Grind lamp-black with gum water and some common salt. With a pen or hair pencil, draw the design on the glass, and afterwards shade and paint it with any of the following compositions.

use.

Colour for grounds on glass.

When it is to be used there is nothing to do but, with a hair pencil, to lay it quite flat on the design drawn the day before; and, having left this to dry also for another day, with the quill of a turkey, the nib unsplit, heighten the lights in the same manner as with crayons on blue paper. Whenever there are more coats of the above composition put one upon another, the shade will naturally be stronger; and, when this is finished, lay the colours for garments and complexions.

bic. It is then applied with a fine pencil, and burnt in under a muffle.

To prepare orule of cobalt.

When regulus of cobalt is exposed to a moderate fire in the open air, it calcines, and is reduced to a blackish powder.

This calx vitrifies with vitrifiable matters, and forms beautiful blue glasscs. Cobalt is, at present, the only substance known which has the property of furnishing a very fine blue, that is not changed by the most intense heat.

To prepare zafre.

Zaffre is the oxide of cobalt, for painting pottery ware and porcelain of a blue colour. Break the cobalt with hammers into pieces about the size of Take iron filings and Dutch yellow beads, equal a hen's egg: and the stony involucrum, with such parts. If a little red cast is wanted, add a little other heterogeneous matters as are distinguishcopper filings. With a steel muller grind theseable, separate as much as possible. Pound the together, on a thick and strong copper plate, or on chosen mineral in stamping-mills, and sift it porphyry. Then add a little gum arabic, borax, through brass wire sieves. Wash off the lighter common salt, and clear water. Mix these with a parts by water, and afterwards put it into a large little fluid, and put the composition in a phial for || flat-bottomed arched furnace, resembling a baking oven, where the flame of the wood reverberates upon the ore; which stir occasionally, and turn with long-handled iron hooks, or rakes; and the process is to be continued till its fumes cease. The oven or furnace terminates by a long horizontal gallery, which serves for a chimney; in which the arsenic, naturally mixed with the ore, sublimes. If the ore contains a little bismuth, as this semi-metal is very fusible, collect it at the bottom of the furnace. The cobalt remains in the state of a dark grey oxide and is called zaffre. This operation is continued four, or even nine hours, according to the quality of the ore. The roasted ore being taken out from the furnace, such parts as are concreted into lumps, pound and sift afresh. Zaffre, in commerce, is never pure, being mixed with two or rather three parts of powdered flints. A proper quantity of the best sort of these, after being ignited in a furnace, are to be thrown into water, to render them friable, and more easily reduced to powder; which, being sifted, is mixed with Green-Mix with a proportionable quantity of the zaffre, according to the before-mentioned dose; gamboge, ground together as above. and the mixture is put into casks, after being moist Yellow-Grind gamboge with salt water only.ened with water. This oxide, fused with three White.-Heighten much the white parts with a

To prepare lake for glass.

Grind the lake with water impregnated with gum and salt: then inake use of it with the brush. The shading is operated by laying a double, treble, or more coats of the colour, where it is wanted darker.

Blue purple for the same.—Make a compound of lake and indigo, ground together with gum and salt water; and use it as directed in the preceding article.

pen.

To transfer engravings on glass. Metallic colours prepared and mixed with fat oil are applied to the stamp on the graved brass. Wipe with the haud in the manner of the printers of coloured plates; take a proof on a sheet of silver paper, which is immediately transferred on the tablet of glass destined to be painted, being careful to turn the coloured side against the glass; it adheres to it, and as soon as the copy is quite dry, take off the superfluous paper by washing it with a sponge; there will remain only the colour transferred to the glass; it is fixed by passing the glass through the ovens.

The basis of all the colours employed in painting on glass are oxidated metallic substances.

In painting on glass it is necessary that the matter should be very transparent. To prepare metallic calces, and precipitates of gold.

parts of sand, and one of potass, forms a blue glass which, when pounded, sifted, and ground in mills, (included in large casks), forms sma't.

The blue of zaffre is the most solid and fixed of all the colours employed in vitrification. It suffers no change from the most violent fire. It is successfully employed to give shades of blue to enamels, and to crystal glasses made in imitation of opaque and transparent precious stones, as the lapis || lazuli, the turquoise, the sapphire and others.

Purple precipitate of Cassius.

Dissolve some pure gold in nitro-muriatic acid, add either acid, or metal, until saturation takes place. Now dissolve some pure tin in the same kind of acid; observe the same point of saturation as with the gold; and pour it into the solution of gold. A purple powder will be precipitated, which must be collected and washed in distilled

water.

