Chapter III: Part 3

Tea grounds, boiled in iron vessels, set with copperas, makes a good slate colour. To produce a light slate colour, boil white maple bark in clear water, with a little alum. The bark should be boiled in brass utensils. The goods should be boiled in it, and then hung where they will drain and dry.

210. TO DYE SCARLET

Dip the cloth in a solution of alkaline or metallic salt, then in a cochineal dye, and let it remain some time, and it will come out permanently coloured. Another method: 1/2 lb. of madder, 1/2 oz. of cream tartar, and 1 oz. of marine acid to 1 lb. of cloth; put it all together, and bring the dye to a scalding heat; put in your materials, and they will be coloured in ten minutes. The dye must be only scalding hot. Rinse your goods in cold water as soon as they come from the dye.

211. TO COLOUR A BRIGHT MADDER

For 1 lb. of yard or cloth, take 3 ozs. of madder; 3 ozs. of alum; 1 oz. of cream tartar; prepare a brass kettle with two gallons of water, and bring the liquor to a steady heat, then add your alum and tartar, and bring it to a boil; put in your cloth, and boil it two hours; take it out, and rinse it in cold water; empty your kettle, and fill it with as much water as before; then add your madder; rub it in fine in the water before your cloth is in. When your dye is as warm as you can bear your hand in, then put in your cloth, and let it lie one hour, and keep a steady heat; keep it in motion constantly, then bring it to a boil fifteen minutes, then air and rinse it. If your goods are new, use 4 ozs. of madder to a lb.

212. TO COLOUR GREEN

If you wish to colour green, have your cloth as free as possible from the old colour, clean, and rinsed; and, in the first place, colour it deep yellow. Fustic, boiled in soft water, makes the strongest and brightest yellow dye; but saffron, barberry-bush, peach-leaves, or onion-skins, will answer pretty well. Next take a bowlful of strong yellow dye, and pour in a great spoonful or more of the blue composition, stir it up well with a clean stick, and dip the articles you have already coloured yellow into it, and they will take a lively grass-green. This is a good plan for old bombazet-curtains, dessert-cloths, old flannel for desk coverings, &c.

213. TO DYE STRAW COLOUR AND YELLOW

Saffron, steeped in earthen and strained, colours a fine straw colour. It makes a delicate or deep shade, according to the strength of the tea. Colouring yellow is described in receipt No. 212. In all these cases a little bit of alum does no harm, and may help to fix the colour. Ribbons, gauze handkerchiefs, &c., are coloured well in this way, especially if they be stiffened by a bit of gum-arabic, dropped in while the stuff is steeping.

214. TO DYE A DRAB COLOUR

Take plum tree sprouts, and boil them an hour or more; add copperas, according to the shade you wish your articles to be. White ribbons take very pretty in this dye.

215. TO DYE PURPLE

Boil an ounce of cochineal in a quart of vinegar. This will afford a beautiful purple.

216. TO DYE BROWN

Use a teaspoonful of soda to an ounce of cochineal, and a quart of soft water.

217. TO COLOUR PINK

Boil 1 lb. of cloth an hour in alum water, pound 3/4 of an oz. of cochineal and mix 1 oz. of cream of tartar; put in a brass kettle, with water, enough to cover the cloth; when about blood hot, put in your cloth, stir constantly, and boil about fifteen minutes.

218. TO DYE A COFFEE COLOUR

Use copperas in a madder-dye, instead of madder compound.

219. TO DYE NANKIN COLOUR

The simplest way is to take a pailful of lye, to which put a piece of copperas half as big as a hen's egg; boil in a copper or tin kettle.

220. TO MAKE ROSE COLOUR

Balm blossoms, steeped in water, colour a pretty rose colour. This answers very well for the linings of children's bonnets, for ribbons, &c.

221. TO DYE STRAW AND CHIP BONNETS BLACK

Boil them in strong logwood liquor 3 or 4 hours, occasionally adding green copperas, and taking the bonnets out to cool in the air, and this must be continued for some hours. Let the bonnets remain in the liquor all night, and the next morning take them out, dry them in the air, and brush them with a soft brush. Lastly, rub them inside and out with a sponge moistened with oil, and then send them to be blocked. Hats are done in the same way.

222. TO DYE WHITE GLOVES A BEAUTIFUL PURPLE

Boil 4 oz. of logwood, and 2 oz. of roche-alum, in 3 pints of soft water, till half wasted; let it stand to be cold after straining. If they be old gloves let them be mended; then do them over with a brush, and when dry repeat it. Twice is sufficient unless the colour is to be very dark; when dry, rub off the loose dye with a coarse cloth; beat up the white of an egg, and with a sponge, rub it over the leather. The dye will stain the hands, but wetting them with vinegar before they are washed will take it off.

223. TO BLEACH STRAW HATS, &c.

Straw hats and bonnets are bleached by putting them, previously washed in pure water, in a box with burning sulphur; the fumes which arise unite with the water on the bonnets, and the sulphurous acid, thus formed, bleaches them.

224. TO DYE SILKS BLACK

To 8 gallons of water add 4 ozs. of copperas; immerse for 1 hour and take out and rinse; boil 2 lbs. logwood chips, or 1/2 lb. of extract; 1/2 lb. of fustic; and for white silks, 1/2 lb. of nicwood; dissolve 2 lbs. of good bar-soap in a gallon of water; mix all the liquids together, and then add the soap, having just enough to cover the silk; stir briskly until a good lather is formed, then immerse the silk and handle it lively. The dye should be as warm as the hand will bear; dry quickly and without rinsing. The above is enough for 10 yards or one dress.

