{"1": {"fulltext": "y /1\\nNo. 2.\\nPrice. 25c. $10.00 a Year.\\nf (III iff IT*\\niHfiS\\nr s\u00c2\u00a3\u00c2\u00a3HfL\\nV\\\\\\\\pV\\\\CJ\\nir\\nr\u00c2\u00bb-\\nDAMS OIL\\nBy\\nCHARLES GODFREY LELAND, 1. A, etc.\\nAND\\nTHOMAS B0LA8, F. C. 8., F. I. C.\\nShowing absolute Beginners\\nhow to prepare and apply\\nsuccessfully Dyes, Stains,\\nInks, Lacquers, Varnishes\\nand Polishes, especially for\\nDecorative Work. With\\nmany Practical Illustrations\\nin the Text; and Six Plates.\\nBeing the second of a Series\\nof Books on the\\nUSEFUL-ARTS\\n-AND HANDICRAFTS\\nEdited by\\nF. DUNDAS TODD.\\nChicago:\\nTHE PHOTO-BEACON CO.,\\nTribune Building.\\nLondon:\\nDAWBARN AND WARD, LTD.\\nEntered at the Poatojfftc at Chicago at\\nSecond-claim Mail Matter.\\nCopyright, 18W, by F. DUNDAS TODD\\nHIES, SUIIS. I\\nDecember 7, 1899.", "height": "3659", "width": "3210", "jp2-path": "dyesstainsinksla00lela_0001.jp2"}, "2": {"fulltext": "8*00KD QOPY,\\nThere is no art whatever which is not easy to any person\\nof ordinary capacity who will go the right way to work.\\nThis right way is to perfectly master the first easy lesson. If\\nthe first lesson is thoroughly learnt, the second will invariably\\nprove easier than the first.\u00e2\u0080\u009d\\n5o774 Charles Godfrey Teland.\\nSUBSCRIPTION RATES.\\nSingle copy, 0.25\\nThree months subscription, 13 numbers, 3.00\\nSix 26 44 5.50\\nTwelve 44 52 44 10.00\\nThe Photo-Beacon Co.\\nEstablished 1889\\nTRIBUNE BUILDING, CHICAGO.", "height": "3669", "width": "2957", "jp2-path": "dyesstainsinksla00lela_0002.jp2"}, "3": {"fulltext": "Nothing useless is, or low;\\nEach thing in its place is best\\nAnd what seems but idle show\\nStrengthens and supports the rest.\\nIn the elder days of Art,\\nBuilders wrought with greatest care\\nEach minute and unseen part;\\nFor the Gods see everywhere.\\nLongfellow The Builders.\\nUseful Arts and handicrafts\\nInstructions for beautifying the Home and for preparing an immense variety\\nof Useful, Decorative, and Profitable Articles by simple processes, some\\nof which have never before been published.\\nOne of the books will be published each week. Each will be complete\\nin itself.\\nDesigns and Working Drawings will be a special feature of this\\nseries. They will include a great number of Original Designs by C. G.\\nLeland, W. T. Whitehead, Charles E. Dawson, and others, in addition\\nto many reproductions of classic examples in public museums and private\\ncollections.\\nEDITOR\u00e2\u0080\u0099S INTRODUCTION TO THE SERIES.\\nThis series of Essays was planned by Mr. Charles Godfrey Leland,\\nM.A., F.R.L.S., founder of the Public Industrial Art School of Philadelphia,\\nauthor of twenty-three books on the Minor Arts, etc., for publication in one\\nlarge volume, to be called \u00e2\u0080\u009cOne Hundred Minor Arts.\u00e2\u0080\u009d The publishers\\nhave thought, however, that the widest publicity will be obtained by issuing\\nthem in the form of a series of small hand-books, especially in view of the\\nauthor\u00e2\u0080\u0099s desire to make his work accessible to students and to poor people\\nwho can hardly afford a large book.\\nThis breaking of the work into separate sections has made it easier to\\nadd to the matter supplied by the original author, and to include many\\nextra illustrations, designs, etc. It has provided for the introduction of a\\nfew additional treatises, such as \u00e2\u0080\u009cSoldering, Brazing, and Joining of\\nMetals,\u00e2\u0080\u009d \u00e2\u0080\u009cDyes, Stains, Inks, Lacquers, Varnishes, and Polishes,\u00e2\u0080\u009d and\\nothers which will be added from time to time, and which will be the subjects\\nof constant reference from the other books. It also leaves the series elastic\\nfor the introduction of other kindred subjects.\\nThe Editor is anxious to receive hints and suggestions from his readers,\\nwith a view to making the work as complete and as useful as possible. He\\nwill also be pleased to reply to queries from those correspondents who will\\nwrite on one side of the paper only, and have the courtesy to enclose\\nstamped envelope for reply. Communications should be addressed to the\\nEditor, care of the Publishers.