Transcriber's Comments

This is an adaption of the electronic transcription made by PaulHubbs and Bob Gravonic. Using microfiche of the original (CanadianInstitute for Historical Microreproductions no. 42355) as acopy-text, I've made corrections and added a considerable amountof material. Irregular spellings in the original have been retained. Explanatory remarks regarding numbering are enclosed in square brackets. 

Young's Demonstrative Translation of Scientific Secrets;

or

A Collection of Above 500 Useful Receiptson a Variety of Subjects. 

Printed by Rowsell & Ellis, Toronto, 1861. 

INTRODUCTION

The object of the present work is clearly announced in its title. It is to collect within a small compass the instructions ofexperimental knowledge upon a great variety of subjects which relateto the present interests of man. It contains above five hundredgenuine and practical receipts, which have been compiled by thepublisher with extreme difficulty and expense. A reference tothe list of subjects which the work contains, will show that thepublisher's researches have been extensive, while a comparison ofthe work with others of the same general character evinces patientlabour, and cannot fail to give it pre-eminence. While the trackpursued is not new, it is more thorough, and more easily followedthan that marked out by any previous compiler known to myself. Thework contains not merely the outlines on the subjects to which itrefers, but, what appears to my own mind one of its excellences, thefull and clear explanations of these subjects. To all classes ofpeople, without exception, the work is of great value. It is fit, on every account, that the publisher should be encouraged in thisproduction. The work is worthy the acceptance of all, and one whichevery man may prize. 

1. ORIENTAL PAINTING

Any bunch of roses or flowers, or anything of the kind that youadmire, take the pattern of by placing them against a light ofwindow glass, then lay a piece of white paper over them, and throughthe latter you will see the roses, &c. Now with a lead pencil takethe pattern of the roses, &c. , on the paper; when you have them allmarked, cut then out with a scissors, so that you have a completepattern of them. Now take a piece of glass, whatever size yourpattern requires, stick the pattern on it with wafers, then paintthe glass all over, except where the pattern covers, with blackpaint, composed of refined lampblack, black enamel, copel varnishand turpentine, mixed. Now let this dry, then take off your patternsand paint your roses, flowers, &c. , with tube paints, mixed withdemar varnish, so that your roses, &c. , may be, in a manner, transparent. Paint your large roses red, some of the smaller onesyellow, or any colour to suit your taste. Paint one side of theleaves a darker shade of green than the other, which will makethe picture appear as though the sun was shining on it. When thispainting is dry, take silver or gold foil, (gold is best, ) wrinkleit up in your hand then nearly straighten it, and cover the back ofthe glass all over with it; over the large roses let the wrinkles belarger, over the small ones smaller, &c. ; then lay a piece of stiffpaper, the size of the glass, over the foil, and a piece of verythin board again over this; have it framed in this manner and it iscompleted. You now have one of the richest of paintings, which iscommonly taught at a cost of $5. You may buy all you require forthis painting at the druggist's. 

2. TRANSFER PAINTING ON GLASS

This is for transferring any picture plate you please to glass, tobe framed. First give the glass a coat of demar varnish; let itremain for eight hours, or until dry; at this time have your picturethoroughly soaked in warm water; then give the glass another coat ofdemar varnish, and take the picture out of the water; then let itand the glass remain for twenty minutes, by which time the waterwill be struck in from the face of the picture, after which you willplace the front of the picture on the varnished glass, (avoidingwrinkles and spots of water, ) press it well on until every part isstuck fast, then carefully rub the paper all away to a mere film;give the glass then, over this film, another coat of demar varnish, which will make the film transparent; let it dry; then place theglass, with the varnished side towards you, between you andthe light, and you will see the outlines of the picture quitedistinctly; you may then paint on the back with tube paints, mixedwith a little demar varnish to assist in drying, to suit your taste. For instance, if the picture is that of a lady, you may paint thedress red, the shawl or cape, as it may be, blue, the face fleshcolour, (which colour may be made by mixing a little red withwhite, ) the bonnet scarlet, the shoes black; if trees, have themgreen, &c. All you want for this painting you may also buy at thedruggist's. This painting is very simple and elegant, it is commonlytaught at a cost of $3. Try it, you cannot fail. 

3. TRANSFER VARNISH

Take of Canada balsam 3 drachms; gum sandric 3 drachms; spirits ofwine 1/2 pint. Dissolve the balsam and gum in the spirits of wineand it is ready for use. 

4. WHITE SPIRIT VARNISH--THE VERY BEST. 

Take of gum sandrack 4 ounces; mastic 1 ounce; Elmi rosin 1/2 ounce;Venice turpentine 1 ounce; alcohol 15 ounces. Digest in a bottle, frequently shaking, till the gums are dissolved, and it is readyfor use. 

5. TRANSFER PAINTING ON WOOD

By this you may transfer any picture you please from paper to acutter back, or any other substance you please. Give the board threecoats of white spirit varnish, receipt No. 4; damp the back of theprint with strong vinegar; give the front a very heavy coat of thetransfer varnish, receipt No. 3; then press it on the board, avoidingcreases; when perfectly dry and fast, rub the paper away; the printis indelibly fixed; then varnish it over as you would any otherpainting. This receipt has been commonly sold for $5. 

6. ELECTRO GOLD PLATING--NEW METHOD

Take 100 grams of laminated gold, mixed with 20 grams ofhydrochloric acid; 10 grams of nitric acid; the liquid thus composedis placed over a moderate fire, and stirred constantly until thegold passes into the state of chlorine; it is then allowed to cool. A second liquid is formed by dissolving 60 grams of cyanide ofpotassium in 80 grams of distilled waters; the two liquids aremixed together in a decanter and stirred for 20 minutes, and thenfiltered. Finally 100 grams of whiting, dry and sifted, are mixedwith 5 grams of pulverised supertartrate of potass; this newpowder is dissolved in a portion of the above described liquid, in sufficient quantity to form a paste of the proper consistencyto be spread with a pencil on the article or part to be gilded. The superabundant powder is then removed by washing and the articleis beautifully gilded with a heavy or light coat, according to thequantity of paste used. Grams belong to French weights, four gramsare a little more than one drachm. 

7. ELECTRO SILVERING--NEW METHOD

10 grams of nitrate of silver are dissolved in 50 grams of distilledwater; then 25 grams of cyanide of potassium in 50 grams ofdistilled water; the two liquids are mixed in a decanter, andstirred for 10 minutes; it is then filtered. Finally, 100 grams ofsifted whiting are mixed with 10 grams of pulverised supertartrateof potass and one gram of mercury. This powder and dissolving liquidare used in the same manner as in the above method of gold plating. These excellent methods of silvering and gilding were discovered inJune 1860, by the great French chemist Baldooshong of Paris France. It is far superior to any other method ever discovered, and willeventually take the place of all. 

8. ELECTRO GOLD PLATING--USUAL METHOD

Take a $2 50c. Piece of gold, and put it into a mixture of 1 ounceof nitric and 4 ounces of muriatic acids, (glass vessels only are tobe used in this work, ) when it is all cut dissolve 1/2 an ounce ofsulphate of potash in one pint of pure rain water, and mix the goldsolution, stirring well; then let stand and the gold will be throwndown; then pour off the acid fluid, and wash the gold in two orthree waters, or until no acid is tasted by touching the tongue tothe gold. Now dissolve one ounce of cyanuret of potassium in onepint of pure rain water, to which add the gold, and it is ready touse. Clear the article to be plated from all dirt and grease withwhiting and a good brush; if there are cracks it may be necessaryto put the article in a solution of caustic potash. At all eventsevery particle of dirt and grease must be removed; then suspend thearticle in the cyanuret of gold solution, with a small strip of zinccut about the width of a common knitting needle, hooking the topover a stick which will reach across the top of the vessel or bottleholding the solution. If the zinc is too large the deposit will bemade so fast that it will scale off. The slower the plating goes onthe better, and this is arranged by the size if the zinc used. Whennot using the plating fluid keep it well corked and it is alwaysready to use, bearing in mind that it is poison as arsenic, andmust be put high out of the way of children, and labelled poison, although you need have no fear using it; yet accidents might ariseif its nature were not known. 

9. ELECTRO SILVERING--USUAL METHOD

This is done every way the same as gold plating (using coin) exceptthat rock salt is used instead of the cyanuret of potassium tohold the silver in solution for use, and when it is of the properstrength of salt it has a thick curdy appearance, or you can addsalt until the silver will deposit on the article to be plated, which is all that is required. No hesitation need be felt in tryingthese receipts, as they are obtained from a genuine source, and arein every day use. 

10. GOLD PLATING FLUID

Warm six ounces of pure rain water, and dissolve in it 2 ounces ofcyanide of potassium, then add a 1/4 ounce oxide of gold; thesolution will at first be yellowish, but will soon subside to white;then half fill a bottle with whiting, fill it up with this solutionand shake it well; you may now take a piece of old cotton, wet itwith the solution, rub it well over brass, copper, &c. , and it isnicely washed with gold. 

11. SILVER PLATING FLUID

Dissolve one ounce of nitrate of silver, in crystal, in 12 ouncesof soft water; then dissolve in the water two ounces of cyanuret ofpotash; shake the whole together and let it stand until it becomesclear. Have ready some 1/2 ounce vials, and fill them half fullof whiting, then fill up the bottles and it is ready for use. Thewhiting does not increase the coating powder--it only helps toclear the articles and save the silver fluid by half filling thebottles. The above quantity of materials will cost about $1. 62c. , so that the fluid will be about 3 cents a bottle. It is used inthe same way as the gold plating fluid. 

12. QUICKSILVER PLATING FLUID

Take of quicksilver one ounce, one ounce nitric acid, one tencent piece, rain water 1/2 pint to a pint, put the three firstarticles into a tumbler together; let them stand until dissolved, occasionally stirring, then add the water, and it is ready for use. This is used in the same way as the silver and gold plating fluid. 

13. TO GILD STEEL

Pour some of the ethereal solution of gold into a wine-glass, and dip into it the blade of a new penknife, lancet, razor, &c. , withdraw the instrument and allow the ether to evaporate, the bladewill then be found to be covered with a beautiful coat of gold; theblade may be moistened with a clean rag or a small piece of very drysponge dipped into the ether, and the same effect will be produced. 

14. TO GILD COPPER, BRASS, &c. --BY AN AMALGAM

The gilding of these inferior metals and alloys of them is effectedby the assistance of mercury with which the gold is amalgamated. Themercury is evaporated while the gold is fixed by the application ofheat, the whole is then burnished of left mat in the whole or inpart, according as required. 

15. GILDING GLASS AND PORCELAIN

Dissolve in boiling linseed oil an equal weight either of copal oramber, and add as much oil of turpentine as will enable you to applythe compound or size thus formed as thin as possible to the parts ofthe glass intended to be gilt; the glass is to be placed in a stovetill it is so warm as almost to burn the fingers when handled. Atthis temperature the size becomes adhesive, and a piece of leafgold applied in the usual way will immediately stick. Sweep off thesuperfluous portions of the leaf, and when quite cold it may beburnished, taking care to interpose a piece of india paper betweenthe gold and the burnisher. It sometimes happens when the varnish isnot very good that by repeated washing the gold wears off; on thisaccount the practice of burning it in is sometimes had recourse to;for this purpose some gold powder is ground with borax, and in thisstate applied to the clean surface of the glass by a camel hairpencil; when quite dry the glass is put into a stove, heated toabout the temperature of an annealing oven, the gum burns off; andthe borax, by vitrifying, cements the gold with great firmness tothe glass, after which it may be burnished. 

The gilding upon porcelain is in like manner fixed by heat and theuse of borax, and this kind of ware, being neither transparent norliable to soften, and thus to be injured in its form in a low redheat, is free from the risk and injury which the finer and morefusible kinds of glass are apt to sustain from such treatment. Porcelain and other wares may be platinized, silvered, tinned, or bronzed, in a similar manner. 

16. GILDING THE EDGES OF PAPER

The edges of the leaves of books and letter paper are gildedwhilst in a horizontal position in the bookbinder's press or somearrangement of the same nature, by first applying a compositionformed of four parts of Armenian-bole and one of candied sugar, ground together with water to a proper consistence, and laid on bya brush with the white of an egg. This coating, when nearly dry issmoothed by the burnisher, it is then slightly moistened by a spongedipped in clean water and squeezed in the hand; the gold leaf is nowtaken up on a piece of cotton from the leathern cushion and appliedon the moistened surface; when dry it is to be burnished by rubbingthe burnisher over it repeatedly from end to end, taking care notto wound the surface by the point. 

17. PROFESSOR WORTS' AMALGAM FOR SILVERING

This is the only means yet discovered for silvering iron directly, yet it is not so lasting as some of the other processes. Takequicksilver and the metal potassium, equal parts by volume, put themtogether in a tumbler, and if both metals be good there will be abrisk ebullition, which continues until an amalgam of the two isformed, then add as much quicksilver as there is of the amalgam; letit work till thoroughly mixed, and it is ready for use. This amalgamyou may apply with a cloth to any metal, even iron, though it be arusty bar, and you have it neatly silvered over. 

18. FOR COPPERING IRON

This is the latest method, and that now in use. To a solution ofsulphate of copper, add a solution of ferrocyanide of pottasium, solong as a precipitate continues to be formed. This is allowed tosettle, and the clear liquor being decanted the vessel is filledwith water, and when the precipitate settles the liquor is againdecanted, and continue to repeat these washings until the sulphateof potash is washed quite out; this is known by adding a littlechloride of barium to a small quantity of the washings, and whenthere is no white precipitate formed by the test, the precipitate issufficiently washed. A solution of cyanide of potassium is now addedto this precipitate until it is dissolved, during which process thesolution becomes warm by the chemical re-action which takes place. The solution is filtered, and allowed to repose all night. Ifthe solution of cyanide of potassium that is used is strong, thegreater portion of the ferrocyanide of potassium crystalises in thesolution, and may be collected and preserved for use again. If thesolution of cyanide of potassium used to dissolve the precipitate isdilute, it will be necessary to condense the liquor by evaporationto obtain the yellow prussiate in crystals. The remaining solutionis the coppering solution; should it not be convenient to separatethe yellow prussiate by crystallization, the presence of that saltin the solution does not deteriorate it nor interfere with its powerof depositing copper. 

19. PECULIARITIES IN WORKING CYANIDE OF COPPER SOLUTION

The true composition of the salts thus formed by copper and cyanideof potassium has not yet been determined, but their relations tothe battery and electrolyzation are peculiar. The solution mustbe worked at a heat not less than from 150 to 200 degrees Farenheit(that is not quite as hot a boiling water, which is 212 degreesFarenheit. ) All other solutions we have tried follow the laws, thatif the electricity is so strong as to cause gas to be evolved atthe electrode, the metal will be deposited in a sandy or powderedstate, but the solution of cyanide of copper and potassium is anexception to these laws, as there is no reguline deposit obtainedunless gas is freely evolved from the surface of the article uponwhich the deposit is taking place. As this solution is used hot, aconsiderable evaporation takes place, which requires that additionsbe made to the solution from time to time. If water alone be usedfor this purpose it will precipitate a great quantity of thecopper as a white powder, but this is prevented by dissolving alittle cyanide of potassium in the water at the rate of 4 ouncesto the gallon. The vessels used in factories for this solution aregenerally of copper, which are heated over a flue or in a sand-bath, the vessel itself serving as the positive electrode of the battery;but any vessel will suit if a copper electrode is employed when thevessel is not of copper. 

20. PREPARATION OF IRON FOR COATING WITH COPPER

When it is required to cover an iron article with copper, it isfirst steeped in hot caustic potash or soda to remove any grease oroil. Being washed from that it is placed for a short time in dilutedsulphuric acid, consisting of about one part acid to 16 parts ofwater, which removes any oxide that may exist. It is then washed inwater and scoured with sand till the surface is perfectly clean, and finally attached to the battery and immersed in the cyanidesolution. All this must be done with despatch so as to prevent theiron combining with oxygen. An immersion of five minutes duration inthe cyanide solution is sufficient to deposit upon the iron a filmof copper, but it is necessary to the complete protection of theiron that it should have a considerably thick coating, and as thecyanide process is expensive, it is preferable when the iron hasreceived a film of copper by the cyanide solution, to take it out, wash it in water, and attach to it a simple cell or weak battery, and put it into a solution of sulphate of copper. If there is anypart not sufficiently covered with copper by the cyanide solution, the sulphate will make these parts of a dark colour, which a touchof the finger will remove. When such is the case, the article mustbe taken out, scoured, and put again into the cyanide solution tillperfectly covered. A little practice will render this very easy. Thesulphate solution for covering iron should be prepared by addingit by degrees a little caustic potash, so long as the precipitateformed is re-dissolved. This neutralizes a great portion of thesulphuric acid, and thus the iron is not so readily acted upon. When the iron is thus coppered, proceed to silver it in the mannerrecommended for silvering according to receipt No. 9; or if you wantto put a very heavy coating of silver on it, make use of a strongbattery. 

21. SOLDERING FLUID

For mending articles of tin, iron, zinc, copper, and almost allother metals. Take 2 fl. Ounces of muriatic acid, add zinc tillbubbles cease to rise, add 1/2 a teaspoonful of sal-ammoniac and 2ounces of water. Damp the part you wish to solder with this fluid, lay on a small piece of lead, and with a piece of hot iron orsoldering iron solder the part. 

22. SOLDER FOR TIN

Take of pewter 4 parts, tin 1 part, bismuth 1 part; melt themtogether. Resin is used with this solder. 

23. COLD METHOD OF SILVERING IRON WITH SILVER-PLATE

Polish the iron toy wish to silver, then damp it over with solderingfluid (receipt No. 21) When this is done give it a coat of No. 22solder. This is done by laying a piece of cold solder on the iron, and spreading it over with a heated soldering iron, when by thismeans you get the iron nicely plated with solder, then lay onyour silver-plate evenly, and gently rub it over with the heatedsoldering iron, and it will become firmly united with the solder asthe solder is with the iron, so that you have the iron beautifullyplated with silver with very little cost or trouble. 

24. HOT METHOD OF SILVERING IRON WITH SILVER-PLATE

First polish the iron you wish to silver, wet it well overwith No. 21 soldering fluid; then having procured that kind ofsilver-plate which is tin on one side and silver on the other, placeit evenly on, with the tined side next to the iron, then place iton the fire until the silver-plate melts down, then at once take itfrom the fire, and it will be firmly attached to the iron, and willbe excellent plate; yet No. 23, the cold method, is to be preferredin most cases. 

25. SILVERING LOOKING-GLASSES WITH QUICKSILVER

Take a piece of marble or some other substance very smooth, true, and level, lay on this the glass you wish to silver, then make aridge of putty on the marble against the edge of the glass all roundit, so that you can pour quicksilver on the glass until it is allcovered over, and will be prevented from running off by the ridgeof putty; an inch or two, or three outside this ridge make anotherof putty; then cover the quicksilver on the glass all over withtin-foil, and press it firmly but cautiously against the glass untilyou have squeezed out all the quicksilver you can. While you pressthis, you may remove part of the first ridge of putty to give thequicksilver a chance of escape. When it is well pressed againstthe glass there will be an amalgam formed of the tin-foil and thequicksilver that is left, which will firmly adhere to the glass. Bythis means you have a very beautiful and cheap looking-glass; thequicksilver that escapes, being saved by the second ridge of putty, may be used again. 

26. SILVERING LOOKING-GLASSES WITH PURE SILVER

Prepare a mixture of 3 grains of ammonia, 60 grains of nitrate ofsilver, 90 minims of spirits of wine, 90 minims of water; when thenitrate of silver is dissolved, filter the liquid and add a smallquantity of sugar (15 grains) dissolved in 1-1/2 oz. Of water, and 11/2 oz. Of spirits of wine. Put the glass into this mixture, havingone side covered with varnish, gum, or some substance to prevent thesilver being attached to it. Let it remain for a few days and youhave a most elegant looking-glass, yet it is far more costly thanthe quicksilver. 

27. PATENT BURNING FLUID

To 1 gallon of 95 per cent. Alcohol, add 1 quart of camphene oil;mix and shake well, and if transparent it is fit for use, if not, add sufficient alcohol, shaking it well, to bring it to the naturalcolour of the alcohol. It may be coloured to suit the fancy byadding a little tincture of golden seal, or any other colouringdrug. This receipt has been sold for $10. 

28. BURNING FLUID

Take 4 quarts alcohol, and 1 quart spirits of turpentine; mix welltogether, and it is ready for use. 

29. NON-EXPLOSIVE BURNING FLUID

Take 1 gallon 44 proof alcohol, 1 quart camphene, 3 oz. Of alumpulverized, 1/2 oz. Camphor gum, 65 drops cuicuma; mix all togetherand let it stand 12 hours, and it is ready for use. 

30. VINEGAR IN THREE DAYS WITHOUT DRUGS

Take 2 barrels and saw one of them in two in the centre, and putone-half on the top, and the other at the bottom of the wholebarrel, (or you may use three whole barrels if you like. ) The middlebarrel is to be filled with maple, beech, of baswood shavings, whichare to be planed from the edge of boards only two or three feetlong, which allows the shavings to roll, and prevents them frompacking tight, and also allows air to circulate through them, whichis admitted through a number of inch holes, which are to be madenear the bottom of the barrel and just above the faucet, which letsthe vinegar run into the tub below. The top tub has its bottompierced with small bit holes, having several threads of twinehanging in them to conduct the vinegar evenly over the top of theshavings in the middle of the barrel. Air must be permitted to passout between the top tub and barrel, which comes in at the holes inthe bottom. The shavings which fill the barrel must be soaked threeor four days in good vinegar before they are put in. When thusarranged, for every gallon of water use 1/2 lb. Of sugar; (thatyou get from molasses barrels does vary well. ) If you wish to makevinegar from whiskey, put in 4 gallons of water to 1 gallon ofwhiskey; and if from cider, put in one-third water, and fill thetop tub with this fluid, putting 1 pint good yeast to each barrelmaking; and have the holes with threads or twine so arranged thatit will run through every twelve hours; and dip or pump up with awooden pump every night or morning, and three days will make goodsubstantial vinegar, which will keep and also improve by age. Someuse only 1 gallon of whiskey to 7 gallons of water. This accountsfor so much poor vinegar. Make good vinegar, it will pay you. If afew gallons of water is made boiling hot so as to warm the whole ofa gentle warmth, it will make faster than if used cold. This mustbe done in cool weather, and the room also should be kept warm. Forfamilies, small kegs will do, but for manufacturers large casks arebest. Many make vinegar by just putting fluid into the barrels ofshavings, soaked as directed above, and do not let it run through, but let it stand in the shavings till sour; but it does not workfast enough for manufacturers. It will do where only a small amountis needed, keeping the same strength of fluid as for the other plan, which is best. Two or three years ago, this receipt was sold forfrom $50 to $150. If vinegar is made from whiskey, it will havea more beautiful colour if 5 or 6 lbs. Of sugar is put into eachbarrel, of course keeping the same proportions of water as thoughonly one kind was used. The shavings will last the whole season. 

31. CUBA HONEY

Good brown sugar 11 lbs. , water 1 quart, old bee honey in the comb2 lbs. , cream tartar 50 grains, gum arabic 1 oz. , oil of peppermint5 drops, oil of rose 2 drops, mix and boil two or three minutes andremove from the fire, have ready strained one quart of water, inwhich a table-spoonful of pulverized slippery elm bark has stoodsufficiently long to make it ropy and thick life honey, mix thisinto the kettle with egg well beat up, skim well in a few minutes, and when a little cool, add two pounds of nice strained bees' honey, and then strain the whole, and you will have not only an articlewhich looks and tastes like honey, but which possesses all itsmedicinal properties. It has been shipped in large quantities underthe name of Cuba honey. It will keep fresh and nice for any lengthof time if properly covered. 

32. EXCELLENT HONEY

Take 5 lbs. Of good common sugar, two pounds of water, graduallybring to a boil, skimming well, when cool, add 1 lb. Bees' honey, and 4 drops of peppermint. If you desire a better article use whitesugar and 1/2 lb. Less water, and one half pound more honey. 

33. GUNPOWDER

Take pulverized saltpetre, moisten it, and subject it to the actionof a slow fire until completely dried and granulated, of this take75 parts, purified sugar 12 and a-half parts, moisten and grindtogether till completely blended, which will require several hours, pulverize on heaters till dried. 

34. EXCELLENT MATCHES

The ends of the tapers or wood should be very dry, and then dippedin hot melted sulphur and laid aside to dry; then take 4 parts ofglue, dissolve it and while hot add one part of phosphorus, and stirin a few spoonsful of fine whiting to bring to the proper thickness. This preparation should be kept hot by being suspended over a lamp, while dipping the wood or tapers. Colour the mixture by adding alittle vermillion, lamp black or prussian blue; be careful not toignite the compound while dipping. 

35. FIRE AND WATER-PROOF CEMENT

To half a pint of milk add half a pint of vinegar to curdle it; thenseparate the curd from the whey, and mix the whey with 4 or 5 eggs;beating the whole well together; when it is well mixed, add a littlequick-lime through a sieve, until it has acquired the consistence ofa thick paste. This is a prime article for cementing marble, in orout of the weather. It is excellent for broken vessels, &c. 

36. FRENCH CHEMICAL SOAP

Take 5 lbs. Castile soap, cut fine, 1 pint alcohol, 1 pint softwater, 2 ounces aquafortis (if for black cloth 1/2 ounce oflampblack, ) 2 ounces saltpetre, 3 ounces potash, 1 ounce camphor, 4 ounces cinnamon in powder. Fist dissolve the soap, potash, andsaltpetre by boiling, then add all the other articles, and continueto stir until it cools, then pour it into a box, let it stand 24hours, and cut it into cakes. It is used for taking grease, stains, and paints from cloth, wood, &c. This receipt has frequently soldfor $10. 

37. BLACK INK WITHOUT SEDIMENT

This ink is not injured by frost--is a beautiful article, and onlycosts 5 cents. Per gallon, and is sold for from $1 to $3. Take 1 lb. Logwood, 1 gallon soft water, simmer in an iron vessel for one hour, then dissolve in a little hot water 24 grains bychromate of potash, and 12 grains prussiate of potash, and stir into the liquid whileover the fire, then take it off and strain it through fine cloth. This ink is a jet black flows freely from the pen and will stand thetest of oexylic acid. 

38. INDELIBLE INK

1 inch of the stick of the nitrate of silver dissolved in a littlewater, and stirred into each gallon of the above, makes first rateindelible ink for cloth. Judge what indelible ink costs. 

39. INDELIBLE INK

Nitrate of silver 1-1/2 oz. , dissolved in liquor ammonia fortisine5-1/2 oz. , orchil for colouring 3/4 oz. , gum mucilage 12 oz. , mixthe two latter, then mix them with the two former, and it is readyto use. 

40. WRITING FLUID OR BLACK COPYING INK

Take two gallons of rain water and put into it gum arabic 1/4 lb. , brown sugar 1/4 lb. , clean copperas 1/4 lb. , powdered nut galls 3/4lb. , mix and shake occasionally for ten days and strain. If neededsooner, let it stand in an iron kettle until the strength isobtained. This ink can be depended on for deeds or records, whichyou may want someone to read hundreds of years to come. Oexylic acid1/4 oz. , was formerly put in, but as it destroys the steel pens, anddoes just as well without it--it is now never used. 

41. BEST INK POWDER

This is formed of the dry ingredients for ink, powdered and mixed. Take powdered galls one pound, powdered green vitriol half a pound, powdered gum 4 ounces, mix all together, put it up into 2 ouncepackages, each of which will make a pint if ink. 

42. BEST RED INK

Take of best carmine (nakarot) 2 grains, rain water 1/2 ounce, waterof ammonia 20 drops, add a little gum arabic, and it is in a fewminutes ready for use. 

43. YELLOW INK

Dissolve alum in saffron water to whatever shade of yellow youplease. It makes a beautiful ink. 

