing several acids. The base of most fats, and also of drying oils, is an oily body, having a pungent, sweetish taste. This, in a refined form, is found in commerce, as a much used toilet article, under the name of glycerine. Generally three acids are found in fats, namely: stearic acid, palmitic acid, and oleic acid ; the first two of these form the material from which the so-called stearin candles are manufactured. In their purest state they represent foliated, colorless crystals, which melt only at a temperature of over 60° C. (140° F.). Oleic acid is always an oily, thick, mostly yellowish colored fluid, of a strongly acid character, and is used for cleansing metals, but especially for manufacturing soap. Most fats, therefore, consist of combinations of gly¬ cerine Avith stearic, palmitic, and oleic acid. These combinations are called glycerides, and, according to the predominance of tristearin, tripalmitin, or triolein 34 FABRICATION OF VARNISHES, LACQUERS, ETC. in these combinations, the fats are divided into tallow, butter, and lard (fixed fats), and into oils (fluid fats). When any one of these fats is exposed to the air for any length of time, it undergoes a considerable change in regard to its properties: the formerly colorless and tasteless mass acquires a very disagreeable odor, and strongly acid taste ; at the same time it assumes a darker color, and the formerly fluid fats become viscid. Ibis change in the fats produced by a certain compo¬ nent part of the air (fats from which the air is entirely excluded do not undergo such a change) is called ran¬ cidity. But we would draw special attention to the fact that a fluid fat always remains fluid; it may be¬ come more viscid , but it never congeals to a solid mass, even if it is exposed for years to the influence of the atmosphere. It is this property which forms the only actually recognizable boundary line between the dry¬ ing and non-drying oils ; as the drying oils possess the property of changing under the influence of the air in a short time into solid masses having a resinous ap¬ pearance. In many oils this change takes place in a few hours, especially when the oil is brought in contact with a large quantity of oxygen, that is, when it is exposed to the air in a very thin layer. Such oils are classed as good drying oils, and are especially adapted for the fabrication of lacquers and varnishes. But, on the other hand, those oils requiring days, weeks, or even months for drying in, are called bad drying oils, and DRYING OILS. 35 the longer the time they require for drying in the less value they possess for our purposes. The process of drying in does not take place in such a manner that the oil congeals to a hard mass at a cer¬ tain moment, but by coming in contact with the air it thickens more and more, and gradually passes from a fluid into a solid state. But as of course this trans¬ formation also takes place when drying oils are exposed in an open vessel to the influence of the air for any length of time (but the vessel should be protected from dust falling into it by a frame covered with blotting- paper),.thus already introducing the drying process into the oil, this will explain the reason why, for in¬ stance, old linseed oil is dearer than that which has been pressed recently. The first by having been in contact with the air for a considerable time has been already transformed to such an extent that, when it is spread out in a thin layer in this condition, it may be actually called a kind of varnish, as in a very short time it will form a solid, coherent mass ; but the latter must be either stored for a long time, or has to undergo a special treatment to acquire the property of drying quickly. There are certain bodies of the nature of acids which give to the drying oils the property of solidify¬ ing: into hard masses. One of these acids which has been examined and studied most thoroughly is the one found in linseed oil, the so-called linoleic acid. Now as linseed oil is the most important of all drying oils, we may take it as a sample of drying oils, and from 36 FABRICATION OF VARNISHES, LACQUERS, ETC. its behavior study that of all others, and what will here be said about the changes linseed oil undergoes when exposed to atmospheric influence, holds good almost to the letter in regard to all other genuine dry¬ ing oils. When linseed oil is exposed to the air in a vessel protected against the falling in of dust, we perceive that the oil undergoes a gradual change as far as its physical qualities are concerned; it assumes a darker color, becomes more viscid and less inflammable. At the same time a steadily progressing increase of weight will be noticed, which, according to our special expe¬ riments, made as to this subject for a year and a half, may amount to fully 8 per cent. An experiment made for this purpose xvith 100 grammes (3.5 ozs. avoird.) of the best Bavarian linseed oil gave an in¬ crease of weight of 8.98 grammes (0.31 oz. avoird.) after the oil had been exposed to the air for eighteen months. All the drying oils consist of combinations in which are contained the elementary bodies: Carbon C, 1 hy¬ drogen H, and oxygen 0. Now accurate experiments have shown that the drying oils absorb a large quan¬ tity of oxygen from the air, and in return liberate a certain quantity of carbonic acid (C0 2 ) and water (II 2 0) in the form of vapor; the carbon C, and hy¬ drogen II, originate from the oil, the oxygen from the 1 The added letters are symbols used in chemistry for repre¬ senting these elementary bodies. DRYING OILS. 37 air. The origination of every combination of any ele¬ mentary body with oxygen is called in chemistry combustion or oxidation. In one part of the com¬ ponents of the drying oils oxidation progresses so far that no more oxygen can be absorbed, they are com¬ pletely oxidized to carbonic acid and water, which escape into the air; in another part oxidation pro¬ gresses only so far as to form combinations which contain a larger amount of oxygen than those which were previously present, and, therefore, become more viscid. According to what has been said above, the changes the drying oils suffer from a continued contact with oxygen, can be briefly expressed as follows:— The drying oils absorb from the air a quantity of oxygen amounting to as much as 8 per cent, of the weight of the oil, which completely oxidizes a part of the carbon and hydrogen contained in the oils, to car¬ bonic acid and water, and with the remaining compo¬ nents produces viscid combinations, which finally be¬ come solid by a still further progressing absorption of oxygen. It is a well-known fact that differently colored light produces chemical effects of different powers. Now, comparative experiments have proven that an entire absence of light is a most unfavorable condition for the absorption of oxygen, but that a green light is the most favorable. It would, therefore, appear to be advisable to keep linseed oil, not in barrels, but in bottles of common green glass. 4 38 FABRICATION OF VARNISHES, LACQUERS, ETC. As will be explained more fully later on, it is pos¬ sible to accelerate the absorption ot oxygen by the drying oils by using certain chemicals, and it is this operation which is actually carried on in boiling the varnish. According to the investigations of excellent chemists, it is not actually necessary to boil the drying oils for them to acquire the property of drying quickly, that is to change into varnish. It is a well-known fact that the fat oils, the unctuous non-drying, as well as the drying oils, are usually gained by subjecting the vegetable parts in which they are found to a strong pressure. In consequence of the very high pressure used for this purpose, many other substances, such as vegetable fibres, vege¬ table gum, and vegetable albumen, become mixed with the oil, which have to be removed by so-called re¬ fining. Refining is generally done by treating the raw oil with sulphuric acid, which does not change the oil but destroys all other substances which are separated in a carbonous mass, and give a black color to the oil. After the oil has become clear it is drawn off from the sediment, and freed from the adhering sulphuric acid by treating it with water. According as the refining process has been carried on with more or less care, the oil will contain fewer or more foreign substances. But it is just these foreign substances which injure the power of the oils to dry quickly when exposed to the air, and it has, therefore, been proposed to treat the oils with substances dissolved in water, which possess DRYING OILS. 39 the property of forming insoluble, quickly separating combinations with the above-named bodies (vegetable gum and vegetable albumen). Linseed oil refined in this manner did in fact dry to a perfectly solid mass in thirty hours after it had been applied on a glass plate. In speaking of linseed oil we will return to this important phenomenon. Linseed Oil. Linseed oil is obtained from the seed of the flax (Linum usitatissimum ), which is raised in large quan¬ tities, especially in the more temperate countries of Europe. The seed contains more than 28 per cent, of oil, hut at the utmost only 26 to 27 per cent, can he gained. Fine linseed oil is always obtained by pressing it at an ordinary temperature—cold pressing; by heating the pressed mass to the boiling point of water—hot pressing—a larger percentage of oil can he obtained, but it is always inferior in quality to the cold-pressed oil. Cold-pressed linseed oil has a very light-yellow color, very little hut a peculiar taste and odor; the hot-pressed oil has a much darker color, golden yellow to amber, and the peculiar taste and odor of the oil are much stronger and more disagreeable. Good linseed oil should always be of light-yellow color, should have but little odor, and when rubbed upon a glass plate should feel sticky to the touch within a few hours. The lighter the color of a varnish or lacquer is, the 40 FABRICATION OF VARNISHES, LACQUERS, ETC. more valuable is the product, but no colorless varnish can be manufactured with ordinary linseed oil, be its color never so light a yellow. But it is possible to bleach the linseed oil by various processes in such a manner that it represents a perfectly colorless fluid clear as water. Bleaching of Linseed Oil. Bleaching with a solution of Green Vitriol .—10 kilogrammes (22 lbs.) of the oil to be bleached are placed in bottles holding from 15 to 16 liters (4 to 4.2 gals.), and 4 to 5 liters (4.2 to 5.2 quarts) of a solution of green vitriol are added to every quantity of oil. The solution of green vitriol is prepared by dissolving 100 kilogrammes (220 lbs.) of green vitriol in 160 liters (42.2 gals.) rain water. The bottles are placed in a light room in such a manner that the}’ are exposed as much and as long as possible to the direct rays of the sun. Every bottle should be well shaken at least once a day. It takes from three to six weeks to perfectly bleach the oil. The length of time will depend on the temperature, but especially on the stronger or weaker effect of the rays of the sun. The clear oil is then poured off carefully from the solution of green vitriol, and kept in glass bottles. The solu¬ tion of green vitriol can be used several times for the same purpose. Should it have lost somewhat of its strength, it can be made effective again by adding 10 kilogrammes of green vitriol to 100 liters (26.4 gals.) of the fluid. DRYING OILS. 41 Bleaching with sulphuric acid is done in a similar manner to that which has been explained in refining the oils in general, but the oil is not washed suffi¬ ciently to remove every trace of sulphuric acid, as lead colors prepared with such linseed oil offer a greater resistance to the after-darkening than such as have been prepared with oil entirely free from acid. Bleaching with Sulphate of Lead .—Sulphate of lead is a white, insoluble powder, which can easily be prepared by a combination of sulphuric acid with ace¬ tate of lead (sugar of lead). For the purpose of bleaching linseed oil with this preparation, two per cent, of the mass of oil is taken and rubbed intimately together with a little oil upon the grinding-stone. This mixture is then thinned down to the consistency of milk and added to the linseed oil which in this case must also be placed in bottles exposed to the light. The turbid fluid clarifies slowly, and in a few weeks the oil will be found perfectly clear and bleached. The foreign substances which were contained in the oil lie in a tolerably solid skin-like mass over the sediment of sulphate of lead, which can be used quite often for the same purpose. On account of its great commercial value linseed oil is frequently adulterated. When oils of less value are added, it is very difficult to detect such an adul teration, and it can only be discovered by an accurate determination of the density. It is easier to detect an addition of common resin with which the oil is fre quently adulterated. To detect such an adulteration 4 * 42 FABRICATION OF VARNISHES, LACQUERS, ETC. the oil is shaken with a double quantity of strong spirit of wine, which dissolves the resins hut the oil does not mix with it. If a few drops of a solution of acetate of lead are added to this solution, a strong flocky precipitate will be formed at once, if resin should be present in the oil. If the fluid remains clear after the solution of acetate of lead has been added, it is a proof that no resin is contained in the oil. Hemp Oil is gained by cold and hot pressing from the seeds of the hemp plant (Cavmabis sativa). It has a light yel¬ lowish-green color, but only as long as it is fresh ; old oil becomes gradually darker, and finally assumes a dull-brown color. Generally hemp oil does not dry as well as linseed oil, but it can be very well used for varnishes, especially for those purposes where its dark color will be no hindrance. Poppy Oil is obtained in considerable quantities from the small, black seed of the common poppy plant (Papaver somni- ferum). The seeds are so rich in oil that more than one-half their weight can be gained from them. Poppy oil has a light-yellow color, and on account of its mild, agreeable taste, is frequently used for culinary pur¬ poses. In the fabrication of lacquers and varnishes it is only used for fine qualities. It is also used by artists for thinning their colors. DRYING OILS. 43 Nut Oil. This oil is obtained from the fruit of the common walnut tree (Juglans regia). The cold-pressed oil differs essentially from that which is obtained later on by using heat. The first is nearly colorless, or at least only slightly yellowish-green, and when fresh has a very pleasant odor and taste ; when exposed to the light it becomes perfectly bleached in a short time. Hot-pressed oil is highly colored, and has a rather disagreeable taste and odor. For this reason hydrau¬ lic presses are only used for pressing the oil, as these produce the greatest pressure .of all presses. As cold- pressed oil commands a higher price, the manufacturers endeavor to obtain the highest pressure by the most powerful presses, so as to be able to gain the greatest part of the oil by cold pressing. On account of its very light color it is much liked for the fabrication of very fine varnishes, and also for thinning colors used in oil painting. Other Drying Oils are grape-seed oil, cotton-seed oil, pumpkin oil, etc., but so far they have been generally but little used, and are scarcely known at all in the fabrication of varnishes. But as the oils mentioned above can be produced in large quantities and at very low prices, we have made experiments with them, as, if they are properly treated, they furnish very well drying var¬ nishes. As the bleaching of these oils is a very tedious 44 FABRICATION OF VARNISHES, LACQUERS, ETC. labor, it seems tt> us advisable to use them for such varnishes as do not require to be of a very light color. In consequence of the continual rise in the prices of oils, it seems to' us very important to call attention to these oils, as by using them the manufacturer will be enabled to place in the market products of the second and third qualities at a very low price. Grape-seed oil and cotton-seed oil would be espe¬ cially suitable for such use as raw materials, for the seeds are almost of no value whatever to the wine grower and cotton planter, and would be sold at a low price, and the principal expense in manufacturing the oil would be the wages for pressing the oil. Adulterations of Drying Oils. The great commercial value of drying oils induces many to adulterate these products. The adulterations consist principally, as we have mentioned already in speaking of linseed oil, in adding resin or a less valu¬ able oil to one of greater value. Unfortunately, it is very difficult to detect the last-named adulterations on account of the great similarity of the action of all dry¬ ing oils. But there are some means by which such an adulteration can be detected with tolerable accu¬ racy. These consist in ascertaining the specific weight or density by an accurate areometer, and the testing of the oils with sulphuric acid and nitro-muriatic acid or aqua regia (a mixture of nitric acid and hydrochloric acid) and soda. Below Ave give a little table which will furnish the DRYING OILS. 45 necessary points for ascertaining the density, but we must remark here that these densities are only correct for 15° C. (59° F.), and that this must be exactly the temperature of the oil to be examined. The dry¬ ing oils possess also the property that they only solidify at a very low temperature, and we have mentioned the degrees at which they solidify, as these may also be used in examining an oil in regard to its purity. Name of the oil. Density at 15° C., 59° F. Becomes viscous at Solidifies at Linseed oil ... Nut oil. 0.9848 ( 0.9261 l (0.9268 $ < 0.9242 l ( 0.9250 $ 0.9276 0.9611 0.9202 $ 0.9810 ( ( 0.9322 $ —160C. +3.20F. —18 —0.4 —18 —0.4 —16 +3.2 —16 +3.2 —15 +5.0 ? —27°C — 16.6°F. —27 —16.6 —20 — 4 —28 —18.4 —17 + 1.4 —17 + 1.4 V Poppy oil. Hemp oil. Castor oil., Grape-seed oil. Cotton-seed oil The two numbers (in brackets) opposite to those oils having a varying desity indicate the utmost limits ever observed in them. Testing with acids is done by placing a certain quantity of the oil and the acid upon a white porcelain plate, and by observing the changes in the color. The concentration and density of the acid exert in this respect a strong influence upon the appearance of the colors. We always use sulphuric acid having a den¬ sity of 1.638, and nitro-muriatic acid, or aqua regia, composed of twenty-four volumes of hydrochloric acid 46 FABRICATION OF VARNISHES, LACQUERS, ETC. having a density of 1.156, and one volume of nitric acid having a density of 1.333, and finally, the caustic soda solution has a density of 1.350. For five volumes of oil we use one volume of the acids and ten volumes of the caustic soda solution, which are added to the oil after it has been compounded with the nitro-muriatic acid. According to our experiments the following changes of color will appear in from four to six minutes after the test fluid has been added to the oil. The acid is allowed to drop upon the oil, and the color ap¬ pearing on the edge of both is observed ; in about six to seven minutes the two fluids are stirred together, and the appearing change of color is again observed. In the following we mention a few tests we have obtained from oil pressed by ourselves, and we would advise all buyers of drying oils always to procure small quantities of undoubtedly genuine oil, so as to be able to examine the genuine oil along with the oils to be tested, and to compare the color phenomena. Name of the oil. Tested with -sul¬ phuric acid be¬ comes With nitro-muriatic acid and later with caustic soda solution becomes Linseed oil.. Green Yellowisli-green ; orange (re¬ mains fluid). Nut oil. Brown Yellow ; fibrous orange. Hemp oil ... Dark brown Green ; fibrous light brown. Castor oil... Yellow Yellow ; fibrous light red. VOLATILE FLUIDS. 47 IV. VOLATILE FLUIDS USED IN THE FABRICATION OF VARNISHES. Besides the drying oils only the essential oil of tur¬ pentine and spirit of wine were formerly used in the fabrication of varnishes, but in modern times the num¬ ber of those volatile fluids which may be used as sol¬ vents, for various resins, has largely increased, and without doubt the number of these substances will be still more augmented by the progress of science, as every quickly volatilizing body, possessing the power of dissolving resins, may be used as a solvent for them. According as the boiling point of these fluids is high or low the varnishes or lacquers will dry quicker or slower, and in this respect we have already advanced so far as to be able to produce lacquers which are pre¬ pared with such volatile solvents that they will solidify in a few seconds after they have been applied to a sur¬ face, and in most cases they have to be mixed with some other less volatile fluid to prevent them from drying too quickly. The volatile fluids are not only used for preparing certain lacquers and varnishes, but they are also much employed for sufficiently thinning the viscous, fat lac¬ quers. Some of these bodies are natural products, but most of them belong to those substances which can 48 FABRICATION OF VARNISHES, LACQUERS, ETC. only be obtained by certain chemical processes. We shall describe these fluids in the order as they anpear to be of most importance for our purposes. Oil of Turpentine. The term oil is not well adapted for this substance, as these substances have nothing further in common with oils than that they produce a transparent stain upon paper, but as the oil evaporates this after a short time disappears again. The essential oils to which the oil of turpentine belongs, and with which we may also class petroleum (rock oil), as well as the so-called tar oils, consist of carbon and hydrogen only. When exposed to the air they partly volatilize and partly absorb oxygen from the air, become viscous, and finally, solidify ; they change into resins. The fluid oil of turpentine is pure hydrocarbon, whereas colophony is the oil of turpentine completely changed into resin, the half soft turpentine is an intermediate substance. The oil of turpentine exudes from the partly barked trunks of the coniferse, and especially the fir, pine, and larch are used for this purpose. The oil partly changed into resin is collected and treated in distilling apparatuses, where the oil of turpentine is separated in an unchanged state from the colophony-pitch which remains in the distilling vessel. The oil of turpentine is refined by repeated distilling, the so-called recti- fying. Perfectly pure oil of turpentine—the Austrian and VOLATILE FLUIDS 49 French oils are of an excellent quality—is a fluid clear as water, possessing a not disagreeable but over¬ powering smell. It reflects light very strongly, has a density of from 0.850 to 0.890, and its boiling point lies between 160° and 180° C. (320° and 356° F.). Notwithstanding this very high boiling point, oil of turpentine is very volatile at an ordinary temperature, and must be kept in tightly closed bottles, and a room where much oil of turpentine is stored should not be entered with a lighted candle, as the air impregnated with inflammable vapors might catch fire from the flame and an explosion take place. When oil of turpentine is inclosed with a large quantity of air in a spacious vessel it becomes viscid by absorbing oxygen, and acquires by this means an extraordinary bleaching power. We have successfully used such oil of turpentine for bleaching fat drying oils with which it is miscible in any proportion. The most important property of oil of turpentine for our purposes is the great solving power it possesses over resins. It will dissolve the larger part of the resins and leave them behind in evaporating. Camphor. Although a solid substance, yet, according to all its properties, camphor belongs to the essential oils. Camphor is obtained from a tree belonging to the laurel family which is found in the southern parts of Eastern Asia, and in whose wood the camphor is stored as a white crystalline mass. The refined 5 50 FABRICATION OF VARNISHES, LACQUERS, ETC. (sublimated) camphor forms white crystalline masses resembling alabaster in appearance, has a peculiar strong smell, melts at 151° C. (308.8° F.), boils at 163° C. (325.4° F.), and can be easily dissolved in spirit of wine, ether, volatile and fat oils. When set on fire, camphor burns with a white flame, depositing considerable quantities of soot. Petroleum and Petroleum-naphtha , For about fifteen years immense quantities of rock oil (petroleum) have been imported into Europe from the United States, and it has gradually taken the place of fat oils for illuminating purposes. The com¬ position and properties of petroleum correspond gene¬ rally to those of oil of turpentine. Petroleum also possesses the power of dissolving resins and of leaving them behind in evaporating. The extraordinarily low price at which this article is brought into commerce causes it to be well adapted as a partial substitute for the considerably dearer oil of turpentine, and experi¬ ments have proven that refined petroleum can be ad¬ vantageously used instead of oil of turpentine for thin¬ ning thick fat varnishes. In refining petroleum, several extraordinarily vola¬ tile hydrocarbons are obtained which are excellent solvents for resins , and for this reason deserve great attention from manufacturers of varnishes. In com¬ merce these substances are found as fluids clear as water, and are known as kerosene, petroleum-naphtha, and benzol (benzine). Large quantities of the latter VOLATILE FLUIDS. 51 are also manufactured from coal-tar. As the boiling point of most of these fluids is below 60° C. (140° F.), they must be kept in well-closed vessels, and, on ac¬ count of their inflammability, the greatest care with fire and light is required. Resins are quickly and easily dissolved in these oils, but the solutions dry already under the brush, and when used must there¬ fore be thinned with petroleum, oil of turpentine, or spirit of wine. Tar Oils. Thick, mostly very strong smelling fluids known as tar are gained by dry distillation, that is, by heating organic bodies (such as wood, stone-coal,and brown coal) in a vacuum. Several solid and fluid products con¬ sisting also of combinations of hydrocarbons, and which are principally used for illuminating purposes, are obtained by distilling the tar. The lighter and vola¬ tile products of this are fluid, are less valuable for illuminating purposes, but are especially well adapted for dissolving resins, and are much used for this pur¬ pose. In regard to their properties, the same holds good that has been said about petroleum naphtha and benzol. In commerce a distinction is made between light and heavy tar oils. The first are less dense and their boiling point is lower than the latter, and they are principally used for manufacturing volatile varnishes and lacquers. 52 FABRICATION OF VARNISHES, LACQUERS, ETC. Woocl-spirit, or methyl-alcohol, is gained in large quantities by a dry distillation of wood. It is a colorless fluid having a strong odor and poisonous properties, boils at 66° C. (150.8° F.), is very inflammable, and burns with a colorless flame. It can be mixed in any desired pro¬ portion with oil of turpentine, spirit of wine, and the tar oils. It easily dissolves resins, and can be used instead of the expensive spirit of wine for making volatile varnishes, which also dry quicker than pure spirit of wine varnishes. Methyl-alcohol, either by itself or mixed with other volatile solvents, has already for a long time been used in England for the manu¬ facture of excellent varnishes. Spirit of Wine , also called ethylic alcohol, spirit, or simply alcohol, is formed by the so-called vinous fermentation of sugar, and is found in a diluted state in all spirituous beve- rages, such as beer, wine, or whiskey. Pure spirit of wine is a colorless, thin fluid having a density of 0.7939. It boils at 78.4° C. (173.1 F.), and pos¬ sesses poisonous properties. But spirit of wine is never brought into commerce in its pure (free from water) state, but contains always a certain quantity of water. In commerce it is customary to designate the quantity of pure alcohol contained in a fluid by per cents, or degrees ; spirit of wine of 90 per cent, or 90 VOLATILE FLUIDS. 53 degrees contains in 100 parts 90 parts of pure alcohol and 10 parts of water. Spirit of wine easily dissolves all resins, but only when it contains but a small percentage of water. The stronger the spirit of wine is, the better it seems to be adapted for use in the fabrication of varnishes, and the manufacturer should never use spirit of wine containing less than 90 per cent, of pure alcohol. The percentage is generally guaranteed by the manufacturer, but it can be easily ascertained by using the so-called Tralles alcoholometer (Fig. 1). Fig. 1. The number to which the instrument sinks into the fluid indicates at once how many per cents, of pure alcohol arc contained in the fluid. 5 * 54 FABRICATION OF VARNISHES, LACQUERS, ETC. Ether. Ethylic ether, sometimes called in commerce (but wrongly) sulphuric ether, is obtained by distilling spirit of wine with sulphuric acid ; hence the name sulphuric ether. It is a fluid having a penetrating and over-powering smell, and a density of 0.736 ; it boils at 34.5° C. (94.1 F.°), is very inflammable, and is miscible in any proportion with spirit of wine. Ether dissolves resins very easily, but varnishes prepared with it must always be thinned with spirit of v T ine, as they dry almost immediately on account of the low boiling point ot the solvent. Ether vapors, like those of benzol and petroleum naphtha, form a very explo¬ sive compound when mixed with air, and for this rea¬ son all fire or light must be carefully kept out of the room when these substances are used. Aceton, or pyroacetic spirit, is obtained by a dry distillation of acid salts. In a pure state it is a colorless, thin fluid, having a density of 0.814, and boils at a temperature of 56° C. (132.8° F.). Acetone dissolves resins, can be mixed in all proportions with other solvents of resins. As it is of greater service than other sol¬ vents, and commands a rather high price, I would not recommend the use of acetone to manufacturers, though ' © chemists have proposed it as a solvent, as there are a number of other and cheaper solvents which perform the same service. VOLATILE FLUIDS. 55 Bisulphide of Carbon (Alcohol Sulphuris). This body is obtained by a combustion of carbon in sulphuric vapor, and by introducing the formed vapors into a vessel filled with ice. It is a colorless fluid, refracting light strongly, has a peculiar, disagreeable odor, resembling that of radishes, is very inflammable, of great density, and boils at a temperature of 48° C. (109.4° F.). As bisulphide of carbon is very volatile, it must be stored under water. It is very cheap, and as it possesses the property of very easily dissolving resins, caoutchouc, etc., it is very frequently used as an excellent solvent for resins. It is evident that the cheaper the solvent is the less will be the cost of preparing varnishes, in this respect bisulphide of carbon seems to deserve special attention, and it is now brought into the market by many manu¬ facturers in a perfectly pure state, and at a very low price. On account of its possessing a considerable power of dissolving fat oils, it is also very well adapted for gaining them from vegetable parts. Impure bisul¬ phide of carbon, that is, such as holds but small quan¬ tities of free sulphur in solution, is not very suitable for the manufacture of lacquers, as they will show but little gloss when they have become dry ; and tor this reason an entirely pure article should be used only. -56 FABRICATION OF VARNISHES, LACQUERS, ETC. y. VARIETIES OF GUMS AND RESINS. Gums are non-crystalline substances, which flow from different species of plants when their bark has been injured, and which solidify to glassy masses when exposed to the air. The well-known so-called gum arabic—which is much used as a paste—may serve as a representative of these bodies. But frequently the gum is mixed with other substances originating from the same plant, and often masses are found containing gum, resins, coloring matter, and sometimes tannin and other combinations. The gum and resin from cherry- trees is such a mixed substance. Such masses are called gum resins to distinguish them from the pure resins, which are always solid and hard, as, for in¬ stance, colophony. To be sure, there are also resins which can be kneaded at an ordinary temperature, and are therefore called soft resins; but we must reject this term as incorrect, as the so-called soft resins are only of a soft consistency, on account of essential oils adhering to them. Many soft resins approach closely to the so-called balsams, which are half-fluid, and owe this condition to the great quantity of essential oil they contain. When these balsams are exposed for any length of time to the air they gradually gain greater VARIETIES OF GUMS AND RESINS. 57 consistency, resemble more closely the soft resins, and, finally, change into entirely solid or hard resin. The vegetable resins are found either ready formed in certain parts of the plants, or they are held in solu¬ tion by an essential oil, and flow in a more or less thick mass from incisions made in the bark of the plants, or they are mixed with the milky juices, solidify in combination with them, and then form the gum resins. Among the European plants the different species of Coniferse produce the largest quantity of resin. But a large number of plant-families are found in the tropics, which produce various resins in immense quantities. We have already mentioned on a former page that it is very likely we do not even yet know many of these resins, which would be especially adapted for the manufacture of lacquers, and are very likely already used for this purpose. Besides the resins originating from the vegetable kingdom, two other resins, which are found in the earth, are used in the fabrication of lacquers and var¬ nishes. These are designated as fossil or mineral resins, though they originate from the vegetable king¬ dom, or, at least, amber certainly does. In regard to the other fossil resin, asphaltum, no definite conclu¬ sion, in regard to its origin, has yet been arrived at. Among the resins, the genuine hard resins espe¬ cially, but particularly copal resin and amber, are those which produce the most beautiful varnishes ; but, for certain purposes, the soft resins are indispensable, as with their help alone varnishes of sufficient elas- 58 FABRICATION OF VARNISHES, LACQUERS, ETC. ticity can be produced to permit the bending of the lacquered articles without cracking the coating. Asphaltum , also called black earth pitch, Jews’ pitch, bitumen, etc., is found in many places upon the globe, stored in the earth or swimming upon the sea. The best known places where it is found are, for instance, the Dead Sea in Syria, and the Pitch Lake, in the island of Trinidad. Asphaltum is a pitch-dark brittle mass, with a flat, conchoidal fracture ; generally it diffuses a disagreeable odor, resembling that of burning coal, which is especially perceptible when it is heated. When heated, asphaltum melts easily and throws off black, heavy vapors. When set on fire it burns with a bright flame depositing large quantities of soot, but leaving little ash, and this is made use of as a means of testing its purity, as adulterated asphaltum, which has been mixed with bad pitch, leaves a large quantity of ashes behind. In modern times asphaltum has been much used for manufacturing excellent, elastic,. black lacquers, especially suitable for lacquering iron wares. Tar Asphaltum. Asphaltum must not be confounded with a chemical product, which is frequently brought into commerce under the name of asphaltum; this is the so-called tar asphaltum which is gained in the distilling of the tar oils. This is used for nearly the same purposes as VARIETIES OF GUMS AND RESINS. 