This beautiful purple colour, as before mentioned, is extremely useful to enamellers, and to glass

When brought into fusion with a clear transpa rent glass, it tinges it of a purple, red, or violet colour. Hence the method of making false rubies and garnets.

A solution of gold in aqua-regia, which is evapo-stainers. rated to dryness, leaves a cx of gold, which is used for glass, enamel, and porcelain gilding; or by precipitating the solution with green vitriol dissolved in water, with copper, or perhaps all the metals a similar calx is produced. This calx is mixed with some essential oil, as cil of spike, and calcined borax, and the whole made to adhere to the surface of the glass, by a solution of gum ara

||

To paint coloured drawings on glass. This art is exercised two ways. I. Plates of stained glass are cut into the shape of figures, and joined by leaden outlines. On these plates, a

Stencilling.

shading is afterwards traced by the painter, which || print. There must be as many separate prints as
gives features to the face, and folds to the drapery. there are colours to be printed.
2. Vitrifiable colours are attached to plates of white
glass, which are afterwards placed in the oven, and
thus converted into a transparent enamelling. The
arst sort is cheaper, but the shading wears off, by
the insensible corrosion of the atmosphere. The
second sort defies every accident except fracture,
but the colour of the figures suffers in the oven.
For small objects, the first sort, and for large ob-
jects, the second, as far as art is concerned, seems
best adapted.

To paint or stain glass black. The colours used in painting or staining glass are very different from those used in painting either in water or oil colours.

For black, take scales of iron, 1 oz. scales of copper, 1 oz. jet, half oz. Reduce them to powder, and mix them.

To paint or stain glass blue.

Take fine white sand, twelve ounces, zaffre and minium, each three ounces; reduce them to a fine powder in a bell metal mortar, then put the powder into a very strong crucible, cover it and lute it well, and, being dry, calcine it over a quick fire for an hour; take out the matter and pound it: then to sixteen ounces of this powder, add fourteen of nitre powder; mix them well, and put them into the crucible again: cover and lute it, and calcine it for two hours on a very strong fire.

To paint glass carnation.

Take red chalk, 8 oz. iron scales, and litharge of silver, each 2 oz. gum arabic, half oz. Dissolve in water; grind altogether for half an hour till stiff, then put the compound in a giass, and stir it well, and let it stand for 14 days.

Green.-Take red lead, 1 lb. scales of copper, ▲ lb. and flint, 5 lbs. Divide them into three parts, and add to them as much nitrate of potass; put them into a crucible, and melt them by a strong fire; and when the mass is cold, powder it, and grind it on a slab of porphyry.

07.

Gold colour.-Take silver, 1 oz. antimony, half Melt them in a crucible, then pound the mass to powder, and grind it on a copper plate; add to it, yellow ochre, or brick-dust calcined again, 15 ounces, and grind them well together with water. Purple.-Take minium, 1 lb. brown stone, 1 lb. white flint, 5 lbs. Divide them into three parts, and add to them as much nitrate of potass as one of the parts; calcine, melt, and grind the compound.

Red-Take jet, 4 oz. litharge of silver, 2 oz. red chalk, 1 oz. Powder them fine, and mix them. White.-Take jet, 2 parts, white flint, ground on a glass very fine, 1 part. Mix them.

Yellow.-Take Spanish brown, 10 parts, silverleaf, 1 part, antimony, half part. Put all into a crucible, and calcine them well.

TO COLOUR PAPER HANGINGS.

There are three methods of effecting this. The first by printing the colours; the second by using the stencil; and the third by laying them on with a pencil, as in other kinds of painting.

Printing the colours.

When the colours are laid on, the impression is made by wooden prints, which are cut in such a manner that the figure to be expressed is made to project from the surface, by cutting away all the other part, and this being charged with colours properly tempered (by letting it gently down on the block on which the colour is previously spread,) conveys it to the ground of the paper, on which it is made to fall forcibly by means of its weight, and by the effort of the arm of the person who uses the

The manner of stencilling the colours is this: The figure, which all the parts of any particular colour make in the uesign to be painted, is to be cut out in a piece of tinned iron, thin leather, or oilcloth; these pieces are called stencils; and being laid flat on the sheets of paper to be printed, spread on a table or floor, are to be rubbed over with the colour, properly tempered, by means of a large brush. The colour passing over the whole, is consequently spread on those parts of the paper where the tin, cloth, or leather is cut away, and give the same effect as if laid on by a print. This is, nevertheless, only practicable in parts where there are only detached masses or spots of colours; for where there are small continued lines, or parts that rur one into another, it is difficult to preserve the connexion or continuity of the parts of the cloth, or tc keep the smaller corners close down to the paper therefore in such cases prints are preferable. Pencilling.