44. BLUE INK

Take Prussian blue, and oexylic acid, in equal parts, powder finely, and add soft water to bring it to a soft paste, and let it stand fora few days, then add soft water to the desired shade of colour; adda little gum arabic to prevent spreading. 

45. GOLDEN INK

Take some white gum arabic, reduce it to an impalpable powder in abrass mortar, dissolve it in strong brandy, and add a little commonwater to render it more liquid, provide some gold in a shell, whichmust be detached in order to reduce it to a powder, when this isdone moisten it with the gum solution, and stir the whole with asmall hair brush, or your finger, then leave it for a night thatthe gold may be better dissolved. If the composition becomes dryduring the night, dilute it with more gum water in which a littlesaffron has been infused, but take care that the gold solution besufficiently liquid to flow freely in a pen; when the writing isdry polish it with a dry tooth. 

46. WHITE INK FOR WRITING ON BLACK PAPER

Having carefully washed some egg shells remove the internal skin andgrind them on a piece of porphyry, then put the powder in a smallvessel of pure water, and when it has settled at the bottom, drawoff the water and dry the powder in the sun. This powder must bepreserved in a bottle; when you want to use it put a small quantityof gum ammoniac into distilled vinegar, and leave it to dissolveduring the night, next morning the solution will appear exceedinglywhite, and if you then strain it through a piece of linen cloth, andadd to it the powder of egg shells in sufficient quantity, you willobtain a very white ink. 

47. SECRET INK FOR YOUNG LADIES AND GENTS

Take a drachm of clean rain water, put into it, in a clean vial, 10or 12 drops of pure, clean sulphuric acid, and it is ready for use;write with this using a clean quill pen on letter paper, and whendry you can see no mark at all, then hold it to a strong heat andthe writing becomes as black as jet. If you want to write to a younglady or gentleman, as the case may be, and fearing that the lettermight be opened before she or he gets it, write with common blackink something of no importance, then between the lines write whatyou want to say with the secret ink. The person to whom you arewriting must understand the scheme so that she or he may hold itto the heat and thereby make the writing visible. 

48. CIDER WITHOUT APPLES

To each gallon of cold water put 1 lb. Common sugar, 1/2 ounce oftartaric acid, one tablespoonful of yeast, shake well, make in anevening and it will be fit for use next day. I make in a keg a fewgallons at a time, leaving a few quarts to make into next time, notusing yeast again until the keg needs rinsing. If it gets a littlesour, make a little more into it or put as much water with it asthere is cider and put it with the vinegar. If it is desired tobottle this cider by manufacturers of small drinks, you will proceedas follows: put in a barrel 5 gallons of hot water, 30 lbs. Of brownsugar, 3/4 lb. Of tartaric acid, 25 gallons of cold water, 3 pintsof hop or brewer's yeast, work into paste with 3/4 lb. Of flower, and one pint water will be required in making this paste; put alltogether in a barrel which it will fill and let it work 24 hours, the yeast running out at the bung all the time by putting in alittle occasionally to keep it full; then bottle, putting in twoor three broken raisins to each bottle, and it will nearly equalchampagne. 

49. SPRUCE OR AROMATIC BEER

Take 3 gallons of water, 2-1/2 pints molasses, 3 eggs well beaten, 1 gill yeast, put into two quarts of the water boiling hot, put in50 drops of any oil you wish the flavour of, or mix one ounce each, oil sarsafras, spruce, and wintergreen; then use the 50 drops. Forginger flavour take 2 ounces ginger root bruised and a few hops, andboil for 30 minutes in one gallon of the water, strain and mix all;let it stand 2 hours and bottle, using yeast, of course, as before. 

50. LEMON BEER

To make 20 gallons, boil 6 ounces of ginger root bruised, 1/4 lb. Cream-tartar for 20 or 30 minutes in 2 or 3 gallons of water; thiswill be strained into 13 lbs. Of coffer sugar on which you have put1 oz. Oil of lemon and six good lemons all squeezed up together, having warm water enough to make the whole 20 gallons, just so youcan hold your hand in it without burning, or some 70 degrees ofheat; put in 1-1/2 pint hops or brewer's yeast worked into paste asfor cider, with 5 or 6 oz. Of flower; let it work over night, thenstrain and bottle for use. This will keep a number of days. 

51. PHILADELPHIA BEER

Take 30 gallons of water, brown sugar 20 lbs. , ginger root bruised1/4 lb. , cream tartar 1-1/4 lb. , carbonate of soda 3 ounces, oil oflemon 1 teaspoonful, put in a little alcohol, the white of 10 eggswell beaten, hops 2 ounces, yeast one quart. The ginger root andhops should be boiled for 20 or 30 minutes in enough of the water tomake all milk warm; then strain into the rest, and the yeast addedand allowed to work itself clear as the cider and bottled. 

52. SILVER TOP DRINK

Take of water 3 quarts, white sugar 4 lbs. , oil of lemons oneteaspoonful, white of 5 eggs, beaten with one teaspoonful of flour;boil to form syrum, then divide into equal parts, and to one add 3ounces of tartaric acid, and to the other part 4 oz. Of carbonateof soda, then take two thirds of a glass of water, and put in aspoonful of each of the syrups, more or less, according to the sizeof the glass. 

53. DIRECTIONS FOR MAKING SODA DRINKS

In getting up any of the soda drinks which are spoken of hereafterit will be preferable to put about 4 oz. Of carbonate (sometimescalled supercarbonate) of soda into one pint of water, and shakewhen you wish to make a glass of soda, and pour from this into theglass until if foams well instead of using dry soda as directed. 

54. IMPERIAL CREAM NECTAR

Part 1st. --Take 1 gallon water, 6 lbs. Loaf sugar, 6 ounces tartaricacid, gum arabic 1 oz. 

Part 2nd. --Take 4 teaspoonsful of flour, the whites of four eggs beatfinely together, then add 1/2 pint of water. Heat the first part until itis blood warm, then put in the second, boil 3 minutes and it is done. 

Directions. --To 3 tablespoonfuls of the syrup in a glass half or twothirds full of water add one third of a teaspoonful of carbonate of sodamade fine, stir well, and drink at your leisure. 

55. A SUPERIOR GINGER BEER

Take of sugar 10 lbs. , lemon juice 9 oz. , honey 1/2 lb. , bruisedginger root 11 oz. , water 9 galls. , yeast 3 pints, boil the gingerin the water until the strength is all extracted, which you may tellbe tasting the root, then pour it into a tub, throwing the rootsaway, let it stand until nearly luke warm, then put in all the restof the ingredients, stir well until all dissolved, cover it overwith a cloth, and if it be in the evening, let it remain until nextmorning, then strain through cloth, and bottle it, and in a shorttime it will be fit for use. Some use less sugar, and some lesslemon juice, to make it with less expense; but it is not so eleganta drink as this. 

56. GINGER POP No. 1

Take of water 5-1/2 galls. , ginger root bruised 3/4 lb. , tartaricacid 1/2 oz. , white sugar 2-1/4 lbs. , the whites of 3 eggs wellbeat, a small teaspoonful of oil of lemon, yeast 1 gill; boil theroot for 30 minutes in 1 gallon of the water, strain off, and putthe oil in while hot, mix all well, make over night, in the morningskim, and bottle, keeping out sediment. 

57. GINGER POP No. 2

Take best white Jamaica ginger root bruised 2 oz. , water 6 quarts, boil 20 minutes and strain, then add cream tartar 1 oz. , white sugar1 lb. ; put on the fire, then stir until all the sugar is dissolved;then put into an earthen jar, now put in tartaric acid 1/4 oz. , andthe rind of 1 lemon, let it stand until 70 degrees of Fahrenheit, or until you can bear your hand in it with comfort, then add twotablespoonsful of yeast, stir well, bottle for use, and tie thecorks; make a few days before it is wanted for use. 

58. YEAST

Take a good single handful of hops, and boil for 20 minutes in 3pints of water, then strain, and stir in a teacupful of flour, atablespoonful of sugar, and a teaspoonful of salt; when a littlecool put in 1 gill of brewer's yeast, and after four or five hourscover up, and stand in a cool place for use; make again from thisunless you let it get sour. 

59. SODA SYRUPS

Take of loaf or crushed sugar 8 lbs. , pure water 1 gall. , gum arabic1 oz. , mix in a brass or copper kettle, boil until the gum isdissolved, then skim and strain through white flannel, after whichadd tartaric acid 5-1/2 oz. , dissolved in hot water. To flavour useextract of lemon, orange, rose, sarsaparilla, strawberry, &c. , 1/2oz. , or to your taste. If you use the juice of lemon, add 1-1/2lbs. , of sugar to a pint; you do not need any tartaric acid with it;now use 2 or 3 tablespoonsful of syrup to 3/4 of a tumbler of water, and 1/3 teaspoonsful of supercarbonate of soda made fine, stir welland be ready to drink; the gum arabic, however, holds the carbonicacid so it will not fly off so readily as common soda. For sodafountains, 1 oz. , of supercarbonate of soda is used to 1 gallon ofwater. For charged fountains no acids are needed in the syrups. 

60. MINERAL WATER

Epsom salts 1 oz. , cream tartar 1/2 oz. , tartaric acid 1/4 oz. , loafsugar 1 lb. , oil of birch 20 drops; put 1 quart boiling water on allthese articles, and add 3 quarts of cold water to 2 tablespoonsfulof yeast; let it work 2 hours and then bottle. 

61. IMPROVED ENGLISH STRONG BEER

If you have malt use it, if not, take 1 peck of barley, and put itinto a stove oven, and steam the moisture from them, grind coarsely, and pour into them 3-1/2 gallons of water, at 170 or 172 degrees. (If you use malt it does not need quite so much water, as it doesnot absorb so much as the other. The tub should have a false bottomwith many gimblet holes to keep back the grain. ) Stir them well andlet stand 3 hours and draw off, put on 7 gallons more water at 180or 182 degrees, stir well, let stand 2 hours and draw off, then put1 gallon or 2 of cold water, stir well and draw off; you should haveabout 5 or 6 gallons; mix 6 lbs. , coarse brown sugar in equal amountof water, add 4 oz. Of good hops, boil for 1-1/2 hour; you shouldhave from 8 to 10 gallons when boiled; when cooled to 80 degrees, put in a teacupful of good yeast and let it work 18 hours coveredwith a sack. Use sound iron-hooped kegs, or porter bottles, bung orcork tight, and in two weeks it will be good sound beer, nearlyequal in strength to London porter, or good ale, and will keep along time. 

62. SANGAREE

Take wine, ale, or porter, 1/3, and 2/3 water, hot, or cold, according to the season of the year, loaf sugar to the taste withnutmeg. 

63. GINGER WINE

Put 1 oz. Good ginger root bruised in 1 quart of 95 per cent. Alcohol, let it stand 9 days, and strain, add 4 quarts of water, and1 lb. Of white sugar, dissolved in hot water, 1 pint port wine tothis quantity, for what you retail at your own bar makes it farbetter; colour with tincture of saunders to suit; drink freely ofthis hot on going to bed, when you have a bad cold, and in themorning you will bless ginger wine. 

64. HOP BEER

Take of hops 6 oz. , molasses 5 quarts, boil the hops in water tillthe strength is out, strain them into a 30 gallon barrel, add themolasses and a teacupful of yeast, and fill up with water, shake itwell and leave the bung out until fermented, which will be in about24 hours; bung up, and it will be fit for use in about 3 days. Amost excellent summer drink, smaller quantities in proportion. 

65. USQUEBAUGH OR IRISH WHISKEY

Best brandy 1 gallon, stoned raisins 1 lb. , cinnamon, cloves, nutmeg, and cardamom, each 1 oz. , crushed in a mortar, saffron 1/2oz. , or the rind of 1 Seville orange, and a little sugar candy;shake these well, and it is ready for use in 14 days. 

66. ICE CREAM

Add a little rich sweet cream, and 1/2 lb. Of loaf sugar to eachquart of cream or milk; if you cannot get cream the best imitationis to boil a soft custard; 6 eggs to each quart of milk, (eggs wellbeaten); or another way, boil a quart of milk, and stir into it, while boiling, a tablespoonful of arrow-root, wet with cold milk, then cool stir in the yolk of one egg, to give a rich colour; fiveminutes boiling is enough for either plan; put the sugar in afterthey cool, keep the same proportions for any amount desired. Thejuice of strawberries, or raspberries, give a beautiful colour andflavour to ice creams; or about 1/2 oz. Of the essence or extractsto a gallon, or to suit the taste. Have your ice well broken, add1 quart of salt to a bucket of ice, then place in this the vesselcontaining your cream, and about one half hour's constant stirringand occasional scraping down and beating together will freeze it. 

67. CHICAGO ICE CREAM

Irish moss soaked in warm water about an hour, and rinsed well toclear it of a certain foreign taste, then steep it in milk, keepingit just at the point of boiling or simmering for an hour, or until arich yellow colour is given to the milk, without cream or eggs; 1 or1-1/2 oz. Of moss is enough for a gallon of cream, and this will doto steep twice. Sweeten and flavour as other cream. 

68. CREAM SODA

Loaf sugar 10 lb. , water 3 gills, mix, and warm gradually, so asnot to burn, good rich cream 2 quarts, extract vanilla 1-1/2 oz. , extract nutmeg 1/4 oz. , and tartaric acid 4 oz. ; just bring toa boiling heat; for if you cook it any length of time it willcrystallize. Use 4 or 5 spoonsful of this syrup instead of 3, asin other syrups; put 1/3 teaspoonful of soda to a glass, if usedwithout fountain. For charged fountains no acid is used. 

69. LEMON SYRUP

Take of the juice of lemons one pint, white sugar one and a halfpound, and a little of the peel. Mix and boil a few minutes, strain, and when a little cool, bottle, and cork, for use. 

70. ORANGE AND RASPBERRY SYRUPS

Take of the juice of either, as the case may be, one pint; whitesugar one and a half pound. If it be orange a little of the peel;tartaric acid 4 oz. Mix and boil a few minutes; strain, and when alittle cool, bottle and cork for use. When to be drank, mix threeor four tablespoonsful of syrup with three quarters of a glass ofwater, and add a teaspoonful of soda. If water be added to the syrupit will not keep well. 

71. PURE WINE

Take three pounds of nice raisins free of stems, cut each one in twoor three pieces, put them into a stone jug with one gallon pure softwater, let them stand two weeks uncovered, shaking occasionally (putin a warm place in winter, ) strain through three or four thicknessesof woollen, or filter; colour with burned sugar; bottle and cork foruse. For saloon purposes, add one pint of good brandy. The moreraisins the better the wine, not exceeding 5 lbs. 

72. PURE WINE VINEGAR

This is made by putting the same quantity of water on the aboveraisins, after the wine is poured off, as at first for making wine, and standing the same length of time, in the same way. 

73. PORT WINE

Take 42 gallons of worked cider, 12 gallons of good port wine, 3 gallons good brandy, 6 gallons pure spirits. Mix together. Elder-berries and sloes, or fruit of the black hawes, make a finepurple colour for wines. 

74. CHAMPAGNE WINE

Take of good cider (crab-apple cider is best) seven gallons, bestfourth proof brandy one quart, genuine champagne wine five quarts, milk one gill, bitartrate of potash 2 oz. Mix and let it stand ashort time; bottle while fermenting. This makes an excellentimitation of champagne with age. 

75. CURRANT AND OTHER FRUIT WINES

For currant, cherry, raspberry, elderberry, strawberry, whortleberry, and wild grape wines, any one can be used alone, or in combinationof several of the different kinds; to make a variety of flavours, orsuit persons who have some and not the other kinds of fruits, toevery gallon of expressed juice, add 2 galls. Of soft water, put in6 or 8 lbs. Of brown sugar, and 1-1/2 oz. Of cream of tartar, havethem dissolved; put 1 quart of brandy to every 6 galls. Some preferit without brandy. After fermentation, take 4 oz. Isinglass, dissolved in a pint of the wine, put to each barrel, and it willrefine and clear it; then it must be drawn off into clear casks, orbottled, which is far the best. Give these wines age and they aremost delicious. 

76. DINNER WINE OR ENGLISH PATENT WINE

From garden rhubarb, which will not lend to intemperance. Anagreeable and healthy wine is very frequently made from theexpressed juice of the garden rhubarb. To each gallon of juice add1 gallon of soft water, in which 7 lbs. Of brown sugar have beendissolved; fill a keg or barrel with this proportion, leaving thebung out, and keep it filled with sweetened water as it works offuntil clear. Any other vegetable extract may be added, if thisflavour is not liked. Then bung down, or bottle, as you desire. These stalks will furnish about 3/4 their weight in juice; fine andsettle with isinglass, as in the fruit wines. This has been patentedin 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 gallonsof any wine you wish to represent, 1 pint of sweet milk to settleit; 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 flavouris extracted; more or less may be used to suit the tastes ofdifferent persons. In bottling any of those wines 3 or four brokenraisins 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 youwish to imitate, even Otard, 1 quart; loaf sugar 2 oz. , sweetspirits of nitre 1/2 oz. , a few drops of tincture of catechu, or oakbark, 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, orJamaica rum 1 quart, and oil cognac from 30 to 40 drops, put in halfa 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 untilthe strength and flavour is obtained, and draw from it as wanted foruse. 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 6quarts, according to the degree of flavour you wish. Mix and add alittle sugar to overcome the acidity of the berries, according totheir ripeness will the amount vary from one to 4 oz. To eachgallon. 

84. STRAWBERRY BRANDY

This is made as the above, using very nice ripe strawberries, andonly 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 anykind desired, 1 quart, oil of juniper 2 scruples, oil of anise 1/4oz. ; mix all well together. 

89. COLOURING

Take of white sugar 1 lb. , put it into an earthen kettle, moistena little, let boil, and burn red, black and thick, remove from thefire and put in a little hot water to keep it from hardening asit cools. Use this to colour any liquors, needing colour, to yourtaste, 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 ofsaffron; for light amber to deep brown use sugar colouring; forbrandy colour, sugar; for red use beet root or saunders; for portwine 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 ofit, and a piece of woollen cloth at the bottom, then fill with puresand closely packed, then pass your cider through this, and put upin clean barrels that have had a piece of cotton or linen cloth 2 by6 inches, dipped in sulphur, and burned in them, then keep in a coolplace and add 1/2 lb. Of white mustard seed to each barrel. If cideris souring, about 1 quart of hickory ashes, (or a little more ofother hard wood ashes), stirred into each barrel, will sweeten andclarify it, nearly equal to rectifying; but if it is not rectifiedit must be racked off to get clear of pomace, for while this is init, it will remain sour. Oil or whiskey barrels are best to put upcider in, or 1/2 pint of sweet oil, or a gallon of whiskey, or bothmay be added to a barrel with decidedly good effects. Isinglass 4oz. To each barrel helps to clarify and settle cider that is notgoing to be rectified. 

91. SCHRUB

Take of lemon juice 1 pint, white sugar 2 pints, rum 3 pints, water4 pints; mix and colour ready for use. 

92. STOUGHTON BITTERS

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

93. TO IMPROVE THE FLAVOUR OF NEW WHISKEY

Take of whiskey 1 gall. , add tea 4 oz. , allspice 4 oz. , caraway seed4 oz. , cinnamon 2 oz. , shake occasionally for a week and use onepint 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 ofwild black cherries with the stones broken, common almonds shelled1 lb. , white sugar 1-1/2 lb. , cinnamon 1/2 oz. , nutmeg 1/2 oz. , allbruised. Let stand 12 or 13 days and draw off; this, with theaddition 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, andallspice, bruised, of each 1 oz. , loaf sugar 5 lbs. , sweet spiritsof nitre 2 oz. , put all these articles into 4 galls. Of purespirits, and shake every day for a week, then draw off through awoollen 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 ina woollen (pointed) bag, and leach good common whiskey over themtwice, having the barrel up so as to hang the bag under the faucetand draw slowly over them; this is for a barrel. Add 10 or 12 dropsof aqua ammonia to each barrel, after leaching through the peaches;with age this is nearly, if not quite, equal to whiskey made fromrye. 

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 addof gum kino 1 oz. , and put them into 2 quarts of alcohol, and twoquarts of pure spirits or good whiskey; shake occasionally for 10or 12 days, and strain or filter through several thicknesses ofwoollen. 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, orbetter, and more healthy than that for which you will pay threetimes as much; or you may use it the same as stoughton, to whichit is preferred. 

98. PEPPERMINT CORDIAL

Take of good whiskey 10 galls. , water 10 galls. , white sugar 10lbs. , oil of peppermint 1 oz. , flour 1 oz. , burned sugar 1/2 lb. Tocolour, alcohol 1 pint; put the oil of peppermint in the alcohol, then with this work the flour well, add the burned sugar, workagain, and mix all the ingredients together; let them stand a weekand they are ready for use. If you wish a different flavour fromthat of oil of peppermint use any other oil of which you desirethe 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. , whitesugar 4 oz. , boiling water 3 pints; mix all together; let them standtill cool, and then strain off for use; if you wish you can cool atonce with ice. Where this is used as a cooling drink in fevers alittle sweet spirits of nitre may be added. 

101. A BRILLIANT WHITEWASH

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

102. CHANGING VARNISHES

Varnishes of this description are call changing because, whenapplied to metals such as copper, brass, or tin or silver foil, theygive them a more agreeable colour; indeed, the common metals, whencoated with them acquired a lustre approaching to that of theprecious metals, and hence these varnishes are much employed inmanufacturing imitations of gold and silver. Put four ounces of thebest gum gamboge into 32 ozs. Of spirits of turpentine, 4 ozs. Ofdragon's blood into the same quantity of spirits of turpentine asthe gamboge, and 1 oz. Of anatto into 8 ozs. Of the same spirits. The three mixtures being made in different vessels, they should thenbe kept for about a fortnight in a warm place, and as much exposedto the sun a possible; at the end of that time they will be fit foruse; and you can procure any tints you wish by making a compositionfrom them, with such proportions of each liquor as practice and thenature 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 pictureframes for instance, lay them over with tin or silver leaf, by meansof plaster of Paris glue, or cement of some kind, that the foil maybe perfectly adherent to the wood, then apply your varnish; apply asmany coats as may suit your taste, and if it be the gold lacker youuse it has the appearance of being laid with gold leaf, and if thepale brass lacker, of being laid with brass, &c. , and if you usethe changing varnish you may make it just what colour you wish, bymixing the three materials in different proportions. For making goldlacker, put into a clean 4 gallon tin 1 lb. Ground turmeric, 1-1/2oz. Powdered gamboge, 3-1/2 lbs. Powdered gum sandrack, 3/4 lb. Shellac, and 2 galls. Spirits of wine; after being dissolved andstrained add 1 pint of turpentine varnish, receipt No. 112, wellmixed, and it is ready for use. 

104. RED SPIRIT LACKER

Take 2 galls. Spirits of wine, 1 lb. Dragon's blood, 3 lbs. Spanishannatto, 3-1/2 lbs. Gum sandrack, 2 pints turpentine. Made exactlyas 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. Varnishmade exactly as before, but observe, that those who make lackersfrequently want some paler and some darker and sometimes incliningmore to the particular tint of certain of the component ingredients;therefore if a 4 oz. Vial of a strong solution of each ingredient beprepared, a lacker of any tint can be prepared at any time as bychanging varnish. 

106. DEMAR VARNISH

This is a fine clear varnish, being harder and less coloured thanmastic, while it is as soluble, and may be had at one-tenth theprice. Put 6 oz. Of gum demar in a bottle with 10 ozs. Of spirits ofturpentine, and put into another bottle 6 ozs. Of gum demar, with16 ozs. Alcohol, when they are dissolved put them together, and youhave an excellent cheap varnish which dries quickly and is veryclear. 

107. COPAL VARNISH

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

108. WHITE HARD VARNISH

Take 1 lb. Of mastic, 4 oz. Of gum anima; and 5 lbs. Of gumsandrack, put them all together to dissolve, into a vesselcontaining 2 oz. Of rectified spirits of wine, which should be keptin a warm place and frequently shaken till all the gums are quitedissolved; then strain the mixture through a lawn sieve, and it willbe fit for use. 

109. CRYSTAL VARNISH

Procure a bottle of Canada balsam, which can be had at anydruggist's; draw out he cork and set the bottle of balsam at alittle distance from the fire, turning it round several times, untilthe heat has thinned it; then have something that will hold as muchas 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 fewdays the varnish is fit for use, particularly if it is poured into ahalf gallon glass or stone bottle, and kept in a gentle warmth. Thisvarnish 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 putit into a 4 oz. Vial, containing 2 ozs. Of rectified spirits ofwine; place it in a sand-bath or near a moderate fire till the waxis 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 strawhats, 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, and1 pint of turpentine varnish; put them altogether in a tin can, andkeep it in a very warm place, shaking it occasionally till it isperfectly dissolved; then strain it, and it is fit for use. If youfind it necessary, you may dilute it with turpentine varnish. Thisvarnish is also very useful for furniture of plumtree, mahogany, orrosewood. 

112. TURPENTINE VARNISH

Take 5 lbs. Of clear good resin, pound it well, and put it into 1gallon of oil of turpentine; boil the mixture over a stove till theresin 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. Driedcopperas, 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 theboiling two hours, or until it will roll into hard pills like Japan;when cool, thin it off with three gallons of turpentine, or until itis of proper consistence. This varnish is intended principally forthe 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 newmilk warm; then take equal quantities of good linseed oil, (in a hotstate, ) 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 earthenpan, and just cover it with oil of turpentine; place a board overthe pan to keep out the air; let it stand for 24 hours or untilformed into a paste; then in another pan, mix 1 lb. Of best ivoryblack with neatsfoot oil, until it assumes a thick consistency; thenmix the contents of both pans together. It may be reduced withspirits 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 aday, then add the ivory black, the molasses, and the white of anegg; 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 itwill dissolve, 1 pint currier's oil, 7 lbs. Tallow, and 2 ozs. Oflampblack; mix thoroughly by heat. This is a nice thing for oldharness 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 shellac1-1/2 lbs. ; venice turpentine, 1 gill; let these stand in a jug inthe sun, or by a stove, until the gums are dissolved; then add sweetoil, 1 gill; lampblack, 2 oz. , and you have a varnish that will notcrack when the harness is twisted like the old shellac varnish. Itis 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 ofturpentine, 1 gallon; mix the two first in an iron pot, boil slowlyuntil the asphaltum is melted, then take it some distance from thefire, 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 pintspirits of turpentine; mix all three together, and shake wellbefore use. Apply with a rubber of cotton wool covered with a pieceof clean old white cotton cloth. Apply slightly and you will beastonished 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 each1/8 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'sgall, and 1 gill spirits of turpentine; cut the soap thin, and boilfive minutes, stir while boiling, and colour with 1/2 oz. Ofvermillion; scent with oil of rose or almonds. 10 cents worth willpositively 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 andlavender oils, of each 2 ozs. ; mix and shake well, and it is readyfor use. 

124. ROWLAND'S MACASSAR HAIR OIL

Take of sweet oil, 8 ozs. ; cantharides and oil of lemon, of each 60drops; 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 muslinbags, 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 welltogether. 

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 bergamotand lavender, of each, 1/8 oz. ; oil of cinnamon, 8 drops; oils ofcloves and rose, of each 15 drops; best alcohol, 2 quarts; mix andshake 2 or 3 times a day for a week. This will be better ifdeoderized, or cologne alcohol is used. 

129. HARD SOAP

Take of soft soap, 12 lbs. ; (that made of olive oil is best, ) commonsalt, 9 lbs. ; mix and boil for 2 hours, run it into bars, or as youwant it, and you will have 7-1/2 lbs. Of soap. Add a little resinwhen 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 2teaspoonsful, resin 1/2 lb. , sal. Soda 1-1/2 lbs. , of bar shop soap4 lbs. ; melt and boil all together to a proper consistency, thenpour 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 partsof cabinet work, such as standards, pillars, claws, &c. It should belaid on warm, and it will be still better; but all moisture anddampness should be carefully avoided. 

