Chapter II: Part 2

For currant, cherry, raspberry, elderberry, strawberry, whortleberry, and wild grape wines, any one can be used alone, or in combination of several of the different kinds; to make a variety of flavours, or suit persons who have some and not the other kinds of fruits, to every gallon of expressed juice, add 2 galls. of soft water, put in 6 or 8 lbs. of brown sugar, and 1-1/2 oz. of cream of tartar, have them dissolved; put 1 quart of brandy to every 6 galls. Some prefer it without brandy. After fermentation, take 4 oz. isinglass, dissolved in a pint of the wine, put to each barrel, and it will refine and clear it; then it must be drawn off into clear casks, or bottled, which is far the best. Give these wines age and they are most delicious.

76. DINNER WINE OR ENGLISH PATENT WINE

From garden rhubarb, which will not lend to intemperance. An agreeable and healthy wine is very frequently made from the expressed juice of the garden rhubarb. To each gallon of juice add 1 gallon of soft water, in which 7 lbs. of brown sugar have been dissolved; fill a keg or barrel with this proportion, leaving the bung out, and keep it filled with sweetened water as it works off until clear. Any other vegetable extract may be added, if this flavour is not liked. Then bung down, or bottle, as you desire. These stalks will furnish about 3/4 their weight in juice; fine and settle with isinglass, as in the fruit wines. This has been patented in England.

77. VARIOUS WINES

Take 28 gallons of clarified cider; 1 gallon good brandy, 1 lb. crude tartar, (this is what is deposited by grape wines) 5 gallons of any wine you wish to represent, 1 pint of sweet milk to settle it; draw off in 24 or 36 hours after thoroughly mixing.

78. BLACKBERRY AND STRAWBERRY WINES

These are made by taking the above wine when made with port wine; and for every 10 gallons, form 4 to 6 quarts of the fresh fruit, bruised and strained, are added, and let it stand till the flavour is extracted; more or less may be used to suit the tastes of different persons. In bottling any of those wines 3 or four broken raisins put into each bottle will add to their richness and flavour.

79. FRENCH BRANDY

Take of pure spirit 1 gallon, best French brandy, or any kind you wish to imitate, even Otard, 1 quart; loaf sugar 2 oz., sweet spirits of nitre 1/2 oz., a few drops of tincture of catechu, or oak bark, to roughen the taste if desired; colour to suit your taste, and bottle.

80. BRANDY FROM OIL COGNAC

Take of pure spirits 10 gallons, New England rum 2 quarts, or Jamaica rum 1 quart, and oil cognac from 30 to 40 drops, put in half a pint of alcohol, colour with tincture of kino, or burned sugar, which is generally preferred. Mix well and bottle.

81. PALE BRANDY

This is made as the French brandy, using pale instead of the French, and using 1 oz. of tincture of kino for colour, only for 5 gallons.

82. CHERRY BRANDY

To every 10 gallons of brandy add 3 quarts of wild black cherries, stones and all bruised, and crushed sugar 2 lbs. Let it stand until the strength and flavour is obtained, and draw from it as wanted for use. Never attempt to use oil of bitter almonds for this purpose, instead of the cherries, for it is a most deadly poison.

83. BLACKBERRY BRANDY

Take of brandy 10 gallons, nice rich blackberries mashed from 4 to 6 quarts, according to the degree of flavour you wish. Mix and add a little sugar to overcome the acidity of the berries, according to their ripeness will the amount vary from one to 4 oz. to each gallon.

84. STRAWBERRY BRANDY

This is made as the above, using very nice ripe strawberries, and only about half the quantity of sugar.

[There are no entries for receipts 85, 86 and 87 in the original.]

88. HOLLAND GIN

Take of pure spirits 1 gallon, best Holland gin, schnapps, or any kind desired, 1 quart, oil of juniper 2 scruples, oil of anise 1/4 oz.; mix all well together.

89. COLOURING

Take of white sugar 1 lb., put it into an earthen kettle, moisten a little, let boil, and burn red, black and thick, remove from the fire and put in a little hot water to keep it from hardening as it cools. Use this to colour any liquors, needing colour, to your taste, or as near the colour of the liquor you imitate as you can. Tincture of kino is a good colour, and is made by dissolving 1 oz. of kino in a pint of alcohol. For a cherry red use tincture of saffron; for light amber to deep brown use sugar colouring; for brandy colour, sugar; for red use beet root or saunders; for port wine colour use extract of rhatany.

90. TO KEEP SWEET AND SWEETEN SOUR CIDER

To keep cider sweet take a keg, put several holes in the bottom of it, and a piece of woollen cloth at the bottom, then fill with pure sand closely packed, then pass your cider through this, and put up in clean barrels that have had a piece of cotton or linen cloth 2 by 6 inches, dipped in sulphur, and burned in them, then keep in a cool place and add 1/2 lb. of white mustard seed to each barrel. If cider is souring, about 1 quart of hickory ashes, (or a little more of other hard wood ashes), stirred into each barrel, will sweeten and clarify it, nearly equal to rectifying; but if it is not rectified it must be racked off to get clear of pomace, for while this is in it, it will remain sour. Oil or whiskey barrels are best to put up cider in, or 1/2 pint of sweet oil, or a gallon of whiskey, or both may be added to a barrel with decidedly good effects. Isinglass 4 oz. to each barrel helps to clarify and settle cider that is not going to be rectified.

91. SCHRUB

Take of lemon juice 1 pint, white sugar 2 pints, rum 3 pints, water 4 pints; mix and colour ready for use.

92. STOUGHTON BITTERS

Take of gentian 4 oz., orange peel 4 oz., columbo 4 oz., chamomile flowers 4 oz., quassia 4 oz., burned sugar 1 lb., whiskey 2-1/2 galls., water 2-1/2 galls,; mix and let stand one week, then bottle the clear liquor.