\\n1", "height": "3669", "width": "2957", "jp2-path": "dyesstainsinksla00lela_0003.jp2"}, "4": {"fulltext": "List of Subjects and Authors.\\n(See List of Principal Contributors on Front Cover.)\\nAdditions and alterations will be made from time to time, but\\nthis list gives an idea of the scope and catholicity of the series;\\nand of its value as an encyclopedia of the minor arts and handi=\\ncrafts. _\\nIntroduction Design and Drawing. C. G. Leland. Ready\\nNov. jo.\\nWood Carving. C. G. Leland. Ready Dec. 7.\\nPicture Frames Making and Decorating. Leland and Bolas.\\nReady Dec. 14.\\nGilding and Gold Paint Making. Leland and Bolas.\\nDyes, Stains, Inks, Lacquers, Varnishes, and Polishes. Leland\\nand Bolas.\\nDecorated Woodwork by carving, coloring, and wire inlaying.\\nLeland and Dawson.\\nGouge Work and Indented Woodwork. C. G. Leland.\\nWood Engraving and Placard Cutting. C. G. Leland.\\nPoker Work, or Pyrography. On wood, fabrics, etc. Bolas and\\nLeland.\\nArtificial Wood and Shavings in Decoration. C. G. Leland.\\nVenetian Marquetry and Inlaying. C. G. Leland.\\nWood Turning, with Home-made Lathes. J. J. Holtzapffel.\\nGlueing, Cementing, and Pasting. Thomas Bolas.\\nTools Their Use, and Home Manufacture. Bolas and Leland:\\nFret-cutting and Stenciling. Theorems in Water-color. C. G.\\nLeland.\\nSheet Metal Work. Repousse, Chasing, etc. Leland and Daw\u00c2\u00ac\\nson.\\nSoldering, Brazing, and the Joining of Metals. Thomas Bolas.\\nBent Iron Work. Leland and Bolas.\\nDrill Work on Metal. Nail and Scale Work. C. G. Leland.\\nEtching on Metals Niello and Inlaying. Leland and Bolas.\\n11", "height": "3669", "width": "2957", "jp2-path": "dyesstainsinksla00lela_0004.jp2"}, "5": {"fulltext": "", "height": "3669", "width": "2957", "jp2-path": "dyesstainsinksla00lela_0005.jp2"}, "6": {"fulltext": "Plate VII.] Useful Arts and Handicrafts No. 2.\\nFour designs for mordant or discharge printing.\\n[In these and most of the other designs great variation is obtainable by\\nthe rearrangement of the simple stamps.", "height": "3669", "width": "2957", "jp2-path": "dyesstainsinksla00lela_0006.jp2"}, "7": {"fulltext": "Useful Arts Series No. 2.\\nf\\n0\\n3\\n6\\nV\\nDYES, STAINS, INKS, LACQUERS,\\nVARNISHES, AND POLISHES:\\nHOW TO MAKE AND USE THEM.\\nBy T. BOLAS, F.C.S., F.I.C.\\nPART I.\u00e2\u0080\u0094INKS AND STAINS.\\nJE INK, in the old-world sense of the\\nterm, was a stain which penetrated, or\\nburned itself into, the papyrus or the\\nparchment, hence we get the name ink\\n(encaustum, inchiostro, ink). The\\nking of inks in the old days was the\\npurple liquid of the murex, none but\\nroyal personages being allowed to\\nwrite with it. Another true or pene\u00c2\u00ac\\ntrating ink of the old days was the\\nblack liquid of the cuttle-fish. The\\npurple liquid of the murex is now of\\nno commercial or industrial interest, as\\nonly about one drop is obtained from each shell-fish, but the black\\nliquid of the cuttle-fish is used in manufacturing the sepia paint of\\nthe water-color artist.\\n2\\n25\\nON", "height": "3669", "width": "2957", "jp2-path": "dyesstainsinksla00lela_0007.jp2"}, "8": {"fulltext": "2\\nWater Stains and Trite or Encaustic Writing Inks differ by\\nthe fact that an ink for ordinary writing should contain about one-\\nthird ounce of gum to each pint, the object of this being to make\\nit sufficiently viscous to flow but slowly from the pen and to hinder\\na too rapid lateral spread on the paper. The water stain is gener\u00c2\u00ac\\nally best without the addition of gum, but in the case of very soft\\nwood, the gum is often an advantage as lessening the tendency to\\nsoak in, while if the same water stain is to be used on the flat of the\\ngrain, and on the end-grain of a wooden article, that used on the\\nend-grain should ordinarily have a little gum with it. As regards\\nthe application of stains to wood, see another section (page n).\\nIn the following formulae an amount of gum will generally be\\nindicated which will convert the water stain into an ink suitable for\\nthe average writing-paper of the present day. For hard papers and\\npens with many irregularities for inkholding, less gum will serve\\n(or even in extreme cases none whatever may be required), while\\nthe use of soft papers and very plain pens necessitates a larger\\nproportion of gum.