59 the mineral asphaltum, which it resembles in many respects. Amber (Succinum). Amber is the resin of trees of former ages, which originally stood upon land covered at the present time by the waters of the Baltic Sea. During storms the amber, whose specific gravity differs very little from that of water, is thrown upon the beach, or it is ob¬ tained by dredging the sand, though in some places it is also mined. Amber has a yellow color, many pieces are entirely transparent, others clouded, etc. By heating and rubbing it considerable electricity is generated ; when thrown upon live coals it burns with a white flame and develops a strong odor. Large pieces of amber are very costly, and such pieces are exclusively used for turned articles. For manufacturing lacquers and var¬ nishes only the small pieces and chips falling off in working larger pieces are used. The so-called rasura succini of druggists consists of such chips. Amber should only be procured from well-known dealers, as it is frequently adulterated, and the adulteration, Avhich is done with powdered copal, etc., cannot be easily detected. Amber can only be dissolved in sol¬ vents by treating it in a certain manner, and has this property in common with other hard resins. We will later on refer to this behavior. 60 FABRICATION OF VARNISHES, LACQUERS, ETC. Benzoin Resin. Benzoin resin is found in Asia, and comes into com¬ merce from India and the East Indian islands, and is obtained from the Styracese. Several varieties of benzoin come into the market. The best quality is the so-called almond benzoin, which consists of white grains caked together with a brownish mass lodged between them, and which, when it is heated, diffuses an agreeable odor; the second quality shows the white masses less frequently, is of a darker color, and is fre¬ quently mixed with many chips of bark and wood. Good benzoin should completely dissolve in strong spirit of wine. It is more frequently used for the manufacture of sealing-wax than for varnishes. Colophony , or common resin, is obtained, as is well known, from our Coniferm ; the viscous turpentine is the balsam of this resin consisting of oil of turpentine and resin. Pure common resin (colophony) has a light amber color, is transparent as glass, and very brittle. Common resin less pure is called pitch-yellow, red, black-pitch. Lately, an excellent quality of very light colored com¬ mon resin has been imported from America, and this is especially well adapted for the manufacture of many varnishes and lacquers. Copal Resin. Copal resin comes from the tropics and is found in commerce in very varying qualities. Usually a dis- VARIETIES OF GUMS AND RESINS. 61 tinction is made between copal from the East and the West Indies, though a large number of varieties are named after the localities from which they have been brought into the market. Differing from all other resins in this respect, all copal resins are very hard , melt only at a very high temperature and can only he dissolved with great difficulty in the solvents ordina¬ rily used for resins. In this it resembles amber, and, further, many varieties are dug out of the ground like the latter, while other varieties are gathered from the trees themselves. It is very likely that the copal which is dug out of the ground is also a product of extinct trees. Copal is the most important of all resins used for the fabrication of fat lacquers, and for this reason we consider it necessary to describe more fully the prin¬ cipal varieties. Generally, copal is divided into two classes, namely, hard and soft copal. Rock-salt can be easily scratched with the hard varieties. Hard Copal , East India Copal , Zanzibar Copal .— This copal is dug out of the ground, and comes from the east coast of Africa. It forms mostly flat, discoid pieces from the size of a pea up to that of a hand. These pieces are either entirely colorless, or yellow to a dark reddish-brown, and are transparent. The sur¬ face of this copal is peculiarly warty, and so hard that it can be ground. Copal from Sierra Leone comes mostly in the form of globes or drops, forms at the utmost pieces as large as a nut, and is equally as hard as the East India 6 62 FABRICATION OF VARNISHES, LACQUERS, ETC. copal. Graboon copal is roundish, of a yellow color, and many pieces are clouded blood-red. Angola copal resembles very much the Zanzibar copal, but consists mostly of globular somewhat flattened pieces, which are almost always of a dark golden-yellow color, but some¬ what softer than the other varieties. Soft Copal; West India Copal. —By this name certain varieties of copal are known which mostly come into the market from the west coast of Africa, and only in very small quantities from South America. While the plants which secrete the East India copal are entirely unknown to us, we do know that the South American copal is obtained from different plants belonging to the Hymenaea family. The West India copal generally forms globular or drop-like pieces from the size of a pea to that of a fist, is white, transpa¬ rent, and sometimes, but rarely, clouded. It is so soft that it will lose substance when rubbed upon woollen stuff. Kawrie Copal is obtained from Dammar a australis , indigenous in New Zealand, and forms sometimes lumps weighing over 50 kilogrammes (110 lbs). Lighter and darker streaks run through these lumps, and they have an aromatic odor. While all other copals become gritty when chewed, this variety sticks to the teeth. On account of its low price, the Kawrie copal is much used at the present time for the fabrica¬ tion of varnishes. The Manilla copal and Borneo copal resemble very much the New Zealand product. Hard copal has no taste nor smell, the soft varieties VARIETIES OF GUMS AND RESINS. 68 have an aromatic smell and taste. Copal is easiest dissolved in chloroform and absolute alcohol, that is, alcohol entirely free from water, but in the latter only when it has been first soaked in ether. It is very difficult to dissolve in benzol, oil of turpentine, petro¬ leum naphtha,—all excellent solvents for other resins. Copal only dissolves easier when it has been first sub¬ jected to a partial dry distillation. Dammar Resin is obtained from Dammara orientalis, which is cultivated in the East Indies. The resin is gained by incisions which are made in the trunks of the plants, or the vol¬ untarily exuding mass is gathered. Dammar resin forms drop-like masses as large as a small apple, or sometimes, also, larger pieces, resembling icicles. These pieces are either entirely colorless, or very light yellow, and smooth. The warmth of the hand is suf¬ ficient to make dammar sticky, and a powder is formed by rubbing it with the finger. At a temperature of 70° C. (158° F.) dammar becomes entirely soft, at 100° C. (212° F.) forms a viscous mass, and becomes fluid at 150° C. (302° F.). It can be entirely dis¬ solved in hot spirit of wine. The variety which comes into the market as dammara australis is Kawrie-copal. Elemi Resin is obtained from trees belonging to the Burseracem family, and is produced in America, the East India, and Manilla. Elemi forms either a very thick, yellowish- 64 FABRICATION OF VARNISHES, LACQUERS, ETC. white balsam, possessing a strong, aromatic taste, and smell like the Manilla elemi, or solid, lamelliform masses like the Mexican elemi, which shows a conchoid fracture of a slight yellowish color, becomes white as milk Avhen exposed to the air, and covered with a white, crystalline powder. Elemi must be considered as an intermediary pro¬ duct ; besides two different kinds of resin, one of which is soluble in cold, and the other in hot spirit of wine, there are found in elemi varying quantities of essential oil. Elemi resin is seldom Avorked by itself for var¬ nishes, but it is frequently added to other varnishes, as it prevents them from becoming brittle and cracking in drying. Grutta Percha gained from an East Indian tree, the Inosandra gutta, is not a resin in the same sense as those which Ave have already described, but a substance related to caout¬ chouc, which flows from incisions made in the tree, and becomes hard Avhen exposed to the air. The commer¬ cial gutta percha forms brownish, tough, sometimes fibrous masses, Avhich become thoroughly plastic at 60° C. (140° F.), and melt at 120° C. (248° F.). Gutta percha is easily dissolved in bisulphide of car¬ bon and chloroform, and also in petroleum naphtha. It remains as a water-proof coating after the solvent has evaporated. VARIETIES OF GUMS AND RESINS. 65 Caoutchouc , Grummi elasticum , is the thickened milky juice of dif- erent trees indigenous to the tropical regions, but it is also found in our European varieties of milk weeds ( Asclepiadece ), though not in sufficient quantities for industrial purposes. It forms a tough, very elastic mass, composed of carbon and hydrogen. It can only be partly dissolved in most of the known solvents, while what remains swells up, and can be dissolved with the least difficulty in those volatile products which are gained by the dry distillation of the caoutchouc itself. In modern times caoutchouc has become of the utmost importance for the fabrication of water-proof varnishes. Besides the ordinary caoutchouc, there comes into the market also the vulcanized and hard caoutchouc. Vulcanized caoutchouc is of a grayish color, and is ob¬ tained by treating ordinary caoutchouc with sulphur. This variety cannot he used for the fabrication of lac¬ quers and varnishes. The hard caoutchouc is also gained by chemically treating the ordinary variety ; it forms hard masses of a black color, resembling some¬ what buffalo-horn (the rubber combs are made from it), and is suitable for the manufacture of some important lacquers. Mastic comes principally from the island of Chios, where it is gained by making incisions in the trunks of the Pis- 6 * 66 FABRICATION OF VARNISHES, LACQUERS, ETC. tacia lentiscus. It forms roundish, yellow masses about as large as a pea, and has an aromatic taste and (when heated) an agreeable smell. Mastic dis¬ solves partly in cold spirit of wine, but completely only in boiling alcohol. Lately a resin from the East Indies has been introduced into the market under the name of Bombay mastic, which resembles in some re¬ spects the genuine Chios mastic. Sandarac. This resin flows from the bark of a species of cy¬ press, Callitris quadrivalvis , which is found in North America, and forms tear-like masses of a wine-yellow to brown color. It melts at 130° C. (266° F.), devol- oping then a very aromatic odor; it is only partly soluble in spirit of wine. The so-called German san¬ darac differs very much in its properties from the genuine, and consists of the resin of the juniper bush (Juniperus communis ). Shellac flows from the branches of certain East India trees, in consequence of injuries inflicted by a species of coccus (Coccus laccce ). It hardens at the same time with a very beautiful red coloring matter, which is called lac-dye. The resin separated from the coloring mat¬ ter is shellac, which is found in commerce in different qualities, and is called according to its color, ruby shellac, blond shellac, etc. Generally shellac has a light-yellow, brown, or reddish-brown color, and is VARIETIES OF GUMS AND RESINS. 67 easily dissoluble in strong alcohol. The solution forms a varnish very much used, the so-called cabinet¬ makers’ varnish. By treating the solution of shellac with animal char¬ coal, or with a solution of chloride of lime, the shellac can be perfectly bleached to white masses shining like silk. As the bleached shellac commands an extra¬ ordinarily high price, many manufacturers will prefer to bleach the shellac themselves. Bleaching with Chloride of Lime. —First a solution of 1 kilogramme (2.2 lbs.) of chloride of lime in 1 kilo¬ gramme of water is prepared, and this is compounded with a solution of soda, until no more precipitate is formed. The clear fluid is poured off and is added to 10 liters (2.64 gals.) of spirit of wine solution of shellac and thoroughly shaken. The entire mass is then allowed to stand till it is observed by the color of the fluid that the bleaching is done. This generally takes place in half an hour to an hour, and quicker under the influence of the direct rays of the sun than a scattered light. The bleached fluid is then poured into a large stoneware pot or enamelled vessel, and hydrochloric acid is added as long as resin is sepa¬ rated. The resin separated by adding the acid is of a very light-yellowish color, and loses the remaining part of the coloring matter by washing it in boiling water. For the purposes of the varnish manufacturer it is of course entirely unnecessary to fashion the bleached shellac into the form resembling skeins of white silk, in which it is brought into the market. 68 FABRICATION OF VARNISHES, LACQUERS, ETC. Turpentine , which is obtained from the cone-bearing trees (fir, pine, larch) and, as has been already mentioned, is an in¬ termediary product between the oil of turpentine and resin. In commerce it is divided into many varieties according to color and viscosity. One variety is called Venetian turpentine. This is gained from the larch tree, is yellow like honey, and viscous, and has a not disagreeable smell. On account of its half-fluid property turpentine is also used for diminishing the brittleness of certain lacquers and varnishes. Wax is the well-known product of the bee. In commerce a distinction is made between the natural or yellow wax and the bleached or white wax; the latter variety only is used for preparing some varnishes (except we would class certain so-called floor lacquers, for the fabrication of which yellow wax is also used amongst the varnishes). Wax only partly dissolves in boiling spirit of wine, but does so entirely in ether, oil of turpentine, benzine, and sulphide of carbon. The commercial wax is frequently badly adulterated with a vegetable substance, the so-called Japanese wax. Cera sin. By the name of cerasin or artificial wax a substance having the appearance of wax is brought into the COLORING SUBSTANCES. 69 market which may be used for the fabrication of var¬ nishes for floors ; as far as its chemical properties are concerned it has nothing in common with wax. Paraffin is a substance contained in tar which, in a pure state, forms a white mass looking like alabaster, and at the present time is frequently used in the manufacture of candles. It is also used for the fabrication of a few lacquers, and serves at the same time to make them less brittle. VI. COLORING SUBSTANCES. Coloring substances are of importance in the fabri¬ cation of lacquers and varnishes in so far as they are used to produce a certain tone of color in many varie¬ ties, and as a certain color is demanded for some var¬ nishes, as is, for instance, the case with the so-called gilder’s-varnish, which must always be of a bright yellow color. To be of any value for our purposes the coloring substances used must especially possess two qualities ; they must be transparent, and lasting when exposed to the light. In the first respect the aniline colors, so much liked at the present time, give great satisfaction, but as far as the latter quality is concerned the older colors deserve the preference, though they are not so beautiful as the aniline colors. 70 FABRICATION OF VARNISHES, LACQUERS, ETC. Aniline Colors are prepared on a large scale in special factories. They are produced from coal-tar, and can be bought in all shades and tones of color. Varnishes to which aniline colors have been added make a magnificent show of color, especially when they are laid on a metallic ground; in regard to this we would only call attention to the extraordinarily beautiful colors of a metallic lustre which are displayed by the tinfoil used for wrapping fine chocolate, etc., and with which the corks of bottles are covered. Unfortunately, as we have already mentioned, these beautiful colors possess but little durability. Turmeric , curcuma, or the radix curcumce of druggists. Of this, two varieties are known in commerce: the first, curcuma longa , forms articulate pieces as long as the finger and of the thickness of a lead-pencil. Exter¬ nally it is of a yellowish-gray color, while the interior is of dark orange color and resinous. The second variety, curcuma rotunda , forms tubers of the size of a nut, but its properties are the same as those of curcuma longa. The Chinese turmeric is considered the best, the next best is the Japanese, while the Barbadoes turmeric is the poorest quality. The coloring matter of the turmeric is easily soluble in spirit of wine, and has a bright yellow color, but possesses but little durability when exposed to the lisrht. COLORING SUBSTANCES. 71 Dragon's Blood , sanguis draconis , is a resin of a deep dark red color, which is obtained from the different species of Draccena , which are all indigenous in the tropical regions, as well as from other plants. Dragon’s blood comes into the market either in the form of small balls or in sticks about 3 decimeters (11.8 inches) long—in both cases enveloped in leaves—or in irregular masses which look as if they had been melted. Several varieties of this article are found in commerce, but especially that from the East and West Indies and from Africa. Dragon’s blood has a dark blood-red color, but the red shines through only on the edges or in very thin pieces. The fracture has a strong lustre. It can be easily pulverized, and when heated diffuses an odor similar to that of storax. The dragon’s blood found in commerce is frequently badly adulterated, and even products are sold as dragon’s blood which consist of gum colored with sanders wood. When genuine dragon’s blood is rubbed against a glass-plate it makes a mark very much resembling a streak of blood, which is not the case when the article has been adulterated. Crambo ge. Gamboge is a so-called gum resin, and consists of gum, resin, and a bright yellow coloring matter. In commerce it appears in various forms, as pipe gam¬ boge, cake gamboge, and lump gamboge. Gamboge consists of the milky juices boiled down of the different 72 FABRICATION OF VARNISHES, LACQUERS, ETC. trees belonging to the family of Gcuttiferoe. The pieces are generally yellow or brownish-yellow, the surface is covered with a greenish powder, and only somewhat transparent when very thin. Gamboge dissolves only partly in alcohol, but com¬ pletely in ether; with water it forms an emulsion, i.e., the resin is kept suspended in the fluid by the dissolved substances. This substance is of the greatest import¬ ance in the fabrication of varnishes, as it is used for preparing the so-called gold-lacquer, a varnish used for coating wash-gold frames. Indigo. This magnificent blue coloring matter, one of the most constant we know of, is obtained from the indigo plant, Anil indig of era, indigenous in the Indies, but also cultivated in other tropical countries. It is gained from the plant by a peculiar, chemical process. Deal¬ ers divide it into a large number of varieties, but we cannot enter here into a more particular description of them. Indigo should always be bought in pieces, because the powdered article is frequently badly adulterated with other blue coloring matter. Special attention should always be paid to a certain characte¬ ristic of a good quality of this article, namely, when the dark blue pieces are viewed in a certain direction, they show a beautiful, metallic copper-lustre, which appears the stronger when the surface is smoothed by rubbing it with the nail of the finger. Indigo by itself cannot be brought into such a soluble form as to COLORING SUBSTANCES. 73 allow of its being mixed with varnish or lacquer ; even if very finely powdered indigo is rubbed together with a varnish or a lacquer, a blue, well-covering paint will be obtained, but not a transparent product. A trans¬ parent, blue lacquer or varnish colored with indigo can only be obtained by using the so-called indigo- carmine. Indigo-car mine is prepared in the following man¬ ner : Indigo is powdered as finely as possible, is placed in a capacious glass vessel and dried for several hours at a temperature of 110° C. (230° E.). Enough fuming sulphuric acid is then poured over the powder to cover it. The mass swells up very much, and the action of the sulphuric acid is assisted by frequent stirring. After twenty-four hours the fluid is diluted with ten times its quantity of water, is allowed to settle, and is then poured off from the sedi¬ ment. The solution is then compounded with carbo¬ nate of potash as long as effervescence takes place, and then the dark blue precipitate which is formed is spread upon bricks and allowed to dry. When it is desired to color varnish with indigo-carmine, the latter is rubbed with the varnish upon the grinding-stone, and gradually enough varnish is added to form a fluid mass, and this is stirred together with the rest of the varnish. Lampblack. As is well known, this product is a very finely di¬ vided carbon which is separated in the form of black 7 74 FABRICATION OF VARNISHES, LACQUERS, ETC. flakes mixed with other organic combinations by the combustion of resins and fat oils. Good lampblack, and in fact every variety of soot, should produce a fine mass which can be easily rubbed together with fat oil, and should be of a purely black color. Lampblack prepared at too low a temperature has mostly a brown¬ ish shade of color, while that which has been heated too much has a weak black color, and is granular, which renders it more difficult to mix with the varnish. Seed-lac is a product nearly related to shellac. As has been previously mentioned, a red coloring matter exudes with the shellac from certain trees in consequence of injuries inflicted by the Coccus lacca. Frequently the resin and lac envelop the animal with a coating, the so-called stick-lac, from which the resin is gained by heat, while the remaining mass composed of the bodies of the animals forms the seed-lac. The seed- lac should form compact masses of a dark red color. Besides this seed-lac, the actual coloring matter, the lac-dye is gained by boiling it in water, and by allow¬ ing the fluid to dry up. Good lac-dye has a fiery red color very much like cochineal. Saffron consists of the stigma of the saffron plant, Crocus sativus, a species of iris, and is especially cultivated in Austria and France. On account of its high price saffron is only too frequently adulterated with other COLORING SUBSTANCES. 75 vegetable matter, or the coloring matter is partly ex¬ tracted and the dried substance is again brought into the market. As at the present time many coloring substances are known which form a very good but decidedly cheaper substitute for saffron, but little of the latter is now used in the preparation of varnishes. Sanders Wood , Lignum santali rubrum, or red sanders wood, is sometimes confounded with sandal wood. It is the wood of the Pterocarpus santalinus , and furnishes a beautiful red coloring matter, whereas the sandal wood is either white or yellow. Sanders wood is brought into the market in lai'ge logs, the outsides of which have a brownish-red appearance, while inside they show a beautiful red color. Sanders wood which is brought into the market in the form of chips is fre¬ quently badly adulterated. Besides the above-mentioned coloring substances, many vegetable substances may be used for coloring varnishes and lacquers. This is especially the case with spirit varnishes, as most of these coloring sub¬ stances are soluble in spirit of wine, while many of them are insoluble in fat oils. We have described in the foregoing only the most important coloring sub¬ stances, because the others are less frequently used, and besides, in case of necessity, the different colors may all be produced by a judicious mixing of the men¬ tioned colorinii substances. 76 FABRICATION OF VARNISHES, LACQUERS, ET H where very large quantities of varnish are manufac¬ tured. But for many purposes boiling water may be substituted for steam. Fig. 8 represents an apparatus 208 FABRICATION OF VARNISHES, LACQUERS, ETC. we use for preparing very quickly large quantities of fat copal lacquer without boiling. A boiler K is bricked in in a fireplace H. The bottom of the boiler is bent inwards, so as to offer a larger heating surface to the flame. In this boiler is placed a second boiler F, the bottom of which is pro¬ vided with a pipe A , which is closed by a cock. The boiler F is closed by a peculiarly shaped cover. This consists of a strip of sheet-iron bent at a right angle, which runs around the whole edge of the boiler, and forms with this a gutter R. The cover D is so shaped as to fit exactly into this gutter. If the latter is filled with linseed oil, and the cover is placed in position, the interior space of the vessel F is hermetically closed, but without danger from steam pressure in the interior of the vessel, because as soon as steam is developed it presses the fluid in the gutter outward and escapes. A projecting ring is fastened in the interior of the boiler F , at about two-thirds of its height, upon which is placed a flat vessel 0 , the bottom of which is per¬ forated like a sieve. This vessel serves for the recep¬ tion of the copal, which must be broken into coarse pieces before being used. For copal lacquer we use the following quan¬ tities :— Parts. Copal (distilled) .... 100 Copal oil (volatile) . . . .20 Oil of turpentine . . 300 to 350 Linseed oil .... 100 FAT VARNISnES. 209 We commence the work by filling the boiler K with ■water, and bringing it to the boiling point. At the same time the linseed oil to be used is put into the boiler. 20 parts of the copal are brought together with 20 parts of volatile oil formed by the distillation of the copal, and the thus-formed solution is poured to the linseed oil. Then the vessel 0 is put in position and filled with the copal. Finally enough oil of tur¬ pentine is added to the entire mass to cover the copal about 1 decimeter (3.94 inches) high, and then the cover is placed in the gutter filled with linseed oil. A sufficiently strong fire is continually kept up for three or four hours to keep the water in K constantly boiling. The evaporated water must be replaced from time to time. Of course by this process the contents in the vessel F may acquire a higher temperature than that of the boiling water, which is 100° C. (212° F.); but this heat is sufficient to dissolve the copal. The advantages offered by this apparatus deserve special attention. Considerable fuel and labor are saved, as the stirring is entirely done away with; no oil of turpentine is lost, as the inner space of F , as has been mentioned above, is hermetically closed by the gutter filled with linseed oil; all danger of the hot fluids igniting, which is so great when open vessels are used, is removed, and a very light-colored and en¬ tirely clear varnish is obtained, especially when the pieces of copal are not placed immediately in the ves¬ sel C, but are laid upon a linen cloth spread out upon 18 * 210 FABRICATION OF VARNISHES, LACQUERS, ETC. the bottom, which will serve as a filter for the solution of copal. When the copal has been completely dissolved—the time required for this must be learned by experience —the ready varnish is allowed to flow off by opening the cock on the discharge-pipe A. The rarefaction of the air caused in the vessel F by the varnish running off would have the effect of forcing the linseed oil con¬ tained in the gutter R to F by the pressure of the outer air. It is, therefore, necessary to remove the lid before the cock is opened. As soon as the varnish has run off, the apparatus is again prepared, and in this manner considerable quantities of the best copal lacquer can he made in a short time with a comparatively small apparatus, as the vessel F can he immediately filled with linseed- oil as soon as the ready lacquer has run off without it being necessary to interrupt the firing. Even the copal is dissolved somewhat more quickly in the still warm apparatus. Colorless Copal Lacquer. For certain purposes, especially when the lacquer is to be applied on a colored ground, it does not mat¬ ter much even if the lacquering has a somewhat yel¬ lowish shade. But if the lacquer is to be laid on a white ground, for instance, such as paper, light-colored wood, etc., a yellowish shade of the lacquer, even if ever so slight, would have a disturbing influence. And FAT VARNISHES. 211 this can scarcely be avoided if copal and manganese siccative alone are used. We prepare an entirely colorless, fat copal lacquer in the following manner: The finely powdered copal (East Indian copal) is dried for several hours in a current of hot air—at least 120° C. (248° F.). The powder is then placed in a large glass bottle together with entirely dry powdered glass or quartz-sand, and these are mixed together by shaking the bottle. Enough chloroform or petroleum-naphtha is poured upon the mixture, while it is yet warm, to cover the powder, and the bottle well closed is allowed to stand quietly overnight. The copal coming in contact with chloroform swells up, and can be easily dissolved in other fluids. When the copal is swollen the contents of the bottle are brought into the apparatus represented by Fig. 2 (page 88), and a suitable quantity of oil of turpen¬ tine is added to them. At first it is only gently heated, and the apparatus is so arranged that the vapors of the chloroform, which must be condensed in the serpentine pipe, flow back into the apparatus. After the mass has been heated for about an hour at a temperature of from 60° to 70° C. (140° to 158° F.), we may be sure that the dis¬ solving of the copal has made considerable progress, and the cooling vessel is now arranged in such a man¬ ner that the vapors of the chloroform or petroleum- naphtha condensed to a fluid may run off from the lower end of the serpentine pipe. If the temperature is not 212 FABRICATION OF VARNISHES, LACQUERS, ETC. allowed to rise higher than the boiling point of the chloroform or petroleum-naphtha, these fluids can be regained entirely pure and without loss, as the oil of turpentine is not very volatile at this temperature. As soon as the solvent has been distilled off, the cooling vessel is again so arranged that the vapors passing over must again flow back into the apparatus, and a strong fire is kept up for about one-half to three- quarters of an hour to make the oil of turpentine boil vigorously. During this time the copal will com¬ pletely dissolve in the oil of turpentine. While the solution of copal is boiling, very light- colored varnish prepared with borate of manganese is heated to a temperature of 100° C. (212° F.) in an open boiler placed in a water-bath. As soon as the boiling of the turpentine is interrupted, the solution of copal is cooled off by drawing the fire. When it shows a temperature of from 60° to 70° C. (140° to 158° F.) we commence to lift it out with a ladle, and pour it into the boiler with the varnish, and thoroughly stir it after each ladleful has been poured in. When finally the last portion of the solution of copal has been mixed with the varnish, heating is en¬ tirely discontinued. But the mixture is still stirred without intermission for about twenty minutes, and then the very light-colored lacquer is filled into large glass bottles, where it becomes entirely clear. FAT VARNISHES. 213 Properties of Fat-Copal Lacquer. Coatings of this lacquer have an excellent lustre, are very transparent, and at the same time very tena¬ cious. This lacquer is especially suited for lacquering fine white furniture which has been painted with fine oil colors, and has then been pumiced smooth. The lacquer appears upon the white ground like a coating of glass. Photographers frequently complain that the lacquers at their disposal are not hard enough, and, moreover, possess the disadvantage that the coating of the glass plate becomes full of cracks when stored for any length of time, so that it is almost impossible to obtain clear copies from such plates. We have made special experiments in regard to this, and have found that the most beautiful results are obtained by using copal lacquer prepared according to the above-described method. Hundreds of copies were taken from glass photo¬ graphs varnished by pouring this lacquer over them, without the slightest change being observed in the layer of lacquer, even when examined with a magnify¬ ing glass. But to make the coating of lacquer as durable as this, it is absolutely necessary that the photographic plate should be entirely dry. If this is not the case, this one, like all other lacquers, will in time become blistered. The only objection which can be advanced in regard to this lacquer, as compared with other photograph lacquers which have been pre- 214 FABRICATION OF VARNISHES, LACQUERS, ETC. pared with volatile solvents, is, that it requires quite a long time before it becomes completely dry. The time required is about twenty-four hours, while the volatile lacquers dry in a few minutes. This, to be sure, is a disadvantage which cannot be denied, but it is very small indeed, when compared with the ad¬ vantages offered by the other good qualities of this lacquer. Fat-Amber Lacquers. These are prepared in the main in the same manner as the copal lacquers. Distilled amber may be used directly with linseed oil, but this produces darker- colored varnishes than when a solution of the resin is first prepared and this is mixed with a good sic¬ cative. The properties of fat-amber lacquers are neaily the same as those of the copal lacquers, but they are not as elastic as the latter. No better lac¬ quer than good, fat-amber lacquer can be chosen for a surface requiring a very durable, glossy coat of lac¬ quer without much elasticity. But copal lacquer is to be preferred where the latter property is required. Fat lacquers can also be colored, and this is done in a manner similar to that mentioned in treating of vola¬ tile lacquers; but they are not very frequently colored, as complete transparency is one of the principal qual¬ ities desired in this lacquer. Usually the article to be lacquered is first painted the required color, and the layer of lacquer is applied on the coat of paint. FAT VARNISHES. 