93. TO IMPROVE THE FLAVOUR OF NEW WHISKEY

Take of whiskey 1 gall., add tea 4 oz., allspice 4 oz., caraway seed 4 oz., cinnamon 2 oz., shake occasionally for a week and use one pint to a barrel. Keep this mixture in a jug.

94. CHERRY BOUNCE OR BRANDY

Take 10 galls. of good whiskey, put into it from 4 to 6 quarts of wild black cherries with the stones broken, common almonds shelled 1 lb., white sugar 1-1/2 lb., cinnamon 1/2 oz., nutmeg 1/2 oz., all bruised. Let stand 12 or 13 days and draw off; this, with the addition of 2 galls. of brandy, make very nice cherry brandy.

95. MONONGAHALE

Take of good common whiskey 36 gall., dried peaches 2 quarts, rye, burned and ground as coffee, 1 quart, cinnamon, cloves, and allspice, bruised, of each 1 oz., loaf sugar 5 lbs., sweet spirits of nitre 2 oz., put all these articles into 4 galls. of pure spirits, and shake every day for a week, then draw off through a woollen cloth, and add the whole to the 36 galls. of whiskey.

96. RYE WHISKEY

Take of dried peaches 1/2 a peck, put them into a pan in a stove, scorch a little, not to burn however, then bruise, and place in a woollen (pointed) bag, and leach good common whiskey over them twice, having the barrel up so as to hang the bag under the faucet and draw slowly over them; this is for a barrel. Add 10 or 12 drops of aqua ammonia to each barrel, after leaching through the peaches; with age this is nearly, if not quite, equal to whiskey made from rye.

97. STOMACH BITTERS

Take of gentian root 6 oz., orange peel 10 oz., cinnamon 1 oz., anise seed 2 oz., coriander seed 2 oz., cardamom seed 1/2 oz., Peruvian bark, unground, 2 oz., bruise all the articles and add of gum kino 1 oz., and put them into 2 quarts of alcohol, and two quarts of pure spirits or good whiskey; shake occasionally for 10 or 12 days, and strain or filter through several thicknesses of woollen. Half a pint of this may be added to a gallon of whiskey, more or less, as desired, and you have an article as good, or better, and more healthy than that for which you will pay three times as much; or you may use it the same as stoughton, to which it is preferred.

98. PEPPERMINT CORDIAL

Take of good whiskey 10 galls., water 10 galls., white sugar 10 lbs., oil of peppermint 1 oz., flour 1 oz., burned sugar 1/2 lb. to colour, alcohol 1 pint; put the oil of peppermint in the alcohol, then with this work the flour well, add the burned sugar, work again, and mix all the ingredients together; let them stand a week and they are ready for use. If you wish a different flavour from that of oil of peppermint use any other oil of which you desire the flavour.

99. ST. CROIX RUM

Take of pure spirits 28 galls., of pure St. Croix run 3 galls., sal-ammonia (cut in alcohol) 1 OZ., sweet spirits of nitre 6 ozs., mix all together and let stand for 24 hours, occasionally shaking, and it is ready for use.

100. LEMONADE

Take of fresh lemon juice 4 oz., fresh lemon peel 1/2 oz., white sugar 4 oz., boiling water 3 pints; mix all together; let them stand till cool, and then strain off for use; if you wish you can cool at once with ice. Where this is used as a cooling drink in fevers a little sweet spirits of nitre may be added.

101. A BRILLIANT WHITEWASH

This bears a gloss like ivory, and will not rub off. Take of clean unslacked lime 5 or 6 quarts, slack with hot water in a tub, cover to keep in the steam; when ready, pass it through a fine sieve, and add 1/4 lb. of whiting, 1 lb. of good sugar pulverized, and 3 pints of rice flour, first made into a thin paste; boil this mixture well, then dissolve 1 lb. of clean glue in water, and add it to the mixture, and apply while warm with a whitewash brush, except when particular neatness is required you may then use a paint brush; in both cases put it on warm. You may add colouring matter to give it any shade you please.

102. CHANGING VARNISHES

Varnishes of this description are call changing because, when applied to metals such as copper, brass, or tin or silver foil, they give them a more agreeable colour; indeed, the common metals, when coated with them acquired a lustre approaching to that of the precious metals, and hence these varnishes are much employed in manufacturing imitations of gold and silver. Put four ounces of the best gum gamboge into 32 ozs. of spirits of turpentine, 4 ozs. of dragon's blood into the same quantity of spirits of turpentine as the gamboge, and 1 oz. of anatto into 8 ozs. of the same spirits. The three mixtures being made in different vessels, they should then be kept for about a fortnight in a warm place, and as much exposed to the sun a possible; at the end of that time they will be fit for use; and you can procure any tints you wish by making a composition from them, with such proportions of each liquor as practice and the nature of the colour you are desirous of obtaining will point out. Changing varnishes may likewise be employed, with very good effect, for furniture, such as picture frames, &c.--See Lackers.

103. GOLD LACKER OR VARNISH

In using the changing varnish or any of these lackers, for picture frames for instance, lay them over with tin or silver leaf, by means of plaster of Paris glue, or cement of some kind, that the foil may be perfectly adherent to the wood, then apply your varnish; apply as many coats as may suit your taste, and if it be the gold lacker you use it has the appearance of being laid with gold leaf, and if the pale brass lacker, of being laid with brass, &c., and if you use the changing varnish you may make it just what colour you wish, by mixing the three materials in different proportions. For making gold lacker, put into a clean 4 gallon tin 1 lb. ground turmeric, 1-1/2 oz. powdered gamboge, 3-1/2 lbs. powdered gum sandrack, 3/4 lb. shellac, and 2 galls. spirits of wine; after being dissolved and strained add 1 pint of turpentine varnish, receipt No. 112, well mixed, and it is ready for use.