\\nNo. i. Ordinary Nutgall and Iron Ink. One formula for this\\nis sufficient, the following, due to Professor Brande, being highly\\nsatisfactory Sound Aleppo gallnuts, crushed but not powdered,\\n6 y 2 ounces soft water, 6 pints heat to the boiling point, and add\\n3% ounces of ferrous sulphate (green vitriol) and 3% ounces of\\ngum arabic. When cold, put the whole in a bottle and shake\\noccasionally. It will be ready for use in a few weeks if strained off\\nfrom the dregs (for straining device see page 13). All the materials\\nmay be placed together in a bottle and allowed to digest without\\nthe application of heat. For modern papers the gum may be\\nreduced to 2 ounces or if the ink is for use with stylographic pens,\\nto 1 x /z ounces.\\n26", "height": "3669", "width": "2957", "jp2-path": "dyesstainsinksla00lela_0008.jp2"}, "9": {"fulltext": "3\\nPreservatives for the above and for other inks.\\nInks containing organic matter require the addition of an\\nantiseptic (unless some constituent of the ink acts as such). Five\\ndrops of true creosote, or 15 drops of phenol (carbolic acid) to the\\npint of ink will prove satisfactory. One-fourth 01 an ounce of\\ncloves, crushed and allowed to macerate with the materials of the\\nFig. 1.\\ninks, is also satisfactory. If smell is objected to, 20 to 30 grains\\nof salicylic acid may be added to each pint.\\nA Macerating Device In making ordinary black ink, and in\\nsome other cases in which vegetable products are concerned, the\\nmaterials are placed in a bottle, which should be frequently shaken.\\n27", "height": "3669", "width": "2957", "jp2-path": "dyesstainsinksla00lela_0009.jp2"}, "10": {"fulltext": "4\\nA convenient way of doing this is to lay the bottle in a kind of\\ncradle attached to a door which is in frequent use. Generally\\nspeaking, the cradle is best placed high up near the opening edge\\nof the door, and as against breakage by slamming a thick lining of\\nflannel is useful. Fig. i sufficiently illustrates the nature of the\\ndevice, which, by-the-by, is also useful in varnish-making.\\nNo. 2. Range s Chrome Logwood Black Ink or Stain As an\\nink for ordinary use this is not to be recommended, as it is subject\\nto decomposition when kept for a long time, but as a cheap and\\npermanent black stain it is useful. Extract of logwood y 2 an ounce\\nis dissolved in 20 fluid ounces of boiling water, when 60 grains of\\ncrystallized carbonate of sodium (washing soda) is dissolved in the\\nliquid now strain off (see page 13) and stir in 15 grains of neutral\\n(yellow) chromate of potassium dissolved in 4 ounces of water.\\nAn addition of gum may be made if required. If good extract of\\nlogwood can not be obtained, y pound of logwood chips may be\\nboiled in about 2 y 2 pints of water for a few minutes when cold,\\nthe decoction, which should measure about 2^ pints, should be\\npoured off and strained 60 grains of crystallized sodium carbonate\\n(washing soda) should be added and 15 grains of neutral (or\\nyellow) chromate of potassium dissolved in y ounce of water, is\\nadded slowly with constant stirring gum may be added if neces\u00c2\u00ac\\nsary (see pages 2 and 3).\\nNo. 3. Logwood Copying Ink {Black Inks of this class\\nshould be made with alcoholic extract of logwood, which is now an\\narticle of commerce. The following keeps fairly well One ounce\\nof alcoholic extract of logwood water, 8 fluid ounces when\\nV\\ndissolved,, grind in y ounce crystallized carbonate of sodium\\n(washing soda); strain and stir in the following, adding but little at\\na time Water, 1 fluid ounce gum arabic, y ounce neutral (or\\n28", "height": "3669", "width": "2957", "jp2-path": "dyesstainsinksla00lela_0010.jp2"}, "11": {"fulltext": "6\\nshould dry after each application. The number of applications is\\nregulated by the intensity of color required. It is best to begin\\nwith the iron solution and finish with the galls. Any scum or\\ndeposit should be wiped off while the article is wet. The full color\\nrequires time to develop, and the work will be a little cleaner as\\nregards scum if two ounces of common vinegar is added to each\\npint of the iron solution. On soft woods this process, if patiently\\ncarried through, gives the best of blacks, but for hardwood the\\nfollowing is sometimes to be preferred\\nNo. 8. Sniphuric-Acid Reaction Black as stain for wood, or\\nas sympathetic ink.