225. TO COLOUR YELLOW ON COTTON

Wet 6 lbs. of goods thoroughly; and to the same quantity of water add 9 oz. of sugar of lead; and to the same quantity of water in another vessel, add 6 oz. of bichromate of potash; dip the goods first into the solution of sugar of lead, and next into that of the potash, and then again into the first; wring out, dry, and afterwards rinse in cold water.

226. FOR STAINING GLASS--No. 1 FLUX

Minimum, or red lead, 3 parts; white sand, washed, 1 part. This mixture is melted, by which it is converted into a greenish-yellow glass.

227. No. 2 FLUX

Of No. 1, 8 parts; fused borax, in powder, 1 part. This mixture is melted.

228. No. 3 FLUX

Fused borax, 5 parts; calcined flint, 3 parts; pure minium, 1 part. This mixture is also melted. The above fluxes are used in procuring the different colours for staining glass.

229. INDIGO BLUE

Oxide of cobalt, 1 part; flux No. 3, 2 parts.

230. TURQUOISE BLUE

Oxide of cobalt, 1 part; oxide of zinc, 3 or 4 parts; flux No. 3, 6 parts; melt and pour out. If it is not sufficiently green, increase the zinc and flux.

231. AZURE BLUE

Oxide of cobalt, 1 part; oxide of zinc, 2 parts; flux No. 2, 8 parts; melt them together.

232. DEEP AZURE BLUE

Oxide of cobalt, 1 part; oxide of zinc, 2 parts; flux No. 2, 5 parts. The beauty of this colour depends on the proportion of flux. As little as possible is to be used; it must, however, be brilliant. Sometimes less is used than the proportion indicated.

233. SKY BLUE

Oxide of cobalt, 1 part; oxide of zinc, 2 parts; flux No. 2, 12 parts; pound up, melt, and pour out.

234. EMERALD GREEN

Oxide of copper, 1 part; antimonic acid, 10 parts; flux No. 1, 30 parts; pulverize together, and melt.

235. BLUEISH GREEN

Green oxide of chromium, 1 part; oxide of cobalt, 2 parts; triturate, and melt at a high heat. The product is a button slightly melted, from which is removed the portion in contact with the crucible. This button is pounded up, and three parts of flux No. 3, for one of the button, are added to it.

236. GRASS GREEN

Green oxide of chromium 1 part, flux No. 3, 3 parts, triturate and melt.

237. DEEP YELLOW

Antimonic acid 2 parts, subsulphate of iron 1 part, flux No. 1, 10 parts; melt and pour out. The subsulphate of iron may be increased a little, the proportions of flux vary.

238. JONQUILLE YELLOW FOR FLOWERS

Litharge 18 parts, sand 6 parts. The product of the calcination of equal parts of lead and tin 2 parts, carbonate of soda 1 part, antimonic acid 1 part, rub together, or triturate, and melt.

239. WAX YELLOW

Litharge 18 parts, sand 4 parts, oxide of antimony 2 parts, sienna earth 2 parts; melt. If it is too deep the proportion of sienna earth may be decreased.

240. ORANGE YELLOW

Chromate of lead 1 part, minium 3 parts.

241. BRICK RED

Yellow No. 240, 12 parts; red oxide of iron, 1 part.

242. DEEP BLOOD RED

Subsulphate of iron, calcined in a muffle until it becomes a beautiful capucine red, 1 part; flux No. 2, 3 parts; mix without melting.

243. BROWN YELLOW OCHRE

Yellow ochre No. 244, 10 parts; sienna earth, 1 part; triturate without melting.

244. DEEP YELLOW OCHRE--CALLED YELLOW BROWN

Subsulphate of iron, 1 part; oxide of zinc, 1 part; flux No. 2, 5 parts; triturate without melting.

245. PURE PURPLE

The purple powder of Cassius mixed while moist with flux No. 3, and sometimes a little chloride of silver previously melted with flux No. 3. If the purple, when prepared, does not melt sufficiently easy, some flux may be added when it is dry.

246. DEEP VIOLET

The purple of Cassius, in place of flux No. 3, flux No. 1 is mixed with it. Sometimes a little of blue No. 233 is added.

247. FLESH RED

The sulphate of iron, put in a small crucible, and lightly calcined, produces a suitable red oxide. Those which have the desired tone are selected. All the flesh reds are made in this way, and vary only in the degree of heat which they receive.

248. HAIR BROWN

Yellow ochre, No. 244, 15 parts; oxide of cobalt, 1 part; well triturated and calcined, in order to give the tone to it.

249. LIVER BROWN

Oxide of iron made of a red brown, and mixed with three times its weight of flux No. 2. A tenth of sienna earth is added to it if it is not sufficiently deep.

250. WHITE

The white enamel of commerce in cakes.

251. YELLOWISH GREY

Yellow No. 252, 1 part; blue No. 233, 1 part; oxide of zinc, 2 or 3 parts; flux No. 2, 5 parts; sometimes a little black is added, according to the tone which the mixture produces. The proportions of the blue and yellow vary.

252. YELLOW FOR BROWNS & GREENS

Antimonic acid, 2 parts; sulphate of iron 1 part; flux No. 1, 9 parts. This colour is melted and sometimes a little Naples Yellow is added if it is too soft, i.e., melts too easily.

253. BLUEISH GREY FOR MIXTURES

Blue previously made by melting together three parts of flux No. 1, and one part of the mixture of oxide of cobalt, 8 parts; oxide of zinc, 1 part; sulphate of iron calcined at a forge heat, 1 part; flux No. 2, 3 parts; triturate and add a little manganese in order to render it more grey.