104. RED SPIRIT LACKER

Take 2 galls. spirits of wine, 1 lb. dragon's blood, 3 lbs. Spanish annatto, 3-1/2 lbs. gum sandrack, 2 pints turpentine. Made exactly as the gold lacker.

105. PALE BRASS LACKER

Take 2 galls. spirits of wine, 3 ozs. cape aloes, cut small, 1 lb. fine pale shellac, 1 oz. gamboge, cut small, no turpentine. Varnish made exactly as before, but observe, that those who make lackers frequently want some paler and some darker and sometimes inclining more to the particular tint of certain of the component ingredients; therefore if a 4 oz. vial of a strong solution of each ingredient be prepared, a lacker of any tint can be prepared at any time as by changing varnish.

106. DEMAR VARNISH

This is a fine clear varnish, being harder and less coloured than mastic, while it is as soluble, and may be had at one-tenth the price. Put 6 oz. of gum demar in a bottle with 10 ozs. of spirits of turpentine, and put into another bottle 6 ozs. of gum demar, with 16 ozs. alcohol, when they are dissolved put them together, and you have an excellent cheap varnish which dries quickly and is very clear.

107. COPAL VARNISH

Take 1 oz. of copal, and 1/2 oz. of shellac, powder them well and put them into a bottle or jar containing 1 quart of spirits of wine; place the mixture in a warm place and shake it occasionally, till you see that the gums are completely dissolved, and when strained the varnish is fit for use.

108. WHITE HARD VARNISH

Take 1 lb. of mastic, 4 oz. of gum anima; and 5 lbs. of gum sandrack, put them all together to dissolve, into a vessel containing 2 oz. of rectified spirits of wine, which should be kept in a warm place and frequently shaken till all the gums are quite dissolved; then strain the mixture through a lawn sieve, and it will be fit for use.

109. CRYSTAL VARNISH

Procure a bottle of Canada balsam, which can be had at any druggist's; draw out he cork and set the bottle of balsam at a little distance from the fire, turning it round several times, until the heat has thinned it; then have something that will hold as much as double the quantity of balsam; carry the balsam from the fire, and, while fluid mix it with the same quantity of good turpentine, and shake them together until they are well incorporated. In a few days the varnish is fit for use, particularly if it is poured into a half gallon glass or stone bottle, and kept in a gentle warmth. This varnish is used for maps, prints, charts, drawings, paper, ornaments, &c.

110. BLACK VARNISH FOR OLD STRAW OR CHIP HATS

Take a 1/2 oz. of the best black sealing wax, pound it well, and put it into a 4 oz. vial, containing 2 ozs. of rectified spirits of wine; place it in a sand-bath or near a moderate fire till the wax is dissolved, then lay it on warm, with a fine soft hairbrush, before a fire or in the sun. It gives a good stiffness to old straw hats, and a beautiful gloss equal to new. It likewise resists wet.

111. VARNISH FOR VIOLINS &c.

Take 1 gallon of rectified spirits of wine, 12 ozs. of mastic, and 1 pint of turpentine varnish; put them altogether in a tin can, and keep it in a very warm place, shaking it occasionally till it is perfectly dissolved; then strain it, and it is fit for use. If you find it necessary, you may dilute it with turpentine varnish. This varnish is also very useful for furniture of plumtree, mahogany, or rosewood.

112. TURPENTINE VARNISH

Take 5 lbs. of clear good resin, pound it well, and put it into 1 gallon of oil of turpentine; boil the mixture over a stove till the resin is perfectly dissolved, and when cool, it will be fit for use.

113. IRON WORK BLACK OR BLACK VARNISH FOR IRON

Put 48 lbs. asphaltum into an iron pot, and boil for four hours; during the first two hours, introduce 7 lbs. litharge, 3 lbs. dried copperas, and 10 gallons boiled oil; add 1/8 lb. run of dark gum, with 2 gallons hot oil; after pouring the oil and gum, continue the boiling two hours, or until it will roll into hard pills like Japan; when cool, thin it off with three gallons of turpentine, or until it is of proper consistence. This varnish is intended principally for the iron work of coaches and other carriages.

114. VARNISH FOR HARNESS

Take 1/2 lb. of india rubber, 1 gallon of spirits of turpentine; dissolve enough to make it into a jelly by keeping it almost new milk warm; then take equal quantities of good linseed oil, (in a hot state,) and the above mixture, incorporate them well on a slow fire, and it is fit for use.

115. QUICK DRYING HARNESS BLACKING VARNISH

Break 1/2 cake (which is about 1 ounce) of white wax into an earthen pan, and just cover it with oil of turpentine; place a board over the pan to keep out the air; let it stand for 24 hours or until formed into a paste; then in another pan, mix 1 lb. of best ivory black with neatsfoot oil, until it assumes a thick consistency; then mix the contents of both pans together. It may be reduced with spirits of turpentine. Bottle, and it is fit for use.

116. OIL PASTE BLACKING

Take oil vitriol, 2 ozs., tanners oil, 5 ozs., ivory black, 2 lbs., molasses, 5 ozs; mix the oil and vitriol together, let it stand a day, then add the ivory black, the molasses, and the white of an egg; mix well, and it is ready for use.

117. WATER PROOF OIL OR PASTE BLACKING

Take 1 pint of camphene, and put into it all the india rubber it will dissolve, 1 pint currier's oil, 7 lbs. tallow, and 2 ozs. of lampblack; mix thoroughly by heat. This is a nice thing for old harness and carriage tops, as well as for boots and shoes.

118. BEST VARNISH BLACKING EXTANT

Take of alcohol, 1 gallon; white turpentine, 1-1/2 lbs.; gum shellac 1-1/2 lbs.; venice turpentine, 1 gill; let these stand in a jug in the sun, or by a stove, until the gums are dissolved; then add sweet oil, 1 gill; lampblack, 2 oz., and you have a varnish that will not crack when the harness is twisted like the old shellac varnish. It is good also for boots and shoes, looking well, and turns water.