132. FRENCH POLISH

Take 1 oz. Of shellac, 1/4 oz. Of gum-arabic, and 1/4 oz. Of gumcopal; bruise them well, and sift them through a piece of muslin, then put them along with a pint of spirits of win into a closelycorked vessel, place it in a very warm situation, and shake itfrequently every day till the gums are dissolved, then strainthrough 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. Ofgum anima, into a pint of spirits of wine, in a closely stoppedbottle, place the bottle either in a sand bath, or in hot water, till the gums are dissolved, then strain off the mixture, shake itup with a 1/4 of a gill of the best clear poppy oil, and put by foruse. 

134. FINISHING POLISH

Put 2 drachms of shellac, and 2 drachms of gum benjamin, into 1/2pint of the very best rectified spirits of wine, in a bottleclosely corked; keep the bottle in a warm place, and shake itfrequently till the gums are dissolved, when cold shake up with it2 teaspoonsful of the best clear poppy oil, and it will be fit foruse. This polish may be applied with great advantage after anyof those mentioned in the foregoing receipts have been used. Itremoves the defects existing in them, increasing their lustre anddurability, 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 themroughly together, then fuse them in a metal pot over a close fire, taking care to continue the heat until all spume has disappearedfrom the surface, when the liquid appears clear, the composition isready to be poured out to cool and concrete; afterward being groundto a fine powder. To use this composition, the steel to be welded israised to a heat, which may be expressed by bright yellow, it isthen dipped among the welding powder, and again placed in the fireuntil it attains the same degree of heat as before, it is then readyto 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 alltogether. Take 2 pieces of cast iron, heat them in a moderatecharcoal fire, occasionally taking them out while heating, anddipping them into the composition, until they are of a proper heatto weld, then at once lay them on the anvil, and gently hammer themtogether, and if done carefully by one who understands welding iron, you will have them nicely welded together. One man prefers heatingthe metal, then cooling it in the water of common beans, and heatingit again for welding. 

137. CAST IRON CEMENT

Take of clean borings or turning of cast iron, 16 parts; ofsal-ammoniac, 2 parts; and flour of sulphur, 1 part; mix them welltogether on a mortar, and keep them dry. When required for use, take 1 part of the mixture, and 20 parts of clean borings, mixthoroughly, and add a sufficient quantity of water. Note. --A littlegrindstone 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 bearfriction, &c. The best method in the world of effecting this is byheating the iron to cherry red in a close vessel, in contact withcarbonacious 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 assoft as lead: 1. Anoint it all over with tallow, temper it in agentle charcoal fire, and let it cool of itself. 2. Take a littleclay, cover your iron with it, temper in a charcoal fire. 3. Whenthe iron or steel is red hot, strew hellebore on it. 4. Quench theiron 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 partsof lead; if a small quantity of this, when melted, is poured uponthe table, there will, if it be good, arise little bright stars uponit. Resin should be used with this solder. 

141. SOLDER FOR TIN

Take 4 parts of pewter, 1 of tin, and 1 of bismuth, melt themtogether, and run them into thin slips. Resin is also employed inusing 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 alltogether, 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 1/2a part. 

The gold, silver, and copper must be fused in a crucible before thezinc is added, or else you cannot keep them in the vessel whileheating. 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. Ifmore zinc is added, it will fuse at a lower heat, but the colour isnot so good. 

150. MOCK GOLD

Fuse together 16 parts of copper, 7 of platinum, and 1 of zinc. Whensteel is alloyed with 1/500 part of platinum, or with 1/500 part ofsilver, it is rendered much harder, more malleable, and betteradapted for all kinds of cutting instruments. Note. --In makingalloys, care must be taken to have the more infusible metals meltedfirst, and afterwards add the others. 

151. BRITANNIA METAL

Take 4 parts of brass, and 4 parts of tin; when fused add 4 parts ofmetallic bismuth, and 4 parts of metallic antimony. This compositionis added at discretion to metallic tin, according to the quality youwish 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. Thismetal 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 1of lead. 

157. IMITATION PLATINUM

This metal, or alloy, very closely resembles platinum. Melt together8 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 ofzinc, 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, meltall together. 

162. IMITATION SILVER

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

163. TRUE IMITATION OF GOLD

Dr. Harmsteadt's imitation of gold, which is stated not only toresemble 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 amass. 

164. TRUE IMITATION OF SILVER

Imitation of pure silver, so perfect in its resemblance that nochemist living can tell it from pure virgin silver. It was obtainedfrom a German chemist now dead; he used it for unlawful purposes tothe amount of thousands, and yet the metal is so perfect that he wasnever discovered. It is all melted together in a crucible, here itis: 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. Ofarsenic, and 1 oz. Of potash. 

165. MOULDS AND DIES

Take copper, zinc, and silver, in equal proportions, and melt themtogether, and mould into the forms you desire, and bring the sameto a nearly white heat; now lay on the thing that you would take theimpression of, and press it with sufficient force, and you will findthat you have a perfect and beautiful impression. All of the abovemetals 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 aquart of water, let the whole boil till reduced to one third, thendip a feather in, and if, on drawing it out, the plume should comeoff, it is a proof that it is boiled enough, if not, let it boil alittle longer; when it is settled filter it off, and in the liquorthus 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 inits softened state; when dry the impression will be sunk into thehorn, and this will serve as a mould to reproduce, either by plasterof Paris, putty and glue, or isinglass and ground egg shells, theexact 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 eggshells, 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 takingit 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 smallparticles; then wash out the honey or gum repeatedly with warmwater, 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 toheat a prepared amalgam of gold in a clean open crucible, (anamalgam of any metal is formed by a mixture of quicksilver withthat metal) continuing a very strong heat till all the mercury hasevaporated, stirring the amalgam all the while with a glass rod;when the mercury has entirely left the gold, grind the remainder ina Wedgewood's mortar, with a little water, and when dried it will befit for use. The subliming the mercury is, however, a processinjurious to the health. 

171. COLOUR HEIGHTENING COMPOSITIONS

For yellow gold, dissolve in water 6 ozs. Of saltpetre, 2 ozs. Ofcopperas, 1 oz. Of white vitriol, and 1 oz. Of alum. If wantedredder, 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 ofcalcined verdigris, 1/2 oz. Of calcined borax, and 4 oz. Of meltedyellow wax; the verdigris must be calcined, or else, by the heatapplied in melting the wax, the vinegar becomes so concentrated asto corrode the surface, and make it appear speckled. These lastthree are colours for heightening compositions. 

174. MOSAIC GOLD

Mosaic gold, or aurum mosaicum, is used for inferior articles. Itis prepared in the following manner: 1 lb. Of tin is melted in acrucible, and 1/2 lb. Of purified quicksilver added to it; when thismixture 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 wholeis thoroughly mixed; they are then calcined in a mattrass, and thesublimation of the other ingredients leaves the tin converted intothe aurum mosaicum, which is found at the bottom of the glass, likea mass of bright flakey gold powder. Should any black or discolouredparticles appear, they must be removed. The sal-ammoniac usedhere must be very white and clear, and the mercury quite pure andunadulterated. When a shade of deeper red is required, it can easilybe obtained by grinding a very small quantity of red lead along withthe above materials. 

175. DUTCH OR GERMAN GOLD

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

176. COPPER POWDER

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

177. COMMON SIZE

The size used by painters for most sorts of common work is preparedby boiling in water pieces of parchment, and of the skins ofanimals and fins of fish, and evaporating the solution to a properconsistency. It only differs, however, from a solution of gluecontaining 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 twopints; boil them together for a short time in a clean vessel. Thisvarnish is to be applied when cold, by means of a soft brush. Itdoes not sink in, it readily dries, and its effect may be heightenedby lightly using a silk pocket handkerchief. 

179. GENERAL DIRECTIONS FOR BRONZING

This art is nothing but a species of painting, but far from being ofthe most delicate kind. The principal ingredients made use of in itare the true gold powder, the German gold, the aurum mosaicum, andcopper powder, (all above described. ) The choice of these powdersis, of course, to be determined by the degree of brilliancy you wishto 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 havestill a certain clamminess, a piece of soft leather wrapped roundthe finger, is dipped in the powder and rubbed over the work; whenthe work has been all covered with the bronze, it must be left todry, 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 clayare ground separately with water on a stone, and as much of them aswill make a good colour put into a small vessel three-fourths fullof size. This mixture is found to succeed best on using about halfas much more pipe clay as of any of the other ingredients. The woodbeing previously cleaned and smoothed, and coated with a mixture ofclean size and lamp-black, receives a new coating with the abovecompound twice successively, having allowed the first to dry. Afterwards the bronze powder is to be laid on with a pencil, and thewhole burnished or cleaned anew, observing to repair the parts whichmay be injured by this operation; next, the work must be coated overwith a thin lather of castile soap, which will take off the glare ofthe burnishing, and afterwards be carefully rubbed with a woollencloth. 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 canbear; and German gold, mixed with a small quantity of spirit of winevarnish, spread over it with a pencil; should the iron be alreadypolished, you must heat it well and moisten it with a linen ragdipped in vinegar. 

182. BRONZING CASTS OF PLASTER OF PARIS

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

183. SHELL-LAC VARNISH

Dissolve in an iron kettle, one part of pearl-ash in about 8 partsof water; add one part of shell-lac, and heat the whole toebullition. When the lac is dissolved, cool the solution, andimpregnate it with chlorine, till the lac is all precipitated. The precipitate is white, but its colour deepens by washing andconsolidation; dissolved in alcohol, lac bleached by the aboveprocess yields a varnish which is as free from colour as any copalvarnish. 

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 thismixture into a retort, then pour four parts of sulphuric acid, diluted with an equal weight of water, and afterwards allowed tocool upon the salt and manganese; the gas will then be immediatelyliberated, and the operation may be quickened by a moderate heat. Atube leading from the mouth of the retort must be passed into theresinous solution, where the gas will be absorbed, and the lacprecipitated. 

185. SHELL-LAC VARNISHES OF VARIOUS COLOURS

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

186. GOLD OIL-COLOUR, OR SIZE

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

187. JAPANNING

If it be woodwork you are about to japan, it must be prepared withsize, and some coarse material mixed with it to fill up and hardenthe grain of the wood, (such as may best suit the colour to be laidon, ) which must be rubbed smooth with glass paper when dry. In casesof 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 inspirits of turpentine, then add a small quantity of turpentine andspirit varnish, lay it carefully on with a camel hair brush, andvarnish it with brown or white varnish, according to the colour. 

189. COLOURS REQUIRED IN JAPANNING

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

190. TO PREPARE A FINE TORTOISE-SHELL JAPAN

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

191. DIRECTIONS FOR USING TORTOISE-SHELL JAPAN

Having thus prepared the varnish or japan, clean well the substancewhich is to be japanned; then lay vermillion, tempered withshell-lac varnish, or with drying oil, very thinly diluted withoil of turpentine, on the places intended to imitate the moretransparent parts of the tortoise-shell; when the vermillion isdry, brush the whole over with black varnish, tempered to a dueconsistence with the oil of turpentine. When set and firm, put thework into a stove, where it may undergo a very strong heat, whichmust be continued a considerable time; if even three weeks or amonth it will be the better. This tortoise-shell ground it not lessvaluable for its great hardness, and enduring to be made hotterthan boiling water without damage, than for the superior beauty andbrilliancy of its appearance. 

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

Mix equal quantities of alum and acetate of lead, and dissolve themixture in 1-1/2 gallons of boiling water. When the solution hascooled, remove the supernatent liquid from the sediment, whichconsists of sulphate of lead, and is ready for use. Any articleof dress, when well saturated in this liquid, and allowed to dryslowly, bears the action of boiling water, and does not permit itto 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 thestick, apply it to the broken edges, then heat the edges, place themtogether 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 ofParis to form a thick paste, apply to the edges with a brush, andpress firmly together and confine them two or three days, and youwill be astonished at their firmness. 

195. ANGLER'S SECRET

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

196. MORELLA WINE

Take the juice of morella or tame cherries, and to each quart put 3quarts of water, and 4 lbs. Of coarse brown sugar; let them ferment, and skim until worked clear; then draw off, avoiding the sediment atthe bottom, bung up, or bottle, which is best for all wines, lettingthe 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; softwater, 1 oz. ; wash the beard or hair with soap to remove oil, drywith a towel a little then apply No. 1, and directly after it No. 2, for a few minutes, alternately, using different tooth brushes foreach No. Clear days are best on which to apply it. As soon asdry, 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 colourit. If you do get it on the skin, cyanide (cyanuret is the same) ofpotassium, 1 drachm, to 2 ozs. Of water, will take it off. This lastis poison, however, and should not touch sore places, nor be leftwhere children may get at it. 

198. TALLOW CANDLES IN IMITATION OF WAX

Purify melted mutton tallow by throwing in powdered quicklime, thenadd 2 parts of wax to 1 of tallow. A most beautiful article ofcandle, resembling wax, will be produced by the mixture. Dip thewicks 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 thecochineal; then boil it gently for half-an-hour, when it will befit for use. If you wish a scarlet tint, boil an ounce of saffron ina quart of water, and pass over the work before you stain it. Thearticle 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 whendissolved, 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. , groundfine; 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 outin soft water; the article should be entirely wetted, or it willspot; light colours should be steeped in brass, tin or earthen;and, if set at all, should be set with alum. Dark colours should beboiled in iron, and set with copperas; too much copperas rots thethread. 

204. FOR COLOURING SKY BLUE

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

205. FOR LILAC COLOUR

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

206. TO COLOUR BLACK

Logwood and cider, boiled together in iron, water being added forthe evaporation, makes a good durable black. Rusty nails or any bitsof rusty iron, boiled in vinegar, with a small piece of copperas, will also dye black; so will ink powder, if boiled with vinegar. Inall 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 adda teaspoonful of alum to a quart of the liquid; if this is notbright enough, add more alum, rinse and dry. When the dye isexhausted, it will colour a fine lilac. 

209. TO DYE SLATE COLOUR

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

210. TO DYE SCARLET

Dip the cloth in a solution of alkaline or metallic salt, then ina cochineal dye, and let it remain some time, and it will come outpermanently coloured. Another method: 1/2 lb. Of madder, 1/2 oz. Ofcream tartar, and 1 oz. Of marine acid to 1 lb. Of cloth; put itall together, and bring the dye to a scalding heat; put in yourmaterials, and they will be coloured in ten minutes. The dye must beonly scalding hot. Rinse your goods in cold water as soon as theycome 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 ofwater, and bring the liquor to a steady heat, then add your alum andtartar, and bring it to a boil; put in your cloth, and boil it twohours; 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; rubit in fine in the water before your cloth is in. When your dye isas warm as you can bear your hand in, then put in your cloth, andlet it lie one hour, and keep a steady heat; keep it in motionconstantly, then bring it to a boil fifteen minutes, then air andrinse 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 possiblefrom the old colour, clean, and rinsed; and, in the first place, colour it deep yellow. Fustic, boiled in soft water, makes thestrongest and brightest yellow dye; but saffron, barberry-bush, peach-leaves, or onion-skins, will answer pretty well. Next take abowlful of strong yellow dye, and pour in a great spoonful or moreof the blue composition, stir it up well with a clean stick, and dipthe articles you have already coloured yellow into it, and theywill take a lively grass-green. This is a good plan for oldbombazet-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 strawcolour. It makes a delicate or deep shade, according to the strengthof the tea. Colouring yellow is described in receipt No. 212. In allthese cases a little bit of alum does no harm, and may help to fixthe colour. Ribbons, gauze handkerchiefs, &c. , are coloured well inthis 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 ribbonstake very pretty in this dye. 

215. TO DYE PURPLE

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

216. TO DYE BROWN

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

217. TO COLOUR PINK

Boil 1 lb. Of cloth an hour in alum water, pound 3/4 of an oz. Ofcochineal 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 inyour 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 pieceof copperas half as big as a hen's egg; boil in a copper or tinkettle. 

220. TO MAKE ROSE COLOUR

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

221. TO DYE STRAW AND CHIP BONNETS BLACK

Boil them in strong logwood liquor 3 or 4 hours, occasionally addinggreen copperas, and taking the bonnets out to cool in the air, andthis must be continued for some hours. Let the bonnets remain in theliquor all night, and the next morning take them out, dry them inthe air, and brush them with a soft brush. Lastly, rub them insideand out with a sponge moistened with oil, and then send them to beblocked. 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 softwater, 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 abrush, and when dry repeat it. Twice is sufficient unless the colouris to be very dark; when dry, rub off the loose dye with a coarsecloth; beat up the white of an egg, and with a sponge, rub it overthe leather. The dye will stain the hands, but wetting them withvinegar before they are washed will take it off. 

223. TO BLEACH STRAW HATS, &c. 

Straw hats and bonnets are bleached by putting them, previouslywashed in pure water, in a box with burning sulphur; the fumes whicharise 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 hourand take out and rinse; boil 2 lbs. Logwood chips, or 1/2 lb. Ofextract; 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 theliquids together, and then add the soap, having just enough to coverthe silk; stir briskly until a good lather is formed, then immersethe silk and handle it lively. The dye should be as warm as the handwill bear; dry quickly and without rinsing. The above is enough for10 yards or one dress. 

225. TO COLOUR YELLOW ON COTTON

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

226. FOR STAINING GLASS--No. 1 FLUX

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

227. No. 2 FLUX

Of No. 1, 8 parts; fused borax, in powder, 1 part. This mixtureis 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 procuringthe 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, 6parts; melt and pour out. If it is not sufficiently green, increasethe 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. Aslittle 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, 12parts; pound up, melt, and pour out. 

234. EMERALD GREEN

Oxide of copper, 1 part; antimonic acid, 10 parts; flux No. 1, 30parts; 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 slightlymelted, from which is removed the portion in contact with thecrucible. 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 andmelt. 

237. DEEP YELLOW

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

238. JONQUILLE YELLOW FOR FLOWERS

Litharge 18 parts, sand 6 parts. The product of the calcination ofequal 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, siennaearth 2 parts; melt. If it is too deep the proportion of siennaearth 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 abeautiful capucine red, 1 part; flux No. 2, 3 parts; mix withoutmelting. 

243. BROWN YELLOW OCHRE

Yellow ochre No. 244, 10 parts; sienna earth, 1 part; trituratewithout melting. 

244. DEEP YELLOW OCHRE--CALLED YELLOW BROWN

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

245. PURE PURPLE

The purple powder of Cassius mixed while moist with flux No. 3, andsometimes a little chloride of silver previously melted with fluxNo. 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 mixedwith 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 areselected. All the flesh reds are made in this way, and vary only inthe degree of heat which they receive. 

248. HAIR BROWN

Yellow ochre, No. 244, 15 parts; oxide of cobalt, 1 part; welltriturated 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 itsweight of flux No. 2. A tenth of sienna earth is added to it if it isnot 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 3parts; flux No. 2, 5 parts; sometimes a little black is added, according to the tone which the mixture produces. The proportions ofthe blue and yellow vary. 

252. YELLOW FOR BROWNS & GREENS

Antimonic acid, 2 parts; sulphate of iron 1 part; flux No. 1, 9parts. This colour is melted and sometimes a little Naples Yellow isadded 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 ofzinc, 1 part; sulphate of iron calcined at a forge heat, 1 part;flux No. 2, 3 parts; triturate and add a little manganese in orderto render it more grey. 

254. GRAYISH BLACK FOR MIXTURES

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

255. DEEP BLACK

Oxide of cobalt, 2 parts; oxide of copper, 2 parts; oxide ofmanganese, 1 part; flux No. 1, 6 parts; fused borax, 1/2 part; meltand 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 ofground glass with the spirits of turpentine or lavender, thickenedin the air are applied with a hair pencil. Before using them, however, it is necessary to try them on small pieces of glass, andexpose them to the fire, to ascertain if the desired tone of colouris produced. The artist must be guided by these proof pieces inusing his colours. The proper glass for receiving these coloursshould be uniform, colourless, and difficult of fusion. For thisreason crown glass made with a little alkali or kelp is preferred. A design must be drawn upon paper and placed beneath the plate ofglass. The upper side of the glass being sponged over with gum-wateraffords, when dry, a surface proper for receiving the colours, without the risk of their running irregularly, as they would be aptto do on the slippery glass. The artist draws on the plate, with afine pencil all the traces which mark the great outlines and shadesof the figures. This is usually done in black, and afterwards, whenit is dry, the vitrifying colours are laid on by means of largerhair pencils. The yellow formed with chloride of silver is generallylaid on the back of the glass, for it is apt to run with the othercolours while heating. 

The pigments used in painting on glass are principally matallicoxides and chlorides, and as, in most of these, the colour is notbrought out until after the painting is submitted to heat, it isnecessary to ascertain beforehand if the colours are properly mixedby painting on slips of glass, and exposing them to heat in amuffle. The painter is guided by these trial pieces in laying on hiscolours. To fire the paintings a furnace with a muffle is used. Themuffles 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 bemade quite hot, and to these are to be added, (in small portionsfrom time to time, ) two good handsful of common whiting, passedthrough a fine sieve; this mixture is to be left to infuse for halfan hour, when it is to be stirred carefully so that the amalgamationmay be perfect. This coating is preferable to any glue or cement forcoating picture frames, &c. , on which is to be laid the tin orsilver 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 -------- Weights, 256 lbs. . . . . . . $5. 01

To the above add two galls. Of the incorporated oil, and 2 galls. Ofthe linseed oil to thin it for use, and it will not exceed two centsand a quarter. The lime-water, whiting, road-dirt, and blue-black, must be first mixed together, then add the ground lead, firstblending it with 2-1/2 galls. Of the prepared fish oil; afterwhich, 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 ofturpentine may be added to the paint whilst laying on, which willhave 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 -------- 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-manor 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 waterto prevent it from sinking, and the brushes, as usual, should becleaned with the painting-knife, and kept under water. A brightergreen may be formed by omitting the blue-black. A lighter green maybe had by the addition of 10 lbs. Of ground white lead. Observe thatthe wet blue must be ground with the incorporated oil, preparatoryto 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 -------- Weights, 293 lbs. . . . . . . $9. 85

The above stone-colour fit for use, is not three and a half centsper 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 -------- Weights, 501 lbs. . . . . . . $12. 12

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

262. A GOOD CHOCOLATE COLOURED PAINT

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

263. YELLOW PAINT

This is prepared with yellow ochre in powder, to receipt No. 261, inthe 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, withwater which is boiling hot; when well slacked, strain it well, thenadd to it 1-1/2 lbs. Of finely ground rice; let the rice be boiledto a thin paste, and stirred in while very hot; 1/2 peck of commonsalt, well dissolved in warm water; 1/2 lb. Of clean glue, dissolvedin water; and 1/4 lb. Of whiting; when well mixed, add 5 gallonsof very hot water, then stir well, and let stand a few days wellcovered. Pit it on hot, and it will stand the weather as well asa good deal of white lead. You may colour this paint to suit yourtaste, using and stirring in well Spanish brown for a red pinkcolour. Take common clay finely powdered, and mixed well withSpanish brown for a reddish stone-colour. For yellow colour useyellow ochre if you please, but chrome yellow makes a richer colourand less does. You may make the colours dark or light according tothe quantity of colouring matter used. 

266. COMPOUND COLOURED PAINTS

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

267. LIGHT GREY

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

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, witha small quantity of lake. 

271. BRICK COLOUR

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

272. OAK WOOD COLOUR

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

273. WALNUT TREE COLOUR

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

274. JONQUIL

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

275. LEMON YELLOW

Mix together realgar and orpiment; some object to this mixture onaccount of the poisonous nature of the ingredients. The same colourcan be obtained by mixing yellow-pink with Naples yellow; but it isthen 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 asmall 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 smallquantity of realgar, and a very little Spanish white. 

281. OLIVE COLOUR

This may be obtained by various mixtures: black and a littleblue, mixed with yellow; yellow-pink, with a little verdigrisand lamp-black; or ochre and a small quantity of white, willalso produce a kind of olive colour. For distemper, indigo andyellow-pink, mixed with white lead or Spanish white, must beused. 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 thelamp-black, mix some litharge and red lead. 

291. PORTLAND STONE COLOUR

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

292. TO IMITATE MAHOGANY

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

293. TO IMITATE WAINSCOAT

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

294. TO IMITATE SATIN WOOD

Take white for your first coating, light blue for the second, anddark 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. HenceTurner's patent process for decomposing sea-salt, which consists inmixing two parts of the former with one of the latter, moisteningand leaving them together for about twenty-four hours. The productis then washed, filtered, and evaporated, by which soda is obtained. A white substance is now left undissolved; it is a compound ofmuriatic acid and lead, which, when heated, changes its colour, andforms Turner's yellow; a very beautiful colour, much in use amongcoach-painters. 

296. TO PAINT IN IMITATION OF BLACK WALNUT

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

NOTE

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

297. RULES FOR MAKING PICKLES

Select the best vinegar, for on this will depend the quality of yourpickles; use glass bottles or stone jars for your pickles, never useearthenware glazed; use wooden knives and forks in making; leave thejars three-fourths full of the articles to be pickled; then fill thejar or bottle with vinegar. If you add alum at all let it be verylittle; look your pickles over occasionally and remove any that maynot be doing well. Small cucumbers, beans, green plums, tomatoes, onions, and radish pods, may be used for assorted pickles; one redpepper for forty or fifty cucumbers is sufficient; if the vinegar onpickles 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 coldwater for two hours; scald carefully in salt and water, then lay ona 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, twonutmegs, a quarter of an ounce of whole pepper, and pour your picklehot over them, cover tight with a cloth, and let stand a week, thenboil the pickle, and let stand a week again, and boil again, whencold, cover closely. 

299. BEANS AND FRENCH BEANS PICKLED

Lay them in salt and water for nine days; then add a little vinegarand 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, andwhile 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, sprinkleeach layer of cabbage with salt, which let lay and drain for two orthree days, then put into a jar, boil some vinegar with spice tiedup in a muslin bag, cut a beet root of good colour into slices; thebranches of cauliflower cut off after it has lain in salt will lookand be of a beautiful red; put it into a stone jar and pour boilingvinegar 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 vinegarover 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 theyare a good colour; as, to make a better green, you must use a mettlestew pan or brass kettles, which are very poisonous; use woodenspoons with holes to dish all pickles, keeping them always wellcovered and free from air. 

302. TO PICKLE ONIONS

Peel the onions till they look white, boil some strong salt andwater and pour it over them; let them stand in this twenty-fourhours; keep the vessel closely covered to retain the steam; afterthis wipe the onions quite dry, and when they are cold pour boilingvinegar, with ginger and white pepper over them; the vinegar mustcover the onions. 