\u00e2\u0080\u0094 One fluid ounce of strong sulphuric acid is\\nmixed with 16 fluid ounces of water; but those not accustomed to\\nhandling of corrosive liquids should obtain this mixture from a\\npharmacist. Indeed, those merely practicing household arts should\\navoid this stain altogether, as if even the dilute acid comes in con\u00c2\u00ac\\ntact with textiles it will cause them ultimately to fall to pieces. If\\nwood is uniformly wetted with the above-mentioned dilute sul\u00c2\u00ac\\nphuric acid and then held before a clear fire so as to dry off the\\nwater, the acid as it concentrates will char the wood on the surface\\nand give an intense and absolutely permanent black. A second\\nand even third treatment may be necessary, and in the end the\\narticle should be rinsed to remove traces of acid. To make a\\nsympathetic ink, the above weak acid should be diluted with its\\nown bulk of water, and 30 grains of white sugar must be added to\\neach fluid ounce of the liquid. Writing with this (quill pen or\\nglass pen) on white paper is invisible, but becomes black if the\\nsheet is held before a clear fire until the acid is sufficiently concen\u00c2\u00ac\\ntrated. The paper is always more or less weakened where the\\nacid has acted.\\nNo. 9. Catechu Brown Ink or Stain A simple solution of\\n30", "height": "3669", "width": "2957", "jp2-path": "dyesstainsinksla00lela_0011.jp2"}, "12": {"fulltext": "5\\nyellow) chromate of potassium, 5 grains. This is not an ideal ink\\nto write with, as it clogs the pen in partially drying, but it copies\\nwell.\\nNo. 4. Ferrous Ink Black Sometimes called alizarine\\nink. This is an iron and nutgall ink, in which the iron is mainly\\nin the ferrous state,- consequently the ink is almost colorless, but\\nthe writing soon becomes black by the absorption of oxygen from\\nthe air. Inks of this class flow readily from the pen, and they J\\nare ordinarily somewhat tinted so that the writing shall be suffi\u00c2\u00ac\\nciently visible before the true black appears.\\nTo the ingredients of No. 1, when in the bottle, add y 2 ounce\\ncarmine of indigo, 3 ounces of glacial acetic acid, and 2 ounce of J\\nfine iron wire. Cork tightly, and macerate with frequent agitation,\\nas directed in the case of No. 1.\\nNo. 5. Iron Copying Ink (Black No. 4 is made of double\\nstrength, and 1 ounce of soft brown sugar is added to each 10\\nounces of the finished ink.\\nNo. 6. Nigrosine Ink (Black), Noncopying and Copying. \u00e2\u0080\u0094The\\ncoal-tar color sold as nigrosine dissolves in water and gives an\\nexcellent ink which appears to be at least as permanent as the iron\\ninks. Simple Stain: nigrosine 1 ounce, water 35 ounces; shake\\nin a bottle until dissolved. Writing Ink: add 2 ounces of gum.\\nCopying Ink: make a further addition of 3)4 ounces of soft brown\\nsugar.\\nNo. 7. Ink Stain (Black) by Alternate Application. This is\\nspecially suitable for producing an intense black on wood. Treat\\nthe article as explained on page 9, but alternately with a solution\\nof protosulphate of iron (green vitriol), 1 y ounces to the pint,\\nand with a decoction of galls made by simmering 2 y 2 ounces of\\nwell-crushed galls in a pint of water for half an hour. The article\\n2 9", "height": "3669", "width": "2957", "jp2-path": "dyesstainsinksla00lela_0012.jp2"}, "13": {"fulltext": "7\\ncatechu in water, about 40 grains to the ounce. Boiling is some\u00c2\u00ac\\ntimes necessary, but when used as ink no gum is required.\\nNo. 10. Carmine (Red) Ink or Stain. Among the bright or\\nscarlet reds this is perhaps the most beautiful, but it is not very\\npermanent as against long exposure to light. Carmine 20 grains,\\nstrong liquid ammonia y 2 ounce; shake together in a bottle, and\\nwhen dissolved make up to 2 ounces with water. As an ink, add\\n30 grains of gum.