215 Other Fat Lacquers. Manganese and Zinc Siccative. The siccative proposed under this name contains oxide of zinc, and protoxide of manganese, and it is claimed possesses the quality of protecting coats of white paint from becoming darker, but this appears to us very doubtful. This siccative is prepared by mix¬ ing 1 part of sulphate of manganese with 2 parts of acetate of manganese and 97 parts of carbonate of zinc, and by adding 4 parts of this mixture to 100 parts of linseed oil, w T hich has been previously heated to a temperature of 200° C. (892° F.), and it is claimed that the varnish is ready when the heating has been continued for from five to ten hours. It is evident that the protoxide of manganese, present in this varnish, is the only cause of its drying, and it appears to us that it is far more suitable to use borate of man¬ ganese. Pjlug's so-called Platina Paints. These paints, on account of their great power of resistance, have been especially recommended for coat¬ ing objects exposed to the influence of the weather. According to many analyses, they are nothing but ordinary linseed-oil varnishes, containing zinc-white, iron-ochre, or zinc-dust, according to the color required. As the composition shows, these paints differ in noth¬ ing from the cheap paints commonly used. The 216 FABRICATION OF VARNISHES, LACQUERS, ETC. praise bestowed upon the platina paints as being es¬ pecially durable seems, therefore, to be nothing but a business claim. Black Paint for School-Slates. Parts. Shellac ...... 8 Paris black ..... 8 Paris blue ..... 0.5 Burnt umber ..... 4 Siccative . . . . .10 • Spirit of wine . . . .70 The shellac is dissolved in the spirit of wine, the other substances are thoroughly mixed together, and quickly rubbed together with the solution of shellac. XII. PRINTER’S VARNISHES. The fabrication of printer’s ink goes hand in hand with that of varnish, and deserves to be urgently recommended to the manufacturer of the latter arti¬ cle, on account of the large returns which a good article of printer’s ink yields. In many factories the fabrication of printer’s ink is treated as if it were a secret, but it is not that by any means. But many manufacturers have a certain skill in carrying out the details of the work, which exerts a considerable in¬ fluence upon the quality of the product. PRINTER S VARNISHES. 217 Good printer’s ink should possess the following pro¬ perties : It should show a glossy, black color, and consist of an absolutely uniform mass. The presence of the smallest solid body in printer’s ink, even if it is only a minute lump of lampblack, is sufficient to cause a stain in printing. Further, printer’s ink should possess the property of remaining unchanged for a considerable time when exposed to the air—but must also become completely dry in a short time after it is imprinted upon paper. Finally, it must penetrate only to a certain depth into the paper without soak¬ ing through, or it would be impossible to print the paper upon both sides so that it could be read. As will be seen from the foregoing, these are qualities which it is not easy to combine, and for this reason the manu¬ facture of actually good printer’s ink belongs to the most subtile labors of the manufacturer of varnishes. It is very difficult to state exactly of what printer’s ink consists. Linseed oil is the principal ingredient used. This is partly changed into resin, and partly decomposed by heating it in a suitable manner, and thus a particular kind of varnish is formed. Besides this, soap, resins, and various kinds of coloring matter are used, and the process is a different one when sim¬ ply black printing-ink or printing-color is to be pre¬ pared. When printing-ink alone is to be manufac¬ tured, no attention need be paid to the color of the varnish which forms the basis of the mass, but this must be done when printing-colors, especially the lighter shades, are to be prepared. 19 218 FABRICATION OF VARNISHES, LACQUERS, ETC. The work commences with refining the linseed oil. A fine quality of linseed oil should always be chosen for preparing printer’s ink, as when an ordinary quality of oil is used a disagreeable odor will adhere to the ink, and it will have an ugly brownish shade of color. The oil is mixed with a small percentage of concentrated sulphuric acid, and heated for a few hours. In doing this, care must be taken not to allow the temperature to rise above 100° C. (212° F.). After the oil has been heated it is allowed to rest, and is then drawn off from the sulphuric acid, and repeatedly washed with warm water until every trace of sulphuric acid has been removed. If the oil has been treated in the right manner, it should have a light yellow color, and be entirely free from smell. It must be protected from the air until it is used, as it will dry very quickly when it is in this condition. The refined oil must then be boiled. The so-called boiling consists in heating the oil to such a degree that a part of it becomes decomposed. But especially con¬ structed vessels must be used for this purpose, as the volume of the oil increases in an extraordinary degree in consequence of the many bubbles which are formed. The most suitable apparatus used for this purpose is represented by Fig. 9. It consists of a cylinder of sheet-copper. A ring or rim bent upwards like a shell is placed about half way up on the sides of the cylinder. The top of the cylinder is surrounded by a strong iron ring, on which printer’s varnishes. 219 are fastened the chains of a tackle, which enables the attendants to lift the cylinder quickly from the fire¬ place. A helmet or cover of sheet-iron, which ought Fig. 9. to fit as air-tight as possible upon the cylinder, com¬ pletes the apparatus, and this should be placed in a fire-proof vault so as to prevent all danger from fire. A hole connected with a well-drawing chimney should he left in the top of the vault to carry off the vapors arising from the boiling linseed oil, as they are inju- 220 FABRICATION OF VARNISHES, LACQUERS, ETC. rious to the eyes and respiratory organs. The work¬ man who is appointed to watch the progress of the work should be provided with a stool high enough to enable him conveniently to take samples out of the cylinder. The chains of the tackle should be fastened to a mov¬ able crane, so that at the word of command an assist¬ ant can lift the cylinder immediately from the fireplace and move it aside. The cylinder is filled only half full with oil, and a strong fire is kept under it at the commencement of the work. The oil will soon com¬ mence to bubble, making a crackling noise. This bub¬ bling is caused by the escape of water vapors which are developed from the oil and originate from water mixed mechanically with it. The bubbling entirely ceases in a short time, and as the temperature rises the oil, which now has become entirely black, swims quietly and uniformly in the cylinder. From this moment on the oil rises constantly in the cylinder, and throws small bubbles on those places where it comes in contact with the sides of the cylin¬ der. As soon as vapors of a pungent odor commence to rise from the oil, which always accompany its de¬ composition, the attendant must continually pay the strictest attention to the oil. The moment the entire mass of the oil commences to bubble up, and vapors are also developed from the interior, the fire must be quickly moderated at once, or else the fluid will surely boil over, even if the most capacious vessel should be used. If the oil should continue to rise notwithstand¬ ing the fire having been moderated, the cylinder must printer’s varnishes. 221 at once be lifted from the hearth, and must only he replaced when the oil has subsided. But if the oil should flow over nevertheless, the overflow will he collected in the rim, and is poured back into the cyl¬ inder. If the work is done carelessly—especially when the oil is heated too quickly—the oil flows over incessantly, ignites in most cases, and burns with a bright flame, depositing large quantities of soot. Should this take place, the lid should first be thrown upon the cylinder, and this lifted from the hearth as quickly as possible. As long as the workmen have not sufficient experience, it is advisable to put only two-thirds of the quantity of oil to he boiled into the cylinder at one time, and to cool the fluid off by pouring cold oil into it in case it threatens to overflow. The best plan is to keep the oil at such a tempera¬ ture that the developed vapors will commence to burn when a lighted candle is held near them, and continue to burn as long as they are in contact with the flame itself, but will go out as soon as the flame is removed, or that they can be at least easily extinguished by placing the lid upon the cylinder. The firing is then regulated in such a manner that the vapors will be de¬ veloped quietly and uniformly, without a further ris¬ ing of the contents of the cylinder, and the condition of the oil is tested by the so-called thread-test. To make this test, a small quantity of the oil is lifted from the cylinder by a wooden spatula. This is cooled off by swinging it to and fro, and a drop of the 19 * 222 FABRICATION OF VARNISHES, LACQUERS, ETC. mass is then squeezed between the fingers and drawn out. In doing this viscid threads should be formed from one finger to the other, and these should reach a length of 4 to 5 centimeters (1.56 to 1.95 inch) be¬ fore they break. If the threads break sooner the boiling must be continued. If the sample is of the required quality, the cylinder is at once lifted from the fire, and the varnish is allowed to cool olf, or it is sub¬ jected to the so-called burning. This consists in ignit¬ ing the vapors and allowing the mass to burn for about five minutes. The fire is then extinguished by placing the lid upon the cylinder. In many factories it is customary to burn the var¬ nish, and many manufacturers consider this burning absolutely necessary to obtain a good article. But the author of this work, having made many experi¬ ments on this subject, is fully convinced that the burn¬ ing—no matter for Avhat purpose the varnish is to be used—is a very unsuitable process. The most ex¬ cellent varnish is obtained by continuing the boiling of the linseed oil for a sufficiently long time ; the burn¬ ing of the varnish causes considerable loss. Burning the varnish makes it very dark. This, of course, is of no consequence when it is to be used for preparing printer’s ink, but the case is quite different if red, blue, green, or any printing-colors of a deli¬ cate shade are to be prepared with such varnishes. For printing-colors of delicate shades of color, burned varnishes cannot be at all used. The consistency of printer’s varnishes differs ac- printer’s varnishes. 223 cording to the purposes for which they are to he used; the more elegant the printing is to be, the more the varnish must be boiled down, and the greater will be the expense of producing such an article. For news¬ papers, and generally for printing which must be done quickly, a more fluid varnish is used than for printing books. The thickest varnish is used for copperplate and lithograph printing. Hemp oil, which is much cheaper than linseed oil, is sometimes used instead of the latter. Though it pro¬ duces a pretty good color, yet the disagreeable smell of the oil adheres to it, and for this reason varnish prepared with this oil should never be used for the finer colors. Sometimes resin is added to the varnish, so that it will not be required to be boiled down so much. It is best to use the ordinary, pure, brown pine resin for varnish which is to be used for preparing printing-ink, but it is more suitable to use the light-colored Ameri¬ can resin if it is to be used for printing-colors. The resin should be refined by melting and filtering it be¬ fore it is used, to prevent pebbles or plant-parts, which are frequently mixed with the resin, from reaching the varnish. The resin is added to the oil when the latter has been heated so far that its boiling is plainly notice¬ able on the edge of the cylinder. For 120 parts of linseed oil 40 to 50 parts of resin and also 12 to 14 parts of soap are used. The purpose in adding soap to printer’s ink is to facilitate the cleansing of the forms which have been used. The form can be simply 224 FABRICATION OF VARNISHES, LACQUERS, ETC. washed off with a brush. The principal quality for the soap to he used is that it must be entirely dry. For this purpose it is cut up into thin shavings, and these are thoroughly dried. Yellow rosin soap an¬ swers for ordinary printing-ink, but white tallow soap must be used for fine colors. Many manufacturers add, to the linseed oil which is to be worked into printer’s varnish, a certain quan¬ tity of very finely ground indigo, which gives a beau¬ tiful tone to the color. But it is more suitable, and at the same time cheaper, to add about 1 per cent, of the finest Paris blue. This dissolves entirely in the oil when the latter has been boiled for some time, and partly imparts to it the qualities of the so-called blue lacquer. Appendix. Printer’s varnishes are generally not sold as such, but are at once changed into printing-ink or printing- colors by the manufacturer. Lampblack prepared in special apparatuses is generally used for printing- ink. The various mineral and lac colors are used for printing-colors. All substances used for coloring the varnishes must be rubbed very fine, and the coloring matter must be mixed with the varnish in the most careful manner, so as to obtain an absolutely uniform color. As our work is exclusively devoted to the fabrication of var¬ nishes and lacquers, we can occupy ourselves with the subject only so far as it relates to the fabrication of SOAP LACQUERS. 225 printer’s varnishes, but would refer our readers who take an interest in the subject to the excellent work: “ Die Fabrikation der Mineral und Lack Farben, von Dr. Josef Bersch,” in A. Hartleben’s Verlag, Wien, 1878 (The Fabrication of Mineral and Lac Colors, by Dr. Joseph Bersch, published by A. Hartleben, Vienna, 1878), which contains a thorough description of the processes for preparing lampblack and printing- colors. XIII. SOAP LACQUERS. Soap lacquer possesses several properties which make it very valuable for certain purposes. This lac¬ quer, which can be prepared very cheaply, possesses especially two qualities deserving to be particularly mentioned, namely, that it remains entirely unchanged in water, and has a considerable degree of elasticity. The following is the simplest method of preparing it: Good tallow soap is boiled in rain-water so that a clear solution is formed, and this is filtered through several close cloths while it is still hot. The solution is heated again and diluted with an equal volume of rain-water. Then a boiling-hot solution of alum is added to it as long as a precipitate of sebate of aluminium is formed. This precipitate is allowed to settle, the fluid standing over it is poured off, and the precipitate washed several times with boiling water. 226 FABRICATION OF VARNISHES, LACQUERS, ETC. The precipitate is then dried and heated in a pot standing in a vessel filled with boiling water, until it becomes transparent. Oil of turpentine is then heated in a pot nearly to the boiling point, and a sufficient quantity of the aluminium soap is added to form a solution of the consistency of thick varnish. Should this prove too viscid when it has become cold, it can be easily reduced by adding hot oil of turpentine. Articles which have been coated with this lacquer should be placed near a hot stove so that they will dry quickly. Coatings of this soap lacquer do not show a great deal of lustre, but, as has before been said, are very durable and besides are cheap. Johnson's Varnish for Preparing Water-proof Paper and Water-proof Tissues. Green vitriol is dissolved in water, a solution of soap is added to this, and the precipitate of iron soap which is formed is collected. When this precipitate has become dry and is then dissolved in sulphide of carbon, or in benzole, a fluid is obtained which leaves behind a water-proof layer upon paper or tissues. If the paper or tissue is to remain white, a solution of alum is used instead of that of green vitriol, and a white aluminium soap is then obtained, which is used in the same manner. Coatings with Water-glass. Such coats adhere to walls in an actually durable manner only when the paints to be applied with the FITTING UP A VARNISH FACTORY. 227 assistance of water-glass are first mixed with a little water to a perfectly uniform dough, and this is mixed in small portions with the water-glass. Only so much paint should be prepared at one time as can be used up in about one hour, as the solution of water-glass easily coagulates, and it is then no longer possible to apply the paint uniformly. XIV. FITTING UP A VARNISH FACTORY. Only a few general remarks can be made relative to the fitting up of a varnish factory, as this will principally depend on its size and capacity. It is still customary with many mechanics themselves to prepare the varnishes and lacquers they use ; cabinet-makers, turners, painters, etc., belong to this class. In this respect it is scarcely possible to speak of a factory. The entire outfit in such cases consists, as a general rule, of a room with a cook-stove, a few pots and glass-bottles. It need only here be said that the work room should, if possible, be fireproof, and should not, on account of danger from fire, be used at the same time as a store-room for inflammable fluids and varnisb. Two points must especially be kept in view in fit¬ ting up a varnish factory where work is to be carried on on an extensive scale, namely, to obtain as much 228 FABRICATION OF VARNISHES, LACQUERS, ETC. security against fire as possible, and to carry off the bad-smelling vapors. Therefore, care should be had to place the apparatuses used for boiling the varnish in fire-proof rooms. They should be vaulted if possi¬ ble, or at least have iron roofs, and wooden floors should be avoided. The best plan for carrying off the bad-smelling vapors, which are especially developed in boiling linseed-oil varnish, is by conducting them immediately into the chimney, which should be of a considerable height so as not to molest the neighbors. But, if it can be so arranged, the most suitable way is to conduct the vapors under the grate of a furnace so that they may be entirely burned. But this can only be done in case the work is carried on with an entirely closed apparatus, and this is inconvenient, as it is very difficult to observe the condition of the fluids contained in the apparatus, as even panes of glass set in the upper part of it do not allow of a close observation, and besides it must be opened from time to time to take out samples for testing the fluid. Fabrication of Varnish by Steam. In a large factory it is advisable to work by steam, as by so doing not only the greatest security against fire is obtained, but the work can be done more quickly, and the greatest economy in the use of fuel is possible. A steam-boiler of suitable size is placed in a special room entirely separated from the actual working-room. It is advisable to place it in a cellar under the factory, and thus complete security against all danger from FITTING UP A VARNISH FACTORY. 229 fire may be obtained, as there will be no fire in the working-room proper. The tension of the steam in the boiler need be but very moderate—-about 2 to 21- atmospheres will be sufficient. The boiler has two pipes, one for furnishing steam of a temperature some¬ what higher than that of water boiling in open vessels, and the other to conduct steam to the superheating serpentine pipe of which we shall shortly speak. The apparatuses in which the resins are to be dis¬ solved, the volatile solvents to be distilled oil’, etc., must be so arranged that the steam can give off its heat. This is obtained by placing in the vessels ser¬ pentine pipes through which the steam passes, and these must be sufficiently inclined to allow the water formed by the condensing of the steam to flow off. Larger apparatuses are sometimes made with double sides, and the steam passes through the open space between the two sides. The form of the vessels is generally that of upright cylinders, and they are provided externally with wooden jackets to prevent them from being cooled off by the air. According to special experiments we have made on this subject, linseed oil can be changed into the best siccative by heating it together with borate of manga¬ nese for several days at a temperature somewhat higher than 100° C. (212° F.), which can be easily reached with ordinary steam. But, of course, this method cannot readily be employed on a large scale on account 20 230 FABRICATION OF VARNISHES, LACQUERS, ETC. of the comparatively long time required for heating the oil. The Superheating Apparatus. To obtain in a few hours a quickly drying varnish from linseed oil it is necessary to raise the temperature of the oil to the point where decomposition commences. But to obtain such a temperature by the use of steam, apparatuses of extraordinary strength would be re¬ quired, as the tension of the steam, as is well known, quickly increases with an increase of temperature. But there is a simple method by which water vapor can be heated to a temperature of above 300° C. (572° F.) without it being necessary to use vessels of more than ordinary strength. To attain this object — to superheat” the water vapor—the simple apparatus shown in Fig. 10 is used. The cast-iron pipes A, A, rest upon two benches built of brick in a furnace furnishing a very hot flame. The pipes are connected with each other by curved tub^s of copper, B and C. These curved tubes have been tightly driven into the pipes A without any other connection, and rest upon the benches in such a manner that the fire cannot directly strike them. The steam passes from the steam boiler B F F at a temperature corresponding to the pressure prevailing in the boiler, into the pipe system A, A, which is kept at a red heat by the fire burning under it, and passes out of the pipes at 6r, having a temperature which may be above 400° C. (752° F.). It is a very good FITTING UP A VARNISH FACTORY. 231 plan to build the superheating furnace large enough to be able to add a few pipes in case the steam should not be hot enough. If fewer pipes are sufficient, the spare room of the fire-box can be bricked up. Fig. 10. It is not absolutely necessary to work with steam in a varnish factory ; hot air answers the same purpose. If it is desirable to work in this manner an uninter¬ rupted stream of air is driven into the pipe system of the superheating apparatus by a centrifugal fan, and the air is conducted back to the fan after it has left 232 FABRICATION OF VARNISHES, LACQUERS, ETC. the greater part of its heat in the boiling apparatus, so that it may be said the work is actually done with the same quantity of air, which constantly makes a circuit between the superheating apparatus and the vessel in which the varnish is boiled. It is self-evident that no lead pipes, but only iron or copper pipes, can be used in apparatuses in which superheated steam or superheated air is employed. Copper pipes, though much dearer than iron pipes, deserve the preference, as they do not produce dark- colored varnishes, though they may be somewhat af¬ fected by the hot oil. Though it is very expensive, yet it is advisable to silver the metallic surfaces with which the varnish comes in contact. The coating need only be very thin, and can be preserved uninjured for years if the apparatuses are carefully treated, as they are not sub¬ jected to any friction. But as the bottom of the ves¬ sel suffers from friction by the stirring apparatus with which the powdered resins must be kept in motion, it is advisable to have these parts constructed of enam¬ elled iron. The above description gives a general idea of the rational arrangement of a factory. The details will depend on the room at disposal, and the size of the factory itself. FABRICATION OF SEALING-WAX. Sealing-wax is said to be an East Indian invention which first became known in Europe in the middle ages. It seems that its use was first introduced in Spain, and from there spread over the rest of Europe, at least the respective names given to it would indicate this. The French word for it is “circe d’Espagne,” and the Italian “ cera di Spagna” (Spanish wax). The English word “ sealing-wax” is synonymous with the German word “ Siegelwachs,” and it originated very likely from the fact, that, before the present composi¬ tion of sealing-wax was known, colored wax was gene¬ rally used for sealing letters, as is yet done at the present day for stamping se^ls upon deeds and public documents. Sealing-wax, in general, consists of a mixture of resins to which turpentine, essential oil, and fragrant balsams are added, partly for the purpose of diminish¬ ing the natural brittleness of the resins as well as to facilitate their melting by heat, and partly to impart to them a sweet odor ; besides various coloring sub¬ stances are mixed with them. Good sealing-wax should be smooth, glossy, and not brittle ; it must bear the highest summer temperature 20 * 234 FABRICATION OF VARNISHES, LACQUERS, ETC. without becoming soft, and when burnt must melt easily without evolving smoke or a disagreeable odor, but at the same time must not become so thinly fluid as to drop. The seal made with the wax should have the same appearance as the unmelted sealing-wax, i.e., it must neither change its color nor lose its lustre. The fracture of good sealing-wax should be smooth, not too lustreless, and especially must not have an earthy appearance. The fabrication of sealing-wax can be very conveni¬ ently combined with the manufacture of varnish, as the resins also play the principal role in this branch of the industry, indeed, are even of greater importance than in the fabrication of varnishes themselves, as the prin¬ cipal materials for sealing-wax are nothing else but resin. I. MATERIALS USED FOR THE FABRICATION OF SEALING-WAX. A large part of the materials used for sealing-wax have already been mentioned in treating of the sub¬ stances used for the fabrication of varnishes, and as far as these are concerned, we would refer the reader to Sections IV., V., and VI. of the first part of this work. The principal materials used for sealing-wax are FABRICATION OF SEALING-WAX. 235 shellac and turpentine. But besides these, several other kinds of resins are used, such as mastic, sanda- rac, and benzoin for the finer qualities ; colophony and pitch. Fragrant balsams, balsam of tolu, balsam of Peru, as well as* sweet-scented oils, such as oil of lavender, oil of mace, oil of cloves, etc., are added to hide the disagreeable odor of the burning resin. But the coloring substances are of great importance as well as those which we will call indifferent sub¬ stances, which only serve the purpose of augmenting the entire mass without exerting any influence upon the composition. Such substances, which must gene¬ rally be of a white color, are, for instance, chalk, gypsum, zinc-white, and carbonate of magnesia. Some¬ times brick-dust is used as an indifferent substance for common qualities of sealing-wax. Of the Principal Materials. It is absolutely necessary, that the shellac to be used for the finer qualities of sealing-wax should be bleached, as the reddish-brown coloring matter adher¬ ing to the natural shellac, would exert a disturbing influence, especially upon light and delicate colors which are most popular in the more expensive varie¬ ties of sealing-wax. Unbleached shellac can only be used for dark-colored sealing-wax, brown to black, as the color of the shellac will be covered by the dark coloring substances which will have to be added. It is always advisable for the manufacturer of sealing- wax, who buys large quantities of shellac, to bleach it 236 FABRICATION OF VARNISHES, LACQUERS, ETC. himself. If it is desirable to exercise particular economy, a light-colored variety of shellac may be used for light colored but not such fine qualities of sealing-wax, instead of bleached shellac, but the colors will be less beautiful. Turpentine is the next principal material which is used, and Venetian turpentine is to be preferred to any other kind. But colophony and oil of turpentine may be used as very suitable substitutes for turpentine, and this besides offers the great advantage that it is always in one’s power to regulate at will the fluidity of the mass by adding a larger or smaller quantity of oil of turpentine. As most commercial turpentine is contaminated by splinters of wood, leaves, etc., it cannot be used imme¬ diately, but it becomes necessary to filter it for the purpose of freeing it from these admixtures. This is a tedious labor on account of the viscid condition of the turpentine, but it can be accomplished in the quickest way by heating the turpentine in a vessel filled with water heated to a temperature of 100° C. (212° F.), and filtering it through a linen cloth. Besins, such as mastic and elemi, are only added in small quantities and for the finer qualities of sealing- wax to the actual base of the sealing-wax, which is composed of shellac and turpentine, or of shellac, colophony, and oil of turpentine. Benzoin, balsam of Peru, and the other essential oils, are only used for the perfumed varieties. In respect to the last-named substances, we would recommend that they be pro- FABRICATION OF SEALING-WAX. 237 cured from firms of good standing, and that rather a higher price should he paid for them than might be asked for them in another store, as just such articles as balsam of Peru and essential oils are found, only too frequently, badly adulterated, and sometimes con¬ tain but a small percentage of the substances whose names they bear. Of the Pigments which are used in the Fabrication of Sealing - Wax. The number of coloring substances used is a very large one, as there is at present a demand for sealing- wax of all kinds of colors, and it is brought into the market in all possible shades. The best plan for the manufacturer is not himself to prepare the pigments he needs, but to buy them. It may be only recom¬ mended to prepare some few colors for which an extra¬ ordinarily high price is asked in the stores. Red Pigments. Of all the colors employed, red is the one of which the largest quantities are used. We know a consider¬ able number of red coloring substances which may be used for coloring sealing-wax. In regard to the price, it is, of couse, necessary to use cheap coloring sub¬ stances for cheap kinds of sealing-wax, but to be sure, they never give such a beautiful appearance to the article as the finer ones. For instance, the beautiful scarlet color of fine red sealing-wax, can only be pro- 238 FABRICATION OF VARNISHES, LACQUERS, ETC. duced with the aid of cinnabar; but not with minium (red-lead), colcothar, etc. Cinnabar is now always prepared in an artificial manner, namely, by heating mercury with sulphur. Cinnabar is sul¬ phate of mercury. This expensive coloring substance is but seldom adulterated, as a very slight addition of other red coloring substances injures the fiery appear¬ ance of cinnabar, on which depends its commercial value. The purity of cinnibar can be easily ascer¬ tained by heating a small quantity of it red hot. If the cinnabar is pure, it will volatilize without leaving a residuum. In consequence of its great weight, cinnabar would make the sealing-wax too heavy, and it is, therefore, necessary to add a certain quantity of an indifferent substance to the sealing-wax to he colored with this coloring substance, which will make it less dense. Minium. The commercial minium has several shades of color, according to the degree of heat at which it is pre¬ pared. The color varies from a shade inclined towards orange, to a beautiful scarlet. The tint of some kinds of minium can^be considerably improved by heating them carefully upon bright sheet-iron, but the tempera¬ ture must not be allowed to rise too high, as this would discolor the minium. FABRICATION OF SEALING-WAX. 239 Colcothar (Indian-Tied'). Under this name, but also under that of caput mor- tuum , a reddish-brown coloring matter is brought into the market, which consists of sesquioxide of iron, and can be bought at a very low price. Good colcothar produces sealing-wax of a very nice color. The most beautiful kind of this coloring matter is obtained in the following manner: Green vitriol is dissolved in rain water, the solution is filtered, and to this a solution of binoxalate of potassa, also prepared with rain water and filtered, is added as long as a precipitate is formed. After a few hours, the fluid standing over the precipi¬ tate is poured off, the latter is stirred up with some rain water, and is again allowed to settle. This is re¬ peated several times, the precipitate is then collected upon a cloth, and dried in a place where it is protected from dust. The yellowish-green mass which has been collected upon the cloth, is rubbed very fine and heated in a porcelain dish under constant stirring. When a certain degree of heat has been reached, it catches fire and gradually subsides into a very fine powder of a fiery, but pleasant reddish-brown color. Bole is a clay colored red by being mixed with more or less sesquioxide of iron; a darker coloring can be imparted to it by mixing it with red chalk, but this, as well as the commercial colcothar, is a pigment which can only be used for common kinds of sealing-wax. 240 FABRICATION OF VARNISHES, LACQUERS, ETC. Carmine is such an expensive pigment, that it is scarcely pos¬ sible to use it even for the finest qualities of sealing- wax, though directions are given in many hooks how to prepare sealing-wax of a bright red color with the help of carmine. Vienna Lake and Madder Lake are combinations of different red coloring substances with alumina, protoxide of lead, and oxide of zinc. At the present time these lakes are prepared of an excellent quality, and in all shades of color. The manufacturer of sealing-wax should always choose the most fiery article, and most thoroughly saturated with color he can find. Yellow Pigments . Yellow sealing-wax is frequently demanded as an article of luxury, and yellow pigments are also fre¬ quently used for various mixed colors, or for preparing sealing-wax which shall show different gradations of color. Chrome Yellow. This is without doubt the most beautiful of all yel¬ low pigments, and can be easily made by dissolving sugar of lead in rain-water, and adding to this a solu¬ tion of bichromate of potassa as long as a precipitate is formed. This precipitate is washed, dried, and then FABRICATION OF SEALING-WAX. 241 forms a bright yellow powder consisting of chromate of lead, and in commerce is called chrome-yellow. On account of its sombre color and great weight chrome-yellow is generally not used in a pure state, but is mixed with chalk, magnesia, or some other white substance. Mineral Yellow or Cassel Yellow is a beautiful yellow color produced by carefully fusing litharge, and by grinding and washing the powdered mass. It is also remarkable on account of its great weight. Ochre is a yellow or yellowish-brown earth, and can only be used for ordinary kinds of sealing-wax, as it does not possess a warm tint of color, and besides has the disagreeable property of giving an earthy smell to the sealing-wax, even if it is added in very small quantities. Green Pigments. For coloring sealing-wax green, it is always best to use a mixture of a yellow and a blue pigment, or the green ultramarine. To be sure there are very beauti¬ ful green pigments, such as the genuine green cinna¬ bar and chrome-green, but they are entirely too expen¬ sive for use in the fabrication of sealing-wax, and besides their use is not to be recommended, as the same shades of color possessed by these expensive 21 * 242 FABRICATION OF VARNISHES, LACQUERS, ETC. pigments can be produced by a suitable mixing of yellow and blue. Blue Pigments. Ultramarine and mountain blue are used for the lighter shades, and Berlin blue for the darker shades. As ultramarine is very inexpensive, it may be used even for very cheap kinds of sealing-wax. Brown Pigments. Several earthy substances known as umber sienna, burnt sienna, Cassel brown, etc., are used for pro¬ ducing beautiful brown colors. Burnt sienna espe¬ cially possesses a very beautiful warm tone of color, and for this reason is to be preferred to other brown pigments, and also on account of it being a very pro¬ ductive and very cheap pigment. Black Pigments. Finely divided carbon which according ~to its origin is called soot, lampblack, ivory-black, vine-black, etc., is alone used for giving a black color to sealing-wax. Frequently, these different kinds of black pigment can only be bought at very high prices ; but it is not at all necessary to use them for the fabrication of sealing- wax, as common soot, if well prepared, answers for all our purposes. The commercial soot has frequently a brownish shade of color which is produced by adhering products of tar, and a disagreeable smell which is especially ob- FABRICATION OF SEALING-WAX. 243 servable in burning sealing-wax prepared with common soot. Soot can be prepared in a simple manner by carefully calcining it. This will remove the disagreea¬ ble smell, and at the same time a pure black color will be obtained. Generally, a stove-pipe about 50 centimeters (19.7 inches) long, and closed on both ends by well-fitting covers, is used for this purpose. The pipe is filled with the soot to be calcined, in such a manner that it, being gently pressed into the pipe, comes up to about 4 to 5 centimeters (1.6 to 1.9 inches) below the upper rim. The upper lid, through which a hole of about the thickness of a straw has been made, is then placed tightly upon the pipe, and all the joints are smeared over with clay. It is also advisable to cover the en¬ tire pipe with clay to prevent it from being burnt through. The pipes filled with soot are then placed in an air- furnace in such a manner that the perforated cover is uppermost, and brought to a red heat. When the attendant is convinced that the entire mass of soot is thoroughly calcined, the fire is extinguished, and after twenty-four hours, the pipes are opened—or, at least, not before the entire contents have become cold. The bad-smelling tar products which give a brownish color to the soot have been destroyed, and the latter is now entirely odorless and of a velvet-like black color. 