being careful to paint but a small part of the ground at once, so that the colours may have sufficient time to blend together while wet, otherwise the work will appear harsh. Then with a small sash tool, put in faint, broad veins of the thin ground colour, and numerous very fine veins over the whole surface of the work, crossing each other in every direction. Then make the colour a little lighter, by adding white-lead, and with a feather pass over the broad veins in the same direction, forming streams of threads. With thin white, and with a camel-hair pencil go partly over the same vein with short thick touches, then with a fine striping pencil. When the work is hard, it should be smoothed with very fine glass-paper before being varnished. The first layer of veins should be very faint, so as to be scarcely perceptible; for, as the lighter shades are put on, the former veins will appear sunk from the surface of the work, which will give a good effect where the work is exposed to close inspection.

Blue and Gold Marble.-Ground, a light blue; when dry, take blue with a small piece of white-lead and some Prussian blue, and dab on in patches, leaving portions of the ground to show between. Blend together with a softener; next put on white veins in every direction, leaving large open spaces to be filled up with a pale yellow or gold paint. Finish with fine white irregular threads.

Italian Marble.-Ground, a light buff. For marbling, mix stiff in boiled oil white-lead, Oxford ochre, and a little vermilion; grind burnt sienna very fine in boiled oil, and put it into another vessel; mix pure white stiff in oil, and keep this also separate. Thin these colours with turpentine, and have a brush for each. Take the buff brush moderately full of colour, and dab it on in patches, varying as much as possible; take another brush and fill in the spaces between with sienna. With a softener blend the edges together, making them as soft as possible. Draw a few thin white veins over the work with a hair pencil, run in a few thin lines of sienna, and soften.

Black and White Marble. - White ground, and with dark veins, put on with a marbling crayon, and softened while the ground is wet. Or, when the ground is dry, cover it with a thin coat of white-lead, and put the veins in with a camel-hair pencil. Blend while wet. Granite. 1. Grey ground, with white and black spots. 2. Venetian and white for the ground, with white, black, and vermilion spots. The spots are put on in several ways; a sponge may be charged with the marbling colour and dabbed on the work, or a common brush may be struck against a stick held at a little distance from the work, so as to throw off blots and spots of colour.

on

Porphyry.-1. Ground, purple-brown and rose-pink. Grind vermilion and white-lead separately in turpentine, and add a little gold size to each colour to bind it. More turpentine must be added before the colour is applied. When the ground is dry, fill a large brush with vermilion, squeeze out nearly all the colour by scraping the brush the edge of the palette knife; hold a rod in the left hand, strike the handle of the brush against it, so as to throw small red spots on to the work till the surface is covered. Make the colour lighter by adding white-lead, and use as before. Then with clear thin white throw on very fine spots, and when dry put in a few white veins across the work. This marble may be imitated in distemper in precisely the same manner as in oil. 2. The ground is Venetian red, with a little vermilion and white. For marbling, add a little more white to the ground colour, and sprinkle over the first coat. When dry, repeat the splashing with a mixture of Venetian red and vermilion, and then with white in very fine spots. Form opaque white veins across the work, and transparent threads in various directions. This must be done when the work is dry and hard, with a sable pencil, and the threads drawn with a feather. For each separate colour use a different brush.

Paper.-Ivory Paper.-The pro

perties which render ivory so desirable | for artists are, the evenness and fineness of its grain, its allowing all water colours laid on its surface to be washed out with a soft wet brush, and the facility with which the artist may scrape off the colour from any particular part, by means of the point of a knife or other convenient instrument, and thus heighten the lights in his painting more expeditiously and efficaciously than can be done in any other way. These advantages are obtained in the paper made according to the following receipt, without any of the disadvantages of ivory, such as its limited size and changeable colour. Traces made on the surface of ivory paper by a hard black-lead pencil are much easier effaced by india-rubber than from common drawing paper, which, together with the extremely fine lines which its hard and even surface is capable of receiving, peculiarly adapts it for the reception of the most delicate kind of pencil-drawing and outlines. The colours laid upon it have a greater brilliancy than upon ivory, owing to the superior whiteness of the ground. Takelb. of clean parchment cuttings and put them into a 2-quart pan, with nearly as much water as it will hold; boil the mixture gently for 4 or 5 hours, adding water from time to time to supply the place of that driven off by evaporation; then carefully strain the liquor from the dregs through a cloth, and when cold it will form a strong jelly, which may be called size No. 1. Return the dregs of the preceding process into the pan, fill it with water, and again boil it as before for 4 or 5 hours; then strain off the liquor, and call it size No. 2. Take three sheets of drawing paper-outsides will answer the purpose perfectly well-wet them on both sides with a soft sponge dipped in water, and paste them together with the size No. 2. While they are still wet lay them on a table, and place them upon a smooth slab of writing slate somewhat smaller than the paper, turn up the edges of the paper, and paste them on the back of the slate, and then allow the paper to dry gradually. Wet as before three more sheets of the same