254. GRAYISH BLACK FOR MIXTURES

Yellow ochre, No. 244, 15 parts; oxide of cobalt, 1 part; triturate and calcine in a crucible until it has the desired tone. A little oxide of manganese is added in order to make it blacker; sometimes a little more of oxide of cobalt.

255. DEEP BLACK

Oxide of cobalt, 2 parts; oxide of copper, 2 parts; oxide of manganese, 1 part; flux No. 1, 6 parts; fused borax, 1/2 part; melt and add oxide of manganese, 1 part; oxide of copper, 2 parts; triturate without melting.

256. GENERAL DIRECTIONS

The colours thus prepared after having been rubbed up on a plate of ground glass with the spirits of turpentine or lavender, thickened in the air are applied with a hair pencil. Before using them, however, it is necessary to try them on small pieces of glass, and expose them to the fire, to ascertain if the desired tone of colour is produced. The artist must be guided by these proof pieces in using his colours. The proper glass for receiving these colours should be uniform, colourless, and difficult of fusion. For this reason crown glass made with a little alkali or kelp is preferred. A design must be drawn upon paper and placed beneath the plate of glass. The upper side of the glass being sponged over with gum-water affords, when dry, a surface proper for receiving the colours, without the risk of their running irregularly, as they would be apt to do on the slippery glass. The artist draws on the plate, with a fine pencil all the traces which mark the great outlines and shades of the figures. This is usually done in black, and afterwards, when it is dry, the vitrifying colours are laid on by means of larger hair pencils. The yellow formed with chloride of silver is generally laid on the back of the glass, for it is apt to run with the other colours while heating.

The pigments used in painting on glass are principally matallic oxides and chlorides, and as, in most of these, the colour is not brought out until after the painting is submitted to heat, it is necessary to ascertain beforehand if the colours are properly mixed by painting on slips of glass, and exposing them to heat in a muffle. The painter is guided by these trial pieces in laying on his colours. To fire the paintings a furnace with a muffle is used. The muffles are made of refractory clay.

257. WHITE COATING FOR GOLD VARNISHES

A quart of strong parchment size and half a pint of water are to be made quite hot, and to these are to be added, (in small portions from time to time,) two good handsful of common whiting, passed through a fine sieve; this mixture is to be left to infuse for half an hour, when it is to be stirred carefully so that the amalgamation may be perfect. This coating is preferable to any glue or cement for coating picture frames, &c., on which is to be laid the tin or silver leaf, to be varnished with gold varnishes or lackers.

258. LEAD COLOURING PAINT

Whiting, 112 lbs...................... $1.12
Blue-black, 5 lbs..................... 0.25
White lead ground in oil, 28 lbs...... 2.24
Road-dirt, 56 lbs..................... 0.10
Lime-water, 5 galls................... 0.05
Residue of the oil, 2-1/4 galls....... 1.25
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Weights, 256 lbs....... $5.01

To the above add two galls. of the incorporated oil, and 2 galls. of the linseed oil to thin it for use, and it will not exceed two cents and a quarter. The lime-water, whiting, road-dirt, and blue-black, must be first mixed together, then add the ground lead, first blending it with 2-1/2 galls. of the prepared fish oil; after which, thin the whole with 2 galls. of linseed oil and 2 galls. of incorporated oil, and it will be fit for use. For garden doors, and other work liable to be in constant use, a little spirits of turpentine may be added to the paint whilst laying on, which will have the desired effect.

259. BRIGHT GREEN PAINT

112 lbs. yellow ochre in powder at 5 cts. per lb.... $5.50
168 lbs. road-dust.................................. 0.25
112 lbs. wet blue, at 20 cts. per lb................ 22.40
10 lbs. blue-black, at 5 cts. per lb............... 0.50
6 galls. of lime-water............................ 0.06
4 galls. fish oil, prepared....................... 2.40
7-1/2 galls. incorporated oil..................... 4.28
7-1/2 galls. linseed oil, at 90 cts. per gal...... 6.75
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Weights, 592 lbs.............. $42.24

It will be seen that the bright green paint costs but about 7 cts. per lb., ready to lay on; and the inventor challenges any colour-man or painter to produce a green equal to it for five times the price. After painting, the colour left in the pot may be covered with water to prevent it from sinking, and the brushes, as usual, should be cleaned with the painting-knife, and kept under water. A brighter green may be formed by omitting the blue-black. A lighter green may be had by the addition of 10 lbs. of ground white lead. Observe that the wet blue must be ground with the incorporated oil, preparatory to its being mixed with the mass.

260. STONE-COLOURED PAINT

Lime-water, 4 galls................. $0.04
Whiting, 112 lbs.................... 1.12
White lead, ground, 28 lbs.......... 2.24
Road-dust, 56 lbs................... 0.10
Prepared fish oil, 2 galls.......... 1.20
Incorporated oil, 3-1/2 galls....... 2.00
Linseed oil, 3-1/2 galls............ 3.15
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Weights, 293 lbs....... $9.85

The above stone-colour fit for use, is not three and a half cents per pound.

261. BROWN-RED COLOURED PAINT

Lime-water, 8 galls................. $0.08
Spanish brown, 112 lbs.............. 3.36
Road-dust, 224 lbs.................. 0.40
4 galls. of fish oil................ 2.40
4 galls. incorporated oil........... 2.28
4 galls. linseed oil................ 3.60
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Weights, 501 lbs....... $12.12

This paint is scarcely two and a half cents per pound. The Spanish brown must be in powder.