119. ASPHALTUM OR WALNUT STAIN

Take of asphaltum, 2 lbs.; boiled linseed oil, 1/2 pint; spirits of turpentine, 1 gallon; mix the two first in an iron pot, boil slowly until the asphaltum is melted, then take it some distance from the fire, cool a little, and add the turpentine (avoiding ignition) before it cools too much, and it is finished.

120. POLISH FOR OLD FURNITURE

Take 1 pint best spirits of wine, 1 pint raw linseed oil, 1 pint spirits of turpentine; mix all three together, and shake well before use. Apply with a rubber of cotton wool covered with a piece of clean old white cotton cloth. Apply slightly and you will be astonished at the effect. Old furniture that is scratched, soiled, or stained, if the wood is not torn up, being polished with this, has the appearance of new.

121. OIL TO MAKE THE HAIR GROW AND CURL

Take of olive oil 1/2 a pint, oils of rosemary and origanum, of each 1/8 of an oz. Mix well and apply rather freely.

122. BEST SHAVING SOAP

Take 4-1/2 lbs. white bar soap, 1 quart rain water, 1 gill of beef's gall, and 1 gill spirits of turpentine; cut the soap thin, and boil five minutes, stir while boiling, and colour with 1/2 oz. of vermillion; scent with oil of rose or almonds. 10 cents worth will positively make $6 worth of soap.

123. NEW YORK BARBERS' STAR HAIR OIL

Take of castor oil, 6-1/2 pints; alcohol, 1-1/2 pint; citronella and lavender oils, of each 2 ozs.; mix and shake well, and it is ready for use.

124. ROWLAND'S MACASSAR HAIR OIL

Take of sweet oil, 8 ozs.; cantharides and oil of lemon, of each 60 drops; alkanet sufficient to colour it.

125. ROSE HAIR OIL

Take 1 quart olive oil, 2-1/2 ozs. alcohol, 1-1/2 ozs. rose oil; after this tie 1 oz. of chipped alkanet root in 3 or 4 little muslin bags, and let them lie in the oil until a pretty red is manifested, then change them to other oil. do not press them.

126. BEAR'S OIL

Take of good sweet lard oil, 1 quart; bergamot, 1 ounce; mix well together.

127. OX MARROW FOR THE HAIR

Take of ox marrow, 4 ozs.; white wax, 1 oz.; nice fresh lard, 6 ozs; mix and melt; when cool, add 1-1/2 ozs. oil of bergamot, and mix well.

128. COLOGNE

Take oils of rosemary and lemon, of each, 1/4 oz.; oils of bergamot and lavender, of each, 1/8 oz.; oil of cinnamon, 8 drops; oils of cloves and rose, of each 15 drops; best alcohol, 2 quarts; mix and shake 2 or 3 times a day for a week. This will be better if deoderized, or cologne alcohol is used.

129. HARD SOAP

Take of soft soap, 12 lbs.; (that made of olive oil is best,) common salt, 9 lbs.; mix and boil for 2 hours, run it into bars, or as you want it, and you will have 7-1/2 lbs. of soap. Add a little resin when you melt it over. Scent with fragrant oil if you wish to do so.

130. BAR SOAP

Take of lime water 1 teacupful, spirits of turpentine 2 teaspoonsful, resin 1/2 lb., sal. soda 1-1/2 lbs., of bar shop soap 4 lbs.; melt and boil all together to a proper consistency, then pour into moulds.

131. CARVER'S POLISH

In a pint of spirits of wine dissolve 2 oz. of seed lac, and 2 oz. of resin. The principal use of this polish is for the carved parts of cabinet work, such as standards, pillars, claws, &c. It should be laid on warm, and it will be still better; but all moisture and dampness should be carefully avoided.

132. FRENCH POLISH

Take 1 oz. of shellac, 1/4 oz. of gum-arabic, and 1/4 oz. of gum copal; bruise them well, and sift them through a piece of muslin, then put them along with a pint of spirits of win into a closely corked vessel, place it in a very warm situation, and shake it frequently every day till the gums are dissolved, then strain through a piece of muslin, and keep it corked for use.

133. WATER-PROOF POLISH

Put 2 ozs. of gum benjamin, 1/4 oz. of gum sandrac, and 1/4 oz. of gum anima, into a pint of spirits of wine, in a closely stopped bottle, place the bottle either in a sand bath, or in hot water, till the gums are dissolved, then strain off the mixture, shake it up with a 1/4 of a gill of the best clear poppy oil, and put by for use.

134. FINISHING POLISH

Put 2 drachms of shellac, and 2 drachms of gum benjamin, into 1/2 pint of the very best rectified spirits of wine, in a bottle closely corked; keep the bottle in a warm place, and shake it frequently till the gums are dissolved, when cold shake up with it 2 teaspoonsful of the best clear poppy oil, and it will be fit for use. This polish may be applied with great advantage after any of those mentioned in the foregoing receipts have been used. It removes the defects existing in them, increasing their lustre and durability, and gives the surface a most brilliant appearance.

135. COMPOSITION USED IN WELDING CAST STEEL

Take of borax, 10 parts; sal-ammoniac, 1 part; grind or pound them roughly together, then fuse them in a metal pot over a close fire, taking care to continue the heat until all spume has disappeared from the surface, when the liquid appears clear, the composition is ready to be poured out to cool and concrete; afterward being ground to a fine powder. To use this composition, the steel to be welded is raised to a heat, which may be expressed by bright yellow, it is then dipped among the welding powder, and again placed in the fire until it attains the same degree of heat as before, it is then ready to be placed under the hammer.