\\nNo. 11. Madder (Red) Ink or Stain. \u00e2\u0080\u0094This has a more purple\\ntint than No. 10, but is permanent against light. Artificial alizar\u00c2\u00ac\\nine 40 grains, or 10 per cent alizarine paste 400 grains; put in\\na bottle and make up to 3 fluid ounces. Add y 2 ounce of strong\\nliquid ammonia, and agitate until solution is complete (solution\\nwill be instantaneous if the paste is used, but may be slow if\\nthe dry alizarine is employed), then add a solution of 10 grains of\\nalum dissolved in y 2 ounce of water. If as an ink, add about 10\\ngrains of gum to the ounce. The keeping of the alizarine and\\nalumina in solution depends on the use of a considerable excess\\nof ammonia, and this excess must not be allowed to escape by\\nleaving the ink-bottle uncorked. For true dyeing with alizarine,\\nsee page 15.\\nNo. 12. The Old-Fashioned Brazil Wood (Red) Ink or Stain\\nThis has a peculiar and characteristic brilliancy. Brazil-wood\\nchips 4 ounces, alum y 2 ounce, water 25 fluid ounces; simmer for\\nhalf an hour in an enameled saucepan; add 2 ounces glacial acetic\\nacid; when cold, strain. As ink, 20 grains of gum to the ounce.\\nNo. 13. Eosine (Red) Inks or Stains. Most red inks now\\nsold are obtained by adding soluble eosine-red to water, a strength\\nof ten grains to the ounce being about the average; gum and pre\u00c2\u00ac\\nservative as may be required.\\n3i", "height": "3669", "width": "2957", "jp2-path": "dyesstainsinksla00lela_0013.jp2"}, "14": {"fulltext": "8\\nNo. 14. Yellow Stains or Inks. \u00e2\u0080\u0094One and one-half to 2 ounces\\nof turmeric boiled in 20 ounces of water gives a cheap yellow\\nstain, but a much finer color, tending to orange, is obtained with\\nabout one-sixth the quantity of saffron; gum and preservatives as\\nrequired. Martius\u00e2\u0080\u0099 yellow and the soluble aniline yellows dis\u00c2\u00ac\\nsolved in water give cheap and, in some respects, convenient yel\u00c2\u00ac\\nlow stains.\\nNo. 15. Sap Green Stain or Ink. The soft extract of buck\u00c2\u00ac\\nthorn berries, sold as sap green, is dissolved in water, 40 grains\\nbeing used for each ounce of water. This makes a convenient\\nink, no gum being required, and it is also a good stain for the\\nsofter woods.\\nNo. 16. Copper Green Stain or Ink. Acetate of copper 2\\nounces, cream of tartar 2 ounce, glacial acetic acid y 2 ounce;\\nmacerate in the shaking-bottle until nearly the whole is dissolved;\\nespecially useful as a stain for hardwoods and ivory.\\nNo. 17. Aniline Green Stains and Inks. Made with commer\u00c2\u00ac\\ncial soluble colors; see Nos. 13 and 14.\\nNo. 18. Blue Stams and Inks. Three ounces of sulphate of\\nindigo with a gallon of water will be sufficiently colored to serve\\nas a stain or ink, but in the latter case gum and preservative will be\\nrequired. This indigo stain is quite permanent against light, but\\ncheaper and less permanent blue stains may be made with the\\ncommercial aniline colors.\\nNo. 19. Cudbear Violet Stain or Ink. Cudbear 1 ounce, car\u00c2\u00ac\\nbonate of potassium i l /2 ounces, hot water 20 ounces. Mix.\\nWhen to be used as ink, add y 2 ounce of gum and 1 ounce of\\nalcohol.\\n32", "height": "3669", "width": "2957", "jp2-path": "dyesstainsinksla00lela_0014.jp2"}, "15": {"fulltext": "", "height": "3669", "width": "2957", "jp2-path": "dyesstainsinksla00lela_0015.jp2"}, "16": {"fulltext": "Plate VIII.]\\nUseful Arts and Handicrafts No. 2.\\nDesigns for mordant or discharge printing.", "height": "3669", "width": "2957", "jp2-path": "dyesstainsinksla00lela_0016.jp2"}, "17": {"fulltext": "9\\nHOW TO USE WATER STAINS.\\nIf a highly colored water stain is applied to an article of soft\\nwood, there is considerable risk of unequal and patchy coloring if\\nthe stain is applied to the dry wood with a brush, as absorption is\\nthen very rapid. Three courses are open for obtaining uniform\\ncoloring, i. To apply the stain a little at a time with a sponge\\nFig. 2.