303. TO PICKLE MUSHROOMS

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

304. RAILROAD SYSTEM OF HORSE TRAINING

This excellent and very simple method of horse training is nearlyall accomplished by what is called the persuader or bit; which ismade as follows: take a piece of strong rope eight or ten feet longand a quarter of an inch thick, then part the horse's mane in thecentre, turning one half towards the ears, and the other towards theback of the horse; next tie the rope by one end in a hard knot thatwill not slip--not too tightly--round the horse's neck in the placeat which the mane is divided, having the knot on the right side ofthe neck; then pass the loose end of the rope forwards, along theright side of the neck, into the horse's mouth and back along theleft side of the neck to that part of the rope which surrounds thehorse's neck, and underneath which it is passed; than take the looseend of the rope in your hand, and you have the persuader or bitcompleted. By pulling on the end which you now hold, you draw hismouth up towards his throat, and can thereby inflict the mostexcruciating torture that is possible for a horse to undergo, andthe beauty of it is, without the least injury to the animal. Onepull on this persuader is more dreaded by the horse than a wholeday's flogging with raw-hide. In fact he cannot stand it; no matterhow ugly his tricks may be, such as kicking, balking or anythingelse, if you use the persuader on him at the time, you can conquerhim at once; make him as meek as a lamb, and glad to do anything toescape the torture inflicted by the persuader. A few times is allyou will have to use it, even on the most sulky animal, until youwill 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 withoutdanger, and lead him quietly, is as follows: choose a large floor, that of a wagonhouse answers well, strew it over with straw two orthree inches deep, turn your colt into it, follow him in with agood 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 anothercorner, follow him, treat him in the same manner, and he will soonbegin to turn his head towards you, then stop and bid him cometo you, if he does not come, lay on the whip again, being alwayscareful not to touch him about the head or shoulders, but alwaysabout the hips, in a short time he will come to you when you bidhim, then rub his ears, nose, neck, chest, &c. , and pet him all youcan; halter and lead him about the floor; it at any time he clearsfrom 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 thisyou 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 tobridle or halter, is as follows: if your horse is very fractious andwild, you will need to treat him according to receipt No. 305, first:at all events you will want the floor well covered with straw, thenraise the left fore leg and strap it so that your horse will standon three legs, then tie a strap just above his right fore foot, andstanding on the left side of the horse, holding the strap in yourhand, chirp to him, and the moment he attempts to move forwards, heis on his knees; you may then fasten the strap to that on the leftleg, or hold it in your hand, as you please; then after the horsegets done struggling and working, rub his nose and ears gently, andput the halter on and take it off repeatedly, to show him that itmay be done without hurting him, and in a short time he will notmind the halter or bridle. 

307. HOW TO CONTROL A VICIOUS HORSE

How to acquire the most perfect control over the most vicious andwildest horse, in a short time, without the use of drugs or charms, is by going according to receipts No. 305 and No. 306, and sometimesyou 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 14years old can ride or handle him in perfect safety. This is done bymeans of the persuader receipts No. 305 and No. 306, and if the boyis to ride him, after the horse is on his knees, as directed inreceipt No. 306, and the horse is tired out by struggling, then letsomebody get on his back, sit there for a while, then move on to hisshoulders, and back unto his hips, and so work round the horse untilhe does not mind it, and has no fear from it. When he has a fewlessons 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 performany surgical operation on him that you wish, without the assistanceof any one. If the horse is very ugly, you may need to follow, first, receipt No. 305, and perhaps, use the persuader, but it isprincipally done by receipt No. 306, with this addition: when youhave the horse on his knees, you standing on his left side, andholding the strap which is attached to his right fore foot in yourhand, as taught in receipt No. 306, then put a headstall on him, andto its ring on the left side of his mouth, tie firmly a stick aboutan inch and a half thick, which, let run up on the left side ofhis neck, to the top of his shoulders, then tie the strap, which isattached to the right foot, to this pole; now pull the horse overon his left side, and you have him powerless, his fore feet aredrawn up, and on account of the pole he cannot raise his head, sothat 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 meansof the persuader; if he pulls once on this, he will never try itagain. 

311. WILD STALLIONS

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

312. BALKY HORSES

How to make the worst of balky horses pull true. Whenever your horsebalks, if you there and then, openly and publicly make use of thepersuader, and jerk him well with it, he will be glad to go, and ina short time you will have to use it no more; but as long as thissystem is kept secret, and when a horse balks, you do not then usethe 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 havingthe persuader fitted on, and whenever the horse makes an attempt tobe ugly, pull on the persuader, and he will very soon be glad tostand as quiet as a lamb. 

314. "WHOA"

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

315. THROWING

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

316. SCARING

How to break a horse off scaring at umbrellas or buffalo robes, sothat you may toss them at him without disturbing him. To accomplishthis you want to get the horse on his knees, according to receiptNo. 306; then bring your robes and umbrellas near him, let him smellthem, toss them at him, and throw them over his head carefully, andso continue to work, showing him that they do not harm him, untilall 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; thenkeep the persuader on, and if he should ever attempt to kick, at that moment jerk well on the persuader, and he will think ofeverything but kicking; when he attempts it a few times, and youcheck 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 tencents, that can be done with any other bit and rig, at a cost offive to ten dollars. This bit is what is called the persuader, andit is the best bit that ever was used for bitting colts. It puts amost beautiful curve in the neck, and leaves the colt at ease whilewearing it. When it is used for this purpose, the end that you holdin your hand in other cases, is now to be tied to that part of thepersuader 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 onenight's time. Take a fine wire, or any substitute, and fasten ittightly round the castor tit, the back side of the pasture jointat night; smooth the hair down nicely over it, and by morning hewill walk as stiff as any foundered horse. 

320. FOOD AND STARVATION

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

321. GLANDERS

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

322. BALKING

How to make a true pulling horse balk. Take tincture of cantharides1 oz. , and corrosive sublimate 1 drachm; mix and bathe his shouldersat 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 twelveto twenty-four hours, long enough to trade off. Drench the horsewith one-fourth pound of common bird shot, and he will not heaveuntil they pass through him. 

324. THE COUNTENANCE

How to put a young countenance on a horse. Make a small incisionnear the sunk place over the eye, insert the point of a blow-pipe orgoose-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 theupper front teeth. 

326. QUESTIONS

To teach a horse to answer questions. This is done by pricking himwith a pin; for instance, you may say to the horse, is your nameTom? 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 notsqueal. Then say again is your name Tom, prick him again, and hewill squeal; so continue, and after a time he will squeal withoutbeing 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 halfway from the knee to the joint on the outside of the leg, and at theback part of the shin bone; you will find a small white tendon orcord; cut it off and close the external wound with a stick, and hewill 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 tolerablecertainty the age of any horse. Every horse has six teeth above andsix below; before he arrives at the age of three he sheds his twomiddle teeth by the young teeth rising and shoving the old ones outof their place. When he arrives at the age of three, he sheds onemore on each side of the middle teeth; when four years old he shedstwo corner and the last of his fore teeth; between four and five hecuts his under tusks, and when five will cut his upper tusks, andhave a mouth full and complete, and the teeth will have hollows of avery dark brown colour. At six years old the grooves and hollows ina horse's mouth will begin to fill up a little and their tusks havetheir full growth, with their points sharp, and a little concave. Atseven years old the grooves and hollows will be pretty well filledbelow. At eight the whole of the hollows and groves are filled up, and you see the appearance of what is termed smooth below. At nineyears old, the point of the tusk is worn off, and the part that wasconcave begins to fill up and become rounded. Between nine and tenyears of age a horse generally looses the marks of the mouth. Afternine years old a wrinkle comes on the eyelid at the upper corner ofthe lower lid, and every year thereafter he has one well definedwrinkle for each year over nine. If, for instance, a horse hasthree 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 thematter with his head, neck or lungs. A knowledge of this is asuseful as it is simple. If there is nothing the matter with thehead, neck or lungs of a horse, the nostrils will have a clean, healthy, and bright appearance, but if there is, they have alwaysa 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 thehorse's leg, oils of rhodium, and cumin, keep these in separatebottles well corked; put some of the oil of cumin on your hand andapproach the horse on the windy side that he may smell it; he willthen move towards you, then rub some of the cumin on his nose; givehim 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 histongue; you can then get him to do anything you please. Follow upyour advantage by all the kindness and attention possible towardsthe animal, and your control is certain. This is only fit fornervous horses; but the railroad system is certain. In all kindsof 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 inhorses. When the horse is attacked, pound some common glass veryfine, sift it through a fine piece of muslin, take a tablespoonful, put it inside a ball of dough, (not mixed with the dough, ) then putit down the horse's throat, and in from two to five minutes thehorse will get up and feel and will be well. The moment the glasstouches the botts though they may have eaten their way into thecoats of the stomach, so that but a small portion is exposed, theywill let go their hold, will pucker up and be driven off by thebowels. This remedy is perfectly safe, and is the only certaincure for botts under the sun. Try it. 

332. RING BONE AND SPAVIN

Take of sweet oil, 4 oz. ; spirits of turpentine, 2 ozs. ; oil ifstone, 1/2 oz. Mix and apply three times a day. If the horse is overfour years old, or in any case where there is not sufficient, inaddition to it, you will fit a bar of lead just above it, wiring theends together, so it constantly wears upon the enlargement, and thetwo 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 littlewater; work all into a paste with wheat flour, and box or bottle uptight. In applying this, the place should be well cleansed withsoap-suds, (castile soap is best) then tallow should be applied allaround by the paste dissolving and running over it. Now this pastemust be pressed to the bottom of all the orifices; if very deepit must be made sufficiently thin to inject by means of a smallsyringe, and repeated once in two days, until the callous pipes, andhard fibrous base around the poll evil, or fistula, is completelydestroyed. Sometimes one application has cured cases of this kind, but it will generally require two or three. If the horse cannot bekept up, you will put a piece of oiled cloth over the place. Theadvantage of this caustic over all others is that less pain andinflammation is induced. The sores may be cured by the followingor 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 alittle less than a pint of spirits of turpentine, stirring all thetime it is being added, then remove from the stove, and stir tillcool. This is an extraordinary ointment for bruses in flesh or hoof, broken knees, galled backs, bites, cracked heels, &c. Or when ahorse is gelded, to heal and keep away flies. 

335. NERVE AND BONE LINIMENT

Take of beef's gall 1 quart, alcohol 1 pint, volatile liniment1 lb. , spirits of turpentine 1 lb. , oil of origanum 4 oz. , aquaammonia 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 wellknown to need description. 

336. TO CURE FOUNDERS IN 24 HOURS

Boil or steam oat straw for half an hour, then wrap it round thehorses legs while quite hot, cover up with wet woollen rags to keepin the steam: in six hours renew the application. Take 1 gallon ofblood from the neck vein, and give a quart of linseed oil. He maybe 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 apint of gruel, and drench him with it. 

338. GARGLING OIL

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

339. MERCHANT'S GARGLING OIL

Take of linseed oil 2-1/2 galls. , spirits of turpentine 2-1/2galls. , western petroleum 1 gall. , liquor potass 8 oz. , sap green1 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 withcastile soap. This makes one ball for a horse. 

341. URINE BALLS

Take of white resin, 1/2 lb. ; castile soap, 1/2 lb. ; veniceturpentine, 1/2 pint; mix well together; make the balls the size ofbutternuts. 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 forheaves is so simple that scarcely any one will try it; it is to takefresh sumack tops, break two or three bunches of them up in thehorse's feed, three times a day. This will actually cure the heavesunless, they are very bad. 

343. INFLAMMATION OF THE LUNGS

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

Treatment--This may be commenced by a good bleeding, which is to befollowed 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, andplace vessels of hot water in which put hot stones or bricks, andsweat 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 colicin its symptoms, except in colic the pains pass off at times, andreturn again, whereas in inflammation, the pain is constant, and theanimal 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, andrepeat the bleeding if the pain returns. Follow the bleeding by onescruple of opium, and two of calomel, twice a day; also blister thesides of the chest; give him bran mash and purging balls, (ReceiptNo. 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 ishurried, there is a constant desire to void urine, although passedin small quantities, highly coloured, and sometimes tinged withblood. 

Treatment--This is blood letting, active purging, mustard poulticesas 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 antimony1/2 lb. , and nitre 1/2 lb. , mix well; give a tablespoon for threedays and omit three days, &c. 

347. FOR BONE SPAVIN

Take of cantharides 2 oz. , strong mercurial ointment 4 oz. , oil ofturpentine 4 oz. , iodine 3 oz. , mix all with a sufficiency of lardto make a thin ointment; apply to the spavin only once a day untilit bursts; then oil it with sweet oil until healed. If the bunch isnot then removed, apply it again, and again if necessary, which isseldom the case. 

348. TO MAKE A HORSE FOLLOW YOU

The horse is treated in the same manner as mentioned in the receiptNo. 305, always being careful to whip him on the hips. When he willfollow you round the barn floor, then treat him in the same mannerin a yard, and when he follows you here, he will any place. 

349. COLTS CHEWING HALTERS

Take scab from the wart on the inside of the leg, rub the halterthoroughly with it, and they will not be found chewing their haltersvery soon. 

[There are two consecutive receipts numbered 350 in the original. ]

350. HORSES JUMPING FENCES

Pass a small and strong cord around his body just behind hisshoulders, and tie the halter to this cord between his forelegs, soas to leave the distance about two feet from the cord to his head;if then he attempts to jump, he is compelled to throw his headforward, which draws hard on the cord, and causes it to cut into hisback, and he instantly desists. The cord should not be more than aquarter of an inch in diameter. 

350. BLAZE OR STAR

When we have a pair of horses that match well in every respect, except that one has a blaze or star on the face, it becomes veryinteresting and important to know how to make their faces match. Take a piece of oznaburgs the size you want the star or blaze;spread it with warm pitch and apply it to the horses face; let itremain two or three days, by which time it will bring off the hairclean, and make the part a little tender; then take of elixorvitriol a small quantity, anoint the part two or three times; or, take of a very common weed called asmart, a small handful, bruiseit, and add to it about a gill of water, use it as a wash untilthe face gets well, when the hair will grow out entirely white. 

351. BLACK SPOTS

To spot a white horse with black spots, take litharge 3 oz. , quicklime 6 oz. , beat fine and mix together; put it into a pan and poura sharp ley over it; then boil it and you will have a fat substanceswim on top, with which anoint the horse in such places as youdesign to have black, and it will turn to the colour immediately. 

352. INFLUENZA OR HORSE-AIL

The first symptom is debility. The horse appears dumpish, refuses toeat, mouth hot, in six or twelve hours the appetite diminishes, legsand eyelids swell. This disease may end in chronic cough, a baddischarge from the nose, and in inveterate cases in glanders. 

Treatment--Keep the horse on light food, as mashes, scalded shorts, green grass, &c. , and if he is very plethoric, he should be halfstarved and bled from the mouth. If the throat is sore, rub it withwarm vinegar and salt, or blister; walk him a little for exercise, administer the following: oil of croton, 5 drops; nitrate of potassa4 to 6 drachms; potassio-tartrate of antimony, 1 drachm; spirit ofnitric ether, 4 drachms to 1 oz; solution of acetate of ammonia 2 to4 ozs. ; and warm water sufficient to make a draught; and when thehead is much affected, add a drachm of camphor. This draught may beadministered once and sometimes twice a day, the croton oil beingomitted after the first dose; after the first day, 2 drachms ofpowdered gentian may be added. 

353. STRANGLES OR HORSE DISTEMPER

Symptoms--A discharge from the nostrils, with a swelling under thethroat, a disinclination to eat. Thirst, but after a gulp or two thehorse ceases to drink. In attempting to swallow, a convulsive coughcomes on; mouth hot and tongue coated with a white fur. The tumorunder the jaw soon fills the whole space, and is evidently oneuniform body, and may thus be distinguished from glanders or theenlarged glands of catarrh. 

Treatment--Blister over the tumor at once; when the glands remainhard and do not suppurate, it may lead to glanders, in which caserub it with iodine ointment, and give internally, hydriodate ofpotash in daily doses of 10 to 40 grains, combined with gentian andginger. As soon as the swelling is fit, lance it freely and apply alinseed poultice; give bran mashes, fresh grass, &c. 

354. STAGGERS

Symptoms--Giddiness, he may fall down, or suddenly turn severaltimes round first; he may be quiet, or struggle violently. 

Treatment--If the horse be full and well fed, take 3 or 4 quartsof blood at once; cease using him for a time, and give him anoccasional physic ball or powdered aloes 6 drachms and a littlein honey. 

355. GREEN OINTMENT

Take of lard, 6 lbs. , put into a ten gallon kettle; add 2 gallonsof water; cut jimpson seeds and fill them in, and cook from 4 to 6hours slowly, till all the water is gone; then put into jars, andadd to each pound of ointment one ounce of turpentine. Good forgalls, cuts, scratches, &c. 

356. HOOF EVIL OR THRUSH GREASE HEELS

Bleed and physic, and poultice the feet with boiled turnips and somefinely ground charcoal at night, for two or three nights; then washthe feet clean with castile soap and soft water, and apply the blueointment every day; keep the horse on a floor and he will be well in12 days. 

357. BLUE OINTMENT

Take the ointment of rosin, 4 ozs; finely ground verdigris, 1/2 oz;turpentine, 2 oz; mutton tallow, 2 lbs; oil of origanum, 1/2 oz;tincture of iodine, 1/2 oz. Mix all together. This is one of thebest medicines that can be made for scratches, hoof-evil, and cuts, and is good to apply on fistula after the rowels have been takenout. It is as good for human as horse flesh. 

358. HOOF BOUND OR TENDER FEET

Never have the feet spread at the heels, nor rasped about the nailholes; use the liquid, and apply it according to directions. Forhoof bound or tender feet, apply it all around the top of the hoofdown one inch every day. First have a stiff shoe on the foot, andcleanse the cut or cork. Never cut or burn for it. 

359. HOOF LIQUID

Take of linseed or neatsfoot oil, 1/2 a pint; turpentine, 4 oz; oilof tar, 6 oz; origanum, 3 oz; mix and shake well together. 

360. HOOF AIL

Apply blue vitriol, and put on a tarred rag to keep out the dirt. 

361. BIG, OR MILK LEG

Apply the liquid blister every there hours until it blisters; thenin six hours grease with soft oil of any kind; then in eight dayswash the part clean, and apply it again. Repeat it there or fourtimes, then use the iodine ointment. If this does not remove it all, apply the ringbone and spavin medicine, this will remove it all. 

362. IODINE OINTMENT

Get 1 oz. Of the grease iodine, put in 1 pint of alcohol; let thisstand in the sun two days, and you have the tincture of iodine. Take2 oz. Of the tincture and 1/2 lb. Of lard; mix well, and you havethe iodine ointment. 

363. SPRAIN IN THE STIFLE

Symptoms--The horse holds up his foot, moans when moved, swells inthe stifle. This is what is called stifling; there is no such thingas this joint getting out of place. 

Treatment--Bleed two gallons, foment the stifle with hot water, rubit dry, then bathe it well with the general liniment every morningand night, give him mash, and he will soon be well. Never allow anystifle-shoe or cord on the foot or leg. 

364. GENERAL LINIMENT

Take of turpentine, 1/2 pint; linseed oil, 1/2 pint; aqua-ammonia, 4 oz. ; tincture of iodine, 1 oz. ; shake all well together. This isused for different things spoken of in the different receipts, soresor swellings, sprains, &c. 

365. LIQUID BLISTER

Take of alcohol, 1 pint; turpentine, 1/2 pint; aqua-ammonia, 4 oz. ;oil of origanum, 1 oz. ; mix, apply this as spoken of, every threehours until it blisters. 

366. TO CURE CORNS

Take of the shoe, cut out the corns, and drop in a few drops ofmuriatic acid, then make the shoes so they will not bear on the partaffected. Apply the hoof liquid to the hoof to remove the fever. This is a sure cure for corns in horses. 

367. WATER FARCY, OR DROPSY

This is a swelling along under the chest, and forward to the breast;bleed, rowel in the breast and along the swelling, six inches apart, apply the general liniment to the swelling, move the rowels everyday, let them stay in until the swelling goes down. Give soft food, mashes, with the cleansing powder in them. 

368. CLEANSING POWDER

This is to be used when the blood is out of order. It is good torestore lost appetite, good for yellow water, whenever it is to beused it is spoken of in the receipts. Take of good ginger 1 lb. , powdered gentian 4 oz. , crude antimony 1/2 oz. , mix well together. Give one large spoonful every day in wet food. This is perfectlysafe. 

369. POLL EVIL

Cure before it breaks, run a rowel or seaton from the lower partof the top through the centre of the enlargement, then make thefollowing lotion. Take of sal-ammoniac 2 oz. , spirts of turpentine1/2 a pint, linseed oil 4 oz. , and spirits of tar 4 oz. , shake well, and apply it all over the swelling every other day. Let the seatonstay in until all the swelling is gone down, move it every day, andwhen all is gone throw it out. Bleed when you first open it, andkeep the part clean. 

370. GLANDERS

Bleed copiously, put a rowel or seaton of polk root between the jawand breast, put tar thoroughly up the nostrils twice a day. This isthe best remedy ever in use. 

371. FRESH WOUNDS

If there is an artery cut, tie it if possible; if not possible, orif there is much bleeding without the separation of an artery, applythe following wash: nitrate of silver 4 grains, soft water 1 oz. , wet the wound with this, then draw the edges together by stitchesone inch apart, then wash clean, and if any swelling in twenty-fourhours, bleed and apply the blue ointment, or any of the linimentsspoken of, Keep the bowels open. 

372. THE LIVER

In disease of the liver or yellow water, give the following ballevery morning until it operates upon the bowels. Take of aloes 7drachms, calomel 1 drachm, ginger 4 drachms, and molassas enough tomake it into a ball, wrap it in a paper and give it; give scaldedbran and oats, grass if it can be got; when his bowels have moved, stop the physic, and give 1 oz. Spirits of camphor in half a pint ofwater, every morning, for twelve days, rowel in the breast, and givea few doses of cleansing powder. Turn him out. 

373. BALLS FOR WORMS IN HORSES

Take of barbadose aloes 6 drachms, powdered ginger 1-1/2 oz. , oil ofwormwood 20 drops, powdered natron 2 drachms, and molassas to form aball. 

374. BALLS FOR HIDE BOUND

Take of barbadose aloes 1 oz. , castile soap 9 drachms, and ginger 6drachms. Make into a ball. 

375. HEALING OINTMENT

Take of lard 5 parts, rosin 1 part, melt them together; when theybegin to get cool add two parts of calamine powder, stirring welltill cool. If the wound is unhealthy add a little turpentine. 

376. GALLS ON HORSES

Bathe the parts affected with spirits saturated with alum. 

377. GRUBS IN HORSES

Take of red precipitate a teaspoonful, form into a ball, repeat ifnecessary in 30 minutes. 

378. STIFF SHOULDERS OR SWEENEY

Rowel from the top of the shoulder blade down as far as there is nopealing. First cut through the skin, and then two thin fibres orstrippings, use the blunt needle, move it back and forwards five orsix inches, draw in a tape or seaton, and the next morning wet itwith tincture of cantharides, do this every other day, move themevery day, wash the part clean, let the tape stay in until thematter changes to blood, this is for both diseases. Let him run outif possible. He will be well in six or eight weeks. If for sweeneyyou may work him all the time. 

379. SICK STOMACH IN HORSES

Bleed half a gallon, then if he will eat a mash give him one, giveno hay, then give him 1/2 oz. Of rhubarb every night until it moveshis bowels, then take of gentian root 4 oz. , fenu-greek 2 oz. , nitre1/2 oz. , mix and give a large spoonful every day. Do not give himtoo much to eat when his appetite returns. 

380. LUNG FEVER

Bleed four gallons from the neck vein, and take 1 oz. Of aquanite, add to it half a gallon of cold water, drench him with a gill of itevery three hours, drench him over the lungs, then give him water todrink that hay has been boiled in, and to each gallon of it add 1oz. Of gum-arabic, and 1/2 oz. Of spirits of nitre; give this everyfour hours; foment and rub the legs with alcohol and camphor, untilthey get warm; do not move the horse. Keep him in open stall if hotweather. 

381. EYE WASH FOR HORSES

Take of sugar of lead, 2 drachms; white vitriol, 1 drachm; and softwater, 1 quart; mix and dissolve; wash the eyes out well everymorning, having first washed then well with cold water, continuethis for three or four weeks; and then, if the eyes are not muchbetter, bleed and give a mild physic. The horse should be kept onlow diet, and not over heated or worked too hard. Scalded shortsor oats are good. 

382. MANGE AND SURFEIT

Bleed and physic, then take sulphur, 1/2 lb. ; and lard, 2 lbs. ; mixwell; grease the part affected every three or four days; stand thehorse in the sun until it dries in; give him a few doses of thecleansing powder. 

383. CONTRACTION OF THE NECK

If it is taken in the first stages, bleed from the neck 2 galls. ;then ferment or bathe the part well with hot water; rub it dry, andapply the general lineament every day, two or three times; this willcure if it is of long standing. Then blister all along the partaffected with the liquid blister. Do this every three weeks untilhe is well, and rub with the white ointment. Do not work the horsetill well. 

384. WHITE OINTMENT

For rheumatism, sprains, burns, swelling, bruises, or anyinflammation on man or beast, chapped hands or lips, black eyes, or any kind of bruises. Take of fresh butter 2 lbs. ; tincture ofiodine, 1/2 oz. ; oil of origanum, 2 ozs. ; mix well for fifteenminutes, and it is fit for use; apply it every night; rub it inwell with your hand. 

385. OLD HORSES YOUNG

Drops to make old horses as lively as young. Take the tincture ofassafoetida, 1 oz. ; tincture of cantharides, 1 oz. ; antimony, 2 oz. ;fenugreek, 1 oz. ; and fourth proof brandy, 1/2 gal. ; mix all and letstand ten or twelve days; then give ten drops in a pail, or onegallon, of water. 

386. RHEUMATIC LINEAMENT

Take of alcohol, 1/2 pint; oil of origanum, 1/2 oz. ; cayenne pepper, 1/2 oz. ; gum myrrh, 1/2 oz. ; and lobelia, 1 teaspoonful; mix and letstand one day; then bathe the part affected. 

387. TO KILL LICE ON CATTLE

Take of buttermilk, 1 quart; salt, 1/3 pint; mix and dissolve; pourthis along the back, letting it run down each side; if this shouldever fail use the water in which potatoes have been boiled, in thesame way, it will be effectual. 

388. HORSES FROM FIRE

The difficulty of getting horses from burning stables is well known. The remedy is to blindfold them perfectly, and by gentle usage, theymay be easily led out. If you like you may also throw the harnessupon them. 

389. SNOW BALLS

To prevent snow balls on horses' feet clean their hoofs well, andrub with soft soap before going out in the snow. 

390. ROT IN SHEEP

To prevent and cure this keep them from exposure in bad weather, andabove all from wet pasture; pair their hoofs into the quick, andput them to stand occasionally in quick lime for a few hours. Thiscauterizes the disease and generally affects a cure. To destroy theflukes and worms, give the following: take of common salt 8 oz. , spirits of turpentine 2 oz. ; put in a quart bottle and add watertill filled; give one teaspoonful morning and night for eight days. 

391. DISTEMPER IN HOGS

To cure this take equal parts of sulphur and copperas; pulverisethem well together, and give one teaspoonful every three days inthe slop. 

392. CURE FOR SWELLED CATTLE

If the beast affected is full grown, administer one English pint oftrain oil, and smaller doses in proportion to the age. The cure iscertain. The above medicines from receipt No. 331 are for horses, cattle, &c. 

393. A TURKISH PREPARATION FOR LADIES

Take of best white wine vinegar 1 quart; of best brazil wood 1/2 lb. Infuse together for four days; then boil for half an hour, strainthrough a linen cloth, and place the liquid again over the fire. Having dissolved 1/4 lb. Of alum in a pint of white wine vinegar, mix both liquids together and stir them well. Take the scum thatarises on the surface, gradually dry and powder it, and it is readyfor use. 

394. MINCE PIE

This is the manner in which mince pie was prepared for the Princeof Wales in New York. The articles of three following receipts werealso prepared for him in that city; take of moist sugar 1 lb. , currants 1 lb. , suet well mashed 1 lb. , apples cut very fine 1 lb. , best raisins, stoned and cut very small 1/4 lb. , the juice of fiveSeville oranges, the juice of two lemons, the rind of one mashedfine, a glass of brandy, and mace and nutmeg to suit your taste. Put all together in a pan and tie up closely. 

395. HONEY CAKE

Take of loaf sugar 1/2 lb. , honey 3/4 lb. , of orange peel cut veryfine 1/2 oz. , of cinnamon 1/2 oz. , ginger 1/2 oz. , one quarter of acitron, four eggs well beaten, and a pound of sifted flour. Firstmelt the honey and sugar together, then mix all. Make into any shapeyou please. 