262. A GOOD CHOCOLATE COLOURED PAINT

This is made by the addition of blue black in powder, or lamp-black to receipt No. 261, till the colour is to the painter's mind; and a lighter brown may be formed by adding ground white lead. By ground lead is meant white lead ground in oil.

263. YELLOW PAINT

This is prepared with yellow ochre in powder, to receipt No. 261, in the same proportion as Spanish brown.

264. BLACK PAINT

This is also prepared in the same proportion, as in receipt No. 261, using lamp-black or blue-black, instead of Spanish brown.

265. WHITE PAINT

Slack a peck of nice, clean, fresh lime in a covered vessel, with water which is boiling hot; when well slacked, strain it well, then add to it 1-1/2 lbs. of finely ground rice; let the rice be boiled to a thin paste, and stirred in while very hot; 1/2 peck of common salt, well dissolved in warm water; 1/2 lb. of clean glue, dissolved in water; and 1/4 lb. of whiting; when well mixed, add 5 gallons of very hot water, then stir well, and let stand a few days well covered. Pit it on hot, and it will stand the weather as well as a good deal of white lead. You may colour this paint to suit your taste, using and stirring in well Spanish brown for a red pink colour. Take common clay finely powdered, and mixed well with Spanish brown for a reddish stone-colour. For yellow colour use yellow ochre if you please, but chrome yellow makes a richer colour and less does. You may make the colours dark or light according to the quantity of colouring matter used.

266. COMPOUND COLOURED PAINTS

The various colours that may be obtained by the mixture of other colours, are innumerable. I only propose here to give the best and simplest modes of preparing those which are required for use. Compound colours, formed by the union of only two colours, are called by painters virgin tints. The smaller the number of colours of which any compound colour is composed, the purer and the richer it will be. They are prepared as follows:

267. LIGHT GREY

This is made by mixing white lead with lamp-black, using more or less of each material, as you wish to obtain a darker or lighter colour.

268. BUFF COLOUR

This is made from yellow ochre and white lead.

269. SILVER OR PEARL GREY

Mix white lead, indigo, and a very light portion of black, regulating the quantities by the shade you wish to obtain.

270. FLAXEN GREY

This is obtained by a mixture of white lead and Prussian blue, with a small quantity of lake.

271. BRICK COLOUR

This is prepared by mixing yellow ochre, and red lead, with a little white lead.

272. OAK WOOD COLOUR

Mix together three-fourths white lead, and one-fourth part umber and yellow ochre; the proportions of the last two ingredients being determined by the required tints.

273. WALNUT TREE COLOUR

Two-thirds white lead, and one-third red ochre, yellow ochre, and umber, mixed according to the shade sought. If veining is required, use different shades of the same mixture, and for the deepest places, black.

274. JONQUIL

Mix together yellow, pink, and white lead. This colour is only proper for distemper.

275. LEMON YELLOW

Mix together realgar and orpiment; some object to this mixture on account of the poisonous nature of the ingredients. The same colour can be obtained by mixing yellow-pink with Naples yellow; but it is then only fit for distemper.

276. ORANGE COLOUR

For this colour mix red lead and yellow ochre.

277. VIOLET COLOUR

Make, by mixing vermillion, or red lead, with black or blue, and a small portion of white: vermillion is far preferable to red lead, in mixing this colour.

278. PURPLE

Made by mixing dark-red with violet-colour.

279. CARNATION

Mix together lake colour and white.

280. GOLD COLOUR

This is procured by mixing massicot, or Naples yellow, with a small quantity of realgar, and a very little Spanish white.

281. OLIVE COLOUR

This may be obtained by various mixtures: black and a little blue, mixed with yellow; yellow-pink, with a little verdigris and lamp-black; or ochre and a small quantity of white, will also produce a kind of olive colour. For distemper, indigo and yellow-pink, mixed with white lead or Spanish white, must be used. If veined, it should be done with umber.

282. LEAD COLOUR

Mix together indigo and white lead or whiting.

283. CHESTNUT COLOUR

Mix red-ochre and black, for a dark-chestnut. To make it lighter, employ a mixture of yellow-ochre.

284. LIGHT TIMBER COLOUR

For this colour mix together spruce-ochre, white and a little umber.

285. FLESH COLOUR

Mix lake, white-lead, and a little vermilion.

286. LIGHT WILLOW GREEN

This is made by mixing white with verdigris.

287. STONE COLOUR

Mix white with a little spruce-ochre.

288. DARK LEAD COLOUR

Mix black and white with a little indigo.

289. FAWN COLOUR

Mix white lead, stone-ochre, and a little vermilion.

290. CHOCOLATE COLOUR

Mix lamp-black and Spanish brown. On account of the fatness of the lamp-black, mix some litharge and red lead.

291. PORTLAND STONE COLOUR

Mix umber, yellow ochre, and white lead. The variety of shades of brown that may be obtained, are nearly as numerous as those of green.

292. TO IMITATE MAHOGANY

Let the first coat of painting be white lead, the second orange, and the last burned umber or sienna; imitating the veins according to your taste and practice.

293. TO IMITATE WAINSCOAT

Let the first coat be white, the second half white and half yellow-ochre, and the third yellow-ochre only. Shadow with umber or sienna.

294. TO IMITATE SATIN WOOD

Take white for your first coating, light blue for the second, and dark blue or dark green for the third.

295. TURNER'S PATENT YELLOW PAINT

When sea-salt is made into a paste with litharge, it is decomposed, its acid unites with the litharge, and the soda is set free. Hence Turner's patent process for decomposing sea-salt, which consists in mixing two parts of the former with one of the latter, moistening and leaving them together for about twenty-four hours. The product is then washed, filtered, and evaporated, by which soda is obtained. A white substance is now left undissolved; it is a compound of muriatic acid and lead, which, when heated, changes its colour, and forms Turner's yellow; a very beautiful colour, much in use among coach-painters.