\\nr\\nwhich is only slightly charged with the stain this being perhaps\\nthe most convenient when completely unobstructed access can be\\nhad to all parts, as. for example, in staining the outside of a plain\\nbox. 2. The stain is applied by spraying, this method being\\nespecially useful in the case of intricate work. A spray-producer\\nsuitable for the present purpose can be obtained from any dealer in\\n33", "height": "3669", "width": "2957", "jp2-path": "dyesstainsinksla00lela_0017.jp2"}, "18": {"fulltext": "IO\\ntoilet requisites, and one should be selected with quite a fine spray.\\nA mechanical blower of some kind should be used with the spray\\nproducer, as, if the mouth is used, it is not easy to watch the effect.\\nThe bottle shown on page 9 has a small metal compression-pump\\nattached and is a very convenient form, as the bottle can be held\\nin one hand while a single finger works the pump, the other hand\\nbeing free to move or adjust the work. Another, but less conven\u00c2\u00ac\\nient, air-compressor is the india-rubber bellows, also shown on the\\nsame illustration. 3. The stain is applied by free brushing almost\\nmopping. When a piece of woodwork is very complex this is often\\nthe best way, but a preliminary moistening by spraying or other\u00c2\u00ac\\nwise is sometimes desirable to control unequal action. When the\\nstain is freely brushed on, the work should be held over a tray or\\ndish. Speaking generally, articles of woodwork are less damaged\\nby a thorough wetting than by a partial wetting, and if a free cir\u00c2\u00ac\\nculation of air is provided for, water dries off very quickly\\nobviously staining should be done before any metal articles or\\ntextiles are attached to the wood. On page 2 will be found a note\\nas to the use of gum, and especially as to its use in preventing a\\ntoo free absorption of stain by the end-grain of the wood.\\nIvory, like other hard materials of a similar character, is stained\\nby soaking.\\nPreparation of the Stained Wood for Finishmg The fiber will\\nalways be more or less brought up by staining, and level work may\\nbe finished off when quite dry with the finest glass paper, and\\ndetails may be treated by suitable slips of wood to which fine glass-\\npaper is glued. Brick-dust and pumice powder applied with a stiff\\nbrush are also useful in finishing woodwork. For a plain oil finish\\nno filling in is required, and in rubbing in the first dose of oil many\\npersons would add a little fine pumice (see page 22). When the\\n34", "height": "3669", "width": "2957", "jp2-path": "dyesstainsinksla00lela_0018.jp2"}, "19": {"fulltext": "11\\nwork is to be varnished it is usual to size the wood at this stage,\\nfor which purpose it is sized with glue so thin as to set very\\nslowly this having been well brushed into all interstices, all excess\\nis wiped off with a soft cloth. When once more dry a final smooth\u00c2\u00ac\\ning may be given with the finest pumice powder and a stiff brush.\\nIt is now ready for varnishing, and instructions for this will be\\nfound on page 18.\\nSPIRITUOUS STAINS FOR WOOD.\\nAlthough water stains such as those above described are on the\\nwhole to be preferred for wood, there are a few cases in which a\\nstaining material dissolved in alcohol or oil of turpentine is desir\u00c2\u00ac\\nable as, for example, if the tint of a finely figured wood like pitch\\npine, bird\u00e2\u0080\u0099s-eye maple, oak or beech is to be darkened. In such\\ncases the surface transparency of the wood is better maintained by\\nthe use of spirituous stains, and especially if oil of turpentine is the\\nsolvent. The various qualities of bitumen, dissolved in oil of tur\u00c2\u00ac\\npentine, will give nearly all the shades required for this class of\\nwork, but for somewhat brighter effects tinctures of turmeric or\\ndragon\u00e2\u0080\u0099s-blood in alcohol may be used. The above preparations\\nmay be conveniently made in the macerating bottle, and when the\\nturpentine or spirit is sufficiently colored the bottle should be\\nallowed to stand upright for an hour or so, when the upper\\nportion is poured off into a paper filter through which it will\\nrun quite clear.\\nFiltering. To get the finer tinctures, stains and lacquers into\\nthe brightest and clearest condition the paper filter is almost indis\u00c2\u00ac\\npensable. We therefore give the following description of its\\narrangement and use.