244 FABRICATION OF VARNISHES, LACQUERS, ETC. Vine-Black or Frankfort Black is a beautiful, black pigment, which can be prepared at a nominal cost in wine-growing countries. The same kind of sheet-iron pipes mentioned above are used for preparing it. The pipes are filled with pieces of vine-shoots, and heated as long as gases escape from the hole in the upper lid, but the hole should be made somewhat larger than for soot. The carbonized residuum remaining in the pipes is put into a vessel filled with water which has to be changed seve¬ ral times, for the purpose of dissolving the alkalies. To the last water but one, a quantity of hydrochloric acid equal to one-fourth of the volume of water is added to dissolve the last traces of alkaline substances. The residuum, when rubbed fine and washed, is the finest vine-black. White Pigments. White substances are added to sealing-wax for three reasons, namely, first, to decrease the weight of the wax which has been colored with very heavy pigments such as cinnabar and chrome-yellow, and at the same time to increase the bulk of the sealing-wax ; secondly, to obtain lighter-colored masses of sealing-wax; and thirdly, to impart an actually white color to it. In the first two mentioned cases it does not matter much what the nature of the substance is which is added to the mass of the sealing-wax, provided it is of a pure white color and of but little weight. But in the last FABRICATION OF SEALING-WAX. 245 case where the white substance is also to serve as the actual coloring matter, its nature must be taken into especial consideration, and only such coloring sub¬ stances should be chosen as will give to the sealing- wax a beautiful white appearance resembling enamel. A special effort should be made to obtain this appear¬ ance in all other varieties also, with the exception of transparent sealing-wax, as seals made with such seal¬ ing-wax are the most beautiful. Chalk. Chalk occurs, as a mineral, in many places in such masses as to form regular mountain-chains. The coast of a great part of England, the island of Rugen, etc., consist of chalk-cliffs. Chalk consists essentially of the same substances as white marble, that is, of car¬ bonate of lime. It presents very peculiar forin 3 under a strong magnifying glass, and we know now that all chalk has been formed from the remains of minute ani¬ mals or plants, in whose shells the mineral substance was present. Chalk, as found in nature, contains many inclosures, such as flints, sand, petrifications, etc., and, therefore, must be especially prepared before it can be used for the various purposes for which it is employed (for writing, paints, etc.). Chalk is prepared by grinding and washing it, and by forming the powder into a dough with water, to which has been added a very small quantity of some kind of paste. This is then dried and cut into pieces, and furnishes the chalk for writ- 21 * 246 FABRICATION OF VARNISHES, LACQUERS, ETC. ing. For our purposes it is sufficient to wash the chalk, and to dry the powder. The principal property of chalk, fit to be used for the fabrication of sealing- wax, consists in its pure white color. G-7/p sum is also a frequently occurring mineral. Only the whitest, finely ground gypsum, the so-called burned (i. e. dephlegmated) gypsum, such as the moulders of plaster of Paris figures use, can be employed in the fabrication of sealing-wax. The variety of gypsum occurring in colorless crystals, and known by the name of specular gypsum or selenite, is used for the trans¬ parent variety of sealing-wax. Before using the sele¬ nite, it must be powdered and washed. Carbonate of •Magnesia is found in commerce as a dazzling white, very fine powder, which is uncommonly light. Magnesia, being dense and at the same time of a yellowish color—caused by a small quantity of sesquioxide of iron contained in it—is of less value. Carbonate of magnesia is espe¬ cially valuable to the manufacturer of sealing-wax on account of its light weight, and is particularly used as an addition to such sealing-wax as is compounded with heavy pigments. Zinc- White is found in commerce as a milk-white, fine powder, and can be used without further preparation. FABRICATION OF SEALING-WAX. 247 Sulphate of Baryta (.Permanent White). This white pigment, distinguished by its great weight and unchangeableness, can be procured in commerce, but the price asked is so high that it is more advisable for the manufacturer to prepare it himself. It is especially adapted for preparing white, enamel-like varieties of sealing-wax. Sulphate of baryta is prepared by dissolving chlo¬ ride of barium in rain water, and by adding sulphuric acid to the solution as long as a precipitate is formed. On account of its great weight, the thus-formed pre¬ cipitate of sulphate of baryta (permanent white) set¬ tles quickly to the bottom and forms an uncommonly delicate powder of a dazzling white color. The water is poured off from the precipitate and clean water is poured over it, the process being repeated several times. When the precipitate has been sufficiently washed, it is dried. Nitrate of Bismuth , or Flake- White , produces the most beautiful white color, but commands a high price. For this reason it is advisable for the manufacturer to prepare this pigment also himself, especially as it can be done with very little trouble. Nitrate of bismuth, or flake-white, is obtained in the following manner: Bismuth is placed in a glass vessel and fuming red nitric acid is poured over it. The acid has a strong effect upon the metal, suffocating reddish-brown vapors are formed and the bismuth is gradually dissolved. 248 FABRICATION OF VARNISHES, LACQUERS, ETC. When the bismuth has been entirely dissolved, the contents of the glass are poured into a vessel contain¬ ing about one hundred times the quantity of rain wa¬ ter and stirred. The entire fluid assumes at once a milky appearance, and in a few hours the nitrate of bismuth will have settled to the bottom in the form of a white powder. This is then washed and dried. The fluid standing over the precipitate still containing some bismuth in solution is evaporated until crystals are formed, and these are again dissolved in nitric acid and the operation is repeated. The nitrate of bismuth or flake-white obtained in this manner furnishes the most beautiful, enamel-like, white sealing-wax. Bronze-powder in all possible shades is also used as an addition to va¬ rious kinds of sealing-wax. Finely powdered mica is used for the cheaper, so-called aventurin sealing-wax, which shows yellow or white spangles of a metallic lustre in a transparent ground-mass. Mica is a fre¬ quently occurring mineral which as is well known is also used as a sand for drying ink. All the materials used in the fabrication of sealing O wax, whether they are resins or pigments, must be thoroughly dried before they are used. To save the expense of a special apparatus for drying these mate¬ rials, it is advisable to utilize for this purpose the heat developed by the stove upon which the mass for the FABRICATION OF SEALING-WAX. 249 sealing-wax is melted. For this purpose a shelf is placed all around the walls, about 50 centimeters (19.7 inches) below the ceiling, of the room in which the stove stands, and the materials, resins, chalk, magne¬ sia, pigments, etc., are put up in paper hags and placed upon this shelf. As the warm air arising from the stove always goes up to the ceiling of the room, the materials will he sufficiently dried when they remain for a few days in this warm air. The mass for sealing-wax is prepared in the follow¬ ing manner: The actual raw materials, namely, the resins and turpentine, are first melted in suitable ves¬ sels, then the indifferent substances, such as chalk, magnesia, etc., are stirred into the fluid mass, and finally the pigments are added. If the mass is to he perfumed with balsam of Peru or essential oils, they are added immediately before the ready mass is to he formed into sticks, as they are very volatile. If only one pigment alone, for instance cinnabar, chrome-yellow, or Berlin blue, is to be used, nothing else is to be done but to add the pigment, which has been first somewhat warmed, to the mass and to incor¬ porate it with it thoroughly by continual stirring. But where certain shades of color, such as rose-color, violet-blue, or mixed colors, such as orange, green, or violet, are to be produced, a somewhat different method has to be used. No white substances are then added to the resins, but they are kept back and mixed with the coloring substances in a porcelain dish large enough to hold the 250 FABRICATION OF VARNISHES, LACQUERS, ETC. entire quantity of white substance and coloring sub¬ stance to be used. The dish is placed upon a stove so that the materials may become warm, as they can be easier incorporated with the melted mass of resin. For lighter shades, for instance, rose-color, a dark red pig¬ ment such as madder-lake is mixed with a sufficient quantity of the white substance to give to the mixture a far darker color than is desired for the sealing-wax © J as the shade of color desired for the ready sealing- wax can be easily produced by gradually adding white substance and by frequent testing. Any of the previously mentioned white substances can be used for producing a lighter shade of color, and by increasing the quantity of them all possible grada¬ tions of color may be obtained. In a similar manner all shades of orange can be obtained by a suitable mixing of yellow with red, of green by mixing yellow with blue, of violet by mixing red with blue. For gray a small quantity of black is added, etc. etc. It must be left to the experience of the workman to hit the right shade of color by a suitable mixing. II. MELTING THE SEALING-WAX MASS. This is the most particular work of all in the manu¬ facture of sealing-wax. It must be accepted as a principle in regard to this work, that the mass should MELTING THE SEALING-WAX MASS. 251 be melted at as low a temperature as possible, and the heat should never be greater than is required to keep the mass in a fluid state. This object can be attained only by working a not too large quantity of sealing- wax at one time in the melting vessel. We generally use vessels in which can be prepared about 10 kilo¬ grammes (22 lbs.) of ready sealing-wax, and large enough to allow the mass to be quickly stirred. Many manufacturers melt the mass upon a furnace constructed like a common cook-stove, where the fire heats cast-iron plates upon which the articles to be heated are placed. But we consider such a stove as a very incomplete apparatus, as it is impossible to uniformly heat the entire surface of the plates, as those exposed most to the fire are generally already red hot while the more distant plates are scarcely warm. But independent of these evils such stoves are always somewhat dangerous on account of fire. One drop of the fluid mass when this is ladled out may fall upon the hot plates, may become ignited, and commu¬ nicate the flame to the contents of the melting vessels, and though a fire might be prevented by quickly covering the vessels, yet the mass would be spoiled in most cases, because burning sealing-wax turns black. We have constructed a melting apparatus where the evils above mentioned are avoided, and it is possible to regulate the temperature so accurately that it will not rise higher than is actually required. This appa¬ ratus serves at the same time for the so-called polish- 252 FABRICATION OF VARNISHES, LACQUERS, ETC. ing of the sealing-wax, and therefore, does away with the necessity of building a special polishing apparatus. Figure 11 represents a cross section of such an ap¬ paratus. The Melting Apparatus. This consists of a small furnace, 0 , about one meter (3.28 feet) high; the upper door T serves for introducing the fuel, for which purpose it is best to use small pieces of coke such as is furnished by gas works. Fig. li. The lower door can be either partly opened or entirely closed by a slide S, by which the consumption of the fuel can be regulated. There is no grate in this stove; the ashes can be removed through the lower door. The gases of combustion pass into the chimney through the pipe R. The stove is entirely surrounded by a sheet-iron casing M, which stands at a distance of about 5 centi- MELTING THE SEALING-WAX MASS. 253 meters (1.96 inches) from the stove, and the same dis¬ tance from the floor. The air between the casing and the stove becomes hot, ascends in the direction indi¬ cated by the arrows, and is replaced by cold air flow¬ ing in between the casing and the stove. Alongside of the casing of the stove and connected with it stands a table surrounded on all sides by a sheet-iron screen W. Upon the table stands a sheet- iron tub V filled with sand, and resting upon iron sup¬ ports A. The tub is covered with a sheet-iron plate B. In this plate are four or six round holes in which the melting vessels Gr are placed in two rows. On the bottom of the polishing hearth H is a plate 1, which is cut in such a manner as to give it the appearance of a grate. Underneath this plate is a similar one 2, which can be shifted by the handle 0 in such a way that the cuts in the two plates cover each other. If it is desired to use all the available heat for melting, the cuts in plate 1 are closed by shifting plate 2. The hot air arising from the stove heats the tub V and the sand contained in it, and the mass of sealing- wax contained in the vessels (r commences to melt. As soon as it is melted the fire in 0 is moderated by partly closing the lower opening by the slide S, and it is possible to keep the mass for a long time in a fluid state without a stronger heat being required, as the hot sand retains the heat. The sheet-iron plate B which covers the sand is placed there for preventing the loss of such sealing-wax as might accidentally drop in ladling it out of the melting vessel. 22 254 FABRICATION OF VARNISHES, LACQUERS, ETC. Well-enamelled cast-iron pots of the shape shown in the illustration should be used for melting, and a spe¬ cial pot for every mixture. If a pot has to be used for a differently colored mass, it should first be allowed to become entirely cold, when the sealing-wax still ad¬ hering to the sides can be easily removed from the smooth surface. The melting is done by first placing the shellac in the pot and melting it under continual stirring with a flat paddle of hard wood. The turpentine is then added and intimately mixed with the shellac. Then the remaining substances, such as chalk and col¬ oring matter, are dropped in a thin stream into the melted mass, which from this time on should be stirred uninterruptedly. Quick stirring is absolutely neces¬ sary, especially when very heavy coloring substances are used, as these easily sink to the bottom. When the entire mass seems to be uniform, it is ex¬ amined by lifting the paddle and catching the dropping sealing-wax upon a cold, smooth plate of sheet-metal, where it quickly solidifies, and can then be examined in regard to color, hardness, and fracture. If the mass is found satisfactory, the fire is sufficiently moderated to keep it in a melted state, the sub¬ stances for perfuming the wax are quickly stirred in, and the forming of the sticks is immediately proceeded with. MOULDING THE SEALING-WAX. 255 III. FORMING OR MOULDING THE SEALING-WAX. Special forms are required to shape the sealing-wax into sticks. These consist of one piece for rectangu¬ lar, square, or triangular sticks, hut must be of two pieces for round or oval sticks. In the latter case, one-half of the form is provided with holes into which fit protuberances on the other half to prevent the form from shifting. When the forms are used for moulding, the two halves are firmly pressed together by a screw- clamp. The forms which consist of one piece are made of rectangular brass plates, in which are hollowed out lengthwise channels about 1 millimeter (0.089 inch) wider on the top than on the bottom, as this will very much facilitate the lifting out of the cold sticks. As both ends of the channels are left open, iron plates are laid on the narrow ends of the form to prevent the sealing-wax from running out when poured into the channels. These forms are generally twice as long as the sticks of sealing-wax found in commerce. The forms consisting of two pieces, each half of which forms a half-cylindrical channel which, when the form is closed, form an entire cylinder, stand gene¬ rally upright when used for moulding. They are, therefore, made somewhat broader on the bottom, and 256 FABRICATION OF VARNISHES, LACQUERS, ETC. are set upon a level metal plate. These forms are only as high as the stick of sealing-wax is to be long. Many manufacturers place the forms upon a stone, or cool them off while moulding, by laying them upon boxes of sheet-metal filled with cold water for the pur¬ pose of congealing the mass as quickly as possible. Of course, by employing this method, the forms can be used again in a very short time after each mould- ing, but the sticks of sealing-w^ax become too brit¬ tle. We, therefore, prefer not to cool the forms off, but to place them upon a wooden table. We cool the form oft only by dipping it in cold water, and care¬ fully drying it, when it has become so hot that the sealing-wax would require a long time for congealing. The work of lifting out the congealed sticks is easily accomplished, if the forms are entirely plain, but if they are engraved, they must be touched up for a long time before the sticks can be lifted out clean. In such cases it is advisable to slightly rub the en¬ graved places with oil of turpentine. If the sealing- wax is to be gilt or silvered on certain places, the gold-leaf or silver-leaf is placed in the form, or it is dusted with bronze powder. When made of brass the forms for moulding sealing- wax are rather expensive on account of the cost of en¬ graving. But they can be constructed very cheaply by a simple method, and only one single form is required for the purpose, but this must be worked in a faultless manner, A stick of fine sealing-wax is MOULDING THE SEALING-WAX. 257 moulded in this form. Fine olive oil in as thin a layer as possible is then rubbed over the surface of the stick of sealing-wax. This is done with a tuft of fine cotton. The oiled stick is laid in a longish form and plaster of Paris is poured over it. When this has become hard it is carefully detached from the stick and thoroughly dried out at a moderate heat. It is then rubbed over with olive oil and a stick of plaster of "Paris is moulded in it, which resembles in every respect the first casting of sealing-wax. When the stick of plaster of Paris has been thoroughly dried, it is placed in a small wooden box and melted type- metal is poured over it, but this must not be heated any more than is absolutely necessary to bring it to the melting point. In this manner forms of type- metal are obtained which can be used like the brass forms. Many copies can also be made from a single form by the galvano plastic process. The moulding process is carried on in the following manner : The melted sealing-wax is taken from the melting vessel with a ladle and poured into a casting- ladle which is provided with a spout and a wooden handle, and which has been previously heated. From this it is poured into the forms in a uniform stream. The forms consisting of one piece are covered with a board when the sticks have become cold, they are then turned over and the sticks are detached from the chan¬ nels of the forms by a gentle knock. Forms consist¬ ing of two pieces are opened and the sticks pushed out. In regard to these forms it may be mentioned 22 * 258 FABRICATION OF VARNISHES, LACQUERS, ETC. that clean moulded sticks can only be obtained by slightly beating the form. The form should therefore be gently heated before the first casting, which can be done in the simplest manner by placing it up the plate B of the melting apparatus. Variegated sealing-wax which should show a mar¬ bled surface is prepared by moulding sticks about as thick as a quill and placing them alongside of each other. They are then sufficiently heated to become soft, are twisted regularly together into spiral lines and rolled into a cylinder upon a smooth stone slab. IV. POLISHING THE STICKS OF SEALING-WAX. Only the finer qualities of sticks of sealing-wax ob¬ tained from the forms show a certain lustre upon their surfaces. Poorer qualities do not possess this lustre, but it must be imparted to them by a special operation which is called polishing, dressing, and also enamelling. As nearly every kind of sealing-wax bears an inscrip¬ tion or stamp, the stamping is done at the same time as the polishing. The finer sorts are generally also polished, though as a rule they come from the form in a smooth state. In older factories there are special polishing stoves for this purpose. These consist of a nich built of brick. On the bottom of this is an iron plate which is POLISHING THE STICKS OF SEALING-WAX. 259 strongly heated by a fire made under it and heating also the air in the nich. We gain the same object by the contrivance H shown in Fig. 11, which consists of a box of sheet metal or wood open in front and into which hot air is admitted by shifting the plate 2. The air need only be hot enough to melt the surface of the sticks of sealing-wax in a short time. The polishing process is carried on in the following manner: A workman holds a number of double sticks, without one stick touching the other, half-way into the polishing stove until the surface of the sticks com¬ mences to melt and the sticks themselves become bent. When this takes place, he places the sticks before a workman sitting opposite to him. He pushes the sticks upon a small board lying before him, and with the left hand presses another small board upon the second length of the stick and imprints the stamp. It is necessary to hold the sticks between these two small boards, as their shape is easily destroyed, espe¬ cially if they are very soft and the “ stamper” uses too much force in imprinting the stamp. When they have been stamped, the first workman takes them again and holds the other half which has not yet been polished in the polishing stove, and then the second workman stamps these also. The stamps con¬ sist of brass frames in which the single letters of which the inscription is composed are placed and held in place by a screw, or they consist of an engraved brass-plate. The last-named stamps serve generally 260 FABRICATION OF VARNISHES, LACQUERS, ETC. the purpose of imprinting ornamentations and ara¬ besques upon the sticks. The double sticks are now cut apart. This is done in the following manner: 30 to 40 sticks are laid alongside of each other, and are scratched exactly in the centre with a sharp knife and by using a ruler. They are then turned over and scratched on the other side also. If both scratches are exactly opposite to each other the sticks can be easily broken smoothly apart on these places, and the fractures need only be slightly polished tg finish the article. If ready sticks of sealing-wax are to he gilded or silvered, it is only necessary to touch the respective places with a brush dipped in strong spirit of wine, and to apply the gold-leaf or silver-leaf, which will then adhere very tenaciously. The sticks can also be bronzed in a similar manner. V. RECEIPTS FOR SEALING-WAX. There are a great number of receipts according to which one or the other kind of sealing-wax is to be prepared. In the following we give only a compara¬ tively small number, but all of them have produced good results. This is the case even with the cheaper qualities, which, under the name of parcel-wax, are used for sealing packages, although, of course, they RECEIPTS FOR SEALING-WAX. 261 do not possess the excellent properties of those fine sealing-waxes which are prepared by using the finest materials. Red Sealing-ivax. As is well known, red sealing-wax is the most used of all the varieties of sealing-wax. Its beauty and its price are determined by the quantity of shellac and cinnabar contained in it; only the finest qualities con¬ tain cinnabar exclusively as a coloring principle. The inferior kinds contain very little shellac, but much common resin, and no cinnabar at all; minium, col- cothar, bole, or other cheap pigments are substituted for the latter. But we must lay it down as a general rule that not too much resin must be added to the sealing-wax, or else the latter will become too thinly fluid, drop too easily, and smoke very much when lighted. Many manufacturers assert that chalk should not be used, because the acids of the shellac expel carbonic acid from it and form a combination with the lime. But this happens only when the shellac is heated more than is necessary. No carbonic acid is set free if the shellac is only heated to the melting point, and it is not required for our purposes to heat it any further. FABRICATION OF VARNISHES, LACQUERS, ETC. A. Very Fine Red Sealing Wax. Shellac I. Parts. . 120 Turpentine . 80 Cinnabar , . 90 Oil of turpentine 9 9 . 20 Magnesia . . 80 Shellac II. Parts. . 110 Turpentine • . 60 Oil of turpentine • . 10 Chalk • • • , 10 Magnesia , 9 • 9 . 20 Cinnabar , . . 80 Shellac III. Parts. . 100 Turpentine . . 10 Oil of turpentine • • . . 5 Chalk , , s . . 15 Gypsum . . . . 15 Magnesia , . . 2 Cinnabar . • • . 65 RECEIPTS FOR SEALING-WAX. 263 B. Medium Fine Red Sealing-Wax. I. Parts. Shellac ...... 10 Turpentine . . . ... .80 Oil of turpentine .... 4 Chalk ...... 30 Magnesia . . . . ., . 10 Cinnabar . . .... 60 II. Parts. Shellac ...... 60 Resin . . . . . . 40 Oil of turpentine .... 4 Turpentine . . . . .70 Chalk ...... 15 Gypsum ...... 15 Cinnabar ..*... 45 III. Parts. Shellac . . . . . .40 Resin ...... 60 Turpentine . . . . .60 Oil of turpentine . • . . 5 Chalk.20 Gypsum ...... 10 Cinnabar ...... 40 264 FABRICATION OF VARNISHES, LACQUERS, ETC. C. Common Parcel Wax. I. Parts. Shellac . 35 Resin . 65 Turpentine . 50 Oil of turpentine . 5 Chalk . 25 Gypsum . . 10 Cinnabar . II. . 25 Parts. Shellac . . 20 Resin . 80 Turpentine . 50 Oil of turpentine . 5 Chalk . 30 Gypsum . . 5 Minium . 60 Very Common Parcel Wax. Parts. Shellac . . . . 15 Resin . 85 Turpentine . 60 Oil of turpentine . 5 Chalk . 20 Brick dust . 10 Colcothar . . 50 RECEIPTS FUR SEALING-WAX. 265 E. Wagner’s Receipts for Preparing Sealing- Wax. A. Fine Red Sealing-Wax. I. Parts. II. Parts. III. Parts. IV. Parts. V. Parts. Shellac .... 550 620 550 700 760 Turpentine 740 680 600 550 410 Chalk or magnesia . 300 200 Gypsum or zinc-white . 200 . . Sulphate of baryta . ioo 380 300 320 Cinnabar 130 220 340 300 540 Oil of turpentine •• 20 40 B. Ordinary Red Sealing-Wax. I. Parts. n. iii. Parts, j Parts. IV. Parts. V. Parts. Shellac . . t 520 490 620 710 740 Turpentine 600 580 520 600 420 Pine resin 440 440 ' 320 210 160 Chalk 180 .. 100 Sulphate of baryta. 320 300 120 Cinnabar 180 130 200 400 520 C. Black Sealing-Wax. i. Parts. II. Parts. III. Parts. IV. Parts. V. Parts. Shellac .... 480 560 660 740 680 Turpentine 520 440 420 380 360 Pine resin 460 500 400 340 300 Chalk .... 280 180 140 140 150 Soot .... 80 Bone-black 420 300 300 320 Asphaltum •• 200 23 266 FABRICATION OF VARNISHES, LACQ'JERS, ETC. Parcel- Wax. Parts. Colophony .... . 2000 Pine resin .... . 1000 Turpentine .... . 500 Chalk. . 750 Oil of turpentine . 30 For brown, 1000 parts umber or 1000 parts bole are added to this mass. Yellow Sealing- Wax. Only lead colors can be used for yellow sealing-wax, and of these chrome-yellow produces the most beautiful color. But if sealing-wax‘compounded with chrome- yellow is very strongly heated in lighting it, the mass becomes discolored, in consequence of a decomposi¬ tion of the lead colors. Therefore, yellow sealing-wax must be very fusible to avoid this evil. Every kind of sealing-wax becomes more fusible by adding a larger quantity of turpentine, but it also becomes less hard the more turpentine is added. Fine Yellow Sealing- Wax. Parts. Shellac . . . - - .76 Turpentine . . . - .85 Pine resin . . . . .45 Gypsum ...... 15 Chalk.15 Ochre . . . . . .45 RECEIPTS FOR SEALING-WAX. 267 The shellac used for fine qualities of yellow sealing- wax must be bleached, or else it will be impossible to produce a pure tone of color. All gradations of yellow, from orange to red, can be produced by add¬ ing cinnabar or chrome-red to fine qualities and mi¬ nium to inferior qualities of sealing-wax. Green Sealing-Wax , I. ( Fine ). Parts. Shellac 70 Turpentine 80 Pine resin 40 Magnesia . 15 Berlin blue Chrome-yellow . ■ ; 25 Green Sealing-Wax , IT. ( Ordinary ). Parts. Shellac 50 Turpentine 40 Pine resin 80 Gypsum . 15 Chalk 20 Mountain blue . Ochre -30 Green ultramarine may also be used to great ad¬ vantage for the finer qualities, instead of a mixture of colors, and it is a sufficiently good substitute for the dear jrreen cinnabar and chrome-sreen. We have not 268 FABRICATION OF VARNISHES, LACQUERS, ETC. given separate quantities of blue and yellow pigment to be used, as the different shades of green may be obtained by varying the quantities of each. • Blue Sealing-Wax. Shellac .... Turpentine Pine resin Magnesia .... Chalk .... Blue coloring matter . Parts. . 70 . 60 , 35 . 10 . 20 20 to 25 Light-colored ultramarine or mountain blue is used for light-blue varieties, Berlin blue for the darker kinds. Blue sealing-wax of a lighter color, pro¬ duced by mixing Berlin blue with oxide of zinc or nitrate of bismuth, has a very beautiful enamel-like appearance. As blue colors are very sensitive towards admixtures, bleached shellac should always be used if it is desired to obtain sealing-wax of a beautiful color, and the greatest care must also be exercised in the choice of the pine resin. Entirely opaque and brown- colored resin must never be used. It must be laid down as a general rule to use only light-colored ma¬ terials for fine yellow, light-red, green, blue, and violet kinds of sealing-wax, so that the purity of tone of the color may not be impaired. RECEIPTS FOR SEALING WAX. 269 Brown Sealing- Wax. Parts. Shellac . . . • • .70 Turpentine .... .60 Pine resin . . • • .40 Gypsum ...... 20 Chalk.20 Umber . . . • • .20 The shellac used for preparing the tender chocolate- brown sealing-wax must not be too dark. The product of the above receipt is dark-brown, and unbleached shellac and dark resin may be used for preparing it. Of course the same holds good in an equal degree in regard to the following varieties: — Black Sealing- Wax, I. Shellac . Parts. . 