396. SODA BISCUITS

Take of butter 2 oz. , sugar 4 oz. , cream tartar 1/4 oz. , two eggs;one teaspoonful of soda, and a half pint of sweet milk. Stir quitestill, &c. 

397. BEEF STEAK

Put two large onions, peeled and sliced, into a stew-pan, put ina little water, cover closely, set on a slow fire until the wateris all gone, then add 1/2 a pint of good broth, and boil till theonions are tender, now strain off the broth, chop the onions fine, and season to your taste with mushroom catsup, salt and pepper, letit boil for five minutes, with the onion in it, then pour it intothe dish, and lay a broiled steak over it. Good beef gravy is farsuperior to broth. In broiling your steak use a strong fire. 

398. WEDDING CAKE

Take of flour, 18lbs. ; fine sugar, 10 lbs. ; butter, 9 lbs. ; 11nutmegs; 18 eggs; milk, 5 quarts; yeast, 1 quart; fruit, 10 lbs. ;mace, 1 oz. ; wine 1 quart; and brandy, 1 pint. Roll the butter andsugar together, then mix all the rest with them, putting the fruitin last, just before it is put in the oven. 

399. DOMESTIC YEAST

Take of good flour, 1 lb. ; brown sugar, 1/4 lb. ; water, 2 galls. ;and a little salt. Boil all together for one hour. When milk warm, bottle and cork it tightly. It will be fit for use in 24 hours. One pint of this is sufficient for 18 lbs. Of bread. 

400. TO PRODUCE MUSHROOMS

If the water wherein mushrooms have been steeped be poured upon anold bed, or if the broken parts of mushrooms be strewed thereon, there will speedily arise great numbers. 

401. HOW TO MAKE CIDER INTO WINE

Take of good cider, 25 galls. ; brandy, 1gall. ; crude tartar, 1 lb. ;of the wine you wish to resemble, 5 galls. ; of milk to settle it, 1pint. Mix all together, and let it stand for 24 hours, and then drawoff, being careful not to draw any of the sediment. 

402. SUBSTITUTE FOR CREAM

Take two or there whole eggs, beat them well up in a basin; thenpour boiling hot tea over them; pour it gradually to preventcurdling. It is difficult from the taste to distinguish it fromrich cream. 

403. TO PRESERVE FRESH MEATS

Meat may be kept for several days in the height of summer sweet andgood by lightly covering it with bran, and hanging it in some high, or windy room, or in a passage where there is a current of air. 

404. GRAFTING WAX

Take of tallow one part, beeswax two parts, and resin four parts;melt them together and dip strips of rags in the mixture while hot, and use them for grafting. 

405. FOR THE TEETH

Cuvileer's grand preparation for beautifying the teeth. Take ofchloride of lime one part, prepared chalk 15 parts, pulverisedperuvian bark 1/2 a part and a little otto of roses; mix all welltogether and it is ready for use. 

406. TO MAKE HAIR CURL

Take of common soap 2 lbs. , spirits of wine 3 pints, and potash 3oz. ; cut the soap small and melt all together, stirring it with aclean piece of wood; then add a quarter of an ounce each of essenceof amber, vanilla and nevoli, to render the fluid agreeable. Neveruse curling irons, for they destroy the hair, rendering it crisp andharsh. The above may be depended on as being genuine and harmless. 

407. TO PRESERVE PORK

Take 1 lb. Of black pepper and grind it fine for one barrel of pork, and sprinkle on each layer until is quite brown, then put on thesalt. It helps to preserve the meat and adds greatly to the smelland flavour of it. 

408. TO RESTORE TAINTED PORK

In warm weather the brine on pork frequently becomes sour, and thepork tainted; pour off the brine, boil it, skim it well, then pourit back again upon the meat boiling hot. This will restore it evenwhere it was much injured. 

409. FIRE-PROOF CEMENT

Fire and water proof cement for roofs of houses. Slack stone limewith boiling water in a covered barrel; when slacked pass six quartsthrough a fine sieve; to this add one quart of rock salt, and agallon of water, boil the mixture and skim it clean; to every 5gallons of this add 1 lb. Of alum, and 1/2 lb. Copperas, and addby degrees, potash 3/4 lb. , and fine sand or wood ashes sifted 4quarts; colour to suit your taste and apply. It will be as durableas stone. 

410. BUG POISON

Take of spirits of wine 1/2 pint, turpentine 1/2 pint, crudesal-ammoniac 1 oz; mix all together and let it saturate for sevendays, and it is ready for use. 

411. DISINFECTING AGENT

Take of green vitriol 3 lbs. , hot water one pailful; dissolve thevitriol in the water; place this wherever there is any offensiveodours, as that of a corpse, cesspool, privies, &c. , and in a shorttime all smell will be removed. Try it. 

412. BOOTH PATENT

Booth's patent grease for railway axles, waggons, machinery, &c. Take of water 1 gallon, clean tallow 3 lbs. ; palm oil 6 lbs. , andcommon soda 1/2 lbs. ; or tallow 8 lbs. , and palm oil 10 lbs. Themixture is to be heated to about 210 degrees, and well stirred tillit cools down to about 70 degrees, when it is ready for use. 

413. GUM-ARABIC STARCH

Take 2 oz. Of white gum-arabic powdered finely; put it into apitcher and pour on it a pint of boiling water; then cover it andlet stand all night; in the morning pour it carefully from the dregsinto a clean bottle; cork and keep it for use. A tablespoonful ofthis gum water stirred into a pint of starch that has been made inthe usual manner will give to launs either black, white, or printed, the appearance of new, to which nothing else can restore them afterwashing. It is a good article for collars and shirt bosoms; also, when much diluted, for thin white muslin and bobbinet. 

414. ROMAN OR MASTIC CEMENT

Take of pulverised sand stone sifted fine, 20 lbs. , litharge 2 lbs. , mix both well with linseed oil to the consistency of paste; brushboth broken parts over; press them snugly together, and let themdry, this forms an excellent cement. 

415. PORTABLE BALLS

For taking stains out of cloths, &c. --Dry fullers' earth so as tocrumble it into powder, and moisten it well with lemon juice; add aquantity of pure pulverised pearl-ash, and work the whole up into athick paste with a little water; roll it into small balls; let themcompletely dry in the sun, and they will be fit for use. The mannerof using them is to moisten, with water, the spots on the cloth, rubbing the ball over, and leaving it to dry in the sun. On washingthe spots in the water they will immediately disappear. 

416. CLOTH, RAIN PROOF, &c. 

To render cloth wind and rain proof. Boil together 2 lbs. Ofturpentine, 1 lb. Of litharge in powder, and 2 or 3 pints of linseedoil. The article is then to be brushed over with this varnish, anddried in the sun. 

417. CHOICE CEMENT

A choice cement for china, crockery, and glass. Take of white glue1/2 lb. , dry white lead 1/2 lb. , alcohol 1/4 pint, and rain water 1quart; put the glue, alcohol, and water into a tin pan together; letstand until the glue is soft; then set the pan into a kettle of hotwater, occasionally stirring it until the glue is about dissolved;then add the lead, being previously powdered, and stir until it isabout dissolved. Bottle while warm, and it is ready for use. If coldwhen about to be used, set the bottle in warm water until soft; thenapply while soft to both edges, set together and let then dry. 

418. MAHOGANY STAIN

Take of chip logwood 1 lb. , sal-soda two pence worth, water 1gallon, boil all together, apply it while hot, to every kind ofwhite wood, using a brush or sponge, and it will produce a mostbeautiful mahogany colour. 

419. MAHOGANY COLOUR

Method of darkening every sort of wood. Take soap suds, wash yourwood with it; every coat you put on will make it a shade darker. 

420. SATIN WOOD STAIN

Take of water 1 quart, fustic 2 oz. , and the size of a small nut ofalum; boil all together, apply it while hot, and it will producea most beautiful yellow. When the article to which this has beenapplied has got perfectly dry, rub it over with lime water, and itwill make a beautiful red. 

421. RED STAIN

Take of water 1 quart, brazil dust 2 oz. , and the size of a nut ofalum; boil together, apply while hot and the stain is red; when dry, wash it over with lime water, and it will be a beautiful purple. 

422. BROWN STAIN

Take of water 1 quart, logwood 2 oz. , and one penny worth of softsoap, (such as is kept in bladders, by druggists), boil themtogether, apply while hot, and it will be brown; let it dry, andapply lime water, and you will have a beautiful black. 

423. SCARLET STAIN

Take a solution of aqua-fortis in water, apply it to the black, andit will produce a beautiful scarlet. 

424. BRUSH VARNISH

Take of spirits of wine 1 pint, gum benzion half a pound; dissolvethe gum in the spirits. It may be laid on with a camel hair brush, or a small piece of wool rolled in old cotton. 

425. TO BORE GLASS

Fill a vial with turpentine spirits, dissolve in it as much camphoras it will take, insert then into this liquid the point of a commondiamond pointed drill, and with it you can bore glass as fast asyou please. 

426. GERMAN SILVER

Take of nickle 25 parts, zinc 25 parts, copper 50 parts, melt alltogether, and you have good german silver. 

427. BRASS

Brass is made by melting together a little less than two parts ofcopper, and one part of zinc. 

428. CHEMICAL SOAP

This is for washing cloths with one-half the labour of that withcommon bar soap. Take 16 lbs. English bar white soap, 3-1/2 lbs. Sal-soda, 1 lb. Pulverized rosin, 8 oz. Salt; put these into 5gallons soft water over a fire until dissolved; then put the sameinto a barrel, and fill it with cold water, after which add 2 oz. Spirits of turpentine, and stir while cooling. 

429. ENGLISH BAR SOAP

Take of water 6 gallons, good stone lime 3 lbs. , sal-soda 20 lbs. , borax 4 oz. , fat 15 lbs. , (tallow is best, ) pulverized rosin 10lbs. , and 4 oz. Of beeswax; put the water in a kettle on the fire, and when nearly boiling, add the lime and sal-soda; when these aredissolved, add the borax, boil gently and stir until this is alsodissolved, then add the fat, rosin and beeswax, and boil all verygently until it shows flaky on the stick, then pour into moulds. 

430. BROWN WINDSOR SOAP

This is made by colouring the English bar soap with the precipitateof iron, Venetian red, or vandyke brown, and scenting while not toohot with any of the essential oils, or a mixture of them accordingto fancy. 

431. YELLOW SOAP

This is made in the same way as the English bar soap, except thatyou add three percent of palm oil, deducting the same amount of fat. 

432. SOLID LARD CANDLES

Dissolve 1/4 lb. Of alum, and 1/4 lb. Of saltpetre in 1/2 a pintof water on a slow fire; then take 3 lbs. Of lard cut into smallpieces, and put into the pot with this solution, stirring itconstantly over a very moderate fire until the lard is alldissolved; then let it simmer until all steam ceases to rise, andthen at once remove it from the fire. If you leave it too longit will become discoloured. These candles are harder and betterthan tallow. 

433. MEDICINES

The following medicines are for man, while those commencing atreceipt No. 331, and ending at No. 392 are for horses, cattle, &c. , unless when stated to the contrary. 

434. FOR DROPSY

Take of powdered jalap 5 gr. , powdered rhubarb 5 gr. , powderedscammony 5 gr. , powdered elaterium 1/2 gr. , bitartrate of potash 1/2drm. , sulphate of potash 1/2 drm. , and syrup of ginger sufficient tomake into pills; mix and divide into five pills. These five pillsgiven at once form an excellent hydragogue cathartic to clear thechest, relieve breathing and diminish the dropsical effusion. 

435. ANTIBILIOUS PILLS

Take of camomel 20 grs. , jalap powder 20 grs. , tartar-emetic 2 grs. , and syrup sufficient to form into pills; divide into eight pills. The dose is tow at bed time; repeated in the morning if necessary. This forms an excellent antibilious pill. 

436. JAUNDICE

Take of rhubarb powder 1 scruple, castile soap half a drachm, calomel 12 grs. , mix and divide into pills; two or three to be takenat bed time; emetrics, purges, fomentations about the stomach andliver, and exercise will seldom fail to cure jaundice when it is asimple disease; and when complicated with dropsy, a scirrous liver, or other chronic complaints, it is hardly to be cured by any means. Castile soap has been looked upon as a kind of specific. 

437. ASTHMA

Take of powdered squills 2 drms. , powdered assafoetida 1 drachm, mixand divide into 30 pills, two to be taken twice or thrice a day. Useful in chronic asthma. 

438. DR. DEWEES' ANTI-COLIC MIXTURE

Take of carbonate of magnesia 1/2 drm. , tincture of assafoetida 60drops, tincture of opium 20 drops, white sugar 1 drm. , and distilledwater 1 oz. ; mix and shake; twenty-five drops to be given to aninfant of two to four weeks old, in flatulent colic, diarrhoea, &c. 

439. DR. HUN'S ANTI-DIARRHOEAL MIXTURE

Take of oil of cajeput 1 oz. , oil of cloves 1 oz. , oil of peppermint1 oz. , oil of anise 1 oz. , alcohol 4 oz. ; mix and shake; dose, fromone to two drachms in hot brandy and water or syrup. This willafford the most speedy relief in diarrhoea accompanied with pain. 

440. HOPE'S MIXTURE

Take of camphor water 4 oz. , nitric acid 4 drops, tincture of opium40 to 60 drops; mix cork, and shake; dose, a tablespoonful every twohours in diarrhoea and dysentery. 

441. ANTI-CHOLERA MIXTURE

Take of tincture of opium 1 drm. , liquor ammonia 1/2 drm. , tinctureof the oil of peppermint 1/2 drm. , ether 25 drops, tincture ofcamphor 1 drm. , tincture of capsicum, 1 drachm; mix, cork and shake. In real cholera give this all immediately; if the patient throws itup, repeat at once. This is an excellent prescription in extremecases when the patient is cramped. 

442. FOR HYSTERIC FITS

Take of tincture assafoetida 2 drms. , aromatic spirits of ammonia2 drms. , camphor water 7 ozs. , mix and cork; give two tablespoonsfulevery three or four hours. 

443. ANTI-ASTHMATIC MIXTURE

Take of mixture of ammoniacum 4 oz. , syrup of squill 3 drms. , antimonial wine 60 drops, wine 1/2 oz. , mix and cork. Give twotablespoonsful often, or when either the cough or shortness ofbreath is troublesome. 

444. ANTI-RHEUMATIC MIXTURE

Take of ammoniated tinc. Of quack 1/2 oz. , honey 1/2 oz. , camphorwater 6 oz. , mix and cork. Take two tablespoonsful three or fourtimes a day in chronic rheumatism; rub well the affected part withanti-rheumatic liniment. 

445. ANTI-RHEUMATIC LINIMENT

Take of tinc. Of opium 2 oz. , tinc. Of belladonna 2 oz. , powderedcamphor 2 oz. , oil of turpentine 2 oz. , oil of sassafras 2 oz. , oilof origanum 2 oz. , and tinc. Of capsicum 1 pint; mix all together. 

446. DIURETIC MIXTURE

Take of peppermint water 5 oz. , wine 6 drachms, sweet spirits ofnitre 1/2 oz. ; mix. Two tablespoonsful to be taken three times a-dayin obstruction of urinary passages. 

447. SWEATING MIXTURE

Take of acetated liquor of ammonia 3 oz. , ipecacuanha 10 gr. , tincture of oil of peppermint 15 drops, distilled water 5 oz. ; mix. Three tablespoonsful to be taken every two hours, until it producesthe desired effects. 

448. FOR CRAMP IN THE STOMACH

Take of ether 2 drms, white sugar 1-1/2 drms. , tinc. Of opium 60drops, cinnamon water 2 oz. ; mix. Give a teaspoonful every hour incramp of the stomach. 

449. FOR HOOPING COUGH

Take of tinc. Of assafoetida 1 drm, ipecacuanha 10 gr. , tinc. Ofopium 10 drops, distilled water 2 ozs. ; mix. Give to a child twoyears old a teaspoonful every four hours, increasing ten drops forevery additional year. 

450. FOR WINTER COUGH, &c. 

Take of powered extract of liquorice 2 drms, gum acacia 2 drms, hotwater 4 oz. ; mix. Let all dissolve, and add tinc. Of opium 40 drops, spirits of nitric ether 1 drm. , wine of antimony 2 drms. Dose, onetablespoonful in catarrh and common winter cough. 

451. TONIC MIXTURE

Take of calomba 2 ozs. , tinc. Of muriate of iron 1-1/2 oz. , sulphateof quinine 20 grs. , brandy 6 ozs. , water 1-1/2 pint, bruise thecalumba and pour the water on it boiling hot, cover tightly fortwo hours, then strain, bottle, and add all the other ingredients, when the quinine is dissolved it is ready for use. This forms anexcellent tonic in cases of debility. Dose, one tablespoonfulthree times a-day half an hour before meals. 

452. ANTI-PERIODIC MIXTURE

Take of sulphate of quinine 20 grs. , sulphuric acid 1 drop, whitesugar 1 drm. , cinnamon water 2-1/2 oz. ; put the quinine, acid andwater into a vial together, when dissolved add the sugar. Dose, a teaspoonful every hour, between the paroxysms of intermittentfevers, fever and ague, &c. 

453. EMMENAGOGUE MIXTURE

Take of tinc. Of aloes 1/2 oz. , tinc. Of chloride of iron 1/2 drm. , tinc. Of valerian 1/2 oz. ; mix. Take a teaspoonful in chamomile teatwo or three times a-day in cases of amenorrhoea. 

454. ANTI-GOUT MIXTURE

Take of ammoniated tinc. Of guaiac 6 drms. , camphor water 6 ozs. , tinc. Of rhubarb 1/2 oz. , and honey 1/2 oz. ; mix, by rubbing thehoney and the guaiac up in a glass mortar, and then add the otherarticles by degrees. Give two tablespoonsful every four or sixhours, and rub with the anti-rheumatic liniment. 

455. ANTI-GONORRHOEAL MIXTURE

Take of copaibe 1/2 oz. , spirts of nitric ether 1/2 oz. , powderedacacia 1 drm. , powered white sugar 1 drm. , compound spts. Oflavender 2 drms. , tinc. Of opium 1 drm. , distilled water 4 oz. ;mix. Dose, a tablespoonful three times a-day. Shake before using. 

456. ANOTHER

Take of copaibe 1 oz. , sweet spirits of nitre 1 oz. , gum acaciapowdered white sugar 1 drm. , peppermint water 4 oz. ; mix, and letall dissolve. Dose, a tablespoonful three times a-day. Shakebefore using. 

457. ASTRINGENT EYE-WATER

Take of solution of acetate of lead 12 drops, wine of opium 11drops, rose water 4 ozs. ; mix, and let dissolve. This should beapplied with a linen rag four or five times a-day. 

458. EYE-WATER

Take of distilled vinegar 1 oz. , diluted spirits of wine 1/2 oz. , rose water 8 ozs. , mix. An excellent application to weak eyes afterdepletion. 

459. ALUM EYE-WATER

Take of rose water 2 ozs. , distilled water 2 oz. , and alum 1scruple; mix and let dissolve. Excellent in chronic inflamations. 

460. GARGLE OF BORAX

Take of borax 1 drm. , tinc. Of myrrh 1/2 oz. , clarified honey 1 oz. , rose or distilled water, 4 oz. ; mix. To be used as a gargle ormouth wash in sore mouth or affection of the gums. Omit the myrrhand water, and there is nothing better for the thrush in children;clean rain water answers about the same purpose, in all cases, asdistilled water. 

461. GARGLE FOR SORE THROAT

Take of sulphate of quinine 15 grains, sulphate of copper 16 grains, aramotic sulphuric acid 1 drm. , water 8 ozs. ; mix and dissolve. Tobe used frequently in chronic and obstinate sore throats. 

462. OINTMENT FOR PILES

Take of lard 1 oz. , solution of subacetate of lead 25 drops, tinc. Of opium 1 drm. ; mix well. Anoint the parts twice a day. 

463. OINTMENT FOR ITCH

Take of sublimed sulphur 2 ozs. , lard 4 ozs. , oil of lavender 1 drm. Make into an ointment. To be rubbed on the parts affected everynight, till the eruption disappears. The internal use of sulphurwill, in all cases, assist its external application. 

464. BLISTERING OINTMENT

Take of lard 32 parts, oil of almonds 2 parts, strong liquor ofammonia 17 parts; melt the lard, add the oil, then the ammonia, must be strong, and keep the contents of the bottle well mixedby shaking them until cold. This will blister in half an hour. 

465. IODINE OINTMENT

Take of iodine 3 grs. , lard 2 drms. ; make into an ointment; appliedto scrofulous swellings when the skin is unbroken. It is the onlycure for what is popularly termed thick neck. 

466. OINTMENT OF IODINE OF ZINC

Take of iodide of zinc 1 drm. , lard 1 oz. ; make onto an ointment. A drm. To be rubbed on twice a day in tumors. 

467. OINTMENT FOR CHILBLAINS

Take of lard 7-1/2 drms. , creosote 10 drops, solution of subacetateof lead 10 drops, watery extract of opium 1 grain; mix. Apply to theaffected parts. 

468. OINTMENT FOR DISEASES OF THE SKIN

Take of citrine ointment 1-1/2 drm. , sublimed sulphur 1 drm. , lard3 ozs. ; make an ointment. This is a good application for almost allaffections of the skin. 

469. EMOLLIENT OINTMENT

Take of palm oil 2 lbs. , olive oil 1 pint, turpentine 4 oz. , red beeswax 6 ozs. ; melt the wax in the oils, and then add theturpentine and strain the ointment. This is a most excellentapplication for inflamed parts, &c. 

470. POKE ROOT OINTMENT

Take of poke root 3 ozs. , lard 1 lb. , boil for a quarter of an hourand strain. This ointment has quite a reputation in Virginia, withthe old ladies, for all kinds of old sores and ulcers, and it is anexcellent application to indolent and purulent ulcers and sores. 

471. OINTMENT FOR HYDROCEPHALUS

Take of iodide of mercury 2 parts, iodide of potassium 3 parts, camphor 2 parts, lard 32 parts; mix and keep well corked. To berubbed on the head in hydrocephalus or water on the brain in dosesof half a drachm to a drachm. 

472. LINAMENT FOR BURNS

Take of olive oil 1 oz. , linseed oil 1 oz. , lime water 1 oz. ; mixwell. This forms an excellent application for recent scalds andburns. 

473. VOLATILE LINAMENT

Take of olive oil 1 oz. , aqua ammonia 1 oz. ; mix. To be applied tobruises, rheumatic parts, &c. , and to the neck in inflammation ofthe throat. 

474. ALKALINE CATAPLASM

Take of lye, rather weak, warm it and stir in of slippery elm barkor flaxseed, or meal sufficient to form a poultice. This is a mostexcellent poultice, and should be used more than it is. It is usefulin inflammation of the breast and other parts, felons, wounds, fistula, &c. 

475. ANODYNE FOMENTATION

Take of laudanum 4 ozs. , water 1 pint; mix. For painful affectionsof the joints, as chronic rheumatism, &c. , hops dipped in hotvinegar will answer as well. 

476. COMMON CLYSTER

Take of flaxseed tea or cornmeal gruel, from one to two pints, sweetoil 2 or 3 ounces, common salt one teaspoonful, brown sugar twotablespoonsful; mix. 

477. ANODYNE CLYSTER

Take of a solution of starch in water, of jelly, or water half apint, laudanum forty drops; mix. The whole to be injected in casesof dysentery, violent purging and pain in the bowels. 

478. INJECTION FOR LEUCORRHOEA

Take of sulphate of zinc 10 grs. , tinc. Of opium 1/2 drm. , rosewater 4 oz. ; mix and dissolve. To be injected several times a day. 

479. ANOTHER

Take of alum 10 grs. , rose water 4 oz. ; mix and dissolve. To be usedfrequently. 

480. ESSENCE OF BEEF

Take of lean beef sliced 1 lb. , put it into a bottle or jar closelycorked; place this in a vessel of cold water and boil for an houror more; then decant and skim the liquid. Chicken tea may be madein the same way. For more nourishing and palatable than beef tea, season it to suit the taste. 

481. IMPERIAL DRINK

Take of cream of tartar one drm. , the outer rind of fresh lemon ororange peel half a drm. , loaf sugar one ounce, boiling water twopints. When they have stood in a pitcher about ten minutes, strainoff the liquor. This makes a beautiful cooling drink, and is anexcellent article in fevers. 

482. RINGWORM LOTION

Take of sublimate of mercury, 5 grains; spirits of wine, 2 oz. ;tinc. Of musk, 1 drachm; rose water, 6 oz. ; mix well, and rub wellin. 

483. WHISKERS AND MOUSTACHES

The best method of promoting the growth of whiskers and moustaches, is to shave the parts frequently, and use as a stimulant the ashesof burned tobacco macerated in bay water. 

484. COUGH SYRUP

Take of hoarhound, 1 quart; water 1 quart; mix and boil down to apint; then add two or three sticks of liquorice and a tablespoonfulof essence of lemon; dose, a tablespoonful three times a day, or asoften as the cough is troublesome. 

485. BLACK SALVE

Take of sweet oil 1 oz. , linseed oil 1 oz. , pulverized red lead1 oz. ; put all into an iron dish over a moderate fire, constantlystirring until you can draw your finger over a drop of it on aboard, when a little cool, without sticking; when it is done, spread on a cloth and apply as other salves. 

486. SEIDLITZ POWDERS

Take of rochelle salts, 2 drachms; bicarbonate of soda, 2 scruples;put these into a blue paper, and put 35 grains of tartaric acid intoa white paper. To use, put each into different tumblers, half filleach with water, and put a little loaf sugar in with the acid, thenpour them together and drink; this makes a very pleasant cathartic. Effervescing draught is made by leaving out the rochelle salts. 

487. CAMPHOR ICE

Take of spermaceti, 1-1/2 oz. ; gum camphor, 3/4 oz. ; oil of sweetalmonds, 4 teaspoonsful; mix, and apply heat just enough to meltall together. Whilst warm, pour into small moulds, then paper, andput up in tin-foil. This, for chaps on hands or lips, cannot beequalled. 

488. FOR SALT RHEUM

Take a quantity of the pokeweed, any time in summer, pound it, pressout the juice, strain it into a pewter dish, and set it in the sununtil it acquires the consistency of salve; then put it into anearthen mug, add to it water and beeswax sufficient to make anointment of common consistency. Simmer the whole over a fire tillthoroughly mixed; when cold, it is ready for use. To be rubbed onthe part affected. The most obstinate cases have yielded to this inthree or four months. Try it. 

489. ARTIFICIAL SKIN

Dissolve gun cotton in sulphuric ether, and thicken it with gummucilage. This article touched upon a cut or bruise, forms, immediately, an artificial skin, which cannot be washed off. It isvery useful as it obviates the necessity of finger cots or bandages. It is excellent for sore nipples. 

490. HAIR RESTORATIVE

Take of sugar of lead, 1 oz. ; lack sulphur, 1 oz. ; essence ofbergamot, 1/2. ; bay rum, 1 gill; alcohol, 1 gill; and half ateaspoonful of salt; dissolve, first, the sugar of lead and sulphurin the alcohol, then the other ingredients; and add the whole to agallon of warm soft water, then bottle it tightly, and it is fit foruse. To be applied several times a day. This is a most excellentarticle, give it a trail. 

491. TO REMOVE WARTS AND CORNS

This is very often done by means of nitrate of silver, or some ofthe mineral acids; but the best caustic for this purpose is thatrecommended for cancer in the skin. 