296. TO PAINT IN IMITATION OF BLACK WALNUT

Wash the surface of the wood with weak alum-water, after being well sand-papered; then go over it with linseed oil, coloured with murat amber and red lead. It is better to have this colour rather light, and renew the application; when this has sufficiently dried, go over the surface with a strong sizing of transparent glue, and then use two castors of copal varnish. Any good grained pine will bear a very close resemblance to walnut, and the surface will be nearly as hard.

NOTE

For mixing the foregoing paints it is impossible to lay down any particular rule as to quantity, as each person mixes them of a shade to suit his own taste. They are mixed with oil and a little turpentine, and sometimes a little japan is added to assist in drying. When they are not mixed in this way the particular mode is mentioned.

297. RULES FOR MAKING PICKLES

Select the best vinegar, for on this will depend the quality of your pickles; use glass bottles or stone jars for your pickles, never use earthenware glazed; use wooden knives and forks in making; leave the jars three-fourths full of the articles to be pickled; then fill the jar or bottle with vinegar. If you add alum at all let it be very little; look your pickles over occasionally and remove any that may not be doing well. Small cucumbers, beans, green plums, tomatoes, onions, and radish pods, may be used for assorted pickles; one red pepper for forty or fifty cucumbers is sufficient; if the vinegar on pickles becomes white or weak, take it out and scald and skim it, then return it to the pickles.

298. ASPARAGUS PICKLED

Cut and wash the heads of the largest asparagus; place them in cold water for two hours; scald carefully in salt and water, then lay on a cloth until cool; make a pickle of salt and vinegar and boil it; to one gallon of pickles put a quarter of an ounce of mace, two nutmegs, a quarter of an ounce of whole pepper, and pour your pickle hot over them, cover tight with a cloth, and let stand a week, then boil the pickle, and let stand a week again, and boil again, when cold, cover closely.

299. BEANS AND FRENCH BEANS PICKLED

Lay them in salt and water for nine days; then add a little vinegar and boil them in the liquor; when they become green strain them, wipe them dry, and put the beans into the jar; boil some vinegar, ginger, mace, pepper, cloves, and mustard seed, all bruised, and while hot pour it on the beans; cover them close when cold.

300. TO PICKLE RED CABBAGE

Take the quarter of a purple head of cabbage, cut out the stalk, then slice it down endways, put them on a drying sieve, sprinkle each layer of cabbage with salt, which let lay and drain for two or three days, then put into a jar, boil some vinegar with spice tied up in a muslin bag, cut a beet root of good colour into slices; the branches of cauliflower cut off after it has lain in salt will look and be of a beautiful red; put it into a stone jar and pour boiling vinegar over it.

301. TO PICKLE CUCUMBERS

Lay them upon dishes, sprinkle salt over them, let them lie a week, drain then off, and put them into stone jars, pour boiling vinegar over them, place them near fire, cover them well with vine leaves, and if not a good green pour off the vinegar and boil it again; cover them with fresh vine leaves and continue doing so until they are a good colour; as, to make a better green, you must use a mettle stew pan or brass kettles, which are very poisonous; use wooden spoons with holes to dish all pickles, keeping them always well covered and free from air.

302. TO PICKLE ONIONS

Peel the onions till they look white, boil some strong salt and water and pour it over them; let them stand in this twenty-four hours; keep the vessel closely covered to retain the steam; after this wipe the onions quite dry, and when they are cold pour boiling vinegar, with ginger and white pepper over them; the vinegar must cover the onions.

303. TO PICKLE MUSHROOMS

These are pickled in salt water and brandy, but they are of little advantage.

304. RAILROAD SYSTEM OF HORSE TRAINING

This excellent and very simple method of horse training is nearly all accomplished by what is called the persuader or bit; which is made as follows: take a piece of strong rope eight or ten feet long and a quarter of an inch thick, then part the horse's mane in the centre, turning one half towards the ears, and the other towards the back of the horse; next tie the rope by one end in a hard knot that will not slip--not too tightly--round the horse's neck in the place at which the mane is divided, having the knot on the right side of the neck; then pass the loose end of the rope forwards, along the right side of the neck, into the horse's mouth and back along the left side of the neck to that part of the rope which surrounds the horse's neck, and underneath which it is passed; than take the loose end of the rope in your hand, and you have the persuader or bit completed. By pulling on the end which you now hold, you draw his mouth up towards his throat, and can thereby inflict the most excruciating torture that is possible for a horse to undergo, and the beauty of it is, without the least injury to the animal. One pull on this persuader is more dreaded by the horse than a whole day's flogging with raw-hide. In fact he cannot stand it; no matter how ugly his tricks may be, such as kicking, balking or anything else, if you use the persuader on him at the time, you can conquer him at once; make him as meek as a lamb, and glad to do anything to escape the torture inflicted by the persuader. A few times is all you will have to use it, even on the most sulky animal, until you will see no more of his tricks, and he is completely conquered.

305. TO HALTER WILD COLTS

How to approach and halter the wildest colt of any age without danger, and lead him quietly, is as follows: choose a large floor, that of a wagonhouse answers well, strew it over with straw two or three inches deep, turn your colt into it, follow him in with a good whip, shut the door, and he will clear to the furthest corner, follow him, and whip him well on the hips, he will clear to another corner, follow him, treat him in the same manner, and he will soon begin to turn his head towards you, then stop and bid him come to you, if he does not come, lay on the whip again, being always careful not to touch him about the head or shoulders, but always about the hips, in a short time he will come to you when you bid him, then rub his ears, nose, neck, chest, &c., and pet him all you can; halter and lead him about the floor; it at any time he clears from you, pay the whip well on his hips until he comes to you again; after a little use him the same way in a small yard, and after this you can do as you like with him in any place.