Pencilling is only used in the case of nicer work, such as the better imitations of India paper. It is performed in the same manner as other paintings in water or varnish. It is sometimes used only to fill the outlines already formed by printing, where the price of the colour, or the exactness of the manner in which it is required to be laid on, render the stencilling, or printing, less proper; at other times, it is used for forming or delineating some parts of the design, where a spirit of freedom and variety, not to be had in printed outlines, are desirable in the work.

To make flock paper hangings.

The paper designed for receiving the flock, is first prepared with a varnish ground with some proper colour, or by that of the paper itself. It is frequently practised to print some Mosaic, or other small running figure in colours, on the ground, before the flock be laid on; and it may be done with any pigment of the colour desired, tempered with varnish, and laid on by a print cut correspondently to that end. The method of laying on the flock is this: a wooden print being cut, as above described, for laying on the colour in such a manner that the part of the design which is intended for the flock may project beyond the rest of the surface, the varnish is put on a block covered with leather, or oil-cloth, and the print is to be used also in the same manner, to lay the varnish on all the parts where the flock is to be fixed.

The sheet thus prepared by the varnished impression, is then to be removed to another block, or table, and to be strewed over with flock, whic.i is afterwards to be gently compressed by a board, or some other flat body, to make the varnish take the better hold of it: and then the sheet is to be hung on a frame till the varnish be perfectly dry; at which time the superfluous parts of flock are to he brushed off by a soft camel's hair brush, and the proper flock will be found to adhere in a very strong manner. The method of preparing the flock is by cutting woollen rags or pieces of cloth, with the hand, by means of a large bill or chopping knife; or by means of a machine worked by a horse mill.

TO COLOUR MARBLE.

This is a nice art, and, in order to succeed in it, the pieces of marble on which the experiments are tried, must be well polished, and free from the least spot or vein. The harder the marble is, the better it will bear the heat necessary in the onera.

aw; therefore alabaster, and the common soft || those powders with spirit of wine in a silver spoon, white marble, are very improper for performing hese operations upon.

Application of heat.

Heat is always necessary for opening the pores of marble, so as to render it fit to receive the colours; but the marble must never be made red-hot; for then the texture of it is injured, and the colours are burnt, and lose their beauty. Too small a degree of heat is as bad as too great; for, in this case, though the marble receives the colour, it will not be fixed in it, nor strike deep enough. The proper degree is that which, without making the marble red, wiil make the liquor boil upon its surface. Menstruums to strike in the colours.

These must be varied according to the nature of the colour to be used. A lixivium made with horse's or dog's urine, with four parts of quick lime, and one of pot-ashes, is excellent for some || colours; common ley of wood-ashes is very good for others; for some, spirit of wine is best; and lastly, for others, oily liquors, or common white wine. Colours.

and holding it over burning charcoal. By this means a fine tincture will be extracted: and with a pencil dipped in this, the finest traces may be made on the marble while cold; which, on the heating of it afterwards, either on sand, or in a baker's oven, will all sink very deep, and remain perfectly distinct on the stone. It is very easy to make the ground colour of the marble red or yellow by this mode, and leave white veins in it. This is to be done by covering the places where the whiteness is to remain with some white paint, or even with two or three doubles only of paper; either of which will prevent the colour from penetrating.

To give a blue colour.

Dissolve turnsole in lixivium, in lime and urine, or in the volatile spirit of urine; but a better blue, and used in an easier manner, is furnished by the Canary turnsole. This is only to be dissolved in water, and drawn on the place with a pencil: it penetrates very deeply into the marble; and the colour may be increased, by drawing the pencil wetted afresh several times over the same lines. colour is subject to spread and diffuse itself irre gularly; but it may be kept in regular bounds, by

This

such substance. It should always be laid on cold, and no heat given afterwards to the marble.

The colours which have been found to succeed best with the peculiar menstruums are these: stone-circumscribing its lines with beds of wax, or any blue dissolved in six times the quantity of spirit of wine, or of the vinous lixivium, and litmus dissolved in common ley of wood-ashes. An extract of saffron, and that colour made of buckthorn berries, and called sap-green, both succeed well when dissolved in wine and quicklime. Vermilion, and a very fine powder of cochineal, also succeed very well in the same liquors. Dragon's blood succeeds in spirit of wine, as does also a tincture of logwood in the same spirit. Alkanet-root gives a fine colour; but the only menstruum to be used with it is the cil of turpentine.