kind of paper, and paste them on the others, one at a time cut off with a knife what projects beyond the edges of the slate, and when the whole is perfectly dry, wrap a small piece of slate in coarse sand-paper, and with this rubber make the surface of the paper quite even and smooth. Then paste ou an inside sheet, which must be quite free from spots or dirt of any kind; cut off the projecting edges as before, and when dry rub it with fine glass-paper, which will produce a perfectly smooth surface. Now take pint of the size No. 1, melt it with a gentle heat, and then stir into it 3 table-spooonfuls of fine plaster of Paris; when the mixture is complete pour it out on the paper, and with a soft wet sponge distribute it as evenly as possible over the surface. Then allow the surface to dry slowly, and rub it again with fine glass-paper. Lastly, take a few spoonfuls of the size No. 1, and mix it with three-fourths its quantity of water; unite the two by a gentle heat, and when the mass has cooled, so as to be in a semi-gelatinous state, pour one-third of it on the surface of the paper, and spread it evenly with the sponge; when this has dried pour on another portion, and afterwards the remainder; when the whole has again become dry, rub it over lightly with fine glass-paper, and the process is completed; it may accordingly be cut away from the slab of slate, and is ready for

use.

The quantity of ingredients above mentioned is sufficient for a piece of paper 17 by 15 in. Plaster of Paris gives a perfectly white surface; oxide of zinc mixed with plaster of Paris, in the proportion of 4 parts of the former to 3 of the latter, gives a tint very nearly resembling ivory; precipitated carbonate of barytes gives a tint intermediate between the two.

Manifold Writing Papers.-The white paper is only very fine thin writing paper. The black is soft paper, prepared by being smeared with a composition of grease and plumbago or lampblack; this mixture is allowed to remain on for 12 hours, and the paper then wiped smooth with a piece of wool

or cotton-waste. Place white paper over black, and write with a blunt point.

Enamelled Paper.-1 lb. of parchment cuttings, lb. of isinglass, and 4lb. of gum arabic, in 4 galls. of water, are boiled in an iron kettle until the solution is reduced to 12 quarts; it is then removed from the fire and strained. The solution is divided into three parts of 4 quarts each; to the first portion is added 6 lbs. of white-lead, ground fine in water; to the second portion is added 8 lbs. of white-lead, and to the third is added 6 lbs. of white-lead. The sheets of paper are stretched out upon flat boards and brushed over with a thin coat of the first mixture with an ordinary painter's brush; the paper is then hung up to dry for 24 hours. After this the paper is ready to receive a coat of the second mixture, and again hung up to dry for 24 hours; the paper is then treated in the same way with the third mixture, and dried for 24 hours. After this it receives a high gloss, which is obtained by laying the work with its face downwards on a highly-polished steel plate, and then passing both with great pressure between a pair of powerful rollers. It is to be regretted that this enamelled surface is not very durable, as it comes off after wetting. To prevent this, a solution of some resinous substance may be added in the last operation.

Parchment Paper.-Dip ordinary unsized paper for 5 or 6 seconds into dilute sulphuric acid, and wash with extremely weak ammonia.

Test Papers are prepared by uniformly wetting sheets of unsized paper in solutions of litmus, buckthorn berries, Brazil wood, or other particular colouring matter required.

Lithographic Transfer Paper.-Make strong separate solutions in hot water of gum arabic 2 parts, by weight; starch, 6; alum, 1. Mix, and whilst moderately hot, give the paper two or three coats with a brush, allowing each coat to dry before the next is applied; finish by pressing. Another plan is to smear the paper with several cold coats of thin size, and then use solutions of white

starch and gamboge water, allowing each coat to dry as before. Faper thus prepared is written on with litho. transfer ink, the back wetted, placed on a clean stone, and run through the press, when a reverse copy is obtained, which can be printed from in the usual way.