136. COMPOSITION USED IN WELDING CAST IRON

Take good clear white course sand, 3 parts; refined solton, 1 part; fosterine, 1 part; rock salt 1 part; borax, 1 part; mix all together. Take 2 pieces of cast iron, heat them in a moderate charcoal fire, occasionally taking them out while heating, and dipping them into the composition, until they are of a proper heat to weld, then at once lay them on the anvil, and gently hammer them together, and if done carefully by one who understands welding iron, you will have them nicely welded together. One man prefers heating the metal, then cooling it in the water of common beans, and heating it again for welding.

137. CAST IRON CEMENT

Take of clean borings or turning of cast iron, 16 parts; of sal-ammoniac, 2 parts; and flour of sulphur, 1 part; mix them well together on a mortar, and keep them dry. When required for use, take 1 part of the mixture, and 20 parts of clean borings, mix thoroughly, and add a sufficient quantity of water. Note.--A little grindstone added improves the cement.

138. CASE HARDENING

This is the conversion of the surface of wrought iron into steel, for the purpose of adapting it to receive a polish, or to bear friction, &c. The best method in the world of effecting this is by heating the iron to cherry red in a close vessel, in contact with carbonacious material, and then plunging it into cold water. Bones, leather, hoofs, and horns of animals, are best for this purpose, after having been burnt or roasted, so that they can be pulverized. Soot is very frequently used; it answers, but not so well.

139. TO SOFTEN IRON OR STEEL

Either of the following simple methods will make iron or steel as soft as lead: 1. Anoint it all over with tallow, temper it in a gentle charcoal fire, and let it cool of itself. 2. Take a little clay, cover your iron with it, temper in a charcoal fire. 3. When the iron or steel is red hot, strew hellebore on it. 4. Quench the iron or steel in the juice, or water, of common beans.

140. SOLDER FOR LEAD

Melt 1 part of block tin, and when in a state of fusion, add 2 parts of lead; if a small quantity of this, when melted, is poured upon the table, there will, if it be good, arise little bright stars upon it. Resin should be used with this solder.

141. SOLDER FOR TIN

Take 4 parts of pewter, 1 of tin, and 1 of bismuth, melt them together, and run them into thin slips. Resin is also employed in using this solder.

142. SOLDER FOR IRON

The best solder for iron is good tough brass, with a little borax.

143. SOLDER FOR COPPER

Take of brass, 6 parts; zinc, 1 part; tin, 1 part; melt all together, mix well, and pour out to cool.

144. SOLDER FOR STEEL JOINTS

Silver, 19 parts; copper, 1 part; brass, 2 parts; melt all together.

145. HARD SOLDER

Fuse together 2 parts of copper, and 1 of zinc.

146. SOLDER FOR SILVER

Fuse together 5 parts of silver, and 1 part of brass.

147. GOLD SOLDER No. 1

Take of gold, 4 parts; silver, 3 parts; copper 1 part; and zinc, 1 part.

148. GOLD SOLDER No. 2

Take of gold, 3 parts; silver, 3 parts; copper, 1 part; zinc, 1/2 part.

149. GOLD SOLDER No. 3

Take of gold, 2 parts; silver, 3 parts; copper, 1 part; and zinc 1/2 a part.

The gold, silver, and copper must be fused in a crucible before the zinc is added, or else you cannot keep them in the vessel while heating. When all are completely fused, they must be well stirred, and run into bars. Solder No. 1 is for gold 16 carats and upwards; No. 2 is for that 14 carats fine; and No. 3 for lower qualities. If more zinc is added, it will fuse at a lower heat, but the colour is not so good.

150. MOCK GOLD

Fuse together 16 parts of copper, 7 of platinum, and 1 of zinc. When steel is alloyed with 1/500 part of platinum, or with 1/500 part of silver, it is rendered much harder, more malleable, and better adapted for all kinds of cutting instruments. Note.--In making alloys, care must be taken to have the more infusible metals melted first, and afterwards add the others.

151. BRITANNIA METAL

Take 4 parts of brass, and 4 parts of tin; when fused add 4 parts of metallic bismuth, and 4 parts of metallic antimony. This composition is added at discretion to metallic tin, according to the quality you wish to make.

152. BLANCHED COPPER

Melt together 8 parts of copper and a half part of arsenic.

153. COMMON PEWTER

Melt together 4 parts of tin and 1 part of lead.

154. BEST PEWTER

Melt together 100 parts of tin and 17 of antimony.

155. A METAL THAT EXPANDS IN COOLING

Melt together 9 parts of lead, 2 of antimony and one of bismuth. This metal is very useful in filling small defects in iron castings, &c.

156. QUEEN'S METAL

Melt together 9 parts of tin, 1 of antimony, 1 of bismuth, and 1 of lead.

157. IMITATION PLATINUM

This metal, or alloy, very closely resembles platinum. Melt together 8 parts of brass and 5 parts of zinc.

158. CHINESE WHITE COPPER

Melt together 40.4 parts of copper, 31.6 parts of nickel, 25.4 of zinc, and 2.6 of iron.

159. MANHEIM GOLD

Melt together 3 parts copper, 1 of zinc, and a little tin.

160. TOMBACK, OR RED BRASS

Melt together 8 parts of copper, and 1 part of zinc.

161. IMITATION GOLD

Take of platina 8 parts, of silver 4 parts, copper 12 parts, melt all together.

162. IMITATION SILVER

Take of block tin 100 parts, metallic antimony 8 parts, bismuth 1 part, and 4 parts of copper; melt all together.

163. TRUE IMITATION OF GOLD

Dr. Harmsteadt's imitation of gold, which is stated not only to resemble gold in colour, but also in specific gravity and ductility, consists of 16 parts of platinum, 7 parts of copper, and 1 of zinc, put in a crucible, covered with charcoal powder, and melted into a mass.