492. CANCER IN THE SKIN

No one but an impostor will presume to cure a true cancer, containing the cancer cell, and situated in the muscles. Many timeshard tumors, not containing the cancer cell, are called cancers, andare removed by different methods, which is very easily accomplished, without a danger of their returning; by which means base quacksbecome lauded by the illiterate, for their superior skill inbanishing this dreadful malady, and the orphan, and finally, in consequence thereof, plunge themselves headlong over yonderprecipice of eternal misery. Cancer which are situated in the skin, and are sometimes called spider cancers, &c. , may be cured by thefollowing caustic: take of sulphate of iron, 1 part; and acetate oflead, 1 part; pulverize each separately, as fine as possible, andmix well together; then, by means of a probe or knitting-needle, touch the cancer with it every morning for three or four times, andyou will be able to draw it all out; after which apply adhesivestraps that it may heal. It is used in the same way to destroy cornsand warts. In the case of cancer, physic well before applying it. 

493. FOR WORMS

Give a child one year old 15 drops of spirits of turpentine onsugar, fasting, for three mornings in succession; follow the lastdose with a good dose of castor oil; this forms an excellentvermifuge. The dose of spirits of turpentine for a child two yearsold is 20 drops, three years old 25 drops, four years old 30 drops, &c. 

494. SPASMODIC CROUP

Genuine croup is indeed of very rare occurrence, and is a fearfullydangerous disease, the only chances are to call in a physician atonce. In genuine croup, the child seems to have a cold and is hoarsefor a few days previous to the attack; but the fit generally comeson suddenly in spasmodic croup, which may be treated as follows. During the fit put the child in a warm bath, apply hot water to thethroat, allow fresh air, and sprinkle the face and chest with coldwater. 

495. FOR FLATULENCY

Make a tea of the seeds of anise, caraway, and coriander, and drinkfreely of it. 

496. FOR HICCOUGH

Take five drops of oil of anise on sugar when they commence to betroublesome. 

497. FOR HEARTBURN

This is a very disagreeable sensation, but may be banished by takinga teaspoonful of carbonate of soda dissolved in half a tumbler fullof sweetened water. 

498. ERYSIPELAS

This when very bad needs the attendance of a physician; when not sobad, paint the inflamed part over with white lead, mixed with paintoil, it is an excellent remedy. 

499. FOR FELON

Poultice well with flaxseed meal until matter begins to form, thenat once have it well laid open with a lance, continue the poulticefor some time afterwards. 

500. HAIR RESTORATIVE

Take of black mustard seed 1/2 oz. , red pepper 15 grains, bloodroot 1/2 oz. , cantharides 15 grains, castile soap 1/2 oz. , alcoholone quart; mix all together in a bottle, let stand for a week, occasionally shaking. Perfume with oil of bergamot, and applythree or four times a day. 

501. TO KILL RATS AND MICE WITHOUT POISON

Slice up a quantity of corks, grease, and scent them with oil ofanise; throw them in the way of the rats and mice; they will eat, but cannot digest them; the result is they will die. 

502. EYE WATER

One part of good brandy, to six of clean rain or distilled water, makes an admirable eye water for most cases of sore eyes. 

503. FOR CHRONIC GOUT AND RHEUMATISM

Take of bicarbonate of potash 1/2 drachm, tincture of orange 2drachms, compound decoction of aloes 8 oz. , mix. Dose, a wineglass full whenever the fit is expected. This is Sir A. Cooper'sprescription. 

504. FOR SICKNESS AND VOMITING

Take of creosote 16 drops, acetic acid 16 drops, compound spirit ofjuniper 1 oz. , syrup 1 oz. , water 14 oz. ; mix the creosote with theacid, add gradually the water, and lastly the syrup and spirit. Dosefrom two to four tablespoonsful. 

505. LAXATIVE PILL

Take of powdered aloes 1 drachm, gamboge 10 grains, Castile soap andwater sufficient to make a pill mass; mix and divide into 34 pills. Dose, one, two, or three, to be given when necessary, for torpidbowels. 

506. FOR HEADACHE

In case of a severe attack of headache the best remedy is, generally, to take a good strong physic of salts and senna. If thisdoes not relieve it, or where the person is very frequently troubledwith headache, apply a blister to the back of the neck, you willfind it an excellent remedy. 

507. FOR MAKING SIZE

This, with the following four, are currier's receipts. 

Take of sizing 1 quart, soft soap 1 gill, stuffing 1 gill, sweetmilk 1/2 pint; boil the sizing in water to a proper consistence, strain and add the other ingredients, and when thoroughly mixedit is ready for use. 

508. FOR PASTE

First coat. --Take of water 2 quarts; flour 1/2 pint, castile soap1 oz. ; make into paste. Second coat. --Take of the first paste 1/2pint, gum tragacanth 1 gill, water 1 pint; mix all together. Thiswill finish eighteen sides of upper. 

509. SKIRTING

This is for finishing skirting and the flesh of harness leather inimitation of oak tanning. Take of chrome yellow 1/2 lb. , yellowochre 1 lb. , cream of tartar 1 oz. , soda 1/2 oz. , paste 5 quarts;mix well. This will finish twelve sides. 

510. SKIRTING

For the grain of skirting to imitate oak tan, take of chrome yellow1/2 lb. , yellow ochre 1/2 lb. , cream of tartar 1 oz. , soda 1 oz. , paste 2 qts. , spirits of turpentine 1 pint. Mix well; this willfinish twelve sides. 

511. GRAIN BLACK

This is for the grain of harness leather. First, stain in tallow, then take of spirits of turpentine 1 pint, cream of tartar 1 oz. , soda 1 oz. , gum shellac 1/2 oz. , thick paste reduced thin 2 qts. Mix well. This will finish 24 sides. 

512. ANTIDOTES FOR POISONS

The antidotes for poisoning with the strong mineral acids, such asnitric, muriatic, sulphuric, or oxalic acids are magnesia, chalk, whiting, in milk or water; mucilaginous or soapy liquids. Whensulphuric acid has been taken, use very little water if any. Irritate the throat with a feather to produce vomiting. 

The antidote for poisoning with corrosive sublimate or any otherpreparation of mercury, is albumen, as whites of eggs, in largequantity, flour and water, and milk. The whites of eggs are best. 

The antidotes for poisoning by opium, or any of its preparations, as morphia, laudanum, &c. , are the stomach pump if it can be had;tartar emetic, 2 to 5 grains, or sulphate of zinc, 15 to 30grains, or sulphate of copper, 12 to 15 grs. , for an adult. Thesulphates of zinc or copper are best, because they act quicker. External excitation, keep in motion, mechanical excitement ofrespiration, cold effusion to the head and face, feet in hot water, electro-magnetism, internal stimulants, as bicarbonate of ammonia, 5 to 25 grains in water, carbonate of ammonia, 5 to 15 grains inwater, coffee and vegetable acids. Some propose as an antidote forevery case of poisoning, half a pint of bland oil, as sweet oil, fresh butter melted to oil, &c. , to be drank at once, for an adult. 

513. TREATMENT OF DROWNING

If respiration has ceased when the body is taken out of the water, it should instantly be commenced artificially, by putting a pipeinto one nostril, and closing the mouth and the other nostril, andvery gently blowing through it about 15 times in a minute; but itis a better plan to use a small pair of bellows, putting its muzzleinto the nostril, at the same time the body should be wiped dry, and be assiduously rubbed with hot cloths; hot bricks and bottlesof hot water should be put into the armpit, between the thighs, and to the feet; the head should be raised, the nostrils irritatedwith a feather, or the fumes of hartshorn, and a warm injection ofturpentine, made as follows, may be thrown up--oil of turpentine, 3 drachms; gruel, 1/2 a pint; and the yolk of 1 egg. Incorporate theturpentine with the egg, then add the gruel. Galvanism should beresorted to, if respiration is not quickly restored. As soon as thepatient can swallow, he should have some weak wine and water; andsoon afterwards an emetic of a large tablespoonful of mustard, mixedwith 6 ozs. Of water, to clear the stomach of the water which hehas swallowed, and to restore the circulation by the impetus ofvomiting. After some hours he will suffer from severe headache andfever, which must be relieved by bleeding, purgatives, &c. , whichwill be attended to by a physician, who will be present by thistime. A case is related in which life was restored by the mostpersevering friction, which was kept up for eight hours before thehumanity of the surgeon, Dr. Douglass, of Havre, was rewarded by areturn of respiration. 

514. ELASTIC CEMENT FOR BELTS

Take of white glue, 1 lb. , dry white lead, 1 lb. , alcohol, 1/2 pint, rain water, 3 pints, and proceed as directed in receipt No. 417. When ready for use apply to the ends of the belt, lay them togetherand place upon them a heavy weight until perfectly dry, then use thebelt as you please. 

515. GOOD SAMARITAN OR PAIN-KILLER

Take of 95 percent alcohol 2 quarts, and add to it the followingarticles: oils of sarsafras and hemlock, spirits of turpentine, balsam of fir, chloriform, tincture of catechu and guaiacum, ofeach 1 oz. , oil of origanum 2 oz. , oil of wintergreen 1/2 oz. , andgum of camphor 1/2 oz. Let it all be well incorporated and youhave the most excellent pain killer that was ever made. It is goodfor rheumatism, headache, neuralgia, cuts, sprains, burns, bruises, spinal affections, ear-ache, tooth-ache, sore throat, &c. This isused internally and externally, the dose internally is 10 drops;take on sugar. 

516. DIAMOND PASTE FOR RAZORS

By rubbing a little of this paste on your razor-strap, it isastonishing how speedily you will be able to sharpen a razor. Itis made simply by mixing flour of emery and sweet oil, to theconsistence of paste. 

517. FOR STAGGERS IN SHEEP

Dissolve assafoetida in warm water, and put half a tablespoonful ineach ear of the sheep. It is a speedy remedy. 

518. WATER-PROOF FOR LEATHER

Take of linseed oil, 1 pint; yellow wax and white turpentine, ofeach, 2 oz. ; burgundy pitch, 1 oz. ; melt all together, and colourwith lampblack. This being applied to boots, you may stand in waterall day, and your feet will be dry at night. 

519. TO BROWN GUN-BARRELS

Rub the barrel, after it is finished, with aquafortis, or spirit ofsalt diluted in water; leave it by for a week, till a complete coatis formed; then apply a little oil, and after rubbing the surfacedry, polish it with a hard brush and a little beeswax. 

520. LIQUID GLUE

Put 1 oz. Of borax into a pan with 1 quart of water, set it onthe fire; when melted, which will be very soon, put in 8 oz. Ofgum shellac, and boil until dissolved; if too thin add more gum;when cool bottle for use. 

521. TO TAKE INK SPOTS OUT OF MAHOGANY

Apply spirits of salt with a rag, until the spot disappears, andimmediately wash with clean water; or to half a pint of soft waterput 1 oz. Of oxalic acid, and 1/2 oz. Of butter of antimony; shakeit well, and when dissolved it will be very useful for extractingstains out of mahogany, as well as ink, if not of too long standing. 

522. TO CLEAN MARBLE, SIENNA, JASPER, PORPHYRY, &c. 

Mix up a quantity of strongest soap-lees with quicklime, to theconsistence of milk, and lay it on the stone, &c. , for 24 hours;clean it afterwards with soap and water, and it will appear as new. This may be improved by rubbing or polishing it afterwards with fineputty powder and olive oil. This is a beautiful article for cleaningmarble monuments, &c. 

523. TO CLEAN SILVER FURNITURE

Lay the furniture piece by piece upon a charcoal fire; and when theyare just red, take them off and boil them in tartar and water, andyour silver will have the same beauty as when first made. Try thismethod once and you will never forsake it; it will not remove aportion of the silver, as article that are sold in vials, boxes, &c. , for this purpose will do. 

524. A FINE BLACK VARNISH

Take 2 ozs. Of bitumen of Palestine, 2 ozs. Of resin, and 12 ozs. Ofumber; melt them separately, and afterwards mix them together overa moderate fire; then pour upon them, while on the fire, 6 ozs. Ofclear boiled linseed oil, and keep stirring the whole from time totime; take it off the fire, and, when pretty cool, pour in 12 ozs. Of essence of turpentine. This varnish is for coaches and iron work. 

525. TO PAINT SAIL-CLOTH, SO AS TO MAKE IT PLIANT, DURABLE, ANDWATER-PROOF

Grind 96 lbs. Of English ochre with boiled oil, and add to it 16lbs. Of black paint; dissolve 1 lb. Of yellow soap in one pail ofwater, on the fire, and mix it while hot with the paint. Lay thiscomposition, without wetting it, upon the canvass, as stiff as canconveniently be done with the brush, so as to form a smooth surface;the next day, or the day after, (if the latter, so much the better, )lay on a second coat of ochre and black, with a very little, if any, soap; allow this coat a day to dry, and then finish the canvass withblack paint. 

526. PHOTOCROMATIC OIL PAINTING

INSTRUCTION:

Chemicals used in executing them:--chemical varnish, No. 1, 2 oz. Damar varnish, 1 oz. Spirits turpentine; (mix well together. )Finishing varnish, No. 2, 1 oz. Spirits turpentine, 1 oz. Alcohol, 1 oz. Salt, 1 quart water. A camel's hair brush is needed forvarnishing. Take a smooth pane of common window-glass, any size youchoose, clean it well, then varnish one side of it with chemicalvarnish No. 1, lay it away where it will be perfectly free fromdust, and let it dry twenty-four hours; next varnish the same sideof the glass again, and let it dry about one half hour, or until thevarnish becomes stickey. Immediately after varnishing the glass thesecond time, take the print that you wish to get an impression of, and immerse it in the solution No. 3; put the solution in a flatpan, and lay the print in with the face side up; let the print layin the solution about five minutes, or until the paper is completelysaturated, then remove it, taking care not to stretch it, and lay iton paper with the face side up, in order that the solution may dryfrom the face of the print. In this way prepare the print, gettingit ready by the time the glass has dried one half hour. Next, carefully lay the face of the print on the varnished side of theglass, being particular to lay it on smooth and press it firmly tothe glass, so as to exclude every particle of air; should there beany air left under the paper, it will show itself in spots, andmust be pressed out. You now lay it away and let it dry anothertwenty-four hours; then, wet the back part of the print with waterand with your hand or a wet cloth, rub the paper from the back ofthe print until it is so thin that the outlines of the picture canbe seen from the back and of uniform thickness. You next spread athin coat of finishing varnish (No. 2) on it and lay it away to dry. This will render it perfectly clear and transparent. --After thiscoat of varnish has dried, rub it over with a bit of fine sandpaper, to make it smooth, and finish with two or three coats ofNo. 2 varnish. When dry, put it in a frame with the varnished sideout, placing a sheet of light coloured paper on the back, this willgive it the appearance of an oil painting. By following thesedirections you cannot fail to produce a beautiful picture. 

527. FOR THE COMPLEXION

Boil a small piece of gum benzoin in some spirits of wine till it isdissolved, (five minutes boiling will be sufficient, ) then bottlefor use. A few drops of this in a glass of soft water (sufficientto make the water a milky colour) makes a delicious wash; apply witha towel or linen cloth. This article will make the skin as soft asvelvet, and will constantly preserve rosy cheeks and lips, and forthis it has not equal in the world; besides, it is as harmless as asun-shower. As it is not a paint, it will not act just on the momentwhen applied. 

528. ORIENTAL CREAM OF ROSES

Take of tincture of elder blossoms 1/2 oz. , best beef marrow 1teaspoonful, orange flower water 1/2 pint, cassia buds 1 oz. , blanched bitter almonds 2 oz. , spirits of oriental roses 4 drms. ;mix all, and when the solution acquires the colour and consistencyof milk it is fit for use. This article is for beautifying thecomplexion, making the skin as soft, as fair, and as rosy as thatof a healthy infant; apply at pleasure. It is not only harmless, but will prove a speedy cure for all pimples, blotches, &c. 

529. INSTRUCTION FOR GILDING

Dissolve a gold dollar in nitro-muriatic acid, --(2 ozs. Muriaticto 1 of nitric, ) then dissolve a 1/4 lb. Of copperas in a pint ofhot water, and pour it into the dish containing the gold and acid, pouring in a little at a time, till it stops boiling or foaming up;then let it stand and settle about six hours; then strain off thecopperas-water carefully, and the gold will appear like a brown ordark yellow powder in the bottom of the dish. You will then proceedto wash the gold, which is done by pouring hot water on it; let itstand and settle a few minutes, and then drain off. Continue washingin this manner till there is no acid or copperas taste; then add tothe gold in the bottom of the dish from 1-1/2 to 2 oz. Cyanuretpotassa, dissolved in about 1/2 pint pure soft water. The solution isthen ready for use. Gild by laying a piece of pure zinc in contactwith the article to be gilded, in the solution. 

530. DIRECTIONS FOR SILVERING

Dissolve a silver dollar in about 2 ozs. Of nitric acid by heating;then dissolve a tablespoonful of salt in about a quart of water;pour it into the dish with the silver and acid; let it stand andsettle a few minutes, and the silver will settle to the bottom ina white powder. Then drain off the water carefully, and add morewater, then drain off again. Continue washing in this manner till noacid or salt taste remains; then add a quart or more of pure softwater, and cyanuret potassa enough to take it up, or nearly so. The solution is then nearly ready for use. 

Silver by laying a piece of zinc in contact with the article, thesame as in gilding. If the article you are silvering or gildingcorrodes or turns black, it wants a little more cyanuret. In gildingor silvering, the article must be thoroughly cleaned, and great caremust be taken that the water used is of the purest kind. 

When the plating is as heavy as you wish, polish it with a mixtureof chalk and alcohol, or of chalk alone, applied with a fine brush, or else a bit of chamois leather or rag. 

If you wish to put on a very heavy coat of silver or gold, insteadof using zinc alone as a battery, use the following, attach a pieceof copper to one end of an iron wire about ten inches long, and apiece of zinc to the other end, and place both zinc and copper incontact with the article being silvered or gilded. 

531. USING FRENCH POLISH

There is a mode of using shell-lac varnish which is sometimesdenominated the German, but more commonly the French mode. It meritsto be generally known, as the process is easy and economical, andthe effect beautiful. It has been much employed by cabinet andmusical instrument makers, but is not yet so extensively practisedas it merits to be. The varnish is applied by means of what iscalled a rubber, made by rolling up a piece of thick woollen cloth, which has been torn off so as to have a soft, elastic edge. Thevarnish, put into a narrow-mouthed bottle, is applied to the middleof the flat face of the rubber by laying the rubber on mouth of thebottle and quickly shaking the varnish at once, as the rubber willthus imbibe a sufficient quantity to varnish a considerable extentof surface. The rubber is then enclosed in a soft linen clothdoubled, the remainder of the cloth being gathered together at theback of the rubber to form a handle to hold it by; and the face ofthe linen cloth must be moistened with a little raw linseed oil, which may either be coloured with alkanet root or not, applied withthe finger to the middle of it. The work to be varnished shouldbe placed opposite to the light, in order that the effect of thepolishing may be better seen, and a surface of from ten to eightfeet square may be varnished at once. The rubber must be quickly andlightly rubbed upon the surface of the article to be varnished, andthe rubbing continued until the varnish becomes nearly dry. The coilof woollen cloth must then be again wetted with the varnish, (nomore oil need be applied to the surface of the linen cloth, ) andthe rubbing renewed till the varnish becomes nearly dry as before;a third coat must be applied in the same manner, then a fourth witha little oil, which must be followed by two others without oil, as before. You proceed thus until the varnish has acquired somethickness, which will be after a few repetitions of the series. Apply then a little alcohol to the inside of the linen cloth, andwet the coil with the varnish; after which, rub very quickly, lightly, and uniformly, over every part of the varnished surface, which will tend to make it even, and very much conduce to itspolish. The linen cloth must now be wetted with a little alcohol andoil, without varnish; and the varnished surface being rubbed over, with the precautions last mentioned, until it is nearly dry, theeffect of the operation will be seen. If it be found not complete, the process must be continued, with the introduction of alcohol inits turn as directed before, until the surface becomes smooth andof a beautiful lustre. The preceding process is that in general use;but Dr. Jones recommends, in the Franklin Journal, a rubber of adifferent sort, as well as a simpler mode of employing it. He takesa piece of thick woollen cloth, six or eight inches in diameter, andupon one side of this pours a teaspoonful of the varnish; he thencollects the edges together, so as to enclose the varnish in thecloth and form a handle by which to hold it: this is finally coveredwith a piece of oiled linen cloth, and the rubber is ready for use. More varnish is added as often as it is required; and when itbecomes occasionally too thick to ooze through, a little alcohol ispoured into the cloth. Some difficulties may be at first experiencedin performing this process; but Dr. Jones states that a very littlepractice will enable any handy person to surmount them. The peculiaradvantage said to attend it is, that a beautiful polish may be atonce obtained by a continued application of the rubber in this way;while, according to the method previously described, successivecoats of varnish, which require considerable time to dry, must beused, and a great deal of additional trouble incurred. In varnishingrecesses or carved work, where parts of the surface are difficult toreach with the rubber, a spirit varnish, made with or without lac ofthe usual gum resins, and considerably thicker than that used forthe rest of the work, may be applied to those parts with a brush orhair pencil. 

532. LACQUER FOR BRASS

Seed-lac, 6 ozs. ; amber or copal, ground on porphyry or veryclean marble, 2 ozs. ; dragon's blood, 40 grains; extract of redsandal-wood, 30 grains; oriental saffron, 36 grains; pounded glass, 4 ozs. ; very pure alcohol, 40 ozs. Articles, or ornaments of brass, to which this varnish is to be applied, should be exposed to agentle heat and then dipped into the varnish. Two or three coatingsmay be thus applied, if necessary. Articles varnished in this mannermay be cleaned with water and a bit of dry rag. 

533. TO CLEAN OLD BRASS WORK FOR LACQUERING

First boil a strong lye of wood-ashes, which you may strengthen withsoap-lees; put in your brass work, and the lacquer will immediatelycome off; then have ready a pickle of aquafortis and water, strongenough to take off the dirt; wash it immediately in clean water, dryit well, and lacquer it. 

534. TO PREPARE FISH OIL FOR PAINT

Into a cask which will contain about 40 galls. , put 32 galls. Ofgood common vinegar; add to this 12 lbs. Of litharge, and 12 lbs. Ofwhite copperas in powder: bung up the vessel, and shake and roll itwell twice a-day for a week, when it will be fit to put into a tonof whale, cod, or seal oil, (but the southern whale oil is to bepreferred, on account of its good colour and little or no smell:)shake and mix all together, when it may settle until the next day;then pour off the clear, which will be about seven-eighths of thewhole. To clear this part, add 12 galls. Of linseed oil, and 2galls. Of spirits of turpentine; shake them well together, and, after the whole has settled two or three days, it will be fit togrind white lead and all fine colours in; and, when ground, cannotbe distinguished from those ground in linseed oil, unless by thesuperiority of colour. If the oil be wanted only for coarsepurposes, the linseed oil and oil of turpentine may be added at thesame time that the prepared vinegar is put in; and, after beingwell shaken up, is fit for immediate use, without being suffered tosettle. The residue or bottom, when settled by the addition of halfits quantity of fresh lime-water, forms an excellent oil for mixingwith all the coarse paints for preserving outside work. All coloursground in the above oil, and used for inside work, must be thinnedwith linseed oil and oil of turpentine. 

Gain by the above process. 

 One ton of fish oil, or 252 galls. . . . . . . . . . . . . . . . $151. 20 32 galls. Of vinegar, at 12-1/2 cts. Per gall. . . . 4. 00 12 lbs. Litharge, at 7 cts. Per lb. . . . . . . . . . . . . . . 84 12 lbs. White copperas, at 8 cts. Ditto. . . . . . . . . . 96 12 galls. Of linseed oil, at 90 cts. Per gall. . . . 10. 80 2 galls. Of spirit of turpentine, at 40 cts. . . . . 80 -------- $168. 60

 252 galls. Of fish oil 12 ditto linseed oil 2 ditto spirit of turpentine 32 ditto vinegar --- 298 galls. , at 90 cts. Per gal. $268. 20 Deduct the expense. . . . . . . . . . . . . 168. 60 -------- $ 99. 60

535. PAINTING IN MILK

In consequence of the injury which has often resulted to sick andweakly persons from the smell of common paint, the following methodof painting with milk has been adopted by some workmen, which, forthe interior of buildings, besides being as free as distemper fromany offensive odour, is said to be nearly equal to oil-painting inbody and durability. Take 1/2 gall. Of skimmed milk, 6 ozs. Of limenewly slaked, 4 ozs. Of poppy, linseed, or nut-oil, and 3 lbs. OfSpanish white. Put the lime into an earthen vessel or clean bucket, and having poured on it a sufficient quantity of milk to make itabout the thickness of cream, add the oil in small quantities at atime, stirring the mixture with a wooden spatula. Then put in therest of the milk, and afterwards the Spanish white. It is, ingeneral, indifferent which of the oils above-mentioned you use;but, for a pure white, oil of poppy is the best. The oil in thiscomposition, being dissolved by the lime, wholly disappears; and, uniting with the whole of the other ingredients, forms a kind ofcalcareous soap. In putting in the Spanish white, you must becareful that it is finely powdered and strewed gently over thesurface of the mixture. It then, by degrees, imbibes the liquid andsinks to the bottom. Milk skimmed in summer is often found to becurdled; but this is of no consequence in the present preparation, as its combining with the lime soon restores it to its fluid state. But it must on no account be sour; because, in that case, it would, by uniting with the lime, form an earthy salt, which could notresist any degree of dampness in the air. Milk paint may likewisebe used for out-door objects by adding to the ingredientsbefore-mentioned 2 ozs. Each more of oil and slaked lime, and 2 ozs. Of Burgundy pitch. The pitch should be put into the oil that is tobe added to the milk and lime, and dissolved by a gentle heat. Incold weather, the milk and lime must be warmed, to prevent the pitchfrom cooling too suddenly, and to enable it to unite more readilywith the milk and lime. Time only can prove how far this mode ofpainting is to be compared, for durability, with that in oil; forthe shrinking to which coatings of paint are subject depends ingreat measure upon the nature and seasoning of the wood. The milkpaint used for in-door work dries in about an hour; and the oilwhich is employed in preparing it entirely loses its smell in thesoapy state to which it is reduced by its union with the lime. One coating will be sufficient for places that are already coveredwith any colour, unless the latter penetrate through it and producespots. One coat will likewise suffice, in general, for ceilings andstair-cases; two will be necessary for new wood. Milk painting maybe coloured, like every other in distemper, by means of the differentcolouring substances employed in common painting. The quantity Ihave given in the receipt will be sufficient for one coat to asurface of about twenty-five square yards. 

536. ETHEREAL SOLUTION OF GOLD

The following mode of effecting this solution (used chiefly forgilding steel) is recommended by Mr. H. Mill, in the "TechnicalRepository, " as being superior to any previously made known. "Theinstructions, " he says, "given in most elementary works on chemistryfor this purpose are either erroneous or not sufficiently explicit. "The process answers equally well for either gold or platina. Dissolve any quantity of gold or platina in nitro-muriatic acid, (aqua regia, ) until no further effervescence is occasioned by theapplication of heat. Evaporate the solution of gold or platina, thusformed, to dryness, in a gentle heat, (it will then be freed fromall excess of acid, which is essential, ) and re-dissolve the drymass in as little water as possible: next take an instrument whichis used by chemists for dropping liquids, known by the name of aseparating funnel, having a pear-shaped body, tapering to a finesharp point, and a neck capable of being stopped with the finger ora cork, which may contain a liquid once or more; fill it with theliquid about one-quarter part, and the other three parts must befilled with the very best sulphuric ether. If this be rightlymanaged, the two liquids will not mix. Then place the tube in ahorizontal position, and gently turn it round with the finger andthumb. The ether will very soon be impregnated with the gold orplatina, which may be known by its changing its colour; replace itin a perpendicular position, and let it rest for twenty-four hours;having first stopped up the upper orifice with a cork. The liquidwill then be divided into two parts--the darkest colouring beingunderneath. To separate them, take out the cork and let the darkliquid flow out: when it has disappeared, stop the tube immediatelywith the cork, and what remains in the tube is fit for use, and maybe called gilding liquid. Let it be put into a bottle, and tightlycorked. The muriate of gold or platina, formed by digesting thesemetals in nitro-muriatic acid, must be entirely free from all excessof acid; because it will otherwise act too forcibly on the steel, and cause the coating of gold to peel off. Pure gold must beemployed; the ether must not be shaken with the muriate of gold, asis advised in chemical publications, for it will be sure, then, tocontain acid; but if the two liquids be brought continually intocontact by the motion described, the affinity between ether and goldis so strong as to overcome the obstacle of gravity, and it willhold the gold in solution. The ethereal solution may also beconcentrated by gentle evaporation. 