It

Wood Pulp for Paper.-Paper-makers at the present moment are surrounded with many difficulties, owing to the high price of materials and the unremunerative price of paper. Wood pulp has lately had a good deal of attention; it is now about the cheapest thing available, but must be worked with great care, or it will give a great deal of trouble. requires to be worked in an engine by itself, unmixed with other materials; the roll should never under any circumstances be allowed to do anything but clear the stuff. Bleach is poison to it, and it requires more tinting if for printing paper than other material; a good dose of ultramarine and roseine making it a delicate purple-grey; if used in conjunction with straw it entirely destroys the harsh crackling feel of paper made from a large portion of straw; and, lastly, it absorbs hardly any power, and will help the turn out more than anything else, waste-papers not excepted. The greatest trouble to contend with in wood pulp is the uncertainty of moisture; this is a constant source of annoyance, and leads to disputes between the vendor and consumer. Some pulp invoiced at 50 per cent. moisture will often be found to contain 70 per cent., or even more. This, of course, upsets one's calculation of the cost of dry stuff or yield in paper. Makers of wood pulp intended for the open market should, therefore, sample their bales, and having dried the samples by artificial means, carefully ascertain the percentage of moisture contained, by deducting net weight of dry pulp from gross weight of pulp in bale, and invoice their goods faithfully as per sample. Consumers must not forget, however, that pulp stored in a damp place will absorb moisture from the atmosphere, whilst f stored in a warm dry room the bales will lose weight. The invoices would

be thus all the more reliable if the vendor stated the percentage of moisture in the pulp at a certain named temperature.

STAINING PAPER. Yellow. - Paper may be stained a beautiful yellow by the tincture of turmeric formed by infusing an ounce or more of the root, powdered, in a pint of spirits of wine. This may be made to give any tint of yellow, from the lightest straw to the full colour, called French yellow, and will be equal in brightness to the best dyed silks. If yellow be wanted of a warmer or redder cast, annatto, or dragon's-blood, must be added. The best manner of using these, and the following tinctures, is to spread them even on the paper, or parchment, by means of a broad brush, in the manner of varuishing.

Crimson.-A very fine crimson stain may be given to paper by a tincture of Indian lake, which may be made by infusing the lake some days in spirits of wine, and then pouring off the tincture from the dregs. It may be stained red by red ink. It may also be stained of a scarlet hue by the tincture of dragon'sblood in spirits of wine, but this will not be bright.

Green.-Paper or parchment may be stained green, by the solution of verdigris i vinegar, or by the crystals of verdigris dissolved in water.

Orange.-Stain the paper or parchment first of a full yellow by means of the tincture of turmeric; then brush it over with a solution of fixed alkaline salt, made by dissolving oz. of pearlash, or salts of tartar, in a quart of water, and filtering the solution.

Purple.-Paper or parchment may be stained purple, by archil, or by the tincture of logwood. Brush the work several times with the following logwood decoction; 1 lb. of logwood chips, lb. of Brazil wood, boiled for 1 hour in a gallon of water. When dry, give a coat of pearlash solution, 1 dram to a quart, taking care to lay it on evenly. The juice of ripe privet berries expressed will also give a purple dye.

Staining Parchment.-Blue.-1. Dissolve verdigris in vinegar, and brush over with the solution hot till it becomes a perfect green, then well brush over with a solution of pearlash, 2 oz. to the pint, until it becomes a good blue. 2. Use the blue stain for wood, viz. copper filings dissolved in aquafortis; the material must be well brushed over with it, and then brushed over with a hot solution of pearlash, same strength as above, until it assumes a perfectly blue colour. 3. Boil 1 lb. of indigo, 2 lbs. of wood, and 3 oz. of alum in a gallon of water; brush well over until thoroughly stained.

Red.-1. Boil 1 lb. of Brazil wood and 1 oz. of pearlash in a gallon of water, and while hot brush over the work until of a proper colour. Dissolve 2 oz. of alum in a quart of water, and brush this solution over the above before it dries. 2. Use a cold infusion of archil, and brush well over with a pearlash solution, 2 drams to the quart.