50 Turpentine • . 90 Pine resin • . 65 Chalk . . 40 Soot • . 12 Black Sealing- Wax, II. Shellac ..... Parts. . 80 Turpentine . 60 Resin . 60 Chalk . 15 Gypsum . . 10 Vine-black . 35 23* 270 FABRICATION OF VARNISHES, LACQUERS, ETC. By following the above receipts, the intelligent manufacturer will have no difficulty in preparing mix¬ tures of various colors corresponding to a certain degree of fineness. For preparing sealing-wax of different shades of color, which present an especially beautiful appearance when the differently colored single sticks are laid along-side of each other like a scale of colors, it will be advisable to arrange a normal scale of colors con¬ sisting of single sticks, the coloring of which has been especially successful. The shading of the colors in this scale must harmonize, and the sticks lying along¬ side of each other must show, for instance, all grada¬ tions from white through rose-color to the darkest, most fiery red, which is prepared with madder lake. For one still inexperienced, it is difficult to produce these shades of color by a suitable mixing of the color¬ ing substances; but this can be easily acquired by a simple knack. We will take red sealing-wax as an example which can be prepared in different shades from the tenderest rose-pink to dark red. The respective scale of red colors is first painted upon paper with a good water-color; this scale serves for comparing the test-samples of sealing-wax. Further, a certain quantity of entirely white seal¬ ing-wax (1 kilogramme) (2.2 lbs.) is melted, and the same quantity (1 kilogramme) of finely pow¬ dered sealing-wax of as dark a red color as possi¬ ble is held in readiness. The latter is added to the RECEIPTS FOR SEALING-WAX. 271 •white sealing-wax until a test sample shows the shade which is desired according to the painted scale. If now the remainder of the powdered red sealing-wax is weighed, we know exactly how much must be added to the white mass to produce the desired red shade of color. If the white and the red ground mass are produced according to this direction, and mixed according to the proportions obtained in the above-described manner, exactly the same shades of color will always be ob¬ tained. The same method is followed with all other colors, and by a little attention the manufacturer may acquire a collection of directions by which he can produce sealing-wax of every imaginable color. Specialties in Sealing Wax. By specialties we understand here certain kinds of sealing-wax which are used exclusively for certain purposes, such as sealing-wax for bottles, or such as are in less demand, as transparent sealing-wax, aven- turin sealing-wax, etc. Sealing-wax for Bottles belongs to the most ordinary sorts of sealing-wax, and of course can only be colored with the cheapest kinds of coloring matter. Many manufacturers prepare seal¬ ing-wax for bottles of a mixture of common pine resin, turpentine, chalk, and the respective coloring matter only. To be sure these kinds of sealing-wax are very cheap, but they do not answer the purpose as well as 272 FABRICATION OF VARNISHES, LACQUERS, ETC. they should. As is well known, the corks are covered with a layer of sealing-wax by dipping the necks of the bottles into the melted mass. This congeals very quickly on coming in contact with the cold glass, and in consequence of this, at once becomes more brittle and frequently breaks when gently touched. If it is tried to make the sealing-wax less brittle by increasing the quantity of turpentine, it happens very frequently, that it remains sticky even in cold weather. To avoid these evils, nothing else can be done, but to add a certain quantity of shellac, 10 to 15 per cent., to the composition. This will increase the cost of the article somewhat, but its quality will be so much im¬ proved, that it will not become sticky even if exported to a hot climate. It may here be mentioned that the demand for seal¬ ing-wax for bottles has lately fallen off very much as many wine dealers, liquor manufacturers, etc., prefer not to coat them with it, hut to cover the corks with metal caps instead. Transparent Sealing- Wax. Transparent, or more correctly translucent sealing- wax, belongs to the very finest qualities, as only very much refined materials can be used for preparing it. Bleached shellac alone is not sufficient; sealing-wax only becomes transparent by adding a corresponding quantity of mastic, and by using only very fine, light colored, and very viscid turpentine. In the following, we give three receipts for preparing RECEIPTS FOR SEALING-WAX. 273 such masses for sealing-wax, which may be colored as desired by mixing suitable coloring matter with it. A very beautiful variety, and which can be prepared at a comparatively low cost, is the so-called aventurin sealing-wax, which is obtained by stirring finely pow¬ dered yellowish or bronze-colored mica into the melted ground mass. Gold or silver sealing-wax is obtained by mixing finely powdered leaf-metal with the melted ground mass. Ground Masses for Translucent Sealing- Wax. i. Parts. Bleached shellac . 15 Viscid turpentine . 15 Mastic .... . 30 Chalk .... . 10 II. Parts. Bleached shellac . 30 Viscid turpentine . 35 Mastic .... . 40 Zinc-white . 20 III. Parts. Bleached shellac . 30 Viscid turpentine . 40 Mastic .... . 50 Sulphate of baryta . 30 (Or nitrate of bismuth) . . 30 274 FABRICATION OF VARNISHES, LACQUERS, ETC. The last named mixture, No. III., is especially adapted for preparing the very beautiful so-called en¬ amelled sealing wax, which actually possesses the half¬ transparent appearance of enamel. This mixture is especially beautiful when a tender rose-color is given to it by using fiery madder-lake. A seal made with this sealing-wax, bears great resemblance to a cameo. Sealing-Wax for Deeds , etc. As is well known, very large seals, for deeds, pub¬ lic documents, etc., are not imprinted in ordinary seal¬ ing-wax, but a mass which is half soft, even at an ordinary temperature, the actual sealing-wax, is used for the purpose, and to protect the seal from injury, it is inclosed in a special case which is fastened to the document by cords or ribbons. In the following, we give three receipts for preparing this sealing-wax, and would remark that the product prepared according to the second receipt is very suitable for a so-called em¬ bossing-wax for engravers. Sealing- Wax I. Light-colored colophony . Turpentine Clarified tallow Whitening Minium Parts. 60 35 30 40 30 to 40 RECEIPTS FOR SEALING WAX. 275 Sealing- Wax II. Parts. White wax .... . 50 Turpentine . . 15 Cinnabar .... 10 Glycerine . 5 In both cases, the ingredients are melted together and stirred while cooling off until they congeal. Sealing- Wax III. Parts. Colophony . 3 1.5 Tallow . . . • • Turpentine . o . D Chalk . 4 Minium . 4 This mixture is of considerable consistency at an ordinary temperature, but if a piece of it is held in the hand for some time, it becomes so soft that ma- pressions can be taken with it, and it adheres also with considerable tenacity to paper, wood, and glass. 276 FABRICATION OF VARNISHES, LACQUERS, ETC. APPENDIX. Blue Lacquer. Lately a receipt for preparing an excellent and beautiful blue-black lacquer has been frequently advertised as a so-called trade-secret, and high prices have been asked for making known the ingredients. The lacquer in question, which derives its name “blue lacquer” from the substance known as Paris blue used in preparing it, possesses the highest degree of elas¬ ticity or rather tenacity of all lacquers which have been proposed for lacquering leather, and imparts to it a glossy black color. Blue lacquer is prepared in the following manner: Good linseed oil is boiled with 5 to 10 per cent, of the finest Paris blue until a test sample of the mass, which assumes an intensely black color during the boiling, forms a tenacious and glossy mass when applied to a piece of leather when it has become cold. The ready lacquer is poured off from the undissolved Paris blue which can again be used for another opera¬ tion. The lacquer is used by drying the leather to be coated with it at a temperature of between 40° and 50° C. (104° and 122° E.). Properly prepared blue lacquer should remain so tenacious when it has become dry that a piece of leather coated with it may be strongly bent repeatedly without cracking the lacquer. BLUE LACQUEll. 277 This lacquer, as may be seen by the foregoing de¬ scription, can be prepared in a simple manner and at the same time at small expense, but we will call atten¬ tion to a few knacks which are absolutely necessary for the work to be successful.—The Paris blue to be used must be perfectly pure , i. e. no foreign sub¬ stances must be mixed with it; when a sample of it is burned upon sheet-metal only a small heap of yellow¬ ish-brown ashes musi finally remain. Special atten¬ tion must be paid that the Paris blue is thoroughly dried before it is added to the oil. It is best to dry it after it has been powdered by spreading it in a thin layer upon a piece of paper and placing it upon the plate of a stove. The oil to be used should be as old as possible and entirely clear, and the blue lacquer should always be boiled in the same pot, which, after the work has been finished, is set aside without cleans¬ ing, but simply covered with paper. When the pot is to be used for another operation, it is advisable to pour some linseed oil upon the undissolved sediment and to stir it thoroughly to prevent it from burning. By accurately observing these directions a faultless blue lacquer of excellent quality and beauty will al¬ ways be obtained. 24 THE ART OF VARNISHING AND LACQUERING. Section I. The art of varnishing and lacquering includes first the preparing of putties and stains, then a description of the apparatus and tools used, rules which must be observed in varnishing and lacquering, and the means for pumicing, polishing, etc. In short, it is the art of applying colors, varnishes, and lac-varnishes to arti¬ cles of wood, sheet metal, and leather, and drying, pumicing, and polishing them. j Preparation of Putties required for the Varnishing and Lacquering . Putties serve for making surfaces of wood even, for filling up holes, etc., and are used before the stains and varnishes are applied. 1. Thompson's Grlue Putty. 125 grammes (4.38 ozs.) of good glue are boiled in 1 kilogramme (2.2 lbs.) of water until the glue has 280 FABRICATION OF VARNISHES, LACQUERS, ETC. been dissolved. Then 5 grammes (0.175 oz.) of powdered alum and 180 grammes (6.3 ozs.) of rye flour are added to the glue water and thoroughly mixed with it. On the other hand, three to four sheets of blotting paper, which have first been torn into small pieces, are placed in a dish with finely sieved saw¬ dust. . Enough of these substances is kneaded into the glue paste to form a tenacious putty with which all the crevices and holes in the wood can be filled up. 2. Putty with Linseed-oil Varnish. White lead, umber, minium, and litharge are mixed to a tenacious dough with thoroughly boiled linseed- oil varnish, to which has been added a little amber varnish, and the putty thus obtained is placed in the holes with a wooden spatula. 3. Putty of Isinglass and Chalk. Isinglass is dissolved in water, and finely powdered chalk is added to the solution until a thick paste is formed. The cracks, joints, and holes of the wood are then filled up with this putty. 4. Pilling Up. This filling color for carriages originated in England, and has lately come into extensive use in all carriage factories, as it answers the purpose very well for which it is intended. It has a gray to brown color, and is prepared by grinding in a machine. THE ART OF VARNISHING AND LACQUERING 281 Parts. Filling up . . . . .15 White lead ..... 3 Chalk.2 Siccative ...... 4 Oil of turpentine .... 2 Section II. Preparation of Stains to be used in the Art of Varnishing and Lacquering . Wood and other articles of horn, bone, and ivory are stained for the purpose of giving to them a more beautiful color. According to their composition, the stains are applied either cold or warm with a sponge, or the articles themselves are immersed in the stain. Wood which is naturally veined, becomes especially beautiful by holding it over a coal-fire and gently heating it before a warm stain is applied. It acquires by this very beautiful dark and light streaks. The wood which is to be stained may also be placed in a boiler. The liquor is then poured over it, and boiled until the color has thoroughly penetrated the wood. I. Mahogany Stains. 1. Madder . . 500 grams. (17.5 ozs.) Rasped yellow wood 250 grams. (8.75 ozs.) are boiled for one hour in 2.50 kilogrammes (5.5 lbs.) of water, and the boiling liquor is applied to the arti- 24 * 282 FABRICATION OF VARNISHES, LACQUERS, ETC. cles of wood until the desired color has been pro¬ duced. 2. Powdered turmeric . 80 grams. (1.05 ozs.) Powdered dragon’s-blood 30 grams. (1.05 ozs.) are digested in 250 grammes (8.75 ozs.) of 80 per cent, strong alcohol, and when the latter seems to be thoroughly colored, it is filtered through a cloth. The filtrate is heated and applied warm to the wooden ar¬ ticle. 3. Madder . . . 500 grams. (17.5 ozs.) Ground logwood . 250 grams. (8.75 ozs.) are boiled for one hour in 2.50 kilogrammes (5.5 lbs.) of water. This is filtered while still warm, and the warm liquor is applied to the wood. When this has become dry and it is desired to produce a darker ma¬ hogany color, a solution of 15 grammes (0.525 oz.) of carbonate of potassa in 2 kilogrammes (4.4 lbs.) of water is applied to the wood. This solution is pre¬ pared cold, and filtered through blotting-paper. 4. 10 grammes (0.35 oz.) of aniline are dissolved in 250 grammes (8.75 ozs.) of spirit of wine 90 per cent, strong. Then another solution of 10 grammes (0.35 oz.) of aniline yellow in 500 grammes (17.5 ozs.) of spirit of wine 90 per cent, strong is made, and this is added to the aniline solution until the required reddish-yellow color is obtained. By adding a little of a solution of aniline brown (10 grammes (0.35 oz.) of aniline brown in 300 grammes (10.5 ozs.) of spirit of wine 90 per cent, strong), the color is still more com¬ pletely harmonized, and a color very closely resem- THE ART OF VARNISHING AND LACQUERING. 288 bling mahogany can be given to elm and cherry wood with this mixture. 5. A new stain very suitable for imitating wood is prepared as follows, according to E. Pfuscher: — 20 grams. (0.7 oz.) of logwood are boiled in 100 grammes (3.5 ozs.) of water down to about one-half. This is then filtered, and 8.5 grammes (0.12 oz.) of chloride of baryta are dissolved in it. II. Red Stains. 1 kilogramme (2.2 lbs.) of finely powdered Lima red dye-wood and 60 grammes (2.1 ozs.) of carbonate of potassa are put in a glass bottle and digested in 2.5 kilogrammes (5.5 lbs.) of water for eight days in a warm place ; the bottle should be frequently shaken. It is then filtered through a cloth, the fluid is heated and applied to the article to be stained until the latter acquires a beautiful red color. If it is desired to brighten the color, a solution of 60 grammes (2.1 ozs.) of alum free from iron in 1 kilogramme (2.2 lbs.) of water is applied to the article while it is still wet. The last solution can be prepared by heat; when it has been accomplished, it is filtered. As soon as the stains have become dry they should be rubbed with a rag moistened with linseed oil, after which the varnish may be applied. 2. Purple Stain. 1 kilogram. (2.2 lbs.) of rasped logwood, 2.50 kilograms. (5.5 lbs.) of rasped Lima red dye-wood, 284 FABRICATION OF VARNISHES, LACQUERS, ETC. are boiled for one hour in 2.50 kilogrammes (5.5 lbs.) of water. It is then filtered through a cloth and ap¬ plied to the article to be stained until the desired color has been obtained. In the mean while a solution of 5 grams. (0.175 oz.) of carbonate of potassa in 500 grams. (17.5 ozs.) of water has been prepared, and a thin coat of this is applied to the article stained red. But strict attention must be paid not to apply too thick a coat of this solution, or else a dark blue color would be the result. 3. Red Stain for Horn , Ivory , and Bone. 500 grammes (17.5 ozs.) of red Brazil-wood are boiled for one hour in 2 kilogrammes (4.4 lbs.) of milk of lime and filtered through a cloth. The articles of horn, ivory, or bone, to be stained are boiled for one hour in a solution of 30 grammes (1.05 ozs.) of alum in 500 grammes (17.5 ozs.) of water. They are then placed in the above stain, and allowed to remain there until the desired color has been produced. Articles stained in this manner will acquire a beautiful purple color by dipping them in alum-water. 4. Purple Stains for Horn , Ivory , and Bone. 500 grammes (17.5 ozs.) of logwood are boiled in 2 kilogrammes (4.4 lbs.) of milk of lime, and the same method is observed as given in No. 3. THE ART OF VARNISHING AND LACQUERING. 285 5. Bright Bed Stain for Horn , Ivory , and Bone. 250 grams. (8.75 ozs.) of logwood, and 250 grams. (8.75 ozs.) of red Brazil-wood are boiled in 2 kilogrammes (4.4 lbs.) of milk of lime. It is applied in the same manner as the foregoing. 6. Bright Bed Stain for Bone and Ivory. This is prepared by dissolving 1 gram. (0.085 oz.) of genuine carmine in 80 grams. (4.05) ozs.) of sal ammoniac by heating it gently. This stain is used warm, and in such a manner, that the articles to be stained remain for a few hours in the fluid and should be frequently turned while there. The polishing is generally done with some soap-water and finely powdered chalk. 7. Bed Stain for Leather. 250 grams. (8.75 ozs.) of shavings of red Brazil¬ wood are placed in a bottle, 1 kilogram. (2.2 lbs.) of wine vinegar is poured over them, and they are di¬ gested for eight days, and stirred frequently in the mean while. The solution is then filtered through a cloth. In the mean while a solution of 30 grams. (1.05 ozs.) of alum free from iron in 250 grams. (8.75 ozs.) of water is prepared, and the above preparation of Brazil-wood is added to this under constant stirring. A very beautiful red is obtained in this manner. The shav- 286 FABRICATION OF VARNISHES, LACQUERS, ETC. ings of Brazil-wood may also be boiled in rain water, and this be compounded with a solution of bitartrate of potassa. 8. Cochineal Stain for Leather. 80 grams. (1.05 ozs.) of the finest cochineal are powdered and digested in 500 grammes (17.5 ozs.) of alcohol 80 per cent, strong, until it is dissolved, and the solution is then filtered. More or less cochineal is taken according as the color is required to be darker or lighter. 9. Scarlet Stain for Leather. 80 grams. (1.05 ozs.) of scarlet berries are bruised, and dissolved in 120 grammes (4.2 ozs.) of alcohol 80 percent, strong, and the solution is filtered. 10. Purple Stain for Leather. 250 grams. (8.75 ozs.) of Brazil-wood shavings, or, 60 grams. (2.1 ozs.) of scarlet berries, are boiled in 1 kilogramme (2.2 lbs.) of water in an earthen pot, or in a bright copper boiler. The decoc¬ tion is filtered and compounded with a sufficient quantity of fluid chloride of zinc 1 to obtain either a lighter or a darker color. 1 Chloride of zinc for this purpose is obtained by gradually dissolving 120 grammes (4.2 ozs.) of granulated English zinc in 250 grammes (8.75 ozs.) of nitric acid and filtering the solution. THE ART OF VARNISHING AND LACQUERING. 287 11. Crimson Stain. A solution of 4 grams. (0.14 oz.) cochineal, 4 grams. (0.14 oz.) cream of tartar, 12 grams. (0.42 oz.) of solution of zinc, is prepared. The mixture is thoroughly shaken, and the contents of the bottle are exposed to heat for twenty-four hours. Spirit of sal ammoniac is then added in drops until the desired color is obtained. III. Black Stains for Wood. 1. 500 grams. (17.5 ozs.) of Brazil-wood, and 15 grams. ( 0.525 oz.) of alum, are boiled for one hour in 1.25 kilogrammes (2.75 lbs.) of water. The colored liquor is then filtered from the boiled Brazil-wood, and applied several times boiling hot to the wood to be stained. This will assume a violet color. This violet color can be easily changed into black by preparing a solution of 60 grams. ( 2.1 ozs.) of iron-filings, and 80 grams. ( 1.05 ozs.) of common salt in 500 grams. (17.5 ozs.) of vinegar. The solution is filtered, and applied to the wood, which will then acquire a beautiful, black color. 2. Another Receipt. 250 grams. (8.75 ozs.) of gall-nuts, and 1 kilogram. (2.2 lbs.) of logwood, are boiled in 1 kilogramme (2.2 lbs.) of rain water 288 FABRICATION OF VARNISHES, LACQUERS, ETC. for one hour in a copper boiler. The decoction is then filtered through a cloth, and applied several times while it is still warm to the article of wood to be stained. In this manner, a beautiful black will be obtained. 3. Bunge's Chrome Ink as a Black Stain for Wood. This is prepared by dissolving 15 grams. (0.525 oz.) of extract of logwood, in 1 kilogram. (2.2 lbs.) of hot rain water, and by adding to the lukewarm solution, 1 gram. (0.035 oz.) of chromate of potassa. When this is applied several times to the article to be stained, a dark-brown color will first be obtained. To change this into a deep chrome-black, the solution of iron-filings, common salt, and vinegar, given under III. 1, is applied to the wood, and the desired color will be produced. 4. Alizarine ink as a black stain for wood. Several coats of this are applied to the wood, but every coat must be thoroughly dry before the other is put on. When the articles are dry the solution of iron-filings, common salt, and vinegar, as given in III. 1, is applied to the wood, and a very durable black will be obtained. THE ART OF VARNISHING AND LACQUERING. 289 5. Black Stain for Horn. 2.50 kilograms (5.5 lbs.) of burned lime are slaked in a little water so that a powder-like hy¬ drate of lime is obtained ; this is mixed with 1 kilogram. (2.2 lbs.) of minium, and this mixture is formed into a thick paste with such lye as soap-boilers use having a specific weight of 1.036. The articles of horn are placed in this solution for 24 hours ; they are then taken out, rinsed off with water, dried with a cloth and brushed over with rape- seed oil, and then again rubbed dry. 6. Finest Black Stain for Horn. 4 grams. (0.14 oz.) of silver are dissolved in 60 grammes (2.1 ozs.) of nitric acid (aqua fortis), and this solution is applied several times to the article to be stained, but it is absolutely- neces¬ sary that the first coat should be entirely dry before another is applied. The articles are then burnished and made bright. 7. Black Stain for Leather. 120 grams. (4.2 ozs.) of bruised gall-nuts and 500 grams. (17.5 ozs.) of green nut-shells are boiled in 750 grams. (26.25 ozs.) of rain water. When the mixture has boiled for one hour, the liquor is strained through a cloth. The leather to be colored is first stained with the solution of iron-filings, com- 25 290 FABRICATION OF VARNISHES, LACQUERS, ETC. mon salt, and vinegar as given under III. 1, before the above decoction is applied. According to Herzog a black stain for wood giving to it a color resembling ebony is obtained by treating the wood with two fluids one after the other. The first fluid to be used consists of a very concentrated solution of logwood and to 10 grams. (0.35 oz.) of this fluid are added 0.50 gram. (0.017 oz.) of alum. The other fluid is obtained by digesting iron-filings in vinegar. After the wood has been dipped in the first, hot fluid, it is allowed to dry, and is then treated with the second fluid, several times if necessary. . IV. Blue Stains. 1. A beautiful blue stain is obtained by gradually stirring 15 grams. (0.52 oz.) of finely powdered indigo into 120 grams. (4.2 ozs.) of sulphuric acid of 60 per cent, and by exposing this mixture for 12 hours to a temperature of 25° C. (77° F.). The mass is then poured into 5 to 6 kilogrammes (11 to 13.2 lbs.) of rain water and filtered through felt. This filtered water is applied several times to the wood until the desired color has been obtained. The more the solu¬ tion is diluted with water the lighter will be the color. THE ART OF VARNISHING AND LACQUERING. 291 2. Another Receipt. 30 grammes (1.05 ozs.) of the finest indigo car¬ mine are dissolved in 250 grammes (8.75 ozs.) of wa¬ ter, and this is applied several times to the articles of wood to be stained. A very fine blue is in this man¬ ner obtained. 3. Blue Stain of Elder-berries for Leather. 1 kilogramme (2.2 lbs.) of the elder-berries are boiled with 30 grammes (1.05 ozs.) of alum free from iron in 1 kilogramme (2.2 lbs.) of wine vinegar for one hour, and the liquor is then strained through a cloth. On the other hand, 10 grams. (0.35 oz.) of blue vitriol are dissolved in 50 grammes (1.75 ozs.) of wine-vin¬ egar, and this solution is also filtered. If leather is to be colored blue, the decoction of elder-berries is applied uniformly with a sponge. When the coating is dry, it is brushed over lightly with the solution of blue vitriol in vinegar. 4. Blue Stain for Wood. \ 100 grams. (3.5 ozs.) of French verdigris are dissolved in 100 grammes (3.5 ozs.) of urine, and 250 grammes (8.75 ozs.) of wine vinegar. The solu¬ tion is filtered and applied to the article of wood to be stained. Then a solution of 292 FABRICATION OF VARNISHES, LACQUERS, ETC. 60 grams. (2.1 ozs.) of carbonate of potassa in 250 grams. (8.75 ozs.) of rain water is prepared, and the article colored with the verdigris is brushed over with this solution until the desired blue color makes its appearance. 5. Blue with Aniline. Without doubt the newest processes of staining wood blue, are those with aniline colors. The follow¬ ing colors may be chosen for the staining liquor: — Bleu de Lyon (reddish blue), Bleu de Lumiere (pure blue), Light blue (greenish blue). These colors are dissolved in the proportion of 1 part of coloring substance to 30 parts of spirit of wine, and the wood is treated with the solution. Y. Yelloio Stains. 1. Yellow Stain for Wood. 60 grammes (2.1 ozs.) of finely powdered turmeric are digested for several days in 500 grammes (17.5 ozs.) of alcohol, 80 per cent, strong, and then strained through a cloth. This solution is applied to the arti¬ cles to be stained. When they have become entirely dry, they are burnished and varnished. 2. Another Receipt. 15 grammes (0.52 oz.) of nitric acid (aqua fortis) are compounded with 45 grammes (1.57 ozs.) of rain THE ART OF VARNISHING AND LACQUERING. 293 water, and the article to be stained is brushed over with this. Undiluted nitric acid gives a brownish- yellow’ color. 3. Yellow Stain for Horn. 500 grammes (17.5 ozs.) of alum, free from iron, are dissolved in 2 kilogrammes (4.4 lbs.) of rain water. The articles of bone, ivory, or horn to be stained are allowed to lie in this for one or two hours. In the mean while 200 grams. (7 ozs.) of yellow berries 1 are boiled with 120 grams. (4.2 ozs.) of carbonate of potassa in 1 kilogram. (2.2 lbs.) of water, for one hour, and then strained. The articles stained with alum are placed in this decoction, and allowed to lie in it for one hour. They are then taken out and dried. 4. Yellow Stain for Leather. 15 grammes (0.52 oz.) of saffron cut in small pieces, are digested in 60 grammes (2.1 ozs.) of alcohol, 80 per cent, strong, for several days at a 1 Yellow berries (grains of Avignon) are obtained from a dye-producing Christ-thorn, Rhamnus infectorius , a bush which grows in France, Spain, and Italy, and which, accord¬ ing to Linnaeus, belongs to the fifth class Pentantria, first order Monogynia, and to the family of Rharnnece juss. 294 FABRICATION OF VARNISHES, LACQUERS, ETC. moderate heat. The solution is filtered, and applied directly to the leather. 5. Another Receipt. 500 grammes (17.5 ozs.) of ground yellow wood, or 500 grammes (17.5 ozs.) of birch leaves are boiled for one hour in 1 kilogramme (2.2 lbs.) of vinegar, and the fluid is strained. The articles to be colored are first stained with a solution of 30 grams. (1.05 ozs.) of carbonate of potassa, or 30 grams. (1.05 ozs.) of alum, free from iron, in 1 kilogram. (2.2 lbs.) of rain water, and are then brought for one hour in contact with the above decoction. It is best to apply the solution of alum, or carbon¬ ate of potassa, with a sponge to the leather, which has first been stretched, and when this has become dry, to apply the coloring liquor also with a sponge. 6. Bright Yellow Stain for Leather. 30 grams. (1.05 ozs.) of finely-powdered cur¬ cuma, and 15 grams. (0.52 oz.) of gamboge, are digested at a gentle heat for a few days in 750 grammes (26.25 ozs.) of alcohol, 80 per cent, strong, and the fluid is then filtered. The process is the same as has been indicated above, under 5, either with or without alum, or carbonate of potassa. THE ART OF VARNISHING AND LACQUERING. 295 Wooden articles are brushed with the solution until the desired yellow color has been produced. 7. Another Receipt. 500 grams. (17.5 ozs.) of barberries 1 are boiled in 1 kilogram. (2.2 lbs.) of water, and the decoction is filtered. In this case, also, a solu¬ tion of alum or carbonate of potassa in water is used before applying the decoction to the article. 8. Yellow Stain from Weld (Dyer's Weed'). 500 grams. (17.5 ozs.) of weld 2 are boiled in 1.5 kilograms. (3.8 lbs.) of water for one hour, and used in the same manner as 7. 9. Yellow Stain for Wood. 45 grams. (1.57 ozs.) of carbonate of potassa are dissolved in 120 grams. (4.2 ozs.) of rain water. This solution is poured over 15 grams. (0.52 oz.) of annotto, and this mixture is allowed to stand for three days in a warm place, being frequently shaken in the mean 1 Barberries are obtained from the common barberry-bush, Berber is vulgaris , which belongs to 6th class Hexandria, 1st order Monogynia, to the family of Berberidece ventenant , and grows in Europe and Central Asia. 2 Weld comes from Beseda luteola. This plant belongs to the 11th class Bodecandria, 3d order Trigynia , belongs to the family Lapparidece, and is much cultivated. 296 FABRICATION OF VARNISHES, LACQUERS, ETC. while. It is then filtered and 5 grams. (0.175 oz.) of spirit of sal ammoniac are added to it. The stain is now ready, and the articles to be stained will acquire a very beautiful bright yellow color by placing them in it. 10. Bright Grolden-yellow Stain. 15 grams. (0.52 oz.) of finely powdered madder are digested for twelve hours with 60 grams. (2.1 ozs.) of diluted sulphuric acid, 1 and then filtered through a cloth. The articles to be stained are allowed to re¬ main in this fluid from three to four days, when they will be stained through. 11. G-olden-yellow Stain for Bone and Ivory . 5 grams. (0.175 oz.) of picric acid are dissolved in • 30 grams. (1.05 ozs.) of hot water. On the other hand, 2 grams (0.07 oz.) of concentrated sulphuric acid are diluted with 10 grams. (0.35 oz.) of hot water, and the freshly smoothed articles are laid in the fluid, and are frequently turned. They are then taken out, dried off, and placed in a solution of picric acid while this is still hot, where they remain until they are uni¬ formly yellow. A lustre is given to them by polishing ' Diluted sulphuric acid for this purpose is obtained by compounding 15 grammes (0.52 oz.) of English sulphuric acid with 120 grammes (4.2 ozs.) of rain water. THE ART OP VARNISHING AND LACQUERING. 297 with soap, water, and fine whiting. (This is a very good method for coloring billiard balls yellow.) 12. Another Receipt. 10 grams. (0.35 oz.) of aniline yellow are dis¬ solved in 300 grams. (10.5 ozs.) of spirit of wine. The wood is brushed over with this solution, or is placed in it. If some aniline red is added to this stain, all shades of color from orange to bright reddish yel¬ low can he obtained. VI. Green Stains. 1. Green Stain for Wood. 120 grams. (4.2 ozs.) of purified verdigris are dissolved in 500 grams. (17.5 ozs.) of vinegar. The hot solution is applied to the articles of wood, which have been previously warmed, until the desired result has been obtained. 2. Green Stain for Horn , Ivory , and Bone. 120 grams. (4.2 ozs.) of copper, cut up finely, are gradually dissolved in 375 grams. (13 ozs.) of nitric acid (aqua fortis), and the articles to be stained are boiled in this solu¬ tion until they have assumed a fine green color. 3. Green Stain for Leather. 45 grams. (1.57 ozs.) of verdigris, and 15 grams. (0.52 oz.) of sal ammoniac, 298 FABRICATION OF VARNISHES, LACQUERS, ETC. are dissolved in 250 grams. (8.75 ozs.) of wine vine¬ gar. If a small quantity of saffron extract is added to this, a yellowish-green color, the so-called parrot- green, is obtained. 4. Another Receipt. If leather is first coated with a solution of Berlin blue, and then with a yellow stain, a beautiful, durable green will also be obtained. 5. Grreen Stain for Wood , Horn, Ivory, Bone, and Leather. 15 grams. (0.52 oz.) of fine indigo carmine are dissolved in 00 grams. (2.1 ozs.) of rain water. Then— 5 grams. (0.175 ozs.) of pure picric acid are dissolved in 60 grams. (2.1 ozs.) of boiling hot rain water, and both solutions are mixed together. A very beautiful, durable green color will in this manner be obtained, and can be used for the various manipu¬ lations. Only a weak solution of picric acid is required for staining pine wood green. 6. Another Receipt. 10 grams. (0.35 ozs.) of aniline green are dis¬ solved in 120 grams. (4.2 ozs.) of spirit of wine, and the wood to be stained is treated with this solution. All the different shades of green may be produced by adding blue or yellow stain. TIIE ART OF VARNISHING AND LACQUERING. 299 VII. Tortoise-shell Stain for Horn. A tough dough is prepared from 500 grams. (17.5 ozs.) of white litharge, 1 kilogram. (2.2 lbs.) of finely powdered un¬ slaked lime, 1.5 kilogram. (3.3 lbs.) of soap-boiler’s lye, having a specific -weight of 1.036. The places of the horn which are to become dark are covered with this dough, and the horn is allowed to remain in contact with the dough for about twenty- four hours, until the latter has become entirely dry. The horn is then cleansed with a brush. VIII. Brown Stains. For Leather. 1. 500 grams. (17.5 ozs.) of dried and powdered nut-shells are boiled for one hour in 1500 grams. (52.5 ozs.) of milk of lime, and strained through a cloth. This decoction is applied frequently to the leather. 2. 120 grams. (4.2 ozs.) of ground logwood, 120 grams. (4.2 ozs.) of annotto, are boiled in 500 grams. (17.5 ozs.) of rain water and a solution of 15 grams. (0.52 oz.) of carbonate of potassa in 75 grams. (2.62 ozs.) of vinegar, is added to the above decoction. 3. A brown stain is also obtained by rubbing to¬ gether, upon a marble slab, 300 FABRICATION OF VARNISHES, LACQUERS, ETC. 120 grams. (4.2 ozs.) of umber, 15 grams. (0.52 oz.) of the finest lampblack, in oil, with 500 grams. (17.5 ozs.) of ox-gall. 4. Hirschberg' 1 s Stain for Walnut. To give to walnut a dark color resembling rose¬ wood, Hirschberg uses a solution of 5 grams. (0.17 oz.) of bichromate of potassa in 30 grams. (1.05 ozs.) of water. This solution is applied to the walnut with a sponge, and the wood is then pumiced and polished. 