164. TRUE IMITATION OF SILVER

Imitation of pure silver, so perfect in its resemblance that no chemist living can tell it from pure virgin silver. It was obtained from a German chemist now dead; he used it for unlawful purposes to the amount of thousands, and yet the metal is so perfect that he was never discovered. It is all melted together in a crucible, here it is: 1/4 oz. of copper, 2 oz. of brass, 3 oz. of pure silver, 1 oz. of bismuth, 2 ozs. of saltpetre, 2 ozs. of common salt, 1 oz. of arsenic, and 1 oz. of potash.

165. MOULDS AND DIES

Take copper, zinc, and silver, in equal proportions, and melt them together, and mould into the forms you desire, and bring the same to a nearly white heat; now lay on the thing that you would take the impression of, and press it with sufficient force, and you will find that you have a perfect and beautiful impression. All of the above metals should be melted under a coat of powdered charcoal.

166. TO SOFTEN HORN

To 1 lb. of wood ashes, add 2 lbs. of quicklime; put them into a quart of water, let the whole boil till reduced to one third, then dip a feather in, and if, on drawing it out, the plume should come off, it is a proof that it is boiled enough, if not, let it boil a little longer; when it is settled filter it off, and in the liquor thus strained put in shavings of horn; let them soak for three days, and, first anointing your hands with oil, work the horn into a mass, and print or mould it into any shape you please.

167. TO MAKE MOULDS OF HORN

If you wish to take the impression of any coin, medal, &c., previously anoint it with oil, then lay the horn shavings over it in its softened state; when dry the impression will be sunk into the horn, and this will serve as a mould to reproduce, either by plaster of Paris, putty and glue, or isinglass and ground egg shells, the exact resemblance of the coin or medal.

168. TO CASE FIGURES IN IMITATION OF IVORY

Make isinglass and strong brandy into a paste, with powder of egg shells, very finely ground; you may give it what colour you please, but cast it warm into your mould, which you previously oil over; leave the figure in the mould till dry, and you will find, on taking it out, that it bears a very strong resemblance to ivory.

169. TRUE GOLD POWDER

Put some gold leaf, with a little honey or thick gum water, (whenever I speak of gum I mean gum arabic,) into an earthen mortar, and pound the mixture till the gold is reduced to very small particles; then wash out the honey or gum repeatedly with warm water, and the gold will be left behind in a state of powder, which, when dried, is fit for use.

170. TRUE GOLD POWDER

Another, and perhaps better method of preparing gold powder is to heat a prepared amalgam of gold in a clean open crucible, (an amalgam of any metal is formed by a mixture of quicksilver with that metal) continuing a very strong heat till all the mercury has evaporated, stirring the amalgam all the while with a glass rod; when the mercury has entirely left the gold, grind the remainder in a Wedgewood's mortar, with a little water, and when dried it will be fit for use. The subliming the mercury is, however, a process injurious to the health.

171. COLOUR HEIGHTENING COMPOSITIONS

For yellow gold, dissolve in water 6 ozs. of saltpetre, 2 ozs. of copperas, 1 oz. of white vitriol, and 1 oz. of alum. If wanted redder, add a small portion of blue vitriol.

172. FOR GREEN GOLD

Dissolve in water a mixture consisting of 1-1/2 oz. of saltpetre; vitriol and sal-ammoniac, 1-1/4 oz. of each, and 1 oz. verdigris.

173. FOR RED GOLD

Take 1-1/2 oz. of red ochre in fine powder, the same quantity of calcined verdigris, 1/2 oz. of calcined borax, and 4 oz. of melted yellow wax; the verdigris must be calcined, or else, by the heat applied in melting the wax, the vinegar becomes so concentrated as to corrode the surface, and make it appear speckled. These last three are colours for heightening compositions.

174. MOSAIC GOLD

Mosaic gold, or aurum mosaicum, is used for inferior articles. It is prepared in the following manner: 1 lb. of tin is melted in a crucible, and 1/2 lb. of purified quicksilver added to it; when this mixture is cold, it is reduced to powder, and ground with 1/2 lb. of sal-ammoniac, and 7 ozs. of flower of sulphur, till the whole is thoroughly mixed; they are then calcined in a mattrass, and the sublimation of the other ingredients leaves the tin converted into the aurum mosaicum, which is found at the bottom of the glass, like a mass of bright flakey gold powder. Should any black or discoloured particles appear, they must be removed. The sal-ammoniac used here must be very white and clear, and the mercury quite pure and unadulterated. When a shade of deeper red is required, it can easily be obtained by grinding a very small quantity of red lead along with the above materials.

175. DUTCH OR GERMAN GOLD

A gilding powder is sometimes made from Dutch gold, which is sold in books at a very low price. This is treated in the same way as the real gold leaf in making the true gold powder. It is necessary, when this inferior powder is used, to cover the gilding with a coat of clear varnish, otherwise it soon loses its metallic appearance. The same remark applies, though to a less degree, to Mosaic gilding.

176. COPPER POWDER

This is prepared by dissolving filings or slips of copper with nitrous acid in a receiver. When the acid is saturated, the slips are to be removed; or, if filings be employed, the solution is to be poured off from what remains undissolved; small bars are then put in, which will precipitate the copper from the saturated acid, in a powder of the peculiar appearance and colour of copper, and the liquid being poured from the powder, this is to be washed clean of the crystals by repeated levigations.

177. COMMON SIZE

The size used by painters for most sorts of common work is prepared by boiling in water pieces of parchment, and of the skins of animals and fins of fish, and evaporating the solution to a proper consistency. It only differs, however, from a solution of glue containing fewer foreign ingredients, and in not being so strong.

178. DR. JOHN'S VARNISH FOR PLASTER OF PARIS CASTS

Take of white soap and white wax, each half an ounce, of water two pints; boil them together for a short time in a clean vessel. This varnish is to be applied when cold, by means of a soft brush. It does not sink in, it readily dries, and its effect may be heightened by lightly using a silk pocket handkerchief.