306. HORSES WITH TENDER EARS

How to make a horse, that is afraid of his head or ears, easy to bridle or halter, is as follows: if your horse is very fractious and wild, you will need to treat him according to receipt No. 305, first: at all events you will want the floor well covered with straw, then raise the left fore leg and strap it so that your horse will stand on three legs, then tie a strap just above his right fore foot, and standing on the left side of the horse, holding the strap in your hand, chirp to him, and the moment he attempts to move forwards, he is on his knees; you may then fasten the strap to that on the left leg, or hold it in your hand, as you please; then after the horse gets done struggling and working, rub his nose and ears gently, and put the halter on and take it off repeatedly, to show him that it may be done without hurting him, and in a short time he will not mind the halter or bridle.

307. HOW TO CONTROL A VICIOUS HORSE

How to acquire the most perfect control over the most vicious and wildest horse, in a short time, without the use of drugs or charms, is by going according to receipts No. 305 and No. 306, and sometimes you may have to use the persuader.

308. TO BREAK A WILD COLT

How to break the wildest colt in a short time, so that a boy of 14 years old can ride or handle him in perfect safety. This is done by means of the persuader receipts No. 305 and No. 306, and if the boy is to ride him, after the horse is on his knees, as directed in receipt No. 306, and the horse is tired out by struggling, then let somebody get on his back, sit there for a while, then move on to his shoulders, and back unto his hips, and so work round the horse until he does not mind it, and has no fear from it. When he has a few lessons like this, any lad may ride him in safety.

309. TO MAKE A STALLION LIE DOWN

How to make the worst stallion lie down and allow you to perform any surgical operation on him that you wish, without the assistance of any one. If the horse is very ugly, you may need to follow, first, receipt No. 305, and perhaps, use the persuader, but it is principally done by receipt No. 306, with this addition: when you have the horse on his knees, you standing on his left side, and holding the strap which is attached to his right fore foot in your hand, as taught in receipt No. 306, then put a headstall on him, and to its ring on the left side of his mouth, tie firmly a stick about an inch and a half thick, which, let run up on the left side of his neck, to the top of his shoulders, then tie the strap, which is attached to the right foot, to this pole; now pull the horse over on his left side, and you have him powerless, his fore feet are drawn up, and on account of the pole he cannot raise his head, so that you have perfect control over him to do as you please.

310. PULLING AT THE HALTER

To break a horse from pulling at the halter. This is done by means of the persuader; if he pulls once on this, he will never try it again.

311. WILD STALLIONS

How to break the wildest stallion in a short time, so that a boy can lead him in perfect safety. This is done by putting the horse through a regular course of training, according to receipts No. 305 and No. 306, and the use of the persuader.

312. BALKY HORSES

How to make the worst of balky horses pull true. Whenever your horse balks, if you there and then, openly and publicly make use of the persuader, and jerk him well with it, he will be glad to go, and in a short time you will have to use it no more; but as long as this system is kept secret, and when a horse balks, you do not then use the persuader, you will never break the horse from balking.

313. SHOEING HORSES

How to make a horse stand to be shod. This is accomplished by having the persuader fitted on, and whenever the horse makes an attempt to be ugly, pull on the persuader, and he will very soon be glad to stand as quiet as a lamb.

314. "WHOA"

How to make a horse understand the word "whoa" so perfectly, that he will always stop when spoken to, no matter what may occur to frighten him. This is done by having the persuader fitted on, and whenever you sat "whoa", in a loud and stern tone of voice, pull on the persuader, and it is impossible for a horse to fear or dread anything else as much as this, he will stop instantly, no matter what may occur to frighten him.

315. THROWING

How to break a horse off the habit of throwing his rider. This is accomplished by means of the persuader, and receipt No. 308.

316. SCARING

How to break a horse off scaring at umbrellas or buffalo robes, so that you may toss them at him without disturbing him. To accomplish this you want to get the horse on his knees, according to receipt No. 306; then bring your robes and umbrellas near him, let him smell them, toss them at him, and throw them over his head carefully, and so continue to work, showing him that they do not harm him, until all fear of them is lost.

317. KICKING HORSES

How to break the worst class of kicking horses. To accomplish this, you will want to put the horse through a regular course of training, according to this system, until you have him well conquered; then keep the persuader on, and if he should ever attempt to kick, at that moment jerk well on the persuader, and he will think of everything but kicking; when he attempts it a few times, and you check him in this manner, he will quit it altogether.

318. TO BIT A HORSE

How to bit a horse more perfectly, in ten minutes, at a cost of ten cents, that can be done with any other bit and rig, at a cost of five to ten dollars. This bit is what is called the persuader, and it is the best bit that ever was used for bitting colts. It puts a most beautiful curve in the neck, and leaves the colt at ease while wearing it. When it is used for this purpose, the end that you hold in your hand in other cases, is now to be tied to that part of the persuader which surrounds the neck of the horse or colt.

319. JOCKEY TRICKS--TO PRODUCE FOUNDER

How to make a horse appear as if he was badly foundered in one night's time. Take a fine wire, or any substitute, and fasten it tightly round the castor tit, the back side of the pasture joint at night; smooth the hair down nicely over it, and by morning he will walk as stiff as any foundered horse.