5. Walnut Stain for Soft Wood . By a simple staining furniture of pine or birch wood can be easily made to appear as if it had been veneered with walnut veneer. For this a solution of 90 grams. (3.15 ozs.) of manganate of potassa, and 90 grams. (3.15 ozs.) of sulphate of manganese, in 5 liters (5.25 quarts) of hot water, is made. This solution is applied to the wood with a brush, and this must be repeated several times. The man ganate of potassa is decomposed when it comes in con¬ tact with the woody fibre, and thus a beautiful and very durable walnut color is obtained. If small wooden articles are to be stained in this manner, s, very much diluted bath is prepared, the articles are dipped into it and kept there for one to five minutes, according as the color is desired lighter or darker. THE ART OF VARNISHING AND LACQUERING. 301 IX. Violet Stain for Leather. 500 grams. (17.5 ozs.) of Brazil-wood are boiled for one hour in 1.25 grams. (0.44 oz.) of water, and the decoction is then filtered. Another solution of 120 grams. (4.2 ozs.) of cop¬ peras in 250 grams. (8.75 ozs.) of water is prepared, and this is mixed with the decoction of Brazil-wood. Violet stains are also obtained by mixing red and blue stains together. Section III. Workshop and Tools. By the workshop of avarnisheror lacquererwe under¬ stand a well-lighted, spacious room, which is best located on the ground floor. It should be provided with a coal-stove, and the floor should be either of boards or of asphaltum. Of course it is understood that the room is always kept free from dust, not by sweeping it, but by wiping it up with a wet cloth. If the room were to be swept with a broom, the freshly-lacquered or varnished article would be completely spoiled, as the dust would settle upon the moist coating of lacquer or varnish, and the result would be that the surface would not be smooth. In the room should be also a large table with draw¬ ers, in which the different paint-brushes, varnish- brushes, camels-hair-brushes, pencils, etc., the spatulas 26 302 FABRICATION OF VARNISHES, LACQUERS, ETC. of iron, wood, or bone, the rulers, and paint-boards are kept. The palettes and brayers, as well as the grinding machine for colors, are kept upon smaller tables. In a roomy closet provided with lock and key, large and small pots, and earthen and porcelain dishes, are stored, as well as bottles of tin and glass, in which the oils and varnishes to be used are kept. The ves¬ sels for cleansing the brushes and those in which they are kept, dust-brush and all such articles, are also kept in the closet. The room should be further furnished with several wooden horses and trestles, and a so-called dryi'ng- oven (lacquering-oven). Section IV. Art of Lacquering and Varnishing . By lacquering is generally understood the art of first applying any desired color to various articles of wood, stone, iron, ivory, horn, leather, clay, sheet- metal, then to rub them, and finally coat them with lac-varnish. In a narrower sense, only coating with lac-varnish is to be understood by lacquering. G-eneral Rules. As has been already mentioned, articles to be lac¬ quered receive first a ground-color, which is called priming. This ground-color consists of one or more coats of oil-color, according to the nature of the arti- THE ART OF VARNISHING AND LACQUERING. 303 cle to be lacquered. But the articles must be thor¬ oughly cleansed before this ground-color can be ap¬ plied. This is done by rubbing them with pumice- stone, by grinding them with water and a stone, or simply by dusting them off with a feather-brush, dust¬ brush, etc. Every coat of the priming must be thor¬ oughly dry before the second coat is applied, and special care should be had that the priming is done in a place free from dust. When the coat of oil-paint has become dry, it is rubbed with pumice-stone powder and shave-grass (horse-tail), and then cleansed, which is done by washing it with a sponge and clear water. If the articles are to be decorated, for instance, with drawings, or ornaments in gold, silver, or bronze, this is done after the last priming, and they must also be thoroughly dry before the lacquer is applied. Then the first coat of lacquer is given, and in doing this care must be had not to injure the decorations. When this coat has become thoroughly hard , it is gently rubbed with powdered pumice-stone,tripoli, and burnt hartshorn and felt, and then washed oft. The second coat is then given. If the lacquering is also to be polished it is, of course, necessary that the last coat of lacquer should be thoroughly dry and hard, so that the polish will show a proper lustre. We now proceed to the separate labors which have to be performed in lacquering. 1. Priming .—This consists of one or more coats of oil-paint, which must be applied according to the na¬ ture of the article. But it must be laid down as a 304 FABRICATION OF VARNISHES, LACQUERS, ETC. rule that the second coat should be applied in a direc¬ tion opposite to that of the first; and in regard to articles of wood we must draw attention especially to these rules: that the wood should be thoroughly dry, that the first coat applied should not be too thick, that it is to be applied in the direction of the grain of the wood, and that it should be thoroughly rubbed into the pores of the wood. 2. Pumicing the Priming .—This is done with smooth pieces of pumice-stone and water, but for finer articles linseed oil is used instead of water. A great deal of practice is required to do this so that one place does not become deeper than another, and the pumic¬ ing must be done not in one direction, but with a cir¬ cular motion, so that all places are touched uniformly and with equal pressure. When this has been done the article is thoroughly cleaned with a soft sponge and water, and rubbed with a soft chamois skin and then dried. Rubbing with linen rags must be rejected, as no clean ground can be obtained with them. 3. Paying on the Color .—This is done with a fine paint-brush, and on finer articles with a camel’s-hair brush. The colors used for this purpose must be rub¬ bed very fine, and must be applied very uniformly and not too thickly. To get the layer of color as uni¬ form as possible, it is best to go over it once more with a very fine brush. At the present time a little lac-varnish is mixed with the priming, by which as uniform a coat as possible is obtained. Of course, where more coats than one are to be given, the neces- THE ART OF VARNISHING AND LACQUERING. 305 sary quantity of paints for all coats should be pre¬ pared at one time, to avoid the possibility of getting the second somewhat lighter or darker than the first, as otherwise two kinds of ground would be formed in pumicing, by the lower coat, be it darker or lighter, shining through. As has been already mentioned, all the coats must be allowed to become thoroughly dry ; then we proceed to 4. Pumicing the Paint .—This is done with shave- grass (horse-tail) and pumice-stone. Here it is neces¬ sary to proceed with the greatest care, so that all ine¬ qualities of surface are removed, but without rubbing through the paint, or else the painting would have to be repeated. When the pumicing is finished, the article to be lacquered is cleansed with water and dried with soft leather. It is then ready for receiving decorations, etc. 5. Varnishing .—First of all the room in which this very delicate work is to be done must be entirely free from dust; much moving about in it should not be permitted, and for this reason not many workmen should work in one room, as dust will naturally be raised by their moving to and fro. The varnishes to be used, the oil as well as the volatile varnishes, should be kept in hermetically closed vessels of glass, por¬ celain, or tin, and should be opened only while they are in use. Either camel’s-hair brushes or bristle brushes are used for laying on the varnish. Their sizes must correspond with the articles to be varnished, but they must not be too small, so that the labor may 26 * 306 FABRICATION OF VARNISHES, LACQUERS, ETC. be accomplished quickly. Brushes which lose bristles when used should be thrown aside. It is best to cleanse the brushes with oil of turpentine after they have been used, and to wrap them up in paper. If a brush is dried up, it is best to lay it aside, though it can be softened with oil of turpentine which has been gently heated, but it never will become as good as before, and, therefore, it should be a guiding rule to cleanse every brush immediately after it has been used. Varnishing requires a great deal of practice and skill, and therefore general rules only can be laid down in regard to it. Amongst these it may be especially mentioned that the work should be done quickly, that no place be touched twice, that the varnish always be laid on in one direction, that not too much varnish is taken on the brush at one time, as by doing this uneven places will be formed. Oil-varnish is laid on cold, and in a room which is not heated (of course only during the summer), but volatile varnish is applied, either cold or warm, according as wood, paper, or metal is to be lacquered. In the first case it is laid on cold, in the latter when heated only. The volatile varnish to be used is not placed directly upon the fire, but is put in a tin vessel filled with hot water. Volatile lacquer must be treated with special care, and must be laid on the article to be lacquered, which has first been heated, in a warm room. Care must also be taken not to breathe or blow upon the article, as in such case the varnish THE ART OF VARNISHING AND LACQUERING. 307 will quickly' coagulate, absorb moisture, and turn white. n As has already been mentioned, lac-varnishes must not be laid on too thickly, and under no consideration in a layer of varying thickness, as blisters and wrinkles Avill be formed, without mentioning the fact that the work will be uneven. Two coats of oil-varnish and three of volatile var¬ nish are generally sufficient, but if the lacquered arti¬ cles are to be polished, four coats of oil-varnish and five of volatile varnish will be required. If oil-var¬ nishes are to be polished, they must be pumiced after each coat has been applied. It must further be accepted / as a rule that lacquer¬ ing in the open air should be done only on clear days, and, of course, not in the sun. Fog or damp air causes the coat of lacquer to turn white, or at least gives to it a dull look, and the sun will blister lacquer which is not completely dry. 6. j Pumicing Lac-Varnishes .—The object of pum¬ icing lac-varnishes is to remove any inequalities of surface which may have been formed. It will easily be understood that this is a labor requiring special skill. But pumicing lac-varnishes cannot be omitted, under any consideration, as the lacquered article would not look well. Just the reverse of this, the lacquered article must be pumiced so smooth that its surface shines like a mirror. 7. Polishing Lac-Varnishes .—If fat varnishes are to be polished, they must first be pumiced with pum- 308 FABRICATION OF VARNISHES, LACQUERS, ETC. ice-stone powdered as fine as possible. The layers of lacquer are then rubbed with burnt hartshorn, or burned and prepared oyster-shells, mixed with water, until the hartshorn or oyster-shells have become dry, and the lacquered article shows lustre. The rubbing is done with a small pad. When this operation is fin¬ ished, some deer-suet is taken upon the pad and the article rubbed with this, and then some hair-powder is used, which will remove the grease left from the suet. The article will then have acquired a beautiful lustre. But special care must be taken to thoroughly examine the powdered hartshorn, or oyster-shells, and to sepa¬ rate any particles of sand which may have been acci¬ dentally mixed with it, as these would do great injury to the work by scratching it. .Volatile lac-varnishes are polished in the same man¬ ner as described above. Materials Used for Pumicing in the Art of Lacquering. These materials are pumice-stone in pieces, so-called raw pumice-stone, very finely powdered, and washed pumice-stone, tripoli, emery, animal charcoal, prepared hartshorn, oyster-shells, whiting, shave-grass (horse- tail), felt, woollen cloth, leather, and linen. Varnishing of Wooden Articles , Carriages , and Furniture. It is necessary to accurately observe the following rules in varnishinsr: — THE ART OF VARNISHING AND LACQUERING. 309 1. Examination of the Article.— The carriage or wao-on, which is received from the builder, is thor- ouo-hlv examined, and the first labor of the varnisher is to be done, in case any cracks or flaws are found in the body parts. The varnisher prepares hot glue, takes finely picked flax, dips this into the glue, and fills the cracks with it. It is allowed to dry thoroughly, and all the super¬ fluous sdue is then removed. When this operation is finished, and the respective parts of the body have been smoothed, the next work is proceeded with. 2. Soaking with Linseed-Oil Varnish. — This is done to prevent moisture from penetrating. A uni¬ form layer of linseed-oil varnish is applied, and as soon as the first coat has become thoroughly dry the second coat is laid on. 3. Puttying (filling up).—It may happen that de¬ pressions are found in the panels, and to remove them they are filled up with putty. When the putty has become perfectly dry, the guide coat is laid on. 4. Laying on the Priming Coat. —The so-called priming coat consists of a mixture of finely rubbed ochre, finely rubbed umber, linseed oil, oil of turpen¬ tine, white litharge, and copal varnish in such propor¬ tions that the entire mass can be easily applied without being too thin. This priming coat is then laid on the body of the carriage. The first coat, when dry, is succeeded by six or seven other coats, but the one coat must always be entirely dry before the next is applied. 310 FABRICATION OF VARNISHES, LACQUERS, ETC. The coat may be considered dry when the finger-nail leaves no impression. Finely powdered pumice-stone is generally mixed with the last coat of the priming coat. T his causes the coat to be granulated, and facilitates the pumicing of the article. Then follows: — 5. Pumicing the Ground .—This is done with por¬ ous and fibrous pumice-stone, which is ground smooth on one side. Several pieces, some round and some square, are required for this. Attention must be paid that the piece of pumice-stone which is used for pumic¬ ing is always sharp enough. If it does not take hold, it is rubbed with another piece of pumice-stone until it has become sharp enough. ihe greatest care must be observed in pumicing the panels that not a single place remains untouched; for this reason the pumiced place must be frequently washed off with clean water, so as to be able to ob¬ serve whether it has been sufficiently pumiced, or whether the labor has to be continued. The ground should become as smooth as glass, and after it has been washed off it should be thoroughly dried with chamois skin. 6. G-round Coat (Disguise Coat ) and its Applica¬ tion .—This is composed of white lead, with a mixture of linseed-oil varnish and oil of turpentine, a small quantity of very fine white litharge and amber lacquer. One or two coats of this paint are given, but it must never be laid on too thick. Here, also, the first coat must be thoroughly dry before the second is laid on. THE ART OF VARNISHING AND LACQUERING. 311 7. Pumicing the Disguise Coat. —This is accom¬ plished best by using very finely powdered pumice- stone and a piece of felt or cloth and water. Pumic¬ ing is continued until no more inequalities are observed in the surface, and the places are washed off with a sponge, and carefully dried. 8. Laying on the Principal Color. —The color which is to be given to the carriage must be very finely rubbed- together with a mixture of linseed-oil varnish and tur¬ pentine, the siccative is added, and must be always protected from dust. When it is to be used either amber lac varnish or copal lac varnish is added. Of this three to four coats are given. But two, or, at the utmost, three coats are sufficient, if the paint is to receive a glazing. Two or three coats of glazing are laid on when the coats of paint have become thor¬ oughly dry. The glazing used for this purpose must be very finely rubbed with fat oil lac varnish, and al¬ lowed to settle, so that the upper part forms a colored varnish. Special care must be observed in laying on the glazings uniformly, and if this is done, they stand like a mirror upon the paint when they have become dry. 9. Pumicing the Principal Paint. —Shave-grass (horse-tail) and very finely powdered pumice-stone are used for this purpose, and felt and powdered pumice- stone later on. The purpose of doing this is to re¬ move all inequalities of surface which may have been formed. When all the parts have been pumiced, they 312 FABRICATION OF VARNISHES, LACQUERS, ETC. are washed with clean water, and carefully dried with chamois skin. The next work is— 10. Decorating and Striping .—Generally this con¬ sists only of narrower or wider stripes of different colors, gold borders, and coats of arms. The paint used for striping is generally rubbed together with linseed oil varnish and oil of turpentine, and com¬ pounded with a small quantity of finely powdered sugar of lead. It is generally laid on with the so- called drawing brush, and requires great skill and a sure hand. For coats of arms and gold ground the finest yellow ochre is rubbed together with a little white lead in old but entirely clear linseed oil varnish, which must not be of too great consistency. If this mixture is ap¬ plied, and allowed to dry for eighteen to twenty hours, the coating is ready for the gold. All the decorations must be smooth and even, or they Avill suffer injury when the varnish is pumiced. 11. Laying on the Varnish .—As soon as the stripes and other decorations are dry, they are wiped off with a moist chamois skin to remove any dust which may have settled upon them, and a coat of varnish is then quickly laid on. The coat is repeated twice or three times. When the varnish has become somewhat dry in the shop, the carriage is brought into the air and sun, but it must be frequently turned about so that it will dry uniformly. THE ART OF VARNISHING AND LACQUERING. 313 When the last coat of varnish has become entirely dry- 12. Pumicing and Polishing is commenced. This is done with very finely powdered pumice-stone, and a piece of felt or chamois-skin. When this has been done— 13. The Last Coat of Varnish is laid on with quick, uniform strokes. This last coat is not pum¬ iced. Varnishing of Furniture, Cases, Instruments, etc. 1. Wooden Articles to he Varnished. —The prin¬ cipal rule for these is that the respective articles are pumiced and thoroughly smoothed ; this may be done with pumice-stone and shave-grass (horse-tail). Then all the defective places are puttied up with a putty consisting of sawdust and glue, and what is super¬ fluous of this is carefully removed. Then the scraper is used, and when the work has been done thoroughly, the surface is rubbed smooth with a suitable piece of pumice-stone. It is advisable to repeat the pumicing with powdered pumice-stone to prevent any place from remaining untouched, and then to go over it with shave - grass, which will make the respective places entirely smooth.— When the ground has been pumiced smooth, the following has to be taken into consideration: — a. If it is desired to preserve the natural color of the wood, one or more coats of lac-varnish are laid on at once ; the coat of varnish is either left as it is, or 27 314 FABRICATION OF VARNISHES, LACQUERS, ETC. it is pumiced, and the wood receives another coat of varnish, and this last coat is polished. b. If the articles are to be stained, one of the stains, the receipts of which have been given upon preceding pages, is used for the purpose. When the stain is dry the articles receive from four to five coats of colorless varnish, and the work is finished by pol¬ ishing the last coat. c. Wooden articles may also first be coated with glue, or linseed-oil varnish, and can then be varnished with the various colored varnishes. d. The articles to be varnished are veined, either with color prepared with size (glue-water), beer, or vinegar, or with linseed-oil varnish. These are rubbed together with a yellow, reddish-brown, brown, or other pigment, according to the natural color of the wood which is to be imitated. When the work of sizing the article is finished and the coat is entirely dry, the articles are pumiced and receive then three or four coats of lac-varnish. e. Sizing for mixing the color is best prepared by boiling 60 grammes (2.1 ozs.) of glue in 500 grammes (17.5 ozs.) of water, and by adding a small quantity of a decoction of garlic or wormwood to it. The arti¬ cle to be varnished receives three or four coats of this. It is claimed that the decoction of garlic or wormwood will prevent the wood-worm from attacking the arti¬ cles. When the coat of sizing has become entirely dry it is rubbed off with shave-grass. The so-called chalk ground is obtained by mixing very fine whiting THE ART OF VARNISHING AND LACQUERING. 315 with the sizing and by laying three or four coats of this on the article. The ground is pumiced with pum¬ ice-stone and water. When all has been pumiced smooth and thoroughly cleansed, three or four coats of paint are laid on, and when this is entirely dry it is rubbed with shave-grass, cleansed, and varnished with volatile lac-varnish. /. The priming coat of oil-paint is put on the arti¬ cles to be varnished in the following manner: The articles are first coated with hot, well-boiled, linseed- oil varnish ; they receive then a coat of a mixture of ochre and white lead, rubbed together with linseed-oil varnish, or still better, with siccative, and when this is dry, are pumiced with pumice-stone and water. As soon as all places have been uniformly pumiced, a coat of the color which the article is to have is laid on. For this purpose it is best to incorporate the pigment in as fine a state as possible with good linseed-oil var¬ nish, to reduce it with oil of turpentine to the desired consistency, to compound it with a small quantity of copal varnish, or amber varnish, and then give a coat of it to the article in question. When dry it is pumiced with powdered pumice- stone and felt, and then the varnish is laid on. Thicker or thinner lac-varnish is used for this purpose according to the state of the temperature. Therefore thinner varnish must be used when the air is cold, and thicker varnish when it is warm. Veining with oil-paint is done in the following man¬ ner: The article receives first one or two priming 316 FABRICATION OF VARNISHES, LACQUERS, ETC. coats of oil-paint; this, when dry, is pumiced, and the veining is then done, either with oil-paint or water-color. The first process is easier than the last. The kinds of wood principally imitated are oak, curled maple, walnut, rosewood, and mahogany, and, of course, the ground color to be used depends on the kind of wood to be imitated. These are— for oak , white lead and ochre ; for curled maple , white lead and a small quan¬ tity of ochre ; for walnut, white lead and umber; for rosewood and mahogany, burnt ochre and colcothar (Indian red). The water colors for veining are prepared by mix¬ ing— for oak, umber; for curled maple, burnt sienna ; for walnut, umber; for rosewood, burnt sienna and umber ; for mahogany, sienna, with a little red, with water, vinegar, or beer, and they are then laid on according to the rules of the art. The veining itself is done with a brush or sponge, wooden, horn, or leather combs, and in modern times also with vein¬ ing rollers made of leather or rubber and provided with the pattern of the texture of the wood ; quills and even the fingers are also employed for the pur¬ pose. The lac-varnish is laid on as soon as the veined ground is dry and has been pumiced. Usually two TIIE ART OF VARNISHING AND LACQUERING. 317 coats are given, but the second should never be laid on before the first is entirely dry. If the veining is to he done with oil-paint, a priming coat of water-color is first laid on, and this is rubbed in with linseed-oil varnish as soon as it has become dry. The veining is done with a camels-hair brush, and the above mentioned colors mixed with linseed-oil varnish. The work is glazed as soon as the veining is dry. This is done with umber, sienna, crimson lacquer, or even carmine lacquer, for very fine articles. The articles are then varnished, but not before the glazing is dry. Articles of Tin and Metal which are to he Lacquered. The lacquering of tin and metals differs from that of wood. The first require far fatter lac-varnishes than the latter. They are dried in especially con¬ structed ovens (lacquering ovens). The usually rough articles of tin must be thor¬ oughly smoothed and pumiced before they can be lac¬ quered, when they receive a coat of linseed-oil var¬ nish, and are thoroughly dried by a strong heat. They then receive four or five primary coats, are again thoroughly dried, and then pumiced with pumice-stone and water until the surfacp is as smooth as a mirror. When these important operations have been finished the principal color is laid on. This is rubbed together with linseed-oil varnish and oil of turpentine, and compounded with copal varnish. The articles receive at least three to four coats of this, but every coat 27 * 318 FABRICATION OF' VARNISHES, LACQUERS, ETC. must be thoroughly dry before the next one is laid on. When the last coat has become as hard as stone the article is pumiced with powdered pumice-stone and shave-grass, the various decorations are put on and allowed to dry, and the article is then varnished with copal lacquer. When this coat of varnish is dry the article may be pumiced with powdered pumice-stone and felt, it is then thoroughly cleansed and carefully dried, and finally receives one or two coats of varnish. It is absolutely necessary that all the described opera¬ tions should be carried on with the greatest care. What has been said of tin-ware applies in general also to articles of iron and steel , only they require less preparation. When they are ground smooth and polished, it is only necessary to give them a coat of oil-varnish, which is allowed to dry hard, and then the same process is carried on as has been described for tin-ware. Articles of copper , brass and zinc require a fat, pliant lac-varnish, and specially careful treatment. As most of these articles are soldered and possess more or less fatty matter, the first care must be to free them from this. This is done by thoroughly rubbing the articles with sawdust. They are then cleansed and treated with fat and well-drying paints and varnishes, and dried at a moderate degree of heat. Pumicing and cleansing are done in the same manner as has been described for tin-ware. The colors mostly used in lacquering the above named wares are— THE ART OF VARNISHING AND LACQUERING. 319 1. Blade .—This color is produced either by giving the article a coat of fine calcined lampblack mixed with linseed-oil varnish, or by giving it at once a coat of asphaltum varnish. For common articles the ordi¬ nary asphaltum varnish may also be used to advantage upon iron, copper, zinc, etc. Both methods are good, and the coats dry quickly. 2. Brown is produced by laying on a priming coat of Venetian red compounded with a small quantity of calcined lampblack. When dry it receives a coat of glazing. 3 . Bed .—A mixture of cinnabar, linseed-oil varnish and oil of turpentine, is prepared for this, and com¬ pounded with a small quantity of copal varnish. The article receives from three to four coats of this, is thoroughly dried, and then glazed. The glazing is prepared by rubbing fine carmine- lacquer with linseed-oil varnish and oil of turpentine, and by compounding this with some copal varnish. This is allowed to stand quietly for a few days. The thin part is then poured off' from the sediment, and the painted articles are coated quickly and uniformly. Usually two or three coats are required according as the color is to be light or dark. Strong heat must be used for drying the articles, as the glazing is difficult to dry. When the glazing is thoroughly dry it is pumiced and then varnished. 4. Crreen is produced with mineral green. The treatment is the same as given for red, only green is frequently mixed with yellow and white. The articles 32.0 FABRICATION OF VARNISHES, LACQUERS, ETC. to be lacquered receive first a white priming coat. Dark green is prepared with green cinnabar and glazed with verdigris, ihis color should not be exposed to a great heat. f). 1 allow, Chamois .—By chamois-yellow we under¬ stand a mixture of white, yellow,.and red. Chrome- yellow also does excellent service for yellow. Two or three coats are sufficient. 6. Blue .—A mixture of Paris blue and white, or ultramarine and white, is used for a blue priming coat, according as the color is to be light or dark. ° It is glazed with either Paris blue, ultramarine,or cobalt blue (Thenard’s blue). Other colors are treated in the same manner. A few coats are generally sufficient for covering, and it is then only necessary to lay on'the lacquer. Marbled ground is produced by pumicing the arti¬ cles, which have first received a black priming, by rub¬ bing them with oil of turpentine, and exposing them to heat. Then a sharply cut bristle brush is soaked with oil of turpentine, and the hot articles are sprinkled with it. It is advisable to hold the articles at some distance to prevent the fine drops from falling upon them. The drops falling upon the article scatter and form a ring on the edge. Gold or silver bronze is laid upon these rings before they become entirely dry. What is superfluous is rubbed off after they have be¬ come dry. Tortoise-shell ground is produced by giving the ar¬ ticle a one-colored ground of cinnabar, or any other. THE ART OF VARNISHING AND LACQUERING. 321 fine brown lac-eolor. When this coat is dry it is pum¬ iced and glazed with carmine-lacquer. The following method-is then observed : The wick of an oil-lamp is screwed up higher than usual, so that it commences to soot, and more or less dark places are produced upon the still wet glazing by holding the article over the wick of the lamp and turning it to and fro. When the desired places have been produced in this manner, pumicing is commenced, and the article is then var¬ nished. Rosewood ground is imitated by giving the article, upon which the ground is to be imitated, a priming coat of calcined lampblack. This is allowed to be¬ come thoroughly dry, and is then pumiced. On the other hand a paint of Venetian red and carmine-lac¬ quer, or cinnabar and carmine-lacquer, is prepared with linseed-oil varnish, and the article is veined with a brush according to a sample of a polished piece of rosewood. When this is dry it is glazed with carmine- lacquer, varnished and pumiced. Decorations with Copperplates and Lithographs .— The apparatus consists of a plate, which is etched for 'reprinting. When the apparatus is prepared, the fol¬ lowing method is observed : — First a printer’s varnish of linseed oil is prepared, which is mixed with the so-called Frankfort black. The varnish must possess great consistency. The plate is heated and some of the ink is put uniformly upon the etched parts with the finger; the greater part of the ink is wiped off, and the plate is cleansed 322 FABRICATION OF VARNISHES, LACQUERS, ETC. with lye. When this has been done the plate is brought into the press, a previously moistened paper is laid upon it, this is covered with a cloth folded several times, and then drawn through the press. The paper is then carefully removed, moistened with water, and laid upon the article. The impression of the copperplate is imprinted upon the article by a small roller covered with cloth, and the paper is then removed. The same manipulation is used for lithographs. Bronze-painting is done with metal-dust, genuine gold leaf, party-gold, silver bronze, and gold bronze, mostly upon black ground. Parisian camels-hair pen¬ cils are used for the purpose ; the bronze is rubbed in with a piece of felt upon the previously prepared ornamentation. Patterns cut out of oiled paper are used for the decorations. Genuine leaf gold is laid upon the still moist varnished places. All these operations require a great deal of skill, and this the workman can only acquire by constant practice. Lacquering of Leather differs essentially from that of tin-ware and articles of metal. One of the main points is to use a pliant lacquer which will stand being bent in any way, will neither break off nor crack, and yet possess the necessary degree of hardness. The outside of the leather to be varnished must have been well finished and rubbed with train oil. It is then stretched upon a frame, is somewhat moistened THE ART OF VARNISHING AND LACQUERING. 323 and pumiced, and smoothed with a piece of pumice- stone and with powdered pumice-stone. When the leather is dry a coat of varnish, made of linseed oil, is laid on. The manner of preparing this lacquer, which is generally done by the lacquerer him¬ self, has been fully described under “blue lacquer,” in the appendix to the first part of this work. Simple Process of Removing a coat of Lacquer , etc., from Tinned Metal Plate. BY D. H. EMSMANN, OF STETTIN. About twenty-five years ago I accidentally brought a lacquered tin box in contact with leather through which mercury had been pressed, and found, to my surprise, that the lacquered surface of the box came off in its entirety in the form of a delicate leaf. I was sorry that I had damaged the beautifully orna¬ mented box, but as it had been already injured, I ex¬ perimented also with the remaining surface, and suc¬ ceeded in removing everywhere the coat of lacquer without tearing it. The explanation of this phenomenon was simple. The box was made of tinned sheet-iron, and the coat of lacquer had been partly broken off on the edges ; the mercury remaining on the leather had formed an amalgam with the tin; a fluid layer had been formed between the surface of the iron, and in consequence of this the leaf of lacquer floating so to say upon the fluid, could be removed with the greatest ease. 824 FABRICATION OF VARNISHES, LACQUERS, ETC. The question now arose, whether this phenomenon could be used to advantage in any manner, and several experiments were made for this purpose. I painted tinned sheet iron with linseed-oil varnish, such as is used for lacquering, and in doing this I handled the brush always in one direction. When this coat of varnish had become dry, in a few days I laid on a second in a direction crossing the first coat at a right angle. When this coat had become dry a cut was made with a knife through the varnish down to the tin, and some mercury was dropped upon this ; the entire layer of varnish came off, and showed a parch¬ ment-like, smooth surface on the side which had touched the tin. When the mercury had evaporated I again put a coat of linseed-oil varnish on the same tin, and re¬ peated the operation in the above described manner until a layer about one millimeter (0.039 inch) thick had been formed. This required quite a considerable time on account of the varnish drying but slowly. I obtained, however, a plate like strong leather, with a surface as smooth as a mirror. From the obtained leather I cut rectangular tri¬ angles and rulers for mathematical instrument cases. But as these were not very solid, but rather brittle, I stretched a sheet of paper over a frame and coated it repeatedly on both sides in the above mentioned man¬ ner, and obtained in half the time sheets of any desired thickness, which, on account of the inclosed paper, THE ART OF VARNISHING AND LACQUERING. 