\\n35", "height": "3669", "width": "2957", "jp2-path": "dyesstainsinksla00lela_0019.jp2"}, "20": {"fulltext": "In Fig. 3, A is a glass funnel standing in the neck oi a bottle,\\nB but to prevent the locking in of the air a short piece of string\\nis placed as shown between the bottle and the funnel. T he filter\u00c2\u00ac\\ning material is soft unsized paper either the white blotting paper\\nsold at the stationers\u00e2\u0080\u0099 stores or a somewhat similar paper made and\\nsold specially for filtering. Let a, b a\\\\ b\\\\ be a square of the\\nfiltering paper. Fold the corner a over the corner a, then the\\ncorner b over the corner b and finally cut round the dotted\\nquarter-circle with the scissors, when the paper can be opened\\nout into a kind of conical cup as shown at C. This conical cup\\nbeing placed in the funnel, some of the liquid to be filtered is\\npoured in gently, and as the liquid runs through clear, more is\\nadded. In using a paper filter it is necessary to be careful not to\\n36", "height": "3669", "width": "2957", "jp2-path": "dyesstainsinksla00lela_0020.jp2"}, "21": {"fulltext": "", "height": "3669", "width": "2957", "jp2-path": "dyesstainsinksla00lela_0021.jp2"}, "22": {"fulltext": "Useful Arts and Handicrafts No. 2.\\nI wo designs, and borders. The five black spaces show outlines of the five\\nstamps, the repetition of which gives this complex pattern. In the other\\ndesign only three simple stamps are used.", "height": "3669", "width": "2957", "jp2-path": "dyesstainsinksla00lela_0022.jp2"}, "23": {"fulltext": "Plate X.]\\nUseful Arts and Handicrafts \u00e2\u0080\u0098No. 2.\\nTwo designs, with borders.", "height": "3669", "width": "2957", "jp2-path": "dyesstainsinksla00lela_0023.jp2"}, "24": {"fulltext": "", "height": "3669", "width": "2957", "jp2-path": "dyesstainsinksla00lela_0024.jp2"}, "25": {"fulltext": "13\\nweaken the apex of the cone in folding. The fold at the apex\\nshould be well defined, but there should be no unnecessary han\u00c2\u00ac\\ndling of the paper. It is well to pour as little as possible of the\\ndregs on the filter until close upon the end of the operation, when\\nthe dregs may be poured on and allowed to drain.\\nFor a coarser filtration or straining, a textile material is often\\nused. For example, the jelly-straining cone shown by Fig. 4 is\\nFig. 4.\\nconvenient but these cones are expensive, and a cheap substitute\\nfor the coarser straining is a square of calico folded as for the paper\\nfilter, gathered in a little at the mouth and supported by such a\\nstool as is shown by Fig. 4. A few carpet tacks hold the cloth in\\nposition, and the pendant part takes a bag-like shape as shown.\\nt\\n37", "height": "3669", "width": "2957", "jp2-path": "dyesstainsinksla00lela_0025.jp2"}, "26": {"fulltext": "TRUE OR MORDANT DYEING.\\nAlthough the title of the present book includes dyes, it is in no\\nsense to be considered as a handbook of the very complex opera\u00c2\u00ac\\ntions incident to mordant dyeing or true dyeing, a process in\\nwhich certain chemicals called mordants, applied to a textile fabric,\\nabsorb the color from a dye bath, and lock it firmly to the fabric.\\nMoreover, several different mordants (all practically colorless) may\\nbe printed upon the same piece of cloth, each mordant giving a\\ndifferent color in the dye bath. Mordant dyeing is an ancient art,\\nhaving been practiced by the Egyptians, whose mode of working\\nis briefly described by Pliny (about 50 A. D.) in a passage of his\\nNatural History (xxxv. ii.) commencing \u00e2\u0080\u009cPingunt et vestes in\\nALgypt\u00c2\u00b0, and his passage may be translated as follows \u00e2\u0080\u009cIn\\nEgypt, textiles are colored in a strange way. When in their origi\u00c2\u00ac\\nnal white condition they impregnate them, not with the dye, but\\nwith drugs which have the power of absorbing color this causing\\nno change in the appearance but when they are steeped in a bath\\nof the prepared dye they are taken out properly colored the\\nremarkable fact being that although the bath contains but one\\ncolor, several colors are imparted according to the nature of the\\ndrugs first used.