179. GENERAL DIRECTIONS FOR BRONZING

This art is nothing but a species of painting, but far from being of the most delicate kind. The principal ingredients made use of in it are the true gold powder, the German gold, the aurum mosaicum, and copper powder, (all above described.) The choice of these powders is, of course, to be determined by the degree of brilliancy you wish to obtain. The powder is mixed with strong gum water or isinglass, and laid on with a brush or pencil; and when not so dry as to have still a certain clamminess, a piece of soft leather wrapped round the finger, is dipped in the powder and rubbed over the work; when the work has been all covered with the bronze, it must be left to dry, and any loose powder then cleared away by a hair pencil.

180. BRONZING IN WOOD

This may be effected by a process somewhat differing from the above, Prussian blue, patent yellow, raw amber, lamp-black, and pipe clay are ground separately with water on a stone, and as much of them as will make a good colour put into a small vessel three-fourths full of size. This mixture is found to succeed best on using about half as much more pipe clay as of any of the other ingredients. The wood being previously cleaned and smoothed, and coated with a mixture of clean size and lamp-black, receives a new coating with the above compound twice successively, having allowed the first to dry. Afterwards the bronze powder is to be laid on with a pencil, and the whole burnished or cleaned anew, observing to repair the parts which may be injured by this operation; next, the work must be coated over with a thin lather of castile soap, which will take off the glare of the burnishing, and afterwards be carefully rubbed with a woollen cloth. The superfluous powder may be rubbed off when dry.

181. IN BRONZING IRON

The subject should be heated to a greater degree than the hand can bear; and German gold, mixed with a small quantity of spirit of wine varnish, spread over it with a pencil; should the iron be already polished, you must heat it well and moisten it with a linen rag dipped in vinegar.

182. BRONZING CASTS OF PLASTER OF PARIS

There is a method of bronzing casts of plaster of Paris analogous to that which we have above given for bronzing wood, but it is not in much repute. Such figures may be beautifully varnished by means of Dr. John's varnish, receipt No. 178. Casts of plaster of Paris may be made by receipt No. 167.

183. SHELL-LAC VARNISH

Dissolve in an iron kettle, one part of pearl-ash in about 8 parts of water; add one part of shell-lac, and heat the whole to ebullition. When the lac is dissolved, cool the solution, and impregnate it with chlorine, till the lac is all precipitated. The precipitate is white, but its colour deepens by washing and consolidation; dissolved in alcohol, lac bleached by the above process yields a varnish which is as free from colour as any copal varnish.

184. CHLORINE FOR SHELL-LAC VARNISH

This may be formed by mixing intimately eight parts of common salt, and three parts of the black oxide of manganese in powder; put this mixture into a retort, then pour four parts of sulphuric acid, diluted with an equal weight of water, and afterwards allowed to cool upon the salt and manganese; the gas will then be immediately liberated, and the operation may be quickened by a moderate heat. A tube leading from the mouth of the retort must be passed into the resinous solution, where the gas will be absorbed, and the lac precipitated.

185. SHELL-LAC VARNISHES OF VARIOUS COLOURS

These may be made by using ant colour in fine powder with the varnish, in the following manner: rub up the colour with a little alcohol or spirits of turpentine till it becomes perfectly smooth, then put it into the cup with the varnish. Shell-lac varnish is the best spirit varnish we have, and may be made any colour by the above process.

186. GOLD OIL-COLOUR, OR SIZE

The English method of preparing the colour in size, which serves as the ground on which the gold is laid, is, to grind together some red oxide of lead with the thickest drying oil that can be procured, the older the better. To make it work freely, it is mixed, before being used, with a little oil of turpentine, till it is brought to a proper consistence. The above four receipts are used in japanning.

187. JAPANNING

If it be woodwork you are about to japan, it must be prepared with size, and some coarse material mixed with it to fill up and harden the grain of the wood, (such as may best suit the colour to be laid on,) which must be rubbed smooth with glass paper when dry. In cases of accident, it is seldom necessary to resize the damaged places, unless they are considerable.

188. GRINDING COLOURS IN JAPANNING

Be very careful in japanning, to grind your colours smooth in spirits of turpentine, then add a small quantity of turpentine and spirit varnish, lay it carefully on with a camel hair brush, and varnish it with brown or white varnish, according to the colour.

189. COLOURS REQUIRED IN JAPANNING

Flake white, red lead, vermillion, lake, Prussian blue, patent yellow, orpiment, orchres, verditers, vandyke brown, umber, lamp-black, and siennas raw and burnt. With these you may match almost any colour in general use in japanning. For a black japan, it will be found sufficient to mix a little gold-size with lamp-black; this will bear a good gloss, without requiring to be varnished afterwards.

190. TO PREPARE A FINE TORTOISE-SHELL JAPAN

Take 1 gallon of good linseed oil, and 1/2 lb. of umber; boil them together till the oil becomes very brown and thick, then strain it through a coarse cloth, and set it again to boil; in which state it must be continued till it acquires a consistence resembling that of pitch; it will then be fit for use.

191. DIRECTIONS FOR USING TORTOISE-SHELL JAPAN

Having thus prepared the varnish or japan, clean well the substance which is to be japanned; then lay vermillion, tempered with shell-lac varnish, or with drying oil, very thinly diluted with oil of turpentine, on the places intended to imitate the more transparent parts of the tortoise-shell; when the vermillion is dry, brush the whole over with black varnish, tempered to a due consistence with the oil of turpentine. When set and firm, put the work into a stove, where it may undergo a very strong heat, which must be continued a considerable time; if even three weeks or a month it will be the better. This tortoise-shell ground it not less valuable for its great hardness, and enduring to be made hotter than boiling water without damage, than for the superior beauty and brilliancy of its appearance.

192. TO MAKE CLOTH, SILK &c., WATER-PROOF

Mix equal quantities of alum and acetate of lead, and dissolve the mixture in 1-1/2 gallons of boiling water. When the solution has cooled, remove the supernatent liquid from the sediment, which consists of sulphate of lead, and is ready for use. Any article of dress, when well saturated in this liquid, and allowed to dry slowly, bears the action of boiling water, and does not permit it to pass through, although steam and air penetrate if freely.