325 proved to be more suitable for the indicated purpose, but bad not so smooth a surface. This matter may now be inquired into further, as by this short statement I only intend to incite to further researches. Very likely leaves of any desired size and thickness and of various substances can be produced in this manner, which may prove especially useful for certain purposes. Paper covered on both sides with a layer of linseed-oil varnish, and then coated with size, answers all the purposes of parchment. It is possible that a substance might in this manner be prepared which, in many cases, could be used as a substitute for leather. 28 APPENDIX. JAPANESE AND CHINESE LACQUERS. Although, on account of their costliness, it is not very likely that these lacquers will ever come into exten¬ sive use in our industry, yet for the sake of completeness we will give in the following pages a short description of the products which give such prominence to Japanese lacquered articles. The Japanese lacquers are purely natural products, and are obtained from the varnish tree ( Vernix or Rhus verni- cifera), a kind of sumac, indigenous in Japan as well as in some parts of China. A larger or smaller number of horizontal incisions, 6 to 9 centimeters (2 to 3.5 inches) long, and 1 centimeter (0.39 inch) deep are made with an especial instrument in the trunks, which are generally about as thick as an arm, and the lateral branches of the tree. These incisions are then made somewhat deeper with a kind of knife, and in the course of three or four days a clear, thick, resinous juice, mixed with some milky matter, commences to exude from them. This juice is removed from time to time with a small tool shaped like a lancet, is put in small cans or barrels, and thus brought into use. 328 FABRICATION OF VARNISHES, LACQUERS, ETC. The juice in afresh state is yellow to grayish-white and viscid, but on exposure to the air soon becomes brown, then black and very hard. The lacquer obtained from the branches of the tree is valued far higher than that from the trunk, as it becomes a great deal harder than the lat¬ ter. r I he lacquer is graded into several qualities by keep¬ ing it for some time in well-closed vessels, and by after¬ wards taking off the upper layer, which has in the mean while become better. Lacquer which has become too thick is reduced with one-fifth of its weight of sesame oil. The entirely black lacquer is prepared in the open air by stirring the fresh juice (which shows poisonous properties 1 ) for two or three days, and by adding water containing iron. The only treatment which this invaluable natural pro¬ duct, which the Japanese know how to make of excellent service to them, undergoes, is to press it through a pecu¬ liar, extraordinarily strong, but at the same time very thin paper, to free it from the small impurities. The lacquers are either used with or without an addition of mineral pigments, such as cinnabar, Berlin blue, ver¬ digris, chrome yellow, etc. There is a great number of varieties, and these are known by the following names :— Ordinary lacquer, Common lacquer, Natural lacquer, Yoshino lacquer, Shiun-Kei lacquer, 1 Many people become sick from merely inhaling the va¬ pors of this juice. JAPANESE AND CHINESE LACQUERS. 329 Seshimo (ground) lacquer, Djotame (brown) lacquer, I. quality, Tscliiutame (brown) lacquer, II. quality, Djohana (dark) lacquer, I. quality, Tschiuhana lacquer, II. quality, Hakushita (gilders’) lacquer, Roiro (best black) lacquer, Nakanuri lacquer (for laying on ground), Nuriate (dark) lacquer, Kurodame (dark brown) lacquer, Djo-tshiu (ordinary dark) lacquer, Namitame (common brown) lacquer, Nashiji (very finest, transparent) lacquer. Lacquer mixed with yellow pigment, Lacquer mixed with cinnabar (three qualities), Ordinary red lacquer, Lacquer mixed with Berlin blue. The following are used as pigments : cinnabar, minium, Berlin blue, verdigris, red ochre, chrome yellow, Djino- Ko meal. The following are used for laying on under the lacquer: a paint made from come/i«a communis, Dutch gold dust, false green gold dust, silver dust, copper dust, genuine gold dust, imitation gold and silver leaf, tinfoil, and gold and silver leaf cut into small pieces. The following articles are used as aids in lacquering: pulverized haliotis shell, powdered charcoal, powdered charcoal made from magnolia wood for pumicing and polishing, powdered hartshorn, menoko, hemp finely cut. Further, for lacquering itself: wooden spatulas, and different sizes of broad brushes, made of stiff, short bristles. 28 * 330 FABRICATION OF VARNISHES, LACQUERS, ETC. Baron von Ransonnet gives the following account of the application of Japanese varnishes :— The articles to be varnished are generally made of wood, and it they are constructed of several pieces are usually pasted over with paper or cloth, but the joints are then plastered over with a mixture of burnt earth, and the so- called Wan tan-goschi (Seshime) lacquer. This operation is repeated several times, but only at intervals of at least one day, and the surface is carefully pumiced every time until the form of the article leaves nothing more to be desired. Only when this is entirely satisfactory, pure lacquer is laid on the article with a flat brush of stiff, short bristles. On account of dust the articles are dried in closed boxes. It is a remarkable thing that the lacquer dries especially quick in a moist atmosphere. When the first layer of lacquer is dry, which may be the case in twenty-four hours, the surface is rubbed with wet charcoal in a similar manner as we use pumice-stone. Articles for the Japanese market are treated far more carefully than those for export. When the article is to be ornamented with gold decora¬ tions, the drawing is first made with white chalk, the ornamentation is then laid on more or less thick with a mixture of Wantan-goschi lacquer and yellow clay, and for very superior work with a dough formed therefrom, and when the painting is half dry it is coated with fine gold dust, laid on with raw cotton. If the gold is to be durable, thin layers of reddish lacquer and gold are laid on three times over these ground layers. A more or less fine or granular appearance is thereby given to the gold, or different shades to its color. When a good gold lac¬ quer is used, the ornamentation is, strictly speaking, a JAPANESE AND CHINESE LACQUERS. 331 kind of relief, which rises above the black or red ground, but frequently also above the ground of the same color on account of its form alone. There are in Japan numerous fluid lacquers of different qualities, which are called “ UKuschi,” and these are usually brought into the market in small round wooden boxes of about 8 centimeters (3 inches) in diameter, and protected from dust and drying out by paper floating on the top. Seshime lacquer is the most solid of all va¬ rieties ; it is used for gluing, for manufacturing paste, and finally for ground for laying on paint. The Japanese pound of this lacquer costs 7 marks ($1.68). But the most expensive of all varieties is the lacquer called “ Nashigi,” which is used for the last outer coat. When fresh it has a gray color, but this soon changes into black on exposure to the air. The Japanese pound costs 12 marks ($2.88). It is self-evident that the costliness of the fluid lacquer alone must make all lacquered articles dear. Besides the quantity of gold used is often considerable, and finally it frequently requires several years to carry out the decora¬ tion of larger articles with regular lacquered paintings. The fine gold lacquer is also the most costly the Japanese possess, and many articles are paid for with nearly their weight in gold, a price which few connoisseurs in Europe would be willing to give. The art of the so-called old lacquer is very simple, and not lost, by any means, as many believe; only a poorer quality has come into use, which did not formerly exist to such a large degree. But if in modern times the quan¬ tity of good lacquer which is produced has decreased, the use of lacquer has become far more general. 332 FABRICATION OF VARNISHES, LACQUERS, ETC. The few articles of furniture of the Japanese, from the throne of the mikado covered with gold, to the small din¬ ing table from which the laborer eats his frugal meal, are all lacqueied, yea, even the bowls in which the hot soups, the rice, and other numerous dishes of the rich are served, consist mostly of wood coated with lacquer. Pleasing appearance, lightness, cleanliness, small power of conducting heat, and finally extraordinary durability, have secured to the Japanese lacquer its general use in Japan. It has been several times tried to introduce the manu¬ facture of Japanese lacquers into Europe, but without any success, as all experiments made with them have failed on account of their drying too slowly. The lacquer requires in oui climate fouiteen days and even more to become dry, a time in which even the most skilful and patient lacquerer would despair of keeping dust from the work, even if he should use all means of protecting it. On the other hand, it is the extraordinary care which is required in the use of Japanese lacquers, and finally the high price demanded for it, circumstances which plainly prove that at the present time the most excellent Japanese lacquers cannot be employed in Europe. Chinese Lacquers. These are also produced from the varnish tree (Rhus vernicifera ), but, according to Dr. Scherzer’s statement, partly undergo a certain treatment, and partly are used in the condition in which they are obtained. They are mixed with nut oil, water, hog gall, and vinegar into a paste of a lustrous black color. JAPANESE AND CHINESE LACQUERS. 333 The author himself had, some time since, occasion to examine Chinese varnishes, and found them identical with the Japanese varnishes. The prices at which they were offered at Canton were as follows : Finest Chinese var¬ nish, 10s. 6rf. ($2.62) per pound ; No. 1 prepared and other Chinese varnish, 3s. 7 d. (8Gc.) per pound ; No. 2 Chinese varnish, Is. Gd. (36c.) per pound. Cost of transportation, etc. from Canton to Vienna amounted to 30 kreuzers (14 cts.). INDEX. Aceton, 54 Adulteration of linseed oil, 41, 42 Adulterations of drying oils, 44- 46 Alcoholometer, Tralles’, 53 Alcohol sulphuris, 55 Alizarine ink, a black stain for wood, 288 Amber, 59 and copal varnish, 169 and elemi lacquer, 152 gold lac varnish, 132 lacquers, fat, 214 temperature for the dry dis¬ tillation of, 96, 97 varnish, 169 Aniline colors, 69, 70 Animal charcoal for decoloration of varnishes, 105 Apparatus, distilling, 93, 94 for boiling linseed oil, 187— 189, 218, 219 for decoloring varnishes, 106, 107 for dissolving resins, 87-89 for preparing copal and boiling the lac quer, 91, 92 lacquer, 207-210 melting, for sealing-wax, 250-254 superheating, 230-232 Artists, varnishes for, 138 Art of manufacturing lacquers and varnishes, antiquity of, 26 of varnishing and lacquer¬ ing, 279-325 Asphaltum, 57, 58 dissolved in tar oil. a coat¬ ing for metals, 181 lacquer, 165, 1 66 double, 167 for leather, 168 Balloons, varnishes for making rubber, impermeable, 169-171 Balsams, 56 Barbadoes turmeric, 70 Barrels, glazes for, 158-160 Baryta, sulphate of, 247 Basket and wickerwork, lacquer for, 117 Benzine, 50 Benzoin resin, 60 Benzol, 50 a solvent for caoutchouc varnishes, 173, 174 Bernartli’s lacquer for floors, 126 Binoxide of manganese, 82 Bismuth, nitrate of, 247 Bisulphide of carbon, 55 Black amber lacquer for metals, 179 for lacquering metal arti¬ cles, 319 336 INDEX. Black— lacquers for iron, 172 for leather, 145, 146 for metals, 177 pigments, 242 sealing wax, 265, 269 stain for horn, 289 for leather, 289 for wood, 287, 288 tar lacquer, 178 wood lacquer, 136 Bleaching of linseed oil, 40-42 Blue for lacquering metal arti¬ cles, 320 lacquer, 276, 277 pigments, 242 sealing-wax, 268 stain for wood, 291 of elderberries for lea¬ ther, 29 1* Blue stains, 290-292 with aniline, 292 Boiling of varnish, great care required in, 186 varnish, the practical part of, 186-193 Bole, 239 Bookbinders, copal lacquer for, 152 Bookbinder’s lacquers, 120-122 varnish, 119 Borate of manganese, 82-84 the formation of var¬ nish by, 184 varnishes, 195-197 Bottle caps, varnish for, 125 Bottles, medicine, varnish for coating, 163 sealing-wax for, 271, 272 Boxes and fancy articles, lac varnish for, 124 Brass, copper, and zinc articles to be lacquered, treat¬ ment of, 318 lacquer for, 141 Bronze colored shoe lacquer, 147 Bronze— painting for lacquered metal articles, 322 powder, 248 Brown bookbinder’s lacquer 120 , 121 for lacquering metal arti¬ cles, 319 pigments, 242 sealing-wax, 269 stains for leather, 299 Burning varnish, 222 Cabinet-makers’ polish, ordi¬ nary, 112 white, 114 Camphor, 49, 50 melting and boiling points, 50 Caoutchouc, 65 dissolving in petroleum, 176 every solution of, a varnish, 173 lacquer, waterproof, 157, 158 varnishes, 172-177 solvents for, 172 valuable properties of, 172 Carbon, bisulphide of, 55 Carbonate of magnesia, 246 Carmine, 73, 240 Carriages, lacquers for, 155-157 Cassel yellow, 241 Cerasin, 68 Chalk, 245 Chemical products, 32, 76-84 Chinese lacquers, 332, 333 turmeric, 70 varnish for articles of wood, 118,119 Chloride of lime, bleaching shel¬ lac with, 67 Chrome ink, a black stain for wood, 288 yellow, 240 Cinnabar, 238 INDEX. 337 Classification of lacquers and varnishes, 28-30 Coal asphaltum lacquer, 165,166 tar oil, varnishes with, 160- 169 oils, purification of, 160 removing the free acids in, 161 suitable for var¬ nishes, charac¬ teristics of, 161, 162 which can be used for varnishes, 160 Cochineal stain for leather, 286 Colcothar, 239 Colophony, 60 Colored varnishes, with gold lustre, for frame mouldings, 130 Coloring matter, 32 substances, 69-75 varnishes, 108 Colorless copal lacquer, 210-212 negative varnish, with coal tar, 162 Colors, preparation of, for metal articles to be lacquered, 219— 223 Comb makers, lacquers for, 136 Copal, Angola, 62 Borneo, 62 East India, 61 Gaboon, 62 hard, 61 kawrie, 62 lacquer, 202 for bookbinders, 152 for mechanics, 169 qualities which it should possess, 206 with, without boiling, 207 Manilla, 62 quantities of distillate from, 96 29 Copal— resins, 60-63 qualities of, 61 roasting, 90 Sierra Leone, 61 soft, 62 solvent for, 95-97 temperature for the dry distillation of, 96, 97 varnish, elastic, 123 varnishes, volatile, 122 weight of the distillate from, 96 West India, 62 Zanzibar, 61 Copals, hard and soft, charac¬ teristics of, 62, 63 Copper, brass, and zinc articles to be lacquered, treat¬ ment of, 318 plates and maps, insoluble varnishes for, 140 lacquer for, 137 Cornices, gilt, varnish for, 129 imitation gilt, varnish for, 128 Cotton-seed oil, 43, 44 Crimson stain, 287 Curled maple, imitation of, 316 Dammara Australis, 62 orientalis, 63 Dammar and copal varnishes, 152 for barrel glaze, 159 lacquer for photographs, elastic, 144 resins, 63 varnishes, 150, 151 Dark carriage lacquers, 156, 157 colored polish, 113 Dead ground for imitation gilt frames, 129 varnish for metal articles, 178 Decoloration of varnishes, 105— 108 338 INDEX. Decorating and striping, 312 Decoration of lacquered metal articles with copperplates and lithographs, 321, 322 Deeds, sealing-wax for, 274, 275 Density of oils, 45 Directions for preparing fat lac¬ quers, 201, 215 Dissolving, roasting, and dis tilling apparatus, 93, 94 Distilling apparatus, coating with varnish, 94 of resins, 85-97 Dragon’s-blood, 71 Drying oil, process of, 34, 35 Drying oils, 32-46 absorption of oxygen by, 37 adulterations of, 44-46 elfect of different color¬ ed light upon, 37 various, 43, 44 varnish, to obtain a quickly, 230 Dutch furniture varnish, 117 gold varnish, 154 varnish for artists, 138 Ebony lacquer fpr woodwork, 118 Elastic caoutchouc varnish, 175 copal varnish, 123 dammar lacquer for photo¬ graphs, 144 tar-oil varnish, 164 varnish, universal, 148 Elemi resin, 63, 64 Emstnann’s process of removing lacquer from tinned metal plate, 333-325 English durable gold lac-varnish, 121 glossy lac-varnisli, 135 lac-varnish for boxes and fancy articles, 124 polish, 112 red furniture varnish, 116 Essential oils and chemical pro¬ ducts, 31 Ether, 54 a solvent for caoutchouc varnishes, 172 Fabrication of sealing-wax, 233— 275 of varnishes and lacquers, 85-232 Factory, fitting up a varnish, 227-232 Fancy articles, lac-varnish for, 124 Fat-amber lacquers, 214 Fat-copal lacquer, 202 by boiling, 202-206 testing while boiling, 205 without boiling, 207 lacquers, properties of, 213, 214 Fat lacquers, coloring, 214 directions for prepar¬ ing, 201-215 fine qualities of, 201 principal point in man¬ ufacturing, 201 Fat non-drying oils, 31 Fat-oil varnishes, 29 Fat oils, how obtained, 38 varnishes, 182-216 which mode of prepa¬ ration the best, 200 Fats, composition of, 33 • effects of exposure to the air, 34 what they are, 33 Filling up, 280, 281 Filtration of varnishes, 103, 104 Fine black, 244 Flake white, 247 Floor, stain for, 127, 128 lacquers for, 125, 126 Fluid raw materials, 31 Forming or molding the sealing- wax, 255-258 INDEX. 339 Frame mouldings, colored var¬ nishes with gold lustre for, 130 Frankfort black, 244 French polish, 113 sandarac lac-varnish, 137, 138 varnish for artists, 138 Freudenwoll’s gold-lac varnish, 154 Furniture, cases, instruments, etc., 313-317 sandarac varnish for, 116 varnish, Dutch, 117 English red, 116 Gamboge, 71, 72 Gilders, varnish for, 149 Gilt articles, lacquer for, 149 cornices, varnish for, 129 frames, imitation, dead ground for, 129 mouldings, varnish for, 133 Glaze for the inside of barrels, 159 Glazes for barrels, 158-160 G lossy lacquer for leather, cheap, 147 lacquers, 134 lac varnish, 135 Gold lacquer, for metals, 177 (mixed), 153 lacquers, 130 lac varnish, for leather and metal, 154 Freudenwoll’s, 154 Held’s, 153 varnishes, 131-133 lustre, colored varnishes with, 30 sealing-wax, 273 varnish, 149 Dutch, 154 Grape-seed oil, 43, 45 Green for lacquering metal arti¬ cles, 319 pigments, 241 Green— sealing-wax, 267 stain for horn, ivory, and bone, 297 for leather, 297, 298 stains for horn, ivory, bone, and leather, 298 for wood, 297, 298 Ground coat (disguise coat) and its application, 310 masses for translucent seal¬ ing-waxes, 273, 274 Gummi elasticum, 65 Gums and resins, 31, 56-69 what they are, 56 Gutta percha, 64 Gypsum, 246 Hard caoutchouc lacquer, 176, 177 lacquer for photographic negatives, 144 varnish, universal, 148 Harness-makers, lacquer for, 147 Held’s gold-lac varnish, 153 mastic varnish for paste¬ board, 141 Hemp oil, 42 for varnishes, 223 Hirschberg’s stain for walnut, 300 Horn, ivory, and bone, stains for, 284, 285, 289, 293, 296, 297, 298, 299 Hot-air, use of, in varnish fac¬ tory, 230, 231 Hugue’s dead lacquer, 178 Hydrate of protoxide of manga¬ nese, 81 of sesquioxide of manga¬ nese, 81 * Hydrocarbon compounds, 160 Hydrocarbons, 48 obtained from petroleum, 50 340 INDEX. Imitation gilt cornices, varnish for, 128 frames, dead ground for, 129 Indian red, 239 Indigo, 72, 73 carmine, 73 with printer’s varnish, 224 Ink, printer’s, 216, 217 Insoluble varnishes for copper¬ plates and maps, 140 Instruments, varnishing, 313- Iron and steel articles to be lac¬ quered, treatment of, 318 lacquers for, 172, 179, 180 Ivory, horn, and bone, stains for, 284, 285, 289, 293, 296, 297, 298, 299 Japanese and Chinese lacquers 327-333 ’ fluid lacquers, 331 hard lacquers, 331 lacquer work, 26 turmeric, 70 varnishes, application of, 330-332 Johnson’s varnish for water¬ proof paper and water-proof tissues, 226 Kerosene, 50 Lacquer, removing coat from tinned metal plate, 323-325 Lacquering and varnishing, gen¬ eral rules for, 302, 303 the art of, 279- 325 of articles of metal, 317-323 Lacquers and varnishes, fabrica¬ tion of, 85-232 properties they should possess, 25 Lacquers and varnishes— universal use of, 27 volatile, directions for preparing, 108-182 volatile, prepara¬ tion of, 97-108 what is under¬ stood by, 25,28 Japanese and Chinese, 326- • 333 soap, 225-227 Lac, seed, 74 Lac-varnish for boxes and fancy articles, 124 for turners, 124 Lakes, 240 Lampblack, 73, 74 Landerer’s asphaltum and am¬ ber varnish, 163 Laying on the color, 304, 305 the varnish, 312 Lead, compounds of, 76-80 disadvantages of, 78- • . 80 pigments for sealing-wax, 237 red, 77 sugar of, 77, 78 tendency of, to combine with sulphur, 78, 79 varnish without boiling, 193 194 varnishes, 190 disadvantages of, 190 must be considered ob¬ solete, 200 vinegar, 78, 193 Leather and metal, gold-lac var¬ nish for, 154 asphaltum lacquer for, 168 black lacquers for, 145 146 caoutchouc lacquer for, 177 lacquering of, 322 lacquers for, 145-147 / INDEX. 341 Leather— stains for, 285, 286, 289, 291, 293, 294, 297, 298, 299, 301 Linseed oil, 39-42 adulteration of, 41, 42 and caoutchouc lac¬ quer, 175 apparatus for boiling, 187-189, 218, 219 bleaching of, 40—42 care to be taken in boiling, 221 chemical process for changing into var¬ nish, 182-186 composition of, by heat¬ ing, 186 effect of exposure to the air, 36 heated, vapors from, 186 how obtained, 39 in printer’s ink, 217 or fat lacquer boiling, 203-206 properties of, 39, 40 quickest way of chang ing into varnish, 182 temperature at which it should be boiled, 136, 187 testing when boiling, 221, 222 varnish, compounded to varnishes with re¬ sins, 186 Litharge, 76 aud minium varnish, 194, 195 varnish, 191-193 boiling, 191, 193 temperature at which it should be boiled, 191,192 Madder lake, 240 Magnesia, carbonate of, 246 Mahogany, imitation of, 316 polish, 113 Manganese and zinc siccative, 215 binoxide of, 82 borate of, 82-84 compounds of, 80-84 hydrate of protoxide of, 81 of sesquioxide, and ses- quioxide of, 81 oxides of, 80 properties of, 80 protoxide of, 81 varnishes, 195-199 superior qualities of, 200 the best, 200 Maple, imitation of, 316 Maps and copperplates, insolu¬ ble varnishes for, 140 Marble ground for lacquering metal articles, 320 Mastic, 65, 66 ' varnishes, 140, 141 Materials for sealing-wax, treat¬ ment of, 248 used for the fabrication of sealing-wax, 234-250 Mechanics, copal lacquer for, 169 varnish for, 180 Medicine bottles, varnish for coating, 163 Melting apparatus for sealing- wax, 252-254 the sealing-wax mass, 250- 254 Metal and leather, gold lac var¬ nish for, 154 articles to be lacquered, treatment of, 317, 318 Metals, colorless varnish for, 142 lacquers for, 177-181 Mineral yellow, 241 Minium, 238 29* 342 INDEX. Minium— varnish, 193 Monkhoven’s retouching varnish for negatives, 143 Monmory and Rapbanel’s var¬ nish for floors, 126, 127 Moulding the sealing-wax, 255- 258 Mouldings, gilt varnish for, 133 Mulder’s explanation of the pro¬ cess by which varnish is formed, 183 Naphtha, 50, 51 Natural products, 31 Neil’s carriage lacquers, 155, 156 Nitrate of bismuth, 247 Non-volatile, 31 Nut oil, 43 Oak, imitation of, 316 Ochre, 241 Oil, conversion of, into varnish, by exposure to the light, 185, 186 cotton-seed, 43, 44 grape-seed, 43, 44 hemp, 42 lacquers, 29 linseed, 39-42 effect of exposure to the air, 36 nut, 33 of turpentine, 48, 49 a solvent for caoutchouc var¬ nishes, 172 Austrian and French, proper¬ ties of, 48 varnishes, 97-101 directions for, 150 paintings, very transparent mastic varnish for, 141 poppy, 42 Oil- pumpkin, 43 Oils, density of, 45 drying, 32-46 adulterations of, 44-46 and non drying, bound¬ ary between, 34 composition, chemical process in, 36, 37 various, 43, 44 fat non-drying, 31 refining of, 38 tar, 51 testing of, 44-46 Oxide of zinc, 83 varnish with, 199, 200 Ozocerite, 179, 180 . Paraffin, 69 Parcel wax, 264, 266 Paris brown bookbinder’s lac¬ quer, 121 Pasteboard, mastic varnish for, 141 Permanent white, 247 Permanganate of potassium, 82 Petroleum and petroleum naph¬ tha, 50, 51 treatment of, to make a sol¬ vent of caoutchouc, 176 Pflug’s so-called platina paints, 215 Photographers, varnishes and lacquers for, 142— 145 qualities required for, 142 Photographic negatives, 143 Photographs, lacquer for, 213 Pigments, 32 for sealing-wax, 237 Platina paints, Pflug’s, 215 Pliable sandarac lac varnish for wood, 115, 116 Polish, dark-colored, 113 English, 112 INDEX. 343 Polish— French, 113 mahogany, 113 ordinary cabinet-maker’s, 112 Vienna,113 white cabinet-maker’s, 114 Polishing lac varnishes, 307 the sealing-wax, 258-260 Poppy oil, 42 Preparation of volatile varnishes and lacquers, 97-108 Priming, 303, 304 coat, laying on, 309 oil paint, application of, 315 Principal color, laying on, 311 paint, pumicing, 311 Printer’s ink, 216, 217 varnish, with tar oil, 165 varnishes, 216, 217 consistency of, 222, 223 Properties of fat copal lacquers, 213, 214 Protoxide of manganese, 81 Pumicing lac varnishes, 307 materials used for, 308 the disguise coat, 311 the ground, 310 the paint, 305 the priming, 304 the principal paint, 311 Pumpkin oil, 43 Purple stains, 284 for leather, 286 for horn, ivory, and bone, 284 Putties, 279, 280 Putty of isinglass and chalk, 280 with linseed-oil varnish, 280 Puttying, 309 Pyroacetic spirit, 54 Pyrolusite, 80 varnish with, 198, 199 Quickly drying glossy lac var¬ nish, 134 Ransonnet, Baron von, on the application of Japanese var¬ nishes, 330-332 Raw materials, 30-84 Receipts for sealing-wax, 260- 275 Red for lacquering metal arti¬ cles, 319 furniture varnish, 116 Indian, 239 lead, 77 varnish, 193 sealing-wax, 261-265 stain for leather, 285 stains, 283-287 for horn, ivory, and bone, 284, 285 Red wood lacquer, 136 Removing lacquer from metal plate, 323-325 Resin added to varnish, 223 dammar, 63 dissolved, 110 elemi, 63, 64 lacquer (fat), 158 lacquers, 135 Resins added to fat varnishes, 201 and gums, 56-69 apparatus for dissolving, 87-89 dissolving, roasting, and distilling, 85-97 for sealing-wax, 236 fossil or mineral, 57 importance of sorting before using, 86 melting of, 91 plant producing, 57 solutions of, 110 to be powdered before melt¬ ing, 86 vegetable, how found, 57 which produce the most beautiful varnishes, 57 Retouching varnish for nega¬ tives, 143 344 INDEX. Retouching varnish— for photographs, 143 Rosewood ground, lacquering metal articles, 321 imitation of, 316 Runge’s chrome ink, black stain for wood, 288 Saffron, 74, 75 Sandarac, 66 lac varnish, 137, 138 for wood, pliable, 115, 116 varnish, 148 for artists, 138 for furniture, 116 Sanders-wood, 75 Scarlet stain for leather, 286 School slates, black paint for, 216 Seed-lac, 74 Sealing-wax, characteristics of a good, 233, 234 fabrication of, 233-275 forming or moulding, 255-258 ■ invention of, 233 mass for, preparation of, 249 melting, 250-254 materials used for the fabrication of, 234- 250 of what it consists, 233 polishing the sticks of, 258-260 receipts for, 260-275 specialties in, 271 Sesquioxide of manganese, 81 varnish, 197, 198 Sheet metal, lacquer for, 152 Shellac, 66, 67 bleaching with chloride of lime, 67 characteristics of, 66 for sealing-wax, 235 varnish, 114 Shoe lacquer, bronze-colored, 147 “Siccatif zumatique,” 199, 200 Siccative, manganese and zinc, 215 Sign painters, lacquers for, 158 Silver sealing-wax, 273 Slates, black paint for, 216 Soaking with linseed-oil varnish, 309 Soap, adding to printer’s ink, 223 lacquers, 225-227 Sohnt: Bros., Paris brown book¬ binder’s lacquer, 121 Solvent for copal, 95-97 quantity of, to be used for a varnish, 109, 110 Spirit of wine, 52, 53 table of weight of a litre, for different percentages of alco¬ hol, 111 varnish, 98, 99 varnishes, directions for, 114 varnish for wood work, 115 Stain for floor, 127, 128 Staining wooden articles, 314 Stains, mahogany, 281-283 used in the art of varnish¬ ing and lacquering, 281- 301 Steam, fabrication of varnish by, 228-232 Succinum, 59 Sugar of lead, 77, 78 Sulphate of baryta, 247 of lead, bleaching of linseed oil with, 41 Sulphide of carbon, a solvent for caoutchouc varnishes, 172 Sulphur, colors made with, 79 effect of bringing varnish in contact with colors made with, 79 INDEX. 345 Sulphuric acid, bleaching of linseed oil with, 41 Superheating apparatus, 230- 232 Tar asphaltum, 58 lacquer, 166, 167 Tar oil and copal varnish, 163 varnish, elastic, 164 varnishes, 100 oils, 51 Terra cotta, lacquer for, 148 Testing of oils, 44-46 Thompson’s glue putty, 279, 280 gold lac varnish, 131 Tin and metal articles to be lac¬ quered, treatment of, 317, 318 Tinsmiths, lacquers for, 137 Tortoise-shell ground for lac¬ quering metal arti¬ cles, 320, 321 stain for horn, 299 Translucent sealing-waxes, ground masses for, 273, 274 Transparent mastic varnish for oil paintings, 141 sealing-wax, 272 Turmeric, 70 Turner’s lacquer, 123 latest lac varnish for, 124 Turpentine, 68 for sealing wax, 236 oil, boiling point of, 49 oil of, 48, 49 density of, 49 varnishes, 99-101, 150 Universal elastic varnish, 148 hard varnish, 148 Uruschi, 331 Varnish, 163 boiling, the practical part of, 186-193 burning, 222 fabrication of by steam, 228-232 Varnish — factory, fitting up a, 227- 232 importance of knowing for what use it is intended, 109 last coat of, 313 Varnishes and lacquers, fabrica¬ tion of, 85-232 properties they should possess, 25 universal use of, 27 volatile, directions for preparing, 1 OS- 182 preparation of, 97-108 what is understood by,25,28 division of, 189 fat, 182-216 for photographers, 142 printer’s, 216-227 to change the qualities of, 109 various properties of, 109 Varnishing, 305-307 and lacquering general rules for, 302, 303 the art of, 279-325 of furniture, cases, instru¬ ments, etc., 313-317 of wooden articles, car¬ riages and furniture, 308-317 Veining of articles to be var¬ nished, sizing for color, preparing, 314 with oil paint, 315-317 with water colors, 316 Venetian turpentine, 68 Vernis d’or, 149 Vienna lake, 240 Vienna polish, 113 Violet stain for leather, 301 Volatile copal varnishes, 122 ... • .. . 346 INDEX. Volatile— fluids, used in the fabrica¬ tion of varnishes, 47-55 lacquers or varnishes, 29 raw materials. 31 varnishes and lacquers, di¬ rections for prepar¬ ing, 108-182 and lacquers, prepara¬ tion of, 97-108 on a small scale, 102 Wagner’s receipts for sealing- wax, 265 Wall papers, lacquers for, 139 Walnut, imitation of, 316 stain for soft wood, 300 Water-colored pictures, lac var¬ nish for, 139 glass coating with, 226, 227 Waterproof caoutchouc lacquer, 157,158 coating for leather and tis¬ sues, 175, 176 paper, varnish for, 226 tissues, 226 Wax, 31, 68 fossil, 179, 180 lacquer, 181, 182 Weiderhold’s process of con¬ verting oil into varnish, 185 Wessner’s quickly-drying glossy lac varnish, 134 White bookbinders’ lacquer, 120-122 cabinet makers’ polish, 114 pigments, 244 Wicker work, lacquer for, 117 Wood, Chinese varnish for ar¬ ticles of, 118, 119 lacquers, 136 pliable sandarac lac varnish for, 115, 116 spirit, 52 stains for, 287, 288, 291, 292, 295, 297, 300 Wood work, ebony lacquer for, 118 spirit varnish for, 115 Wooden articles to be varnished, treatment of, 313-317 Workshop and tools for var¬ nishing and lacquering, 301, 302 Yellow, chamois, for lacquering metal articles, 320 pigments, 240 sealing-wax, 266 stain, bright golden, 296 for horn, 293 for leather, 293, 294, 295 for wood, 292, 295 from weld, 295 golden, for bone and ivory, 296, 297 Zinc articles to be lacquered, treatment of, 318 oxide of, 84 varnish with, 199, 200 white, 246 THE END. C^TJLLOGrTTIE OF practical and Scientific Boo^ PUBLISHED BY Henry Carey Baird & Co. INDUSTRIAL PUBLISHERS, BOOKSELLERS AND IMPORTERS, 810 Walnut Street, Philadelphia. Any of the Books comprised in this Catalogue will he sent by mail, free of postage, to any address in the-world, at the publication prices, A Descriptive Catalogne, 84 pages, 8vo,, will he sent free and free of postage, to any one in any part of the world, who will furnish his address, Of* Where not otherwise stated, all of the Books in this Catalogue are bound in muslin. AMATEUR MECHANICS’ WORKSHOP: A treatise containing plain and concise directions for the manipula¬ tion of Wood and Metals, including Casting, Forging, Brazing, Soldering and Carpentry. By the author of the “ Lathe and Its Uses.” Seventh edition. Illustrated. 8vo. . . . $ 3.00 ANDRES.—A Practical Treatise on the Fabrication of Volatile and Fat Varnishes, Lacquers, Siccatives and Sealing Waxes. From the German of Erwin Andres, Manufacturer of Varnishes and Lacquers. With additions on the Manufacture and Application of Varnishes, Stains for Wood, Horn, Ivory, Bone and Leather. From the German of Dr. Emil Winckler and Louis E. Andes. The whole translated and edited by William T. Brannt. With 11 illustrations. l 2 mo. ....... $ 2 - 5 ° ARLOT.—A Complete Guide for Coach Painters: Translated from the French of M. Arlot, Coach Painter; for eleven years Foreman of Painting to M. Eherler, Coach Maker, Paris. By A. A. Fesquet, Chemist and Engineer. To which is added an Appendix, containing Information respecting the Materials and the Practice of Coach and Car Painting and .Varnishing in the United States and Great Britain i 2 mo. . . . $ 1.25 CREW.—A Practical Treatise on Petroleum :. Comprising its Origin, Geology, Geographical Distribution, History, Chemistry, Mining, Technology, Uses and Transportation. Together with a Description of Gas Wells, the Application of Gas as Fuel, etc. By Benjamin J. Crew. With an Appendix on the Product and Exhaustion of the Oil Regions, and the Geology of Natural Gas in Pennsylvania and New York. By Charles A. Ashburner, M. S . Geologist in Charge Pennsylvania Survey, Philadelphia Illustrated by 70 engravings. 8vo. ^08 pages .... $.1-00 CROSS.—The Cotton Yarn Spinner : Showing how the Preparation should be arranged for Different Counts of Yarns by a System more uniform than has hitherto been practiced; by having a Standard Schedule from which we make all our Changes. By Richard Cross. 122 pp. i2mo. . 75 CRISTIANI.—A Technical Treatise on Soap and Candles: With a Glance at the Industry of Fats and Oils. By R. S. Cris TIANI, Chemist. AuLhor of “Perfumery and Kindred Arts.” Illus¬ trated by 176 engravings. 