320. FOOD AND STARVATION

How to make a horse stand by his food and starve to death. Grease the front teeth and roof of the mouth with common beef-tallow, and he will not eat until you wash it out; this, in conjunction with the above, will consummate a complete founder.

321. GLANDERS

How to make a horse appear as if he had the glanders, in one night's time. This is done by melting fresh butter and pouring it into his ears, not too hot.

322. BALKING

How to make a true pulling horse balk. Take tincture of cantharides 1 oz., and corrosive sublimate 1 drachm; mix and bathe his shoulders at night.

323. TO COVER UP HEAVES

How to cover up the heaves so effectually, that you may work, ride, or run him, and they cannot be detected. This will last from twelve to twenty-four hours, long enough to trade off. Drench the horse with one-fourth pound of common bird shot, and he will not heave until they pass through him.

324. THE COUNTENANCE

How to put a young countenance on a horse. Make a small incision near the sunk place over the eye, insert the point of a blow-pipe or goose-quill, and blow it up; close the external wound with thread, and it is done.

325. THE CRIB

How to cure a horse of the crib, or sucking wind; saw between the upper front teeth.

326. QUESTIONS

To teach a horse to answer questions. This is done by pricking him with a pin; for instance, you may say to the horse, is your name Tom? and at that moment prick him with a pin so that he will squeal; then ask him is your name Sam? don't prick him and he will not squeal. Then say again is your name Tom, prick him again, and he will squeal; so continue, and after a time he will squeal without being pricked when you ask him the first question, &c.

327. TO NERVE A HORSE

How to nerve a horse that is lame. Make a small incision about half way from the knee to the joint on the outside of the leg, and at the back part of the shin bone; you will find a small white tendon or cord; cut it off and close the external wound with a stick, and he will walk off on the hardest pavement, and not lame a particle.

328. A HORSE'S AGE

The following rules will enable any man to ascertain with tolerable certainty the age of any horse. Every horse has six teeth above and six below; before he arrives at the age of three he sheds his two middle teeth by the young teeth rising and shoving the old ones out of their place. When he arrives at the age of three, he sheds one more on each side of the middle teeth; when four years old he sheds two corner and the last of his fore teeth; between four and five he cuts his under tusks, and when five will cut his upper tusks, and have a mouth full and complete, and the teeth will have hollows of a very dark brown colour. At six years old the grooves and hollows in a horse's mouth will begin to fill up a little and their tusks have their full growth, with their points sharp, and a little concave. At seven years old the grooves and hollows will be pretty well filled below. At eight the whole of the hollows and groves are filled up, and you see the appearance of what is termed smooth below. At nine years old, the point of the tusk is worn off, and the part that was concave begins to fill up and become rounded. Between nine and ten years of age a horse generally looses the marks of the mouth. After nine years old a wrinkle comes on the eyelid at the upper corner of the lower lid, and every year thereafter he has one well defined wrinkle for each year over nine. If, for instance, a horse has three wrinkles, he is twelve; if four, he is thirteen, &c.

329. HEAD, NECK OR LUNGS

How to tell by looking at a horse whether there is anything the matter with his head, neck or lungs. A knowledge of this is as useful as it is simple. If there is nothing the matter with the head, neck or lungs of a horse, the nostrils will have a clean, healthy, and bright appearance, but if there is, they have always a dirty, muddy, or in some way an unhealthy appearance.

330. PROF. MANDIE'S HORSE TAMING

Take finely grated horse caster, or the warty excrescence from the horse's leg, oils of rhodium, and cumin, keep these in separate bottles well corked; put some of the oil of cumin on your hand and approach the horse on the windy side that he may smell it; he will then move towards you, then rub some of the cumin on his nose; give him a little of the castor on sugar, salt, or anything he likes, and get 8 or 10 drops of the oil of rhodium on the point of his tongue; you can then get him to do anything you please. Follow up your advantage by all the kindness and attention possible towards the animal, and your control is certain. This is only fit for nervous horses; but the railroad system is certain. In all kinds of ugly horses it is the best of methods.

331. BOTTS IN HORSES

This may be relied on as a certain and safe remedy for botts in horses. When the horse is attacked, pound some common glass very fine, sift it through a fine piece of muslin, take a tablespoonful, put it inside a ball of dough, (not mixed with the dough,) then put it down the horse's throat, and in from two to five minutes the horse will get up and feel and will be well. The moment the glass touches the botts though they may have eaten their way into the coats of the stomach, so that but a small portion is exposed, they will let go their hold, will pucker up and be driven off by the bowels. This remedy is perfectly safe, and is the only certain cure for botts under the sun. Try it.

332. RING BONE AND SPAVIN

Take of sweet oil, 4 oz.; spirits of turpentine, 2 ozs.; oil if stone, 1/2 oz. Mix and apply three times a day. If the horse is over four years old, or in any case where there is not sufficient, in addition to it, you will fit a bar of lead just above it, wiring the ends together, so it constantly wears upon the enlargement, and the two together, will cure nine cases out of every ten in six weeks.

333. POLL EVIL AND FISTULA

Take 1 lb. common potash dissolved in 1/2 pint of water. Add 1/2 oz. extract of belladona and 1 oz. gum-arabic dissolved in a little water; work all into a paste with wheat flour, and box or bottle up tight. In applying this, the place should be well cleansed with soap-suds, (castile soap is best) then tallow should be applied all around by the paste dissolving and running over it. Now this paste must be pressed to the bottom of all the orifices; if very deep it must be made sufficiently thin to inject by means of a small syringe, and repeated once in two days, until the callous pipes, and hard fibrous base around the poll evil, or fistula, is completely destroyed. Sometimes one application has cured cases of this kind, but it will generally require two or three. If the horse cannot be kept up, you will put a piece of oiled cloth over the place. The advantage of this caustic over all others is that less pain and inflammation is induced. The sores may be cured by the following or Sloan's ointment: ceder oil is to be applied to the tendons, to prevent them stiffening, in pole evil, or other cases.