537. VARNISH POLISH

Take 2 ozs. Of tripoli, reduced to fine powder; put it into anearthen pot or basin, with water to cover it; then take a piece offine flannel, four times doubled, lay it over a piece of cork orrubber, and proceed to polish your varnish, always wetting it withthe tripoli and water. You will know when the process is completed, by wiping a part of the work with a sponge and observing whetherthere is a fair and even gloss. Take a bit of mutton-suet and fineflour, and clean off the work. Or, the powdered tripoli may be mixedup with a little pure oil, and used upon a ball of serge, or ofchamois leather, which is better. The polishing may afterwards becompleted with a bit of serge or cloth, without tripoli. Puttypowder, and even common whiting and water, are sometimes used forpolishing; but they produce a very inferior effect to tripoli, except in the case of ivory, for which putty and water, used upon arubber made of a hat, forms the best and quickest polish. Putty andwater may likewise be used, in the same manner as just mentioned forivory, in finishing off the polish of pearl work, after it has firstbeen polished very smooth with pumice-stone, finely powdered, andwell washed to free it from impurities and dirt. 

538. VARNISH FOR COLOURED DRAWINGS

Mix together 1 oz. Of Canada balsam and 2 ozs. Of spirits ofturpentine. Before applying the composition, size the drawing orprint with a solution of isinglass in water; when this is dry, applythe varnish with a camel's-hair brush. The use of this varnish givesto coloured drawings and prints an appearance resembling that of oilpaintings. 

539. VARNISH FOR GLASS

Reduce a quantity of gum tragacanth to powder, and let it dissolvefor twenty-four hours in the white of eggs well beat up; then rub itgently on the glass with a brush. 

540. TO CLEAN PICTURES

Having taken the picture out of its frame, take a clean towel, andmaking it quite wet, lay it on the face of your picture, sprinklingit from time to time with clear soft water; let it remain wet fortwo or three days; take the cloth off, and renew it with a freshone; after wiping your picture with a clean wet sponge, repeat theprocess till you find all the dirt soaked out of your picture; thenwash it well with a soft sponge, and let it get quite dry; rub itwith some clear nut or linseed oil, and it will look as well as whenfreshly done. 

541. ANOTHER METHOD

Put into two quarts of strong lye a quarter of a pound of Genoa soaprasped very fine, with about a pint of spirits of wine; let themsimmer on the fire for half an hour, then strain them through acloth; apply it with a brush to the picture, wipe it off with asponge, and apply it a second time, which will effectually removeall dirt; then, with a little nut oil warmed, rub the picture, andlet it dry; this will make it look as bright as when it came out ofthe artist's hands. 

542. VARNISH FOR CLOCK FACES, &c. 

Take of spirits of wine, 1 pint; divide it into four parts; mix onepart with half an ounce of gum mastic, in a bottle by itself; onepart of spirits and half an ounce of gum sandrac in another bottle;and one part of spirits and half an ounce of the whitest part of gumbenjamin; mix and temper them to your mind; if too thick, addspirits; if too thin, some mastic; if too soft, some sandrac orbenjamin. When you use it, warm the silvered plate before the fire, and with a flat camel-hair pencil stroke it over till no whitestreaks appear; which will preserve the silvering for many years. 

543. VARNISH FOR BALLOONS

Take some linseed oil, rendered drying by boiling it with 2 ozs. Ofsugar of lead and 3 ozs. Of litharge for every pint of oil tillthey are dissolved, which may be in half an hour. Then put 1 lb. Ofbirdlime and half a pint of the drying oil into an iron or coppervessel, whose capacity should equal about a gallon, and let it boilvery gently over a slow charcoal fire, till the birdlime ceases tocrackle, which will be in about half or three-quarters of an hour;then pour upon it 2-1/2 pints more of the drying oil, and let itboil about an hour longer, stirring it frequently with an iron orwooden spatula. As the varnish, whilst boiling, and especially whennearly ready, swells very much, care should be taken to remove, in those cases, the pot from the fire, and to replace it when thevarnish subsides; otherwise, it will boil over. Whilst the stuff isboiling, the operator should occasionally examine whether it hasboiled enough, which may be known by observing whether, when rubbedbetween two knives, which are then to be separated from one another, the varnish forms threads between them, as it must then be removedfrom the fire. When nearly cool, add about an equal quantity of oilof turpentine. In using the varnish, the stuff must be stretched, and the varnish applied lukewarm. In 24 hours it will dry. As theelastic resin, known by the name of Indian rubber, has been muchextolled for a varnish for balloons, the following method of makingit, as practiced by M. Blanchard, may not prove unacceptable:dissolve elastic resin cut small in five times its weight ofrectified essential oil of turpentine, by keeping them some daystogether. Then pour 1 oz. Of this solution in 8 ozs. Of dryinglinseed oil for a few minutes; strain the solution, and use it warm. 

544. TO PREPARE RENNET TO TURN MILK

Take out the stomach of a calf as soon as killed, and scour itinside and out with salt; after it is cleared of the curd alwaysfound in it, let it drain a few hours, then sew it up with two goodhandsful of salt in it, or stretch it well salted on a stick, orkeep it in the salt wet; and when wanted soak it a little in freshwater, and repeat the same when again required. 

545. TO MAKE CHEESE

Put the milk into a large tub, warming a part till it is of a degreeof heat quite equal to new; if too hot the cheese will be tough. Putin as much rennet as will turn it, and cover it over; let it standtill completely turned, then strike the curd down several times withthe skimming-dish, and let it separate, still covering it. There aretwo modes of breaking the curd, and there will be a difference inthe taste of the cheese according as either is observed: one is, togather it with the hands very gently towards the side of the tub, letting the whey pass through the fingers till it is cleared, andladling it off as it collects; the other is, to get the whey from itby early breaking the curd; the last method deprives it of many ofits oily particles, and is therefore less proper. Put the vat on aladder over the tub, and fill it with curd by the skimmer; press thecurd close with your hand, and add more as it sinks, and it must befinally left two inches above the edge. Before the vat is filled, the cheese-cloth must be laid at the bottom, and when full, drawsmoothly over on all sides. These are two modes of salting cheese;one by mixing it in the curd while in the tub, after the whey isout, and the other by putting it into the vat and crumbling the curdall to pieces with it, after the first squeezing with the hands hasdried it. The first method appears best on some accounts, but not onall, and therefore the custom of the country must direct. Put aboard under and over the vat, and place it in the press; in twohours turn it out and put a fresh cheese-cloth; press it again foreight or ten hours; then salt it all over, and turn it again in thevat, and let it stand in the press fourteen or sixteen hours, observing to put the cheese last made undermost. Before putting themthe last time into the vat, pare the edges if they do not looksmooth. The vat should have holes at the sides and at bottom, to letall the whey pass through; put on clean boards, and change and scaldthem. 

546. TO PRESERVE CHEESE SOUND

Wash in a warm whey, when you have any, wipe it once a month, andkeep it on a rack. If you want to ripen it, a damp cellar will bringit forward. When a whole cheese is cut, the larger quantity shouldbe spread with butter inside, and the outside wiped to preserve it. To keep those in daily use moist, let a clean cloth be wrung outfrom cold water, and wrapt round them when carried from the table. 

547. TO MAKE CREAM CHEESE

Put 5 quarts of strippings, that is, the last of the milking, intoa pan, with 2 spoonsful of rennet. When the curd is come, strike itdown two or three times with the skimming-dish, just to break it;let it stand two hours, then spread a cheese-cloth on a sieve, putthe curd on it, and let the whey drain; break the curd a little withyour hand, and put it into a vat with a 2 lb weight upon it; letit stand twelve hours, take it out, and bind a fillet round; turnevery day till dry, from one board to another, cover them withnettles or clean dock leaves, and put between two pewter-plates toripen. If the weather be warm, it will be ready in three weeks. 

548. ELEGANT AND INGENIOUS ARTS, &c. 

Accomplishments. --These are very desirable for the household, because the inmates are made happier by refined and ingenious artsand pursuits, and are fitted to improve the taste of others. Children and young persons, of both sexes, should learn as many ofthese arts as they possibly can without neglecting duties. Pleasantmodes of employing leisure hours save people from many temptations, and add much to the happiness of life. 

549. GRECIAN PAINTING

Grecian painting is the art of imitating oil paintings. This trulybeautiful imitation, if well done, is so perfect that none saveconnoisseurs can discern, at sight, the difference. 

Engravings best suited to this style of painting are mezzotint oraquatint, though fine lithographs are used. 

Rule First. --Procure a frame one inch longer than the engraved partof the print. Second. --Cut the engraving the size of the frame, thenmake a stiff paste, and spread thickly on the frame. Third. --Placethe engraving face down and sponge it gently with water; then pressthe frame firmly and evenly down on; leave it till entirely dry (notby the fire) and it will become even and tight. 

To make the Grecian Varnish. --Take one part turpentine, two partsalcohol, (90 proof, ) three parts balsam of fir, and mix. 

To use the Varnish. --Pour sufficient spirits of turpentine on theback of the picture to moisten it well, then put on the varnish andrub it THOROUGHLY with a stiff brush, and continue to apply it untilthe picture is perfectly transparent. 

Spots. --Leave the picture for twenty-four hours, after which ifwhite spots appear, showing that the varnish has not been effectual, repeat the process. Sometimes it has to be done several times. 

Drying. --Place the picture, face downward, where it will be freefrom dust, and leave it three or four days. 

Paints. --These are put on the back of the engraving. 

Eyes. --For blue eyes, permanent blue and white; for hazel eyes, yellow ochre and vandyke brown. 

Flesh Tints. --Flake white, with a very little vermillion and Naplesyellow. 

Foliages. --Chrome yellow and Prussian blue, with any of the browns. 

Sky. --Clouds touched in with white; the rest permanent blue andwhite. 

Water. --The light parts with white, the rest the same as the sky. If a bright scene, and with trees, of a greenish brown. 

Hair and Eyebrows. --Yellow ochre and vandyke brown, or raw sienna. 

Backgrounds. --The most agreeable tint is a greenish brown. 

White Background. --Flake and silver white. 

Buff Background. --Naples yellow. 

Orange Background. --Chrome yellow, with vermillion. 

Blue Background. --Flake white and Prussian blue. 

Gray Background. --White, Prussian blue, and vermillion. 

Pink Background. --White and vermillion. 

Crimson Background. --Vermillion and white, with carmine. 

Green Background. --Chrome yellow and Prussian blue. 

Paints for the front of the picture. --Drying oil must be used withall the colours on the front. 

Shading for the flesh on the front. --Carmine and vandyke brown laidon lightly, and the edges touched off with the finger. 

Cheeks. --Carmine; soften the edges carefully. 

Lips. --Carmine, with a touch of vermilion. 

Hair and Eyebrows. --Yellow lake and vandyke brown. 

Draperies. --These are always painted on the back, and shaded on thefront with vandyke brown. 

Backgrounds. --If plain, glaze with yellow lake. 

Foliages. --Yellow lake and vandyke brown. 

General Directions. --First. --Lay the paint thickly on the back, andbe careful to cover every part, but not to go over the edges. Second. --When the painting is finished let it dry four days, andthen cover the front with a coat of mastic varnish. 

Materials required are a palette, palette-knife, flat varnishbrush, three sizes of bristle brushes, three sizes of table brushes, drying oil, mastic varnish, spirits of turpentine, Grecian varnish. 

Colours used are oil colours in tubes. Those generally needed aresilver white, Naples yellow, yellow ochre, brilliant yellow, vermilion, Prussian blue, raw sienna, ivory black, carmine, yellowlake, vandyke brown. 

If economy is an object, some of the above-mentioned materials canbe dispensed with. 

550. DIAPHANIE

This is a beautiful, useful, and inexpensive art, easily acquired, and producing imitation of the richest and rarest stained glass; andalso of making blinds, screens, skylights, Chinese lanterns, &c. , in every variety of colour and design. In decorating his house, agentleman spends as much money as he can conveniently spare; theelegancies and refinements of modern taste demand something morethan mere comfort; yet though his walls are hung with pictures, hisdrawing-room filled with bijouterie, how is it that the windows ofhis hall, his library, his staircase, are neglected? The reason isobvious. The magnificent historical glass might be envied, butcould not be brought within the compass of ordinary means. Recentimprovements in printing in colours led the way to this beautifulinvention, by which economy is combined with the most perfectresults. A peculiar kind of paper is rendered perfectly transparent, upon which designs are printed in glass colours, (vitro decouleurs, ) which will not change with the light. The paper isapplied to the glass with a clear white varnish, and when dry, apreparation is finally applied, which increases the transparency, and adds tenfold brilliancy to the effect. There is another design, printed in imitation of the half-light (abatiour;) this is usedprincipally for a ground, covering the whole surface of the glass, within which (the necessary spaces having been previously cut outbefore it is stuck on the glass, ) are placed medallion centres ofWatteau figures, perfectly transparent, which derive increasedbrilliancy from the semi-transparency of the surrounding country. To ascertain the quantity of designs required, measure your glasscarefully, and then calculate how many sheets it will take. Thesheets are arranged so that they can be joined togethercontinuously, or cut to any size or shape. 

Practical Instructions. --Choose a fine day for the operation, as theglass should be perfectly dry and unaffected by the humidity of theatmosphere. Of course, if you have a choice, it is more convenientto work on your glass before it is fixed in the frame. If you areworking on a piece of unattached glass, lay it on a flat table, (amarble slab is preferable, ) over which you must previously lay apiece of baize of cloth to keep the glass steady. The glass beingthus fixed, clean and polish the side on which you intend tooperate, (in windows this is the inner side, ) then with your brushlay on it very equably a good coat of the prepared varnish; letthis dry for an hour, more or less, according to the dryness of theatmosphere and the thickness of the coat of varnish. Meantime cutand trim your designs carefully to fit the glass, (if it is oneentire transparent sheet you will find it little trouble;) then laythem on a piece of paper, face downwards, and damp the back of themwith a sponge, applied several times, to equalise the moisture. After this operation, arrange your time so that your designs may nowbe finally left to dry for fifteen minutes before application to theglass, the varnish on which has now become tacky or sticky, and ina proper state to receive them. Apply the printed side next to theglass without pressure; endeavour to let your sheet fall perfectlylevel and smooth on your glass so that you may avoid leavingcreases, which would be fatal. Take now your palette, lay it flat onthe design, and press out all the air bubbles, commencing in thecentre, and working them out from the sides; an ivory stick willbe found useful in removing creases; you now leave this to dry, and after twenty-four hours apply a slight coat of the liqueurdiaphane, leaving it another day, when if dry, apply a second coatof the same kind, which must be left several days: finally, apply acoat of varnish over all. If these directions are carefully followed, your glass will never be affected by time or by any variations inthe weather: it will defy hail, rain, frost and dust, and can bewashed the same as any ordinary stained glass, to which, in somerespects, it is even superior. It is impossible to enumerate thevariety of articles to the manufacture of which diaphanie may besuccessfully applied as it is not confined to glass, but can be doneon silk, parchment, paper, linen, &c. , after they have been madetransparent, which may be accomplished in the following manner:--stretch your paper, or whatever it may be, on a frame or drawingboard, then apply two successive coats (a day between each, ) ofdiaphanous liquor, and after leaving it to dry for several days, cover it with a thin layer of very clear size, and when dry it willbe in a fit state to receive the coat of varnish and the designs. Silk, linen, or other stuffs, should be more carefully stretched, and receive a thicker coat of size than paper or parchment; thelatter may be strained on a drawing or any other smooth board, bydamping the sheet, and after pasting the edges, stretching it downwhile damp. Silk, linen, or other stuffs require to be carefullystretched on a knitting or other suitable frame. Take great care toallow, whatever you use, time to dry before applying the liqueurdiaphane. All kinds of screens, lamp-shades, and glasses, lanterns, &c. , &c. , may be made in this way, as heat will produce no effectupon them. The transparent pictures are successful, because they maybe hung on a window frame or removed at will, and the window blindsare far superior to any thing of that kind that have yet been seen. Instead of steeping the designs in the transparent liquor at thetime of printing them, which was previously done in order to showtheir transparency to the purchaser, but which was practicallyobjectionable, as the paper in that state was brittle, and devoidof pliancy, necessitating also the use of a peculiarly difficultvehicle to manage (varnish) in applying it to the glass, themanufacturer now prepares his paper differently, in order to allowthe use of parchment size in sticking them on the glass. Theliqueur diaphane, which is finally applied, renders them perfectlytransparent. In this mode of operation, no delay is requisite, thedesigns being applied to the glass immediately after laying on thesize, taking care to press out all the air bubbles, for whichpurpose a roller will be found indispensable. The designs should bedamped before the size is applied to them. We are of opinion thatthis art may be applied to the production of magic-lantern slides, dissolving views, and dioramic effects; though we are not awarewhether such experiments have been tried. 

551. WATER-COLOURS USED IN DRAWING

Indian Ink. --The best is stamped with Chinese characters, breakswith a glossy fracture, and feels smooth when rubbed on the plate. 

Hair Pencils are made of camel's-hair; if they come to a point, whenmoistened, without splitting, they are good. 

Drawing Paper. --That made without any wire marks, and called wovepaper, is the best; it is made of various sizes and thicknesses. 

To make a good white. --Clarify white lead with white-wine vinegar. After the powder has settled, pour off the vinegar, put the powderinto a glass of water, stir it, and pour the water off while it iswhite into another glass; when it is settled, pour off the water, and an excellent white will be obtained. To this add gum enough togive it a gloss. 

552. DIRECTIONS FOR MIXED COLOURS

Ash Colour. --Ceruse white, Keating's black and white, shaded withcherry-stone black. 

Bay. --Lake and flake white, shaded with carmine; bistre andvermilion shaded with black. 

Changeable Silk. --Red lead and masticot water, shaded with sap-greenand verdigris. 

Another. --Lake and yellow, shaded with lake and Prussian blue. 

Cloud Colour. --Light masticot, or lake and white, shaded with blueverditer. 

Another. --Constant white and Indian ink, and a little vermilion. 

Another. --White, with a little lake and blue verditer, make a goodcloud colour for that part next the horizon. 

Crimson. --Lake and white, with a little vermilion, shaded with lakeand carmine. 

Flame Colour. --Vermilion and orpiment, heightened with white. 

Another. --Gamboge, shaded with minium and red lead. 

Flesh Colour. --Ceruse, red lead, and lake, for a swarthy complexion, and yellow ochre. 

Another. --Constant white and a little carmine, shaded with Spanishliquorice washed with carmine. 

French Green. --Light pink and Dutch bice, shaded with green pink. 

Glass Grey. --Ceruse, with a little blue of any kind. 

Hair Colour. --Masticot, ochre, umber, ceruse, and cherry-stoneblack. 

Lead Colour. --Indigo and white. 

Light Blue. --Blue bice, heightened with flake white. 

Another. --Blue verditer, and white of any sort, well ground. 

Light Green. --Pink, smalt, and white. 

Another. --Blue verditer and gamboge. 

Another. --Gamboge and verdigris. This is chiefly used for the groundcolours of trees, fields, &c. 

Lion Tawney. --Red lead and masticot, shaded with umber. 

Murrey. --Lake and white lead. 

Orange. --Red lead and a little masticot, shaded with umber. 

Orange Tawney. --Lake, light pink, a little masticot, shaded withgall-stone and lake. 

Pearl Colour. --Carmine, a little white, shaded with lake. 

Popinjay Green. --Green and masticot; or pink and a little indigo, shaded with indigo. 

Purple. --Indigo, Spanish brown, and white; or blue bice, red andwhite lead; or blue bice and lake. 

Russet. --Cherry-stone black and white. 

Scarlet. --Red lead and lake, with or without vermilion. 

Sea Green. --Bice, pink and white, shaded with pink. 

Sky Colour. --Light masticot and white, for the lowest and lightestparts; second, red ink and white; third, blue bice and white;fourth, blue bice alone. These are all to be softened into oneanother at the edges, so as not to appear harsh. 

Sky Colour for Drapery. --Blue bice and ceruse, or ultramarine andwhite, shaded with indigo. 

Straw Colour. --Masticot and a very little lake, shaded with Dutchpink. 

Yellow Colour. --Indigo, white, and lake; or fine Dutch bice andlake, shaded with Indigo; or litmus smalt and bice, the latterpredominant. 

Water. --Blue and white, shaded with blue, and heightened with white. 

To prevent Colours from Cracking. --Boil 2 ozs. Of the best andclearest glue, with 1 pint of clear water, and a 1/2 oz. Of alum, till dissolved. With this temper those colours intended for the sky. 

To make a Solution of Gum. --Dissolve 1 oz. Of white gum arabic, anda 1/2 oz. Of double refined sugar, in a quart of spring water;strain it through a piece of muslin, and bottle it to keep it freefrom dust. 

To keep Flies from the Work. --Having prepared the gum water for thecolours, add a little coloquintida. 

To prepare Alum Water. --Take 4 ozs. Of alum, and 1 pint of springwater; boil it till the alum is thoroughly dissolved, and thenfilter it through blotting-paper. 

To use Alum Water. --Before laying on the colours, take some of thiswater, hot, and with a sponge wet the back of the paper, which, ifnot good, must be wet three or four times, letting the paper dryeach time before wetting it again. This will prevent the sinking ofthe colours, and give them additional lustre. 

To make Lime Water. --Put unslacked lime in a well-glazed pan; coverit with pure water, and let it remain for one day. Then strain offthe water. This water will change sap-green into blue. 

553. TO PREPARE WASH COLOURS FOR MAPS

Blue. --Dilute Saxon blue with water; or to the solution of litmusadd distilled vinegar. 

Green. --Dissolve verdigris in distilled water and add gum arabic. Or, dissolve sap-green in water and add gum. 

Red. --Steep Brazil dust in vinegar, with alum. Or, dissolve litmusin water and add spirit of wine. Or, steep cochineal in water, strain, and add gum. 

Yellow. --Dissolve gamboge in water; or French berries steeped inwater, the liquor strained, and gum arabic added. 

554. TO MIX WATER-COLOURS FOR ANIMALS

Horses, black. --Black lightly laid on, shaded with Keating's blackand bistre, heightened with masticot. 

Horses, chestnut brown. --Red ochre and black mixed together, shadedwith black, heightened with red ochre and white. 

Horses, grey. --Black and white mixed, shaded with black, white, andbistre; heightened with pure water. 

Lions. --Colour much in the same manner as horses, adding lake in theground colour. 

Bears. --Brown ochre, red ochre, and black, mixed; shaded with bistreand ivory black. 

Wolves. --Spanish liquorice and black, shaded with black. 

Asses. --Black and white mixed; or, add a little brown ochre, shadedwith black. 

Elephants. --Black, white, and Spanish liquorice, mixed; shaded withblack and bistre; the inner part of the nose, vermilion and white, shaded with black. 

Monkeys. --Dutch pink and black, heightened with masticot and white:the face, black and bistre mixed, as also their feet; their bodies, shaded underneath with black and pink mixed with a little brownochre. 

555. FRUIT IN WATER-COLOURS

Apples. --Thin masticot mixed with verdigris, shaded with brown ochre. 

Cherries. --Vermilion and lake, shaded with carmine, heightened withvermilion and white. 

Grapes, blue. --Dark purple shaded with blue; the bloom, bice. 

Grapes, white. --Verdigris and masticot mixed, shaded with thinverdigris heightened with masticot and white. 

Peaches. --Thin masticot shaded with brown ochre; the bloom, lakeheightened with white. 

Pears. --Masticot deepened and mellowed with brown ochre. 

Strawberries. --White; draw it over with vermilion and lake, shadedwith fine lake, heightened with red lead and masticot mixed, andthen with white; stipple them with white and thin lead. 

556. TO PAINT FLOWERS

Anemones. --A thin wash of gamboge shaded with bistre; or carmine andsap-green blended together. The stripes carmine, shaded with thesame; indigo in the darkest parts, or stipple with it. 

Leaves. --Sap-green, shaded with indigo and French berries; the stalkbrown. 

Honeysuckles. --Inside of the petals, white shaded with sap-green, orgamboge and bistre. 

The insides are to be shown by curling the leaves back at the ends, or by splitting them. 

The outsides, a thin wash of carmine and lake mixed, shaded withcarmine--indigo for the darkest shades. 

Stalks. --Sap-green and carmine. 

Leaves. --Sap-green, shaded with indigo and French berries. 

Roses. --A light tint of pure carmine, over which another equallylight of Peruvian blue; proceed with the darker shades of carmine ofthe best sort. In the darkest part of the flower add a little indigoto give a roundness. If the seeds are seen lay on gamboge, shadedwith gall-stone. 

Leaves. --Upper side, sap-green, shaded with indigo and Frenchberries mixed; under-side, white indigo and sap-green mixed, shadedwith the same. 

Stalks. --Sap-green and carmine, shaded with indigo. 

Rose-buds. --A pale wash of carmine, shaded with a stronger wash ofthe same. 

Stalks and leaves, sap-green with a slight wash of carmine. 

557. BIRDS IN WATER-COLOURS

Eagles. --black and brown, shaded with indigo; feathers heightened bybrown ochre and white; beak and claws saffron, shaded with bistre;eyes vermilion, heightened with masticot or saffron, shaded withvermilion. 

Geese. --Ceruse shaded with black; legs, black; bill, red. 

Owls. --Ochre mixed with white, in different shades; legs, yellowochre. 

Pheasants. --White and black mixed; legs, Dutch pink, shaded withblack. 

Swans. --White shaded with black; the legs and bills black; eyesyellow; a ball in the midst. 

Turkeys. --Black, black and white mixed, shaded off to a whiteunderneath; sprinkled and shaded with black. 

558. LANDSCAPES IN WATER-COLOURS

Sketch the outlines faintly with a black-lead pencil. Then colour. 

Colours. --The most useful are: lake, burnt ochre, gamboge, indigo, light red, sepia, Prussian blue, sienna, and burnt umber. 

The gray colour is made of burnt umber, indigo, and lake; eachrubbed separately in a saucer, and then mixed in a fourth saucer asto produce the exact colour--a warm gray. This is thinned for thelight tints, as sky and distances. Deeper is to be used for theshadows and near parts, softening with water till the exact effectis produced. 

Buildings are sometimes tinted with a mixture of lake and gamboge. Burnt ochre is also used. The shadows have an excess of lake. 

Breadths of Light are obtained by destroying the scattered lightswith grays. 

Clouds are produced by a thin mixture of indigo and lake. Theyshould be tinted with sepia. The lower or horizontal clouds aretinged with ultramarine. 

Figures are touched with lake and indigo. 

Force is acquired by adding sepia to indigo, in the cold parts, andsepia with lake to the glowing parts. 

Grass is washed with a mixture of burnt sienna, indigo, and gamboge;that in shadow has more indigo. Grass and bushes may be brought outby a tint of gamboge; distances may be heightened by lake. 

Hills, retiring. --Tint the whole with weak blue; then the nearerones with indigo and lake; add a little gamboge to the next, keepingone subordinate to the other; the most distant being lost in theaerial tints. 

Land, distant. --Ultramarine and lake. Ground near is tinted withochre. 

Road and Paths. --A mixture of lake, burnt umber, and burnt sienna. It may be tinted with ochre. 

Smoke. --Lake and indigo. 

Trees, distant. --Ultramarine, with a wash of indigo, gamboge, andburnt sienna, tinted with gray. The middle trees have a thin washof burnt sienna and gamboge. Nearer trees a wash of burnt sienna, indigo, and gamboge. In the shadows more indigo is used. 