581 pages, 8vo. . . . $ 7 - 5 ° CRISTIANI.—Perfumery and Kindred Arts: A Comprehensive Treatise on Perfumery, containing a History of Perfumes from the remotest ages to the present time. A complete detailed description of the various Materials and Apparatus used in the Perfumer’s Art, with thorough Practical Instruction and careful Formulae, and advice for the fabrication of all known preparations of the day, including Essences, Tinctures, Extracts, Spirits, Waters, Vinegars, Pomades, Powders, Paints, Oils, Emulsions, Cosmetics, Infusions, Pastilles, Tooth Powders and Washes, Cachous, Idair Dyes, Sachets, Essential Oils, Flavoring Extracts, etc.; and full details for making and manipulating Fancy Toilet Soaps, Shaving Creams, etc., by new and improved methods. With an Appendix giving hints and advice for making and fermenting Domestic Wines, Cordials, Liquors, Candies, Jellies, Syrups, Colors, etc., and for Perfuming and flavor¬ ing Segars, Snuff and Tobacco, and Miscellaneous Receipts^ fot various useful Analogous Articles. By R. S. CRISTIANI, Con¬ sulting Chemist and Perfumer, Philadelphia. 8vo. . . # 5 ,OQ 8AVIDSON.—A Practical Manual of House Painting, Grain¬ ing, Marbling, and Sign-Writing: Containing full information on the processes of House Painting in Oil and Distemper, the Formation of Letters and Practice of Sign- Writing, the Principles of Decorative Art, a Course of Elementary Drawing for House Painters, Writers, etc., and a Collection of Useful Receipts. With nine colored illustrations of Woods and Marbles, and. numerous wood engravings. By Ellis A. Davidson. i 2 mo. $ 3 -°° AVIES.—A Treatise on Earthy and Other Minerals and Mining : By D. C. Davies, F. G. 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By Charles T. ^ 8 ™' $6 -°° Being a description of all of the Processes for the Tannine, Tawing Currying, Finishing and Dyeing of every kind of Leather: including the various Raw Materials and the Methods for Determinine their Values; the Tools, Machines, and all Details of Importance con¬ nected with an Intelligent and Profitable Prosecution of the Art with Special Reference to the Best^ American Practice. To which are added Complete Lists of all American Patents for Materials, Pro¬ cesses, Tools, and Machines for Tanning, Currying, etc. By Charles Thomas Davis. Illustrated by 302 engravings and 12 Samples of Dyed Leathers. One vol., 8vo., 824 pages . . #10 oa DAWIDOWSKY—BRANNT.—A Practical Treatise on the Raw Materials and Fabrication of Glue, Gelatine, Gelatine Veneers and Foils, Isinglass, Cements, Pastes, Mucilages, Based upon Actual Experience. By F. Dawidowsky, Technical Chemist. I ranslated from the German, with extensive additions, including a description of the most Recent American Processes, by William T. Brannt, Graduate of the Royal Agricultural College of Eldena, Prussia. 35 Engravings. i2mo. . . * 2 to ^6 GRAFF.—The Geometrical Stair-Builders’Guide • Being a Plain Practical System of Hand-Railing, embracing all its necessary Details, and Geometrically Illustrated by twenty-two Steel Engravings; together with the use of the most approved principles of Practical Geometry. By Simon De Graff, Architect. 4 to. £2.50 ItiiSNR* CARE* Baaimo o i CC CAiALOcUE. ri UE KONINCK—DIETZ.—A Practical Manual of Chemical Analysis and Assaying : _ As applied to the Manufacture of Iron from its Ores, and to Cast Iron, Wrought Iron, and Steel, as found in Commerce. By L. L. De Koninck, Dr. Sc., and E. Dietz, Engineer. Edited with Notes, by Robert Mallet, F. R. S., F. S. G., M. I. C. E., etc. American Edition, Edited with Notes and an Appendix on Iron Ores, by A. A. 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Third edition, thoroughly revised, with much additional matter. 12 mo. 414 pages .. ... $2 00 EDWARDS.—Modern American Locomotive Engines, Their Design, Construction and Management. By Emory Edwards, Illustrated ... EDWARDS.—The American Steam Engineer: Theoretical and Practical, with examples of the latest and most ap¬ proved American practice in the design and construction of Steam Engines and Boilers. For the use of engineers, machinists, boiler- w“ikers, and engineering students. By Emory Edwards. Fully •illustrated, 419 pages. !2mo. .... $ 2 4 P ra HENRY CAREY BAIRD & CO.’S CATALOGUE. EDWARDS.—Modern American Marine Engines, Boilers, and Screw Propellers, Their Design and Construction. Showing the Present Praciice of the. most Eminent Engineers and Marine Engine Buildeis in the United States. 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ELDER.—Conversations on the Principal Subjects of Political Economy. By Dr. William Elder. 8vo.$2.50 ELDER.—Questions of the Day, Economic and Social. By Dr. William Elder. 8vo. . $3.00 £RNI.—Mineralogy Simplified. Easy Methods of Determining and Classifying Minerals, including Ores, by means of the Blowpipe, and by Humid Chemical Analysis, based on Professor von Kobell’s Tables for the Determination of Minerals, with an Introduction to Modern Chemistry. By Henry Erni, A.M., M.D., Professor of Chemistry. Second Edition, rewritten, enlarged and improved. i2mo. .... $3 oc FAIRBAIRN.—The Principles of Mechanism and Machinery of Transmission • Comprising the Principles of Mechanism, Wheels, and Pulleys, Strength and Proportions of Shafts, Coupling of Shafts, and Engag- ing and Disengaging Gear. By Sir William Fairbairn, Bart. C. E. Beautifully illustrated by over 150 wood-cuts. In one volume. i2mo.$2-5C FLEMING.—Narrow Gauge Railways in America. A Sketch of their Rise, Progress, and Success. Valuable Statistics as to Grades, Curves, Weight of Rail, Locomotives, Cars, etc. By Howard Fleming. Illustrated, 8vo. . . . . |i 00 FORSYTH.—Book of Designs for Headstones, Mural, and other Monuments: Containing 78 Designs. By James Forsyth. With an Introduction by Charles Bgutell, M. A. 4 to., cloth . . - ^5 00 HENRY CAREY BAIRD & CO.’S CATALOGUE. 13 FRANKEL—HUTTER.—A Practical Treatise on the Manu^ facture of Starch, Glucose, Starch-Sugar, and Dextrine: Based on the German of Ladislaus Von Wagner, Professor in the Royal Technical High School, Buda-Pest, Hungary, and other authorities. By Julius Frankel, Graduate of the Polytechnic School of Hanover. Edited by Robert Hutter, Chemist, Practical Manufacturer of Starch-Sugar. Illustrated by 58 engravings, cover¬ ing every branch of the subject, including examples of the most Recent and Best American Machinery. 8vo., 344 pp. , #3.50 GARDNER.—The Painter’s Encyclopaedia: Containing Definitions of all Important Words in the Art of Plain and Artistic Painting, with Details of Practice in Coach, Carriage, Railway Car, House, Sign, and Ornamental Painting, including Graining, Marbling, Staining, Varnishing, Polishing, Lettering, Stenciling, Gilding, Bronzing, etc. By Franklin B. Gardner. 158 Illustrations. 121110. 427 pp. $2.oa GARDNER.—Everybody’s Paint Book: A Complete Guide to the Art of Outdoor and Indoor Painting, De¬ signed for the Special Use of those who wish to do their own work, and consisting of Practical Lessons in Plain*Painting, Varnishing, Polishing, Staining, Paper Hanging, Kalsomining, etc., as well as Directions for Renovating Furniture, and Hints on Artistic Work for Home Decoration. 38 Illustrations. i2mo., 183 pp. . $1.00 GEE.—The Goldsmith’s Handbook: Containing full instructions for the Alloying and Working of Gold, including the Art of Alloying, Melting, Reducing, Coloring, Col¬ lecting, and Refining; the Processes of Manipulation, Recovery of Waste; Chemical and Physical Properties of Gold; with a New System of Mixing its Alloys; Solders, Enamels, and other Useful Rules and Recipes. By George E. Gee. i2mo. . . #1.75 GEE.—The Silversmith’s Handbook : Containing full instructions for the Alloying and Working of Silver, including the different modes of Refining and Melting the Metal; its Solders; the Preparation of Imitation Alloys; Methods of Manipula¬ tion ; Prevention of Waste ; Instructions for Improving and Finishing the Surface of the Work; together with other Useful Information and Memoranda. By George E. Gee. Illustrated. i2mo. #1.75 GOTHIC ALBUM FOR CABINET-MAKERS: Designs for Gothic Furniture. ‘Twenty-three plates. Oblong $2.00 GRANT.—A Handbook on the Teeth of Gears : Their Curves, Properties, and Practical Construction. By George B. Grant. Illustrated. Third Edition, enlarged. 8 vo. $1.00 GREENWOOD.—Steel and Iron: Comprising the Practice and Theory of the Several Methods Pur¬ sued in their Manufacture, and of their Treatment in the Rolling- Mills, the Forge, and the Foundry. By William Henry Green¬ wood, F. C. S. With 97 Diagrams, 536 pages. I2mo. $2.00 /4 HENRY CAREY BAIRD & CO.’S CATALOGUE. GREGORY.—Mathematics for Practical Men: Adapted to the Pursuits of Surveyors, Architects, Mechanics, and Civil Engineers. By Olinthus Gregory. 8vo., plates $3.00 GRIMSHAW.—Saws: The History, Development, Action, Classification, and Comparison of Saws of all kinds. With Copious Appendices. Giving the details of Manufacture, Filing, Setting, Gumming, etc. Care and Use of Saws; Tables of Gauges; Capacities of Saw-Mills; List of Saw- Patents, and other valuable information. By Robert Grimshaw. Second and greatly enlarged edition, with Supplement, and 334 Illustrations. Quarto.$4.00 GRISWOLD.—Railroad Engineer’s Pocket Companion for the Field: Comprising Rules for Calculating Deflection Distances and Angles, Tangential Distances and Angles, and all Necessary Tables for En¬ gineers; also the Art of Levelling from Preliminary Survey to the Construction of Railroads, intended Expressly for the Young En¬ gineer, together with Numerous Valuable Rules and Examples. By W. Griswold. i2mo„ tucks . 1 $i -75 GRUNER.—Studies of Blast Furnace Phenomena: By M. L. Gruner, President of the General Council of Mines o! France, and lately Professor of Metallurgy at the Ecole des Mines. Translated, with the author’s sanction, with an Appendix, by L. D. B. Gordon, F. R. S. E., F. G. ^ 8vo. . . . $2.50 Hand-Book of Useful Tables for the Lumberman, Farmer and Mechanic: Containing Accurate Tables of Logs Reduced to Inch Board Meas^ ure, Plank, Scantling and Timber Measure; Wages and Rent, by Week or Month; Capacity of Granaries, Bins and Cisterns; Land Measure, Interest Tables, with Directions for Finding the Interest on any sum at 4, 5, 6, 7 and 8 per cent., and many other Useful Tables. 32 mo., boards. 186 pages ...... .25 HASERICK.—The Secrets of the Art of Dyeing Wool, Cotton, and Linen, Including Bleaching and Coloring Wool and Cotton Hosiery and Random Yarns. A Treatise based on Economy and Practice. By E. C. Haserick. Illustrated by 323 Dyed Patterns of the Yarns or Fabrics. 8vo. . . . . . . . $12 cq\ HATS AND FELTING: A Practical Treatise on their Manufacture. By a Practical Hatter. Illustrated by Drawings of Machinery, etc. 8vo. . . ^r.25 >HOFFER.—A Practical Treatise on Caoutchouc and Gulta Percha, Comprising the Properties of the Raw Materials, and the manner of Mixing and Working them; with the Fabrication of Vulcanized and Hard Rubbers, Caoutchouc and Gutta Peecha Compositions, Water- HENRY CAREY BAlRD & CO.’S CATALOGUE. proof Substances, Elastic Tissues, the Utilization of Waste, etc., etc. From the German of Raimund Hoffer. By W. T. Brannt. Illustrated i2mo. ........ $2.50 HOFMANN.—A Practical Treatise on the Manufacture of Paper in all its Branches : By Carl Hofmann, Late Superintendent of Paper-Mills in German} and the United States; recently Manager of the “ Public Ledger ” Paper Mills, near Elkton, Maryland. Illustrated by Iio wood en¬ gravings, and five large Folding Plates. 4to., cloth; about 400 pages. $35-°° HUGHES.—American Miller and Millwright’s Assistant: By William Carter Hughes. i2mo.$1.50 HULME.—Worked Examination Questions in Plane Geomet¬ rical Drawing : For the Use of Candidates for the Royal Military Achdemy, Wool¬ wich; the Royal Military College, Sandhurst; the Indian Civil En¬ gineering College, Cooper’s Hill ; Indian Public Works and Tele¬ graph Departments; Royal Marine Light Infantry; the Oxford and Cambridge Local Examinations, etc. By F. Edward Hulmf., F. L. S., F. S. A., Art-Master Marlborough College. Illustrated by 300 examples. Small quarto ...... $2.50 JERVIS.—Railroad Property: A Treatise on the Construction and Management of Railways; designed to afford useful knowledge, in the popular style, to the holders of this class of property; as well as Railway Managers, Offi¬ cers, and Agents. By John B. Jervis, late Civil Engineer of the Hudson River Railroad, Croton Aqueduct, etc. i2mo., cloth $2.oc KEENE.—A Hand-Book of Practical Gauging: For the Use of Beginners, to which is added a Chapter on Distilla¬ tion, describing the process in operation at the Custom-House for ascertaining the Strength of Wines. By James B. Keene, of H. M. Customs. 8vo. $l - 2 5 KELLEY.—Speeches, Addresses, and Letters on Industrial and Financial Questions: By Hon. William D. Kelley, M. C. 544 pages, 8vo. . $3.00 KELLOGG.—A New Monetary System : The only means of Securing the respective Rights of Labor and Property, and of Protecting the Public from Financial Revulsions. By Edward Kellogg. Revised from his work on “ Labor and other Capital.” With numerous additions from his manuscript. Edited by Mary Kellogg PUTNAM. Fifth edition. To which la added a Biographical Sketch of the Author. One volume, i2mo. Paper cover $1.00 Bound in cloth I - 5 Q KEMLO.—Watch-Repairer’s Hand-Book: Being a Complete Guide to the Young Beginner, in Taking Apart, Putting Together, and 1 horoughly Cleaning the English Lever and other Foreign Watches, and all American Watches. By F. Kemlo, Practical Watchmaker. With Illustrations. i2mo. . #1*2/ 16 HENRY CAREY BAIRD & CO.’S CATALOGUE. KENTISH.—A Treatise on a Box of Instruments, And the Slide Rule; with the Theory of Trigonometry and Loga rithms, including Practical Geometry, Surveying, Measuring of Tim. her, Cask and Malt Gauging, Heights, and Distances. By Thomas Kentish. In one volume. i2mo. . . . . &i KERL.—The Assayer’s Manual: ** An Abridged Treatise on the Docimastic Examination of Ores, and Furnace and other Artificial Products. By Bruno Kerl, Professor in the Royal School of Mines. Translated from the German by William T. Brannt. Second American edition, edited with Ex¬ tensive Additions by F. Lynwood Garrison, Member of the American Institute of Mining Engineers, etc. Illustrated by 87 en- ^ gravings. 8vo.#3.00 KICK.— Flour Manufacture. A Treatise on Milling Science and Practice. By Frederick Kick, Imperial Regierungsrath, Professor of Mechanical Technology in the imperial German Polytechnic Institute, Prague. Translated from the second enlarged and revised edition with supplement by H. H. P. Powles, Assoc. Memb. Institution of Civil Engineers. Illustrated with 28 Plates, and 167 Wood-cuts. 367 pages. 8vo. . #10.00 KINGZETT.—The History, Products, and Processes of the Alkali Trade : Including the most Recent Improvements. By Charles Thomas Kingzett, Consulting Chemist. With 23 illustrations. 8vo. #2.50 KINSLEY.—Self-Instructor on Lumber Surveying: For the Use of Lumber Manufacturers, Surveyors, and Teacjiers. By Charles Kinsley, Practical Surveyor and Teacher of Surveying i2mo. .......... KIRK.—The Founding of Metals: A Practical Treatise on the Melting of Iron, with a Description of the Founding of Alloys; also, of all the Metals and Mineral Substances used in the Art of Founding. Collected from original sources. Bj Edward Kirk, Practical Foundryman and Chemist. Illustrated. Third edition. 8vo..#2.50 LANDRIN.—A Treatise on Steel: Comprising its Theory, Metallurgy, Properties, Practical Working, and Use. By M. H. C. Landrin, Jr., Civil Engineer. Translated from the French, with Notes, by A. A. Fesquet, Chemist and En¬ gineer. With an Appendix on the Bessemer and the Martin Pro resses for Manufacturing Steel, from the Report of Abram S. Hewitt United States Commissioner to the Universal Exposition, Paris, 1867. l2mo.$3-OC LARDENo—A School Course on Heat: By W. Larden, M. A. 321 pp. i2mo. $2.0^ LARDNER,—The Steam-Engine: For the Use of Beginners. By Dr. Lardner. Illustrated. i2mo. n tIENRY CAREY BAIRD & CO.’S CATALOGUE, 17 LARKIN.—The Practical Brass and Iron Founder’s Guide* A Concise Treatise on Brass Founding, Moulding, the Metals and their Alloys, etc.; to which are added Recent Improvements in the Manufacture of Iron, Steel by the Bessemer Process, etc., etc. By JAMES Larkin, late Conductor of the Brass Foundry Department it; Reany, Neafie & Co.’s Penn Works, Philadelphia. Fifth edition, revised, with extensive additions. l2mo. . . . $2.25 LEROUX.—A Practical Treatise on the Manufacture of Worsteds and Carded Yarns; Comprising Practical Mechanics, with Rules and Calculations applied to Spinning; Sorting, Cleaning, and Scouring Wools; the English and French Methods of Combing, Drawing, and Spinning Worsteds, and Manufacturing Carded Yarns. Translated from the French of Charles Lf.roux, Mechanical Engineer and Superintendent of a Spinning-Mill, by Horatio Paine, M. D., and A. A. Fesquet, Chemist and Engineer. Illustrated by twelve large Plates. To which is added an Appendix, containing Extracts from the Reports of the International Jury, and of the Artisans selected by the Committee appointed by the Council of the Society of Arts, London, on W mien and Worsted Machinery and Fabrics, as exhibited in the Paris Uni¬ versal Exposition, 1867. 8vo. ..... $ 5 - 0er, Engineer. Third edition . . . $3 °° ROPER. — Use and Abuse of the Steam Boiler. By Stephen Roper, Engineer. Eighth edition, with illustrations. i8mo., tucks, gilt edge ....... $2.00 ROSE.—The Complete Practical Machinist: Embracing Lathe Work, Vise Work, Drills and Drilling, Taps and Dies, Hardening and Tempering, the Making and Use of Tools, Tool Grinding, Marking out Work, etc. By Joshua Rose. Illus¬ trated by 356 engravings. Thirteenth edition, thoroughly revised ind in great part rewritten. In one vol., l2mo., 439 P a g es $2.56 &OSE.—Mechanical Drawing Self-Taught: Comprising Instructions in the Selection and Preparation of Drawing Instruments, Elementary Instruction in Practical Mechanical Draw 24 HENRY CAREY BAIRD & CO.’S CATALOGUE. big, together with Examples in .Simple Geometry and Elementary Mechanism, including Screw Threads, Gea-r Wheels, Mechanical Motions, Engines and Boilers. By Joshua Rose, M. E. Illustrated by 330 engravings. 8vo , 313 pages .... $4.00 ROSE.—The Slide-Valve Practically Explained: Embracing simple and complete Practical Demonstrations of th operation of each element in a Slide-valve Movement, and illustrat¬ ing the effects of Variations in their Proportions by examples care¬ fully selected from the most recent and successful practice. By Joshua Rose, M. E. Illustrated by 35 engravings . $i.co ROSS.—The Blowpipe in Chemistry, Mineralogy and Geology: Containing all Known Methods of Anhydrous Analysis, many Work¬ ing Examples, and Instructions for Making Apparatus. By Lieut.- Colonel W. A. Ross, R. A., F. G. S. With 120 Illustrations. i2mo. .......... $2.00 SHAW.—Civil Architecture : Being a Complete Theoretical and Practical System of Building, con¬ taining the Fundamental Principles of the Art. By Edward Shaw, Architect. To which is added a Treatise on Gothic Architecture, etc. By Thomas W. Sileoway and George M. PIarding, Architects. The whole illustrated by 102 quarto plates finely engraved on copper. Eleventh edition. 4to.$10.00 SHUNK.—A Practical Treatise on Railway Curves and Loca¬ tion, for Young Engineers. By W. F. Shunk, C. E. 121110. Full bound pocket-book form $2.00 SLATER.—The Manual of Colors and Dye Wares. By J. W. Slater. i2mo.$ 3-75 SLOAN.—American Houses : A variety of Original Designs for Rural Buildings. Illustrated by 26 colored engravings, with descriptive references. By Samuel Sloan, Architect. 8vo. . . . . . . $1.50 SLOAN.—Homestead Architecture: Containing Forty Designs for Villas, Cottages, and Farm-houses, with Essays on Style, Construction, Landscape Gardening, Furniture, etc., etc. Illustrated by upwards of 200 engravings. By Samuel Sloan, Architect. 8vo. ........ $3.50 SLOANE.—Home Experiments in Science. By T. O’Conor Si.oane, E. M., A. M., Ph. D. Illustrated by 91 engravings. i2mo..$1.50 SMEATON.—Builder’s Pocket-Companion : Containing the Elements of Building, Surveying, and Architecture; with Practical Rules and Instructions connected with the subject. By A. C. Smeaton, Civil Engineer, etc. i2mo. . . $1.50 SMITH.—A Manual of Political Economy. By E. Peshine Smith. A New Edition, to which is added a full Index. i2mo..25 HENRY CAREY LaTRD & CO.’S CATALOGUE. 2J SMITH.—Parks and Pleasure-Grounds: Or Practical Notes on Country Residences, Villas, Public Parks, and Gardens. By Charles H. J. Smith, Landscape Gardener and Garden Architect, etc., etc. 121110. .... $2.00 SMITH.—The Dyer’s Instructor: Comprising Practical Instructions in the Art of Dyeing Silk, Cotton, Wool, and Worsted, and Woolen Goods; containing nearly 800 Receipts. To which is added a Treatise on the Art of Padding; and the Printing of Silk Warps, Skeins, and Handkerchiefs, and thu various Mordants and Colors for the different styles of such work. By David Smith, Pattern Dyer. 121110. . . . $2.00 SMYTH.—A Rudimentary Treatise on Coal and Coal-Mining. By Warrington W. Smyth, M. A., F. R. G., President R. G. S. of Cornwall. Fifth edition, revised and corrected. With numer¬ ous illustrations. l2mo. . *i. 7 S SNIVELY.—Tables for Systematic Qualitative Chemical AnaL ysis. By John H. Snively, Phr. D. 8vo. $1.00 SNIVELY.—The Elements of Systematic Qualitative Chemical Analysis: A Hand-book for Beginners. By John H. Snively, Phr. 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With a Description of the Machines for Testing Metals, and of the Classification of Cannon in service. By Officers of the Ordnance Department, U. S. Army. By authority of the Secre¬ tary of War. Illustrated by 25 large steel plates. Quarto . $io.OG SULLIVAN.—Protection to Native Industry. By Sir Edward Sullivan, Baronet, author of “Ten Chapters on Social Reforms.” 8vo. ....... read before the Association of Engineers, Graduate of the School of Mines, of Liege, Belgium, at the Meeting of 1865-6. To which is added A Comparison of the Resisting Properties of Iron and Steel. By A. Brull. Translated from the French by A. A. Fes- quet, Chemist and Engineer. 8vo. .... $1.00 VAILE.—Galvanized-Iron Cornice-Worker’s Manual: Containing Instructions in Laying out the Difierent Mitres, and Making Patterns for all kinds of Plain and Circular Work. Also, Tables of Weights, Areas and Circumferences of Circles, and other Matter calculated to Benefit the Trade. By Charles A. Vaile. 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Comprising the Electro-Deposition of all Metals by means of the Battery and the Dynamo-Electric Machine, as well as the most approved Processes of Deposition by Simple Im¬ mersion, with Descriptions of Apparatus, Chemical Products employed in the Art, etc. Based largely on the “Manipulations Uydioplas- tiques” of Alfred Roseleur. By William H. Wahl, Ph. D. ( Pleid), Secretary of the Franklin Institute. Illustrated by 189 en¬ gravings. 8vo., 656 pages ...... WALTON. —Coal-Mining Described and Illustrated: By Thomas H. Walton, Mining Engineer. Illustrated by 24 large and elaborate Plates, after Actual Workings and Apparatus. JS5.00 88 HENRY CAREY BAIRD & CO.’S CATALOGUE. WARE.—The Sugar Beet. \ Including a History of the Beet Sugar Industry in Europe, Varieties of the Sugar Beet, Examination, Soils, Tillage, Seeds and Sowing, Yield and Cost of Cultivation, Harvesting, Transportation, Conserva¬ tion, Feeding Qualities of the Beet and of the Pulp, etc. By Lewu S. Ware, C. E., M. E. Illustrated by ninety engravings. 8vo. WARN.—The Sheet-Metal Worker’s Instructor: For Zinc, Sheet-Iron, Copper, and Tin-Plate Workers, etc. Contain¬ ing a selection of Geometrical Problems; also, Practical and simple Rules for Describing the various Patterns required in the different branches of the above Trades. By Reuben H. Warn, Practical Tin-Plate Worker. To which is added an Appendix, containing Instructions for Boiler-Making, Mensuration of Surfaces and Solids, Rules for Calculating the Weights of different Figures of Iron and Steel, Tables of the Weights of Iron, Steel, etc. Illustrated by thirty- two Plates and thirty-seven Wood Engravings. 8vo. . $ 3 '°° WARNER.—New Theorems, Tables, and Diagrams, for the Computation of Earth-work: Designed for the use of Engineers in Preliminary and Final Estimates, of Students in Engineering, and of Contractors and other non-profes- sional Computers. In two parts, with an Appendix. Part I. A Prac¬ tical Treatise; Part II. 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Watson, Author of “ The Modern Practice of American Machinists and Engineers.” Illustrated by 78 engravings. #1.50 WATSON.—The Modern Practice of American Machinists and Engineers : Including the Construction, Application, and Use of Drills, Lathe Tools, Cutters for Boring Cylinders, and Hollow-work generally .with the most Economical Speed for the same; the Results verified bj Actual Practice at the Lathe, the Vise, and on the Floor. Togethet HENRY CAREY BAIRD & CO.’S CATALOGUE. 29 with Workshop Management, Economy of Manufacture, the Steam- Engine, Boilers, Gears, Belting, etc., etc. By Egbert P. Watson. Illustrated by eighty-six engravings. i2mo. . . . ^- 5 ° WATSON.—The Theory and Practice of the Art of Weaving by Hand and Power : With Calculations and Tables for the Use of those connected with the Trade. By John Watson, Manufacturer and Practical Machine- Maker. Illustrated by large Drawings of the best Power Looms. 8vo. . $ 7-50 WATT.—The Art of Soap Making: A Practical Hand-book of the Manufacture of Hard and Soft Soaps, Toilet Soaps, etc., including many New Processes, and a Chapter on the Recovery of Glycerine from Waste Leys. By Alexander Watt. Ill. i2mo..$3-oo WEATHERLY.—Treatise on the Art of Boiling Sugar, Crys¬ tallizing, Lozenge-making, Comfits, Gum Goods, And other processes for Confectionery, etc., in which are explained, in an easy and familiar manner, the various Methods of Manufactur. iag every Description of Raw and Refined Sugar Goods, as sold by Confectioners and others. 121110.$*- 5 ° WIGHTWICK.—Hints to Young Architects: Comprising Advice to those who, while yet at school, are destined to the Profession; to such as, having passed their pupilage, are about to travel; and to those who, having completed their education, are about to practise. Together with a Model Specification involving a great variety of instructive and suggestive matter. By :orge W.1GHTWICK, Architect. A new edition, revised and considerably enlarged; comprising Treatises on the Principles of Construction and Design. By G. Huskisson Guillaume, Architect. Numerous illustrations. One vol. i2mo. ...... £2.00 WILL.—Tables of Qualitative Chemical Analysis. With an Introductory Chapter on the Course of Analysis. By Pro¬ fessor Heinrich Will, of Giessen, Germany. Third American, from the eleventh German edition. Edited by Charles F. Himes, Ph. D., Professor of Natural Science, Dickinson College, Carlisle, Pa 8 vo. . .$1-50 WILLIAMS.—On Heat and Steam: Embracing New Views of Vaporization, Condensation, and Explo¬ sion. By Charles Wye Williams, A. I. C. E. Illustrated 8vo. $3 50 WILSON.—A Treatise on Steam Boilers : Their Strength, Construction, and Economical Working. By Robert Wilson. Illustrated i2mo.$2.00 WILSON.—First Principles of Political Economy : With Reference to Statesmanship and the Progress of Civilization. By Professor W. D. Wilson, of the Cornell University. A new and revised edition. 121110.#1.50 30 HENRY CAREY BAIRD & CO.’S CATALOGUE. WOHLER.—A Hand-Book of Mineral Analysis: By F. WoHLER, Professor of Chemistry in the University of Gottin¬ gen. Edited by Henry B. Nason, Professor of Chemistry in the Renssaiaer Polytechnic Institute, Troy, New York. Illustrated I2mo .. WORSSAM.—On Mechanical Saws: From the Transactions of the Society of Engineers. 1869. By S. W. Worssam, Jr. Illustrated by eighteen large plates. 8vo. $2.50 RECENT ADDITIONS. ANDERSON.—The Prospector’s Hand-Book: A Guide for the Prospector and Traveler in Search of Metal Bearing or other Valuable Minerals. By J. W. Anderson. 52 Illustrations I2m 0 . cn BEAUMONT.—Woollen and Worsted Cloth Manufacture: Being a Practical Treatise for the use of all persons employed in the manipulation of Textile Fabrics. By Robert Beaumont, M. S. A. With over 200 illustrations, including Sketches of Machinery, Designs, Cloths, etc. 391 pp. 121110.$2.50 BRANNT.—The Metallic Alloys : A Practical Guide for the Manufacture of all kinds of Alloys, Amal¬ gams and Solders used by Metal Workers, especially by Bell Founders, Bronze Workers, Tinsmiths, Gold and Silver Workers, Dentists, etc.| etc., as well as their Chemical and Physical Properties. Edited chiefly from the German of A. Krupp and Andreas Wildberger, with additions by Wm. T. Brannt. Illustrated. i2mo. $2.5 o BRANNT—A Practical Treatise on the Manufacture of Vine¬ gar and Acetates, Cider, and Fruit-Wines; Preservation of Fruits and Vegetables by Canning and Evaporation; Pieparation of Fruit-Butters, Jellies, Marmalades, Catchups, Pickles, Mustards, etc. Edited from various sources. By William T. Brannt. Illustrated by 79 Engravings. 479 pp. 8vo. $5.00 BRANNT.—The Metal Worker’s Handy-Book of Receipts and Processes: Being a Collection of Chemical Formulas and Practical Manipula¬ tion 3 f°r the working of all Metals; including the Decoration and Beautifying of Articles Manufactured therefrom, as well as their 1 reservation. Edited from various sources. By William T. Brannt. Illustrated. i2mo. « 2 so HENRY CAREY BAIRD & CO.’S CATALOGUE- 31 OAVIS._A Practical Treatise on the Manufacture of Bricks, Tiles, Terra-Cotta, etc.: Including Hand-Made, Dry Clay, Tempered Clay, Soft-Mud, and Stiff-Clay Bricks, also Front, Hand-Pressed, Steam-Pressed, Re¬ pressed, Ornamentally Shaped and Enamelled Bricks, Drain Tiles, Straight and Curved Sewer and Water-Pipes, Fire-Clays, Fire-Bricks, Glass Pots, Terra-Cotta, Roofing Tiles, Flooring Tiles, Art Tiles, Mosaic Plates, and Imitation of Intarsia or Inlaid Surfaces, com¬ prising every Important Product of Clay Employed in Architecture, Engineering, the Blast Furnace, for Retorts, etc., with a History and the Actual Processes in Handling, Disintegrating, Tempering and Moulding the Clay into the Shape, Drying Naturally and Artificially, Setting, Burning with Coal, Natural Gas and Crude Oil Fuels, En¬ amelling in Polychromic Colors, Composition and Application of Glazes, etc., including Full Detailed Descriptions of the Most Mod¬ ern Machines, Tools, Kilns and Kiln Roofs used. By Charles Thomas Davis. Second Edition. Thoroughly Revised. Illus¬ trated by 217 Engravings. 501 pp. 8vo. . . . $5.00 POSSELT.—Technology of Textile Design : Being a Practical Treatise on the Construction and Application of Weaves for all Textile Fabrics, with minute reference to the latest Inventions for Weaving. Containing also an Appendix, showing the Analysis and giving the Calculations necessary for the Manufac¬ ture of the various Textile Fabrics. By E. A. Posselt, Head Master Textile Department, Pennsylvania Museum and School of Industrial Art, Philadelphia, with over 1000 illustrations. 293 pages. 4to.$5.00 POSSELT.—The Jacquard Machine Analysed and Explained: With an Appendix on the Preparation of Jacquard Cards, and Practical Hints to Learners of Jacquard Designing. By E. A. Posselt. With 230 illustrations and numerous diagrams. 127 pp. 4 to . $300 RICH.—Artistic Horse-Shoeing : A Practical and Scientific Treatise, giving Improved Methods of Shoeing, with Special Directions for Shaping Shoes to Cure Different Diseases of the Foot, and for the Correction of Faulty Action in 1 rotters. By George E- Rich. 62 Illustrations. 153 pages. i2mo. ... $i.oo RICHARDSON.—Practical Blacksmithing : A Collection of Articles Contributed at Different Times by Skilled Workmen to the columns of “ The Blacksmith and Wheelwright,” and Covering nearly the Whole Range of Blacksmithing, from the Simplest Job of Work to some of the Most Complex Forgings. Compiled and Edited by M. T. Richardson. Vol. I. 210 Illustrations. 224 pp. i2mo. . . . $1.00 Vol. II. 230 Illustrations. 262 pages. i2mo. , . #1.00 32 HENRY CAREY BAIRD & CO.’S CATALOGUE. RICHARDSON—The Practical Horseshoer: * Being a Collection of Articles on Horseshoeing in all its Branches which have appeared from time to time in the columns of-“The Blacksmith and Wheelwright,” etc. Compiled and edited by M. T. Richardson. 174 illustrations.$1.00 ROPER.—Instructions and Suggestions for Engineers and Firemen: By Stephen Roper, Engineer. i8mo. Morocco . $2.00 ROPER.—The Steam Boiler: Its Care and Management: By Stephen Roper, Engineer. 12mo., tuck, gilt edges. $ 2.00 ROPER.—The Young Engineer’s Own Book: Containing an Explanation of the Principle and Theories on which the Steam Engine as a Prime Mover is Based. By Stephen Roper, Engineer. 160 illustrations, 363 pages. i8mo., tuck . #3.00 ROSE.—Modern Steam-Engines: An Elementary Treatise upon the Steam-Engine, written in Plain language; for Use in the Workshop as well as in the Drawing Office. Giving Full Explanations of the Construction of Modern Steam- Engines : Including Diagrams showing their Actual operation. To¬ gether with Complete but Simple Explanations of the operations of Various Kinds of Valves, Valve Motions, and Link Motions, etc., thereby Enabling the Ordinary Engineer to clearly Understand the Principles Involved in their Construction and Use, and to Plot out their Movements upon the Drawing Board. By Joshua Rose. M. E. Illustrated by 422 engravings. 410., 320 pages . . $6.00 ROSE.—Steam Boilers: A Practical Treatise on Boiler Construction and Examination, for the Use of Practical Boiler Makers, Boiler Users, and Inspectors; and embracing in plain figures all the calculations necessary in Designing or Classifying Steam Boilers. By Joshua Rose, M. E. Illustrated by 73 engravings. 250 pages. 8vo. .... $2.50 SCHRIBER.—The Complete Carriage and Wagon Painter: A Concise Compendium of the Art of Painting Carriages, Wagons, and Sleighs, embracing Full Directions in all the Various Branches, including Lettering, Scrolling, Ornamenting, Striping, Varnishing, and Coloring, with numerous Recipes for Mixing Colors. 73 Illus¬ trations. 177 pp. i2mo.$1.00 VAN CLEVE.—The English and American Mechanic: Comprising a Collection of Over Three Thousand Receipts, Rules, and Tables, designed for the Use of every Mechanic and Manufac¬ turer. By B. Frank Van Cleve. Illustrated. 500 pp. i2mo. $2.00 WAHNSCHAFFE.—Guide for the Scientific Examination of the Soil: By Dr. Felix Wahnschaffe. Translated from the German by William T. Brannt. Illustrated by numerous Engravings. 8v&. (In preparation.^ 39 97 990 GETTY CENTER LIBRARY CONS TP 935 A56 1882 BKS c. 1 Andres. Erwin. A practical treatise on the fabrication 3 3125 00328 9861