334. DeGRAY, OR SLOAN'S HORSE OINTMENT

Take of rosin 4 oz., lard 8 oz., honey 2 oz., mix and melt slowly, gently bring it to a boil, and as it begins to boil slowly, add a little less than a pint of spirits of turpentine, stirring all the time it is being added, then remove from the stove, and stir till cool. This is an extraordinary ointment for bruses in flesh or hoof, broken knees, galled backs, bites, cracked heels, &c. or when a horse is gelded, to heal and keep away flies.

335. NERVE AND BONE LINIMENT

Take of beef's gall 1 quart, alcohol 1 pint, volatile liniment 1 lb., spirits of turpentine 1 lb., oil of origanum 4 oz., aqua ammonia 4 oz., tincture of cayenne 1/2 pint, oil of amber 3 oz., tincture of spanish fly 6 oz., mix and shake well. Uses too well known to need description.

336. TO CURE FOUNDERS IN 24 HOURS

Boil or steam oat straw for half an hour, then wrap it round the horses legs while quite hot, cover up with wet woollen rags to keep in the steam: in six hours renew the application. Take 1 gallon of blood from the neck vein, and give a quart of linseed oil. He may be worked next day.

337. TO CURE COLIC IN TEN MINUTES

Bleed freely at the horse's mouth, and take 1 oz. of oil of juniper, 1 oz. of laudanum, and 2 ozs. of sweet spirits of nitre. Mix in a pint of gruel, and drench him with it.

338. GARGLING OIL

Take of tanner's oil 1 quart, oil of vitriol 2 oz., spirits of turpentine 1 oz. Mix all together, leave the bottles open till it stops working, then it is ready for use.

339. MERCHANT'S GARGLING OIL

Take of linseed oil 2-1/2 galls., spirits of turpentine 2-1/2 galls., western petroleum 1 gall., liquor potass 8 oz., sap green 1 oz., mix all together, and it is ready for use.

340. PURGING BALLS

Take of aloes, 3 oz.; anise seed, 3 oz.; pulverise and mix with castile soap. This makes one ball for a horse.

341. URINE BALLS

Take of white resin, 1/2 lb.; castile soap, 1/2 lb.; venice turpentine, 1/2 pint; mix well together; make the balls the size of butternuts. Give the horse three the first day, two the second day, and one the third day.

342. FOR THE HEAVES

Give the horse 1/2 drachm of nitric acid, in a pint of sweet milk. Repeat once in two days, once in three days, and once in four days. This receipt is highly prized, and is good; but the best remedy for heaves is so simple that scarcely any one will try it; it is to take fresh sumack tops, break two or three bunches of them up in the horse's feed, three times a day. This will actually cure the heaves unless, they are very bad.

343. INFLAMMATION OF THE LUNGS

The symptoms of inflammation of the lungs in the horse is as follows: it is usually ushered in by a shivering fit, the horse is cold all over, reaction soon takes place, the body becomes warmer, and the extremities extremely cold. The breathing is quick, he refuses to lie down. If when wearied out, he lies down, it is but for a moment.

Treatment--This may be commenced by a good bleeding, which is to be followed by a drachm of emetic tartar, and three drachms of nitre, every eight hours, rubbing the extremities, and giving bran-mashes; throw warm blankets over the animal, hanging down to the floor, and place vessels of hot water in which put hot stones or bricks, and sweat freely, also, give one scruple of opium, and two of calomel, twice a day. The sides of the chest may be thoroughly blistered. This is the proper treatment.

344. STOMACH AND BOWELS

Inflammation of the stomach and bowels in the horse, resembles colic in its symptoms, except in colic the pains pass off at times, and return again, whereas in inflammation, the pain is constant, and the animal is never easy; after a time the eye acquires a wild haggard, unnatural stare, and the pupil, or dark spot in the eye, dilates.

Treatment--Take away, at once, six or eight quarts of blood, and repeat the bleeding if the pain returns. Follow the bleeding by one scruple of opium, and two of calomel, twice a day; also blister the sides of the chest; give him bran mash and purging balls, (Receipt No. 340).

345. INFLAMMATION OF THE KIDNEYS

The principal symptoms of inflammation of the kidneys in the horse, is, pressure on the loins elicit symptoms of pain, the breathing is hurried, there is a constant desire to void urine, although passed in small quantities, highly coloured, and sometimes tinged with blood.

Treatment--This is blood letting, active purging, mustard poultices as near the kidneys as possible, and the horse warmly clothed, &c., as in other inflammations.

346. CONDITION POWDERS

Take of flax-seed meal 2 lbs., finygreek meal 2 lbs., liver antimony 1/2 lb., and nitre 1/2 lb., mix well; give a tablespoon for three days and omit three days, &c.

347. FOR BONE SPAVIN

Take of cantharides 2 oz., strong mercurial ointment 4 oz., oil of turpentine 4 oz., iodine 3 oz., mix all with a sufficiency of lard to make a thin ointment; apply to the spavin only once a day until it bursts; then oil it with sweet oil until healed. If the bunch is not then removed, apply it again, and again if necessary, which is seldom the case.

348. TO MAKE A HORSE FOLLOW YOU