Opposing masses of trees are tinted with sepia and indigo. 

Windows. --Indigo and burnt umber. 

559. POTICHOMANIE

This elegant accomplishment, which has become so extremely popularand fashionable, promises not only to supercede altogether many ofthose accomplishments which have hitherto absorbed the attention ofour fair countrywomen, but to rank among the fine arts. 

Advantages of this Art. --It possesses many advantages: and theprocess is simple and easily acquired. It is an exceedingly pleasingand interesting employment, requiring no previous knowledge ofdrawing, yet affording abundant space for the exercise of the mostexquisite taste. The time employed is richly repaid; the resultsproduced are of actual value; articles of ornament and domesticutility being produced, in perfect imitation of the most beautifulChinese and Japanese porcelain, of Sevres and Dresden china, and ofevery form that is usual in the productions of the Ceramic Art. Itfurnishes an inexhaustible and inexpensive source for the productionof useful and elegant presents, which will be carefully preserved astokens of friendship, and as proofs of the taste and talent of thegiver. 

Articles necessary in the Art of Potichomanie. --Glass vases, (Potiches en verre, ) of shapes suitable to the different orders ofChinese, Japanese, Etruscan, and French porcelain, Alumettes, &c. ;cups, plates, &c. , &c. , of Sevres and Dresden design. Sheets ofcoloured drawings or prints, characteristic representations of thedesigns or decorations suitable to every kind of porcelain andchina. A bottle of liquid gum, and three or four hog-hair brushes. A bottle of varnish, and very fine pointed scissors for cutting out. An assortment of colours for the foundation, in bottles. A packet ofgold powder, and a glass vessel for diluting the colours. 

Directions. --We will suppose the object selected for imitation to bea Chinese vase. After providing yourself with a plain glass vase, ofthe proper shape, you take your sheets of coloured prints on whichare depicted subjects characteristic of that peculiar style. Fromthese sheets you can select a great variety of designs, of the mostvaried character, on the arrangement and grouping of which you canexercise your own taste. After you have fully decided upon thearrangement of your drawings, cut them out accurately with a pair ofscissors, then apply some liquid gum carefully over the colouredside of the drawings, and stick them on the inside of the vase, according to your own previous arrangement--pressing them down tillthey adhere closely, without any bubbles of air appearing betweenthe glass and the drawings. When the drawings have had sufficienttime to dry, take a fine brush and cover every part of them (withouttouching the glass) with a coat of parchment size or liquid gum, which prevents the oil colour (which is next applied) from sinkinginto or becoming absorbed by the paper. When the interior of thevase is perfectly dry, and any particles of gum size that may havebeen left on the glass have been removed, your vase is ready for thefinal and most important process. You have now to tint the wholeof the vase with a proper colour to give it the appearance ofporcelain; for up to this time, you will recollect, it is but a glassvase, with a few coloured prints stuck thereon. Select from yourstock of prepared colours, in bottles, the tint most appropriate tothe kind of china you are imitating, (as we are now supposed to bemaking a Chinese vase, it will be of a greenish hue, ) mix fullysufficient colour in a glass vessel, then pour the whole into thevase. Take now your vase in both hands, and turn it roundcontinually in the same direction, until the colour is equallyspread over the whole of the interior: when this is satisfactorilyaccomplished, pour back the remainder. If the prepared colour is toothick, add a little varnish to the mixture before applying it. Ifpreferred, the colour may be laid on with a soft brush. Should thevase be intended to hold water, the interior must be well varnishedafter the above operations, or lined with zinc or tin foil. If thepotichomanist wishes to decorate the mouth of his vase with a goldborder, he can do so by mixing some gold powder in a few drops ofthe essence of lavender and some varnish, applying it on the vasewith a fine brush; or he can purchase gold bands, already preparedfor application, in varied sheets, suitable to the potichomaniedesigns. Potichomanists have found the art capable of greaterresults than the mere imitation of porcelain vases, by theintroduction of glass panels (previously decorated with beautifulflowers on a white ground) into drawing-room doors, and also intowalls which, being panel papered, offer opportunities of introducingcentre pieces of the same character as the doors; elegant chessand work-tables, folding and cheval-screens, panels for cabinets, chiffoniers and book-cases, slabs for pier and console-tables, glove-boxes, covers for books, music, albums, &c. The most commoncause of failure is, that the drawings inside are not thoroughlypressed down. 

560. COLOURING FOR CHEESE

The colouring for cheese is, or at least should be, Spanish arnotto;but as soon as colouring became general in this country, a colour ofan adulterated kind was exposed for sale in almost every shop; theweight of a guinea and a half of real Spanish arnotto is sufficientfor a cheese of fifty pounds' weight. If a considerable part of thecream of the night's milk be taken for butter, more colouring willbe requisite. The leaner the cheese is, the more colouring itrequires. The manner of using arnotto is to tie up, in a linen rag, the quantity deemed sufficient, and put into half a pint of warmwater over night. This infusion is put into the tub of milk, in themorning, with the rennet infusion; dipping the rag into the milk, and rubbing it against the palm of the hand as long as any colourruns out. 

561. TO SHARPEN EDGE TOOLS

Take equal parts of flour of emery and crocus; make into a pastewith sweet oil; have now a piece of buck-skin, (hemlock tan, ) tackit by each end on a piece of board, with the grain uppermost; thenon this spread a little of the paste, and sharpen your tools on it. You will, indeed, be astonished at the effect. Try it. 

562. BLUE COMPOSITION FOR DYEING

Take equal parts of vitriol and indigo; powder them very finely, separately, and mix. 

563. TO GILD LETTERS ON VELLUM OR PAPER

Letters written on vellum or paper are gilded in three ways; in thefirst, a little size is mixed with the ink, and the letters arewritten as usual; when they are dry, a slight degree of stickinessis produced by breathing on them, upon which the gold leaf isimmediately applied, and by a little pressure may be made to adherewith sufficient firmness. In the second method, some white lead ofchalk is ground up with strong size, and the letters are made withthis by means of a brush; when the mixture is almost dry, the goldleaf may be laid on, and afterwards burnished. The last method is tomix up some gold powder with size, and make the letters of this bymeans of a brush. 

564. TO PRESERVE STRAWBERRY PLANTS

Sir Joseph Banks, from a variety of experiments, and the experienceof many years, recommends a general revival of the now almostobsolete practice of laying straw under strawberry plants, when thefruit begins to swell; by which means the roots are shaded from thesun, the waste of moisture by evaporation prevented, the leaningfruit kept from damage by resting on the ground, particularly in wetweather, and much labour in watering saved. Twenty trusses of longstraw are sufficient for 1800 feet of plants. 

565. MANAGEMENT OF STRAWBERRY PLANTS

On the management of strawberries in June and July, the futureprosperity of them greatly depends; and if each plant has not beenkept separate, by cutting off the runners, they will be in a stateof confusion, and you will find three different sorts of plants. 1. Old plants, whose roots are turned black, hard, and woody. 2. Youngplants, not strong enough to flower. 3. Flowering plants, whichought only to be there, and perhaps not many of them. Before the timeof flowering is quite over, examine them, and pull up every oldplant which has not flowered; for, if once they have omitted toflower, you may depend upon it they never will produce any after, being too old, and past bearing; but to be fully convinced, leavetwo or three, set a stick to them, and observe them the next year. If the young plants, runners of last year, be too thick, take someof them away, and do not leave them nearer than a foot of thescarlet, alpines, and wood, and fifteen or sixteen inches of all thelarger sorts; and in the first rainy weather in July or August, takethem all up, and make a fresh plantation with them, and they will bevery strong plants for flowering next year. Old beds, even if theplants be kept single at their proper distance, examine, and pullall the old plants which have not flowered. When the fruit is nearlyall gathered, examine them again, and cut off the runners; but ifyou want to make a fresh plantation, leave some of the two first, and cut off all the rest. Then stir up the ground with a trowel, orthree-pronged fork, and in August they will be fit to transplant. Ifyou have omitted in July, do not fail in August, that the runnersmay make good roots, to be transplanted in September; for, if later, the worms will draw them out of the ground, and the frost afterwardswill prevent them from striking root; the consequence of which is, their not flowering the next spring; and you will lose a year. 

566. THE LANGUAGE OF FLOWERS

What each flower enumerated, signifies, when sent to a friend or lover. 

 Almond, flowering--Concealed love. Althea, Frutex--I am deeply in love. Amaranth--Immortality, or piety. Anemone--Fading hope. Arbor-Vitae--Unchanging friendship. Auricula, Scarlet--Pride. You are proud. Bachelor's button--Hope in love. Balm--I long for your society. Balsamine--Impatience; or, pray come. Bay Leaf--I change but in dying. Box--I believe in your constancy. Buttercup--Riches. You are rich. Calla Ethiopica--Magnificent beauty. Carnation--Pride and Beauty. Camelia Japonica--Surpassing excellence. Cedar--Think of me. China Aster--Caprice. Cypress--Despair, and without hope. Dahlia--Dignity--I will sustain it. Daisy--Youthful beauty. Dandelion--Coquetry, I accuse you of. Eglantine--I wound to heal. Forget-me-not--True love for ever. Fox-glove--Insincerity. You are false. Geranium--Gentility and elegance. Gilly-Flower--Thou art fair. Golden Rod--Encouragement. You will succeed. Grass--Submission. Heart's Ease--Love in idleness. Heliotrope--Devotion. Let us pray for each other. Hellebore--Calumny. You have listened. Hollyhock--Ambition. I seek glory. Honeysuckle--Dost thou love me? Houstonia--Content ever with thee. Hyacinth, Purple--Sorrow. I am sad. Hydrangea--Heartlessness. Ivy--Wedded Love. We are happy. Jasmine, White--I desire a return of my affection. Larkspur--Haughtiness. Laurel--Ambition. I will win. Laurustinus--A token. Pray remember. Lavender--Acknowledgment. Lilac--Fastidiousness. Lily, White--Purity and beauty. Magnolia--You are beautiful. Marigold--Jealousy--I have cause. Mignionette--I live for thee. Moss--Patience, or pray wait. Oak-Leaf--Courage. I will endure. Passion-Flower--Piety. Trust in God. Periwinkle--Memory. Never forget. Pink--Household love. I am at home. Poppy--Forgetfulness. Primrose--Neglected merit. Rose--Love, or I love you. Rue--Disdain. Go: never return. Saffron--Marriage--when? Snow-drop--Faithful in adversity. Thyme--Thriftiness. I am diligent. Tulip--Beautiful eyes. Look on me. Violet--I dream of thee. Willow--Forsaken--never more. Wheat--Prosperity--I wish thee. Yew--Penitence. I am sorry. 

567. FRENCH POLISH FOR BOOTS, &c. 

Logwood chips, half a pound; glue, quarter of an ounce; soft soap, quarter of an ounce; isinglass, quarter of an ounce; boil theseingredients in two pints of vinegar and one of water, during tenminutes after ebulition, then strain the liquid. When cold it isfit for use. To apply the French polish, the dirt must be washedfrom the boots, &c. ; when these are quite dry, the liquid polishis put on with a bit of sponge. 

568. AN ILLUMINOUS BOTTLE

By putting a piece of phosphorus, the size of a pea, into a phial, and adding boiling oil until the bottle is a third full, a luminousbottle is formed; for, on taking out the cork, to admit atmosphericair, the empty space in the bottle will become luminous. Wheneverthe stopper is taken out in the night, sufficient light will beevolved to show the hour upon a watch; and if care be taken to keepit in general well closed, it will preserve its illuminative powerfor several months. 

569. CHINESE METHOD OF MENDING CHINA

Take a piece of flint-glass, beat it to a fine powder, and grind itwell with the white of an egg, and it joins china without riveting, so that no art can break it in the same place. You are to observe, that the composition is to be ground extremely fine. 

570. TO MAKE STILTON CHEESE

Take the night's cream, and put it in the morning's new milk, withthe rennet; when the curd is come it is not to be broken, as is donewith other cheeses, but take it out with a soil dish all together, and place it on a sieve to drain gradually, and, as it drains, keepgradually pressing it, till it becomes firm and dry; then place itin a wooden hoop; afterwards to be kept dry on boards, turnedfrequently, with cloth-binders round it, which are to be tightenedas occasion requires. In some dairies the cheese, after being takenout of the wooden hoop, are bound tight round with a cloth, whichcloth is changed every day until the cheese becomes firm enough tosupport itself; after the cloth is taken away, they are rubbed everyday all over, for two or three months, with a brush; and if theweather is damp or moist, twice a day; and even before the cloth istaken off, the top and bottom are well rubbed every day. 

571. TO PRESERVE BEER

In a cask containing eighteen gallons of beer, becoming vapid, put a pint of ground malt, suspended in a bag, and close the bungperfectly; the beer will be improved during the whole time ofdrawing it for use. 

572. TO RECOVER SOUR BEER

When beer has become sour, put into the barrel some oyster-shells, calcined to whiteness, or a little fine chalk or whiting. Any ofthese will correct the acidity, and make the beer brisk andsparkling; but it cannot be kept long after these additions aremade. 

573. CARVACROL--THE NEW REMEDY FOR TOOTH-ACHE

Dr. Bushman gives (in the Medical Times) the following account ofthis new compound, which, though well known in Germany as a quickand effectual cure for one of the most worrying ills "that flesh isheir to, " is now for the first time published in England. Carvacrolis an oily liquid, with a strong taste and unpleasant odor. It maybe made by the action of iodine on oil of caraway or on camphor. Afew drops applied on cotton wool (to a decayed and painful tooth)give immediate relief. Carvacrol much resembles creosote inappearance, and is used in similar cases of tooth-ache, but itseffect is much more speedy and certain. 

574. CAMPHOR CERATE FOR CHAPPED HANDS

The following receipt was given to the contributor by a maid ofhonour to Queen Victoria. It is an excellent one. Scrape into anearthen vessel one ounce and a half of spermaceti and half anounce of white wax; add six drachms of pounded camphor, and fourtablespoonsful of the best olive oil. Let it stand near the firetill it dissolves, stirring it well when liquid. Before the handsare washed, rub them thoroughly with a little of the cerate, thenwash them as usual. Putting the cerate on before retiring answersvery well. This quantity costs about twenty-five cents, and willlast three winters. The vessel it is kept in should be covered, to prevent evaporation. 

575. THE WAY TO WEALTH

"The way to wealth, " says Doctor Franklin, "is as plain as theway to market. "

Many men, however, either miss the way, or stumble and fall onthe road. 

Fortune, they say, is a fickle dame--full of her freaks andcaprices; who blindly distributes her favours without the slightestdiscrimination. So inconsistent, so wavering is she represented, that her most faithful votaries can place no reliance on herpromises. 

Disappointment, they tell us, is the lot of those who make offeringsto her shrine. Now, all this is a vile slander upon the dear blindlady. 

Although wealth often appears the result of mere accident, or afortunate concurrence of favourable circumstances, without anyexertion of skill or foresight, yet every man of sound health andunimpaired mind may become wealthy, if he takes the proper steps. 

Foremost in the list of requisites, are honesty and strict integrityin every transaction of life. Let a man have the reputation of beingfair and upright in his dealings, and he will possess the confidenceof all who know him. 

Without these qualities, every other merit will prove unavailing. Ask concerning a man, "Is he active and capable?" Yes. "Industrious, temperate, and regular in his habits?" O Yes. "Is he honest? is hetrustworthy?" Why, as to that, I am sorry to say that he is not tobe trusted; he wants watching; he is a little tricky, and will takean undue advantage, if he can. 

"Then I will have nothing to do with him:" will be the invariablereply. 

Next, let us consider the advantages of a cautious circumspectionin our intercourse with the world. Slowness of belief, and a properdistrust are essential to success. 

The credulous and confiding are ever the dupes of knaves andimpostors. Ask those who have lost their property how it happened, and you will find in most cases it has been owing to misplacedconfidence. 

One has lost by endorsing; another by crediting; another by falserepresentatives; all of which a little more foresight and a littlemore distrust would have prevented. 

In the affairs of this world, men are not saved by faith, but bythe want of it. 

Judge men by what they do, not by what they say. Believe in looksrather than in words. 

Before trusting a man, before putting it in his power to cause youa loss, possess yourself of every available information relativeto him. 

Learn his history, his habits, inclinations and propensities; hisreputation for honesty, industry, frugality, and punctuality; hisprospects, resources, supports, advantages and disadvantages; hisintentions and motives of action; who are his friends and enemies, and what are his good and bad qualities. 

You may learn a man's good qualities and advantages from hisfriends--his bad qualities and disadvantages from his enemies. Make due allowance for exaggeration in both. 

Finally, examine carefully before engaging in anything, and actwith energy afterward. Have the hundred eyes of Argus beforehand, and the hundred hands of Briarius afterward. 

576. MAXIMS BY DR. FRANKLIN ON THE WAY TO WEALTH

God helps those who help themselves. 

Many words won't fill a bushel. 

Sloth, like rust, consumes faster than labour wears. 

The key often used is always bright. 

Dost thou love life? Then do not squander time, for that is thestuff life is made of. 

The sleeping fox catches no poultry. 

There will be time enough for sleep, in the grave. 

If time be of all things the most precious, wasting time mustbe the greatest prodigality. 

Lost time is never found again. 

What we call time enough, always proves little enough. 

Sloth makes all things difficult, but industry all easy. 

He that riseth late must trot all day, and shall scarceovertake his business at night. 

Laziness travels so slowly, that poverty soon overtakes him. 

Drive thy business, lest it drive thee. 

Early to bed and early to rise, makes a man healthy, wealthyand wise. 

Industry need not wish. 

He that lives upon hope, will die fasting. 

There are no gains without pains. 

Help, hands, for I have no lands. 

He that hath a trade, hath an estate, and he that hath a calling, hath an office of profit and honour; but the trade must be workedat, and the calling well followed, or neither will enable us topay our taxes. 

The drone in the hive makes no honey. 

At the working man's house hunger looks in, but does not enter. 

Industry pays debts, but despair increaseth them. 

Diligence is the mother of good luck. 

God gives all things to industry. 

Plough deep while sluggards sleep, and you will have corn to selland to keep. 

One today is worth two tomorrow. 

Have you somewhat to do tomorrow, do it today. 

If you were a servant, would you not be ashamed that a goodmaster should catch you idle? Are you, then, your own master?be ashamed to catch yourself idle. 

The cat in gloves catches no mice. 

Light strokes fell great oaks. 

By diligence and patience, the mouse ate into the cable. 

Employ thy time well, if thou meanest to gain leisure; and sincethou art not sure of a minute throw not away an hour. 

A life of leisure and a life of laziness, are two things. 

Troubles spring from idleness, and grievous toils from needlessease. 

Many would live by their wits, without labour, but they breakfor want of stock. 

Industry gives comfort, plenty, and respect. 

Now I have a sheep, and a cow, everybody bids me good-morrow. 

 I never saw an oft-removed tree, Nor yet an oft-removed family, That throve so well as one that settled be. 

Three removes are as bad as a fire. 

Keep thy shop, and thy shop will keep thee. 

If you would have your business done, go; if not, send. 

 He that by the plough would thrive, himself must either hold or drive. 

The eye of the master will do more work than both his hands. 

Want of care does us more damage than want of knowledge. 

Not to oversee workmen, is to leave them your purse open. 

In the affairs of the world, men are saved not by faith, but forthe want of it. 

Learning is to the studious, and riches to the careful, as wellas power to the bold, and heaven to the virtuous. 

If you would have a faithful servant, and one that you like, serve yourself. 

A little neglect may breed great mischief. 

 For want of a nail the shoe was lost; For want of a shoe the horse was lost; For want of a horse the rider was lost-- Being overtaken and slain by the enemy. 

If a man save not as he gets, he may keep his nose to thegrindstone all his life, and die not worth a groat. 

A fat kitchen makes a lean will. 

 Many estates are spent in the getting, since women for tea, forsook spinning and knitting, and men for punch, forsook hewing and splitting. 

The Indians did not make Spain rich, because her out-goes weregreater than her incomes. 

What maintains one vice would bring up two children. 

Many a little makes a mickle. 

Beware of little expenses; a small leak will sink a great ship. 

Who dainties love, shall beggars prove. 

Fools make feasts, and wise men eat them. 

Buy what thou dost not need, and ere long thou shalt sell thynecessaries. 

At a great bargain pause awhile. 

It is foolish to lay out money in the purchase of repentance. 

Wise men learn by another's harms, fools scarcely by their own. 

Silks and satins, scarlet and velvets, put out the kitchen fire. 

A ploughman on his legs, is higher than a gentleman on his knees. 

Always taking out of the meal tub, and never putting in, sooncomes to the bottom. 

When the well is dry we know the worth of water. 

If you would know the value of money, try to borrow. 

 Fond pride of dress is sure a very curse. Ere fancy you consult, consult your purse. 

Pride is as loud a beggar as want, and a great deal more saucy. 

 Vessels large may venture more, but little boats should keep the shore. 

Pride that shines on vanity sups on contempt. 

Pride breakfasted with plenty, dined with poverty, and suppedwith infamy. 

 What is a butterfly? At best He's but a caterpillar dress'd; The gaudy fop's his picture just. 

The second vice is lying; the first is running in debt. 

Lying rides upon debt's back. 

It is hard for an empty bag to stand upright. 

Creditors have better memories than debtors. 

Creditors are a superstitious sect, great observers of set daysand times. 

The borrower is a slave to the lender, and the debtor to thecreditor. 

 For age and want save while you may, No morning sun lasts a whole day. 

 Get what you can, and what you get hold; 'Tis the stone that will turn all your lead into gold. 

Experience keeps a dear school; but fools will learn in no other andscarce in that; for we may give advice, but we cannot give conduct. 

They that will not be counselled cannot be helped. 

Distrust and caution are the parents of security. 

After feasts made, the maker shakes his head. 

There is neither honour nor gain got in dealing with a villain. 

Visits should be like a winter's day, short. 

 A house without woman and firelight, Is like a body without soul or sprite. 

Light purse, heavy heart. 

Ne'er take a wife till thou hast a house (and a fire) to put her in. 

Great talkers, little doers. 

Relation without friendship, friendship without power, power withoutwill, will without effect, effect without profit, and profit withoutvirtue, are not worth a farthing. 

He has changed his one-eyed horse for a blind one. 

[There was no entry for receipt no. 577 in the original. ]

578. EXCELLENT PASTE

Excellent paste for fruit or meat pies may be made with two-thirdsof wheat flower, one-third of the flour of boiled potatoes, and somebutter or dripping; the whole being brought to a proper consistencewith warm water, and a small quantity of yeast added when lightnessis desired. This will also make very pleasant cakes for breakfast, and may be made with or without spices, fruit, &c. 

Picnic Biscuits. --Take two ounces of fresh butter, and well work itwith a pound of flour. Mix thoroughly with it half a salt-spoonfulof pure carbonate of soda; two ounces of sugar; mingle thoroughlywith the flour; make up the paste with spoonsful of milk--it willrequire scarcely a quarter of a pint. Knead smooth, roll a quarterof an inch thick, cut in rounds about the size of the top of a smallwine-glass; roll these out thin, prick them well, lay them onlightly floured tins, and bake in a gentle oven until crisp; whencold put into dry canisters. Thin cream used instead of milk, in thepaste, will enrich the biscuits. Caraway seeds or ginger can beadded, to vary these at pleasure. 

579. BLACK CAKE

Beat separately the whites and yolks of three eggs. Mix half a poundof butter with one pound of flour, one tumbler of milk, one tumblerof molasses, one pound of sugar. Then put in the eggs and one andone-half teaspoonful of soda. Wine, currants, raisins and citron toyour taste. 

580. MAIZE CAKE

Take six eggs, a paper of Oswego corn starch, one pound of loafsugar, half pound of butter, half teacup of milk, half a teaspoon ofsoda, one teaspoon of cream of tartar, the grated rind of the lemon;dissolve the soda in half the milk, and add it the last thing. Bakein an oven as quick as you can make it without burning. It is a verydelicate cake to bake well. Use flat pans, a little deeper thanSpanish bun pans, and put paper over the top. 

581. COMPOSITION CAKE

Take three pounds of flour, half pound of butter, one and three-quarter pounds of sugar, three eggs--beat the eggs--add half a pintof yeast to them, half a pint of new milk, three spoonsful of rose-water, and a little cinnamon and cloves; put the butter in the flourand half the sugar, the other half mix with the eggs; make a hole inthe flour, pour the ingredients into it; set it to lighten in themorning by the fire; after it is made out into rolls, you may put itinto tins, and set it before the fire for an hour or two; whensufficiently risen, bake it in rather a slow oven. 

582. GINGER BISCUITS AND CAKES

Work into small crumbs three ounces of butter, two pounds of flour, add three ounces of powdered sugar and two of ginger, in finepowder; knead into a stiff paste, with new milk, roll thin, cut outwith a cutter; bake in a slow oven until crisp through; keep of apale colour. 

583. TO SILVER IRON WITH SILVER FOIL

This is the method now adopted all over Canada and the United Statesfor silvering iron for carriages, cutters, &c. You may get thesilver foil, (which is sometimes called silver plate, ) of anythickness you please; and by so doing, have the iron plated eitherlight or heavy. If you get small iron rods plated they will costyou from four to five cents per inch: you may do it yourself forone-quarter the price. 

Directions in full. --First polish the iron you are about to plate, then wet it with soldering fluid, (receipt No. 21, ) then give it acoat of solder, (receipt No. 22;) this is done by laying a piece ofsolder on the iron, and spreading it over with a heated solderingiron; or it is sometimes done by having the solder melted, and thendipping the iron to be silvered into it. After the iron is coated byeither of these methods, with solder, some workmen propose to thenplace it in the fire for a few moments, that the coating of soldermay be thereby made smoother. The next thing to be done is to dampenwith soldering fluid, then lay on your silver foil, and rub it overwith a soldering iron heated to such a degree as to melt the solder, and thereby fasten the plate at once to the iron; or rather tothe solder on the iron; or else as some workmen prefer, have yoursoldering iron only hot enough to slightly stick the foil to thesolder, and then place the article in the fire until the soldermelts, and thereby the foil becomes firmly united with the iron. Whichever of these methods you adopt, as soon as the silver isunited to the iron, you must then at once proceed to polish it, which is done by taking a piece of coarse cloth, dipping it inwhiting, previously dampened with alcohol, and rubbing it over thesurface until it is well polished. If at any time, as sometimes willhappen, the plate of silver becomes stained so that you cannotpolish it, wet it with the fluid, put another plate of silver foilover it, and proceed to fasten it to the iron as you did with thefirst plate, then polish it with the whiting, &c. Some merely spit onthe whiting instead of dampening it with the alcohol, but it is notso speedy a method. A friend of mine prefers heating the iron, thenapplying the soldering fluid, then the coat of solder, and thenlaying on the silver foil, and pressing on by means of a cloth, which he does by taking a piece of cloth about four inches wide andeight or ten inches long, catching one end in each hand and pressingand rubbing it from side to side, and round the article until thesilver foil is firmly united, and then polishing as mentioned above. Some prefer plating the iron first with tin foil, then covering thetin with silver foil, and it is a good plan. A very good plan, ifit is plane work (not carved) you are doing, is to take a piece ofboard one or two inches wide, and six or eight inches long, and layit over the cloth you are polishing with, which gives you a greaterpurchase. I never knew this receipt to be sold for less than from$24 to $60. 

TO ALL WHO HAVE PURCHASED THIS WORK

You are now in possession of about all the latest and most usefulreceipts that are in the country; many of which are now being sold, frequently, for from $5 to $10 and $20 each; and if you will now bewise, do that which will be to your own interest, allow no man tosee this work, but keep the receipts profoundly secret, except asyou sell them. You may dispose of enough of them, written off, everyyear you have the book, to amount to twenty times the price of it.