193. CROCKERY CEMENT

Dissolve 1 oz. of common salt in 1 quart of water, bring to a boil, and put in 1-1/4 lbs. gum shell-lac; when it shall have dissolved, pour into cold water, and work like wax; make into small sticks. This will make crockery as firm as a rock. Directions: Warm the stick, apply it to the broken edges, then heat the edges, place them together and hold for a minute, and they are firm.

194. A CEMENT FOR CHINA, GLASS-WARE, &c.

Take a thick mucilage of gum arabic, and stir into it plaster of Paris to form a thick paste, apply to the edges with a brush, and press firmly together and confine them two or three days, and you will be astonished at their firmness.

195. ANGLER'S SECRET

The juice of loveage or smellage mixed with any kind of bait, or a few drops of the oil of rhodium; India cockle, also, is sometimes mixed with flour dough, and sprinkled on the surface of still water. This intoxicates the fish, and makes him turn up on the top of the water, when he is taken and put in a tub of fresh water until he revives, when all is right; he may be eaten without fear; but this will destroy many fish.

196. MORELLA WINE

Take the juice of morella or tame cherries, and to each quart put 3 quarts of water, and 4 lbs. of coarse brown sugar; let them ferment, and skim until worked clear; then draw off, avoiding the sediment at the bottom, bung up, or bottle, which is best for all wines, letting the bottles lie always on the side, either for wines or beers.

197. HAIR DYE

No. 1 Crystalised nitrate of silver, 1 drachm; soft water, 1 oz. No. 2 Sulphide (sulphuret is the same) of potassium, 1 drachm; soft water, 1 oz.; wash the beard or hair with soap to remove oil, dry with a towel a little then apply No. 1, and directly after it No. 2, for a few minutes, alternately, using different tooth brushes for each No. Clear days are best on which to apply it. As soon as dry, wash out well with soap. Keep it from shirt bosoms and face, especially No. 1, as it will make the face sore as well as colour it. If you do get it on the skin, cyanide (cyanuret is the same) of potassium, 1 drachm, to 2 ozs. of water, will take it off. This last is poison, however, and should not touch sore places, nor be left where children may get at it.

198. TALLOW CANDLES IN IMITATION OF WAX

Purify melted mutton tallow by throwing in powdered quicklime, then add 2 parts of wax to 1 of tallow. A most beautiful article of candle, resembling wax, will be produced by the mixture. Dip the wicks in lime-water and saltpetre on making.

199. TO STAIN MUSICAL INSTRUMENTS A CRIMSON STAIN

Take of ground Brazil, 1 lb.; water, 3 quarts; cochineal, 1/2 oz.; boil the Brazil in the water for an hour; then strain, and add the cochineal; then boil it gently for half-an-hour, when it will be fit for use. If you wish a scarlet tint, boil an ounce of saffron in a quart of water, and pass over the work before you stain it. The article must be very clean, and of firwood, or the best sycamore. When varnished over this stain it is most elegant.

200. A PURPLE STAIN FOR VIOLINS, &c.

Take of chipped logwood, 1 lb.; of water, 3 quarts; of pearl-ash, 4 ozs.; of indigo, pounded, 2 ozs.; put the logwood in the water, boil well for an hour, then add the pearl-ash and indigo, and when dissolved, you will have a beautiful purple.

201. A BLUE STAIN FOR VIOLINS, &c.

Take of oil of vitriol in a glass bottle, 1 lb.; put into it 4 ozs. of indigo, and precede as directed in dyeing.

202. GREEN STAIN FOR VIOLINS, &c.

Take of strong vinegar, 3 pints; of best verdigris, 4 ozs., ground fine; of sap green, 1/2 oz.; of indigo, 1/2 oz.; mix all together.

203. GENERAL DIRECTIONS FOR DYEING

The materials should be perfectly clean; soap should be rinsed out in soft water; the article should be entirely wetted, or it will spot; light colours should be steeped in brass, tin or earthen; and, if set at all, should be set with alum. Dark colours should be boiled in iron, and set with copperas; too much copperas rots the thread.

204. FOR COLOURING SKY BLUE

Get the blue composition; it may be had at the druggist's, or clothier's, for a shilling an ounce. If the articles are not white, the old colours should all be discharged by soap or a strong solution of tartaric acid, then rinsed; 12 or 16 drops of the composition, stirred into a quart-bowl of warm water, and strained if settlings are seen, will dye a great many articles. If you want a deeper colour, add a few drops more of the composition. If you wish to colour cotton goods, put in pounded chalk to destroy the acid, which is very destructive to all cotton; let it stand until the effervescence subsides, and then it may be safely used for cotton or silk.

205. FOR LILAC COLOUR

Take a little pinch of archil, and put some boiling-hot water upon it, add to it a very little lump of pear-lash. Shades may be altered by pear-lash, common slat, or wine.

206. TO COLOUR BLACK

Logwood and cider, boiled together in iron, water being added for the evaporation, makes a good durable black. Rusty nails or any bits of rusty iron, boiled in vinegar, with a small piece of copperas, will also dye black; so will ink powder, if boiled with vinegar. In all cases, black must be set with copperas.

207. TO DYE LEMON COLOUR

Peach leaves, bark scraped from the barberry bush, or saffron, steeped in water, and set with alum, will colour a bright lemon, drop in a little gum-arabic to make the articles stiff.

208. TO DYE ROYAL PURPLE

Soak logwood chips in soft water until the strength is out, then add a teaspoonful of alum to a quart of the liquid; if this is not bright enough, add more alum, rinse and dry. When the dye is exhausted, it will colour a fine lilac.

209. TO DYE SLATE COLOUR