Incombustible Paper may be made by mixing with the pulp a fluid obtained by adding to an aqueous solution containing 1 oz. of pure tallow soap, just enough alum to completely decompose the soap. The paper made with this requires no size.

Bleaching Paper. - Paper which has been very imperfectly bleached may be rendered thoroughly white by pouring upon it in succession, as dilute solutions, 3 parts alum, 1 part chloride of barium, a

little free hydrochloric acid, and part calcined chalk-stirring well during the operation. The fibres of the paper become firmly coated with the brilliant white sulphate of barytes which is formed.

Pollen Powder, or Paper Powder.Boil white paper, or paper cuttings, in water for 5 hours. Pour off the water, pound the pulp in a Wedgwood mortar, and pass through a fine sieve. This powder is employed by the bird stuffers to dust over the legs of some birds, and the bills of others, to give them a powdery appearance; also to communicate the downy bloom to rough-coated artificial fruit, and other purposes of a simi lar nature; it makes excellent pounce.

Papier-Mâché.-Two modes of making articles of papier-mâche are adopted; either by gluing or pasting different thicknesses of paper together, or by mixing the substance of the paper into a pulp, and pressing it into moulds. 1. The first mode is adopted principally for those articles, such as trays, in which a tolerably plain and flat surface is to be produced. Common millboard, such as forms the covers of books, may give some idea of this sort of manufacture. Sheets of strong paper are glued together, and then so powerfully pressed that the different strata of paper become as one. Slight curvatures may be given to such pasteboard when damp, by the use of presses and moulds. Articles such as snuff-boxes are made by gluing pieces of paper cut to the size of the top, bottom, and sides, one on another, round a frame or mould, which is afterwards removed.

Polish.-Articles made of pasteboard have a fine black polish imparted to them in the following manner;-After being done over with a mixture of size and lampblack, they receive a coating of a peculiar varnish. Turpentine is boiled down until it becomes black; and three times as much amber in fine powder is sprinkled upon it, with the addition of spirit or oil of turpentine. When the amber is melted, some sarcocolla and more spirit of turpentine are added, and the whole well stirred. After being strained, this varnish is mixed with ivory-black and applied in a hot room, on the papiermâché articles, which are then placed in a heated oven. Two or three coatings of the black varnish will produce a durable and glossy surface, impervious to water. 2. Papier-mâche, properly so called, is that which is pressed into moulds in the state of a pulp. This pulp is generally made of cuttings of coarse paper boiled in water, and beaten in a mortar till they assume the consistence of a paste, which is boiled in a solution of gum arabic or of size, to give it tenacity. The moulds are carved in the usual way, and oiled, and a pulp poured into them; a counter-mould |

being employed to make the cast nothing more than a crust or shell, as in plaster casts. In some manufactories, instead of using cuttings of made paper, the pulp employed by the paper-maker is, after some further treatment, poured into the moulds to produce papiermâché ornaments.

Uses of Papier-mâché.-It has now, in some cases, superseded the carved and composition ornaments employed to decorate picture and glass frames; but it is in the ceilings and walls of rooms and the interiors of public buildings that papier-mâché is found most valuable. Plaster and composition ornaments are ponderous; carved ornaments are costly; but those of papier-mâché are light and of moderate price. Maps in relief are also occasionally made of papier-mâché. Paper roofs have been occasionally used. Sheets of stout paper are dipped in a mixture of tar and pitch, dried, nailed on in the manner of slates, and then tarred again; this roof is waterproof, but unfortunately very combustible.

Paper Casts from the Antique.-This method of obtaining facsimiles of sculpture in basso-relievo is very easy. Stiff, unsized, common white paper is best adapted for the purpose. It should be well damped; and, when applied to sculpture still retaining its colour, not to injure the latter, care should be taken that the side of the paper placed on the figures be dry-that is, not the side which has been sponged. The paper, when applied to the sculpture, should be evenly patted with a napkin folded rather stiffly; and, if any part of the figures or hieroglyphics be in intaglio or elaborately worked, it is better to press the paper over that part with the finger. Five minutes is quite sufficient time to make a cast of this description; when taken off the wall, it should be laid on the ground or sand to dry. COMPOSITION ORNAMENTS FOR PICTURE FRAMES. Mixing. The principal ingredients are glue, water, linseed oil, rosin, and whiting, which are combined in such proportions as to make a mixture soft enough for working, while,