Dry and unmixed colours.

Besides these mixtures, there are other colours which must be laid on dry and unmixed: viz. dragon's blood of the finest kind, for a red; gamboge for a yellow; green wax, for a green; common brimstone, pitch, and turpentine, for a brown colour. The marble for these experiments must be made considerably hot, and then the colours are to be rubbed on dry in the lump.

To give a fine gold colour. Take crude sal ammoniac, white vitriol, and verdigris, of each equal quantities. Mix the whole thoroughly in fine powder.

To stain marble red or yellow. The staining of marble to all degrees of red or yellow, by solutions of dragon's blood or gamboge, inay be done by reducing these gums to powder, and grinding them with the spirit of wine in a glass mortar. But, for smaller auempts, no method is so good as the mixing a little of either of

To prepare brimstone in imitation of marble. Provide a flat and smooth piece of marble; on this make a border or wall, to encompass either a square or oval table, which may be done eitler with wax or clay. Then having several sorts of colours, as white lead, vermilion, lake, orpiment masticot, smalt, Prussian blue, &c. melt on a slow fire some brimstone in several glazed pipkins; put one particular sort of colour into each, and stir it well together; then having before oiled the marble all over within the wall with one colour, quickly drop spots upon it of larger and less size; after this, take another colour and do as before, and so on till the stone is covered with spots of all the colours designed to be used. When this is done, consider next what colour the mass or ground of the table is to be: if of a grey colour, then take fine sifted ashes, and mix it up with melted brimstone; or if red, with English red ochre; if white, with white lead; if black, with lamp or ivory black. The brimstone for the ground must be pretty hot, that the coloured drops on the stone may unite and incorporate with it. When the ground is poured even all over, next, if necessary, put a thin wainscot board upon it: this must be done while the brimstone is hot, making also the board hot, which ought to be thoroughly dry, in order to cause the brimstone to stick better to it. When the whole is cold, take it up, and polish it with a cloth and oil, and it will look very beautiful

ENAMELLING.

The art of enamelling consists in the application of a smooth coating of vitrified matter to a bright polished metallic surface. It is, therefore, a kind of varnish made of glass, and melted upon the substance to which it is applied, affording a fine uniform ground for an infinite variety of oruaments which are also fixed on by heat.

The only metals that are enamelled are gold anɑ copper; and with the latter the opaque enamela only are used. Where the enamel is transparent and coloured, the metal chosen should not only have its surface unalterable when fully red-hot, but also be in no degree chemically altered by the close contact of melted glass, containing an abun

UNIVERSAL RECEIPT BOOK.

The plate, covered with the moist enamel powder, is warmed and thoroughly dried, then gently set upon a thin earthen ring, that supports it only by touching the outer rim, and put gradually into The above proportions, however, are not invathe red hot muffle of the enameller's furnace. This riable, for if more fusibility is wanted, the dose of furnace is constructed somewhat like the assay-oxide is increased, and that of the sand diminished, furnace, but the upper part alone of the muffle is the quantity of common salt remaining the same. much heated, and some peculiarities are observed The sand employed in this process is not the comin the construction, to enable the artist to govern mon sort, however fine; but a micaceous sand, in the fire more accurately. which the mica forms about one-fourth of the mixture.

A second coating of enamel is then laid on and fired as before; but this time, the finest powder of enamel is taken, or that which remains suspended in the washings. It is then ready to receive the figures and division marks, which are made of a black enamel, ground in an agate mortar, to a most impalpable powder, worked up, on a pallet, with oil of lavender, and laid on with an extremely fine hair brush. The plate is then stoved to evaporate the essential oil, and the figure is burnt in as before. Polishing with tripoli, and minuter parts of the process, need not be here described. To make the purple enamel used in the Mosaic pic-tin, with the usual precautions. Then take of this

By floating-Mix the colour with any of the ingredients used for printing, to a consistency according to the strength of the ground required, White enamel.-Take of tin, prepared by aqua-float it through a tube, or any other vessel, moving fortis, and red-lead, each 1 oz. white pebble-stone, or natural crystal, 2 oz. nitre, 1 oz. arsenic 1 drachm, with equal parts of flux, or more or less,