\u00e2\u0080\u009d\\nThe following experimeiit in true or mordant dyeing will serve\\nto show its wide range of applicability in producing patterns on\\ntextiles. With three stamps or types cut out of cork, impress a\\npattern on a piece of well-washed calico with the following mor\u00c2\u00ac\\ndants (1) common alum y ounce, acetate of soda y ounce,\\ngum y 2 ounce, water 2 y 2 ounces (2) as above, but y ounce of\\nchrome alum in place of the common alum (3) as above, but\\nabout tV of an ounce (division of y ounce into four apparently\\n38", "height": "3669", "width": "2957", "jp2-path": "dyesstainsinksla00lela_0026.jp2"}, "27": {"fulltext": "15\\nequal parts is quite near enough) of perchloride of iron in place of\\nthe chrome alum. Any required patterns or devices having been\\nstamped upon the calico with these mordants, the piece is stretched\\nout in a damp place and allowed to remain for a week or two,\\nwhen it is boiled in a dye bath containing 30 grains of artificial\\nalizarine to each pint of water. Those parts mordanted with No.\\n1 will slowly become bright red those parts mordanted with No.\\n2 will take a deep brownish-red tone, and No. 3 mordant will give\\na purple color. The general ground of the stuff will appear red\u00c2\u00ac\\ndish at this stage, but boiling with soap and water will remove all\\ncolor except where fixed by a mordant. In a simple form like the\\nabove, mordant printing is within the range of home industries,\\nand flags or dress materials may be impressed with devices abso\u00c2\u00ac\\nlutely fast against washing or exposure to light.\\nDISCHARGE PRINTING.\\nDischarge printing is a method of working by which a dyed\\nmaterial is whitened or bleached in certain places where a chemical\\nis printed on, and as an illustration of this method we may instance\\nthe discharge of the color on turkey-red calico, whereby white\\nletters can be printed on a permanent red ground. Turkey-red is\\na madder (or alizarine) color on calico, the mordant being alum\\nand it is the most absolutely permanent of red dyes. For perhaps\\ntwo thousand years, no means have been known of discharging or\\nbleaching a red of this character and if we assume (reasonably,\\nas we may) the \u00e2\u0080\u009cscarlet\u00e2\u0080\u009d spoken of by Isaiah (about 760 B. C.)\\nto be a permanent mordanted red of this character, a red which no\\none of that day knew how to discharge, it is easy to realize the\\nsignificance of the figure of speech, though thy sins be as scarlet,\\nthey shall be white as snow.\u00e2\u0080\u009d\\n39", "height": "3669", "width": "2957", "jp2-path": "dyesstainsinksla00lela_0027.jp2"}, "28": {"fulltext": "The Chemistry of the last century has given us chlorine, which\\nwill bleach out the old indelible red. For discharge printing on\\nturkey-red cloth, the first thing is to wash with soap and hot water\\nto remove traces of fatty matter used in dressing, after which the\\nletters or devices should be stamped on the red calico with cork\\nstamps charged with the following tartaric acid i ounce, water i\\nounce, gum 40 grains. The printed material is allowed to dry\\nFig. 5.\\nslowly, when the cloth is immersed in a flat pan containing chloride\\nof lime and water in the proportion of one pound of the former to\\none gallon of the latter. These materials should be well stirred\\ntogether, and the cloth should lie rather open in the bleaching\\nbath, and be kept in gentle motion until the device is bleached out.\\nRepeated thorough washings in water are essential, and a final\\nboiling out in soap and water is desirable. For making inscrip-\\n40", "height": "3669", "width": "2957", "jp2-path": "dyesstainsinksla00lela_0028.jp2"}, "29": {"fulltext": "Plate XI.]\\nUseful Arts and Handicrafts No. 2.\\nTwo designs, with borders.", "height": "3669", "width": "2957", "jp2-path": "dyesstainsinksla00lela_0029.jp2"}, "30": {"fulltext": "", "height": "3669", "width": "2957", "jp2-path": "dyesstainsinksla00lela_0030.jp2"}, "31": {"fulltext": "17\\ntions or devices in white on a red ground the above method is\\nadmirable, especially for flags or banners which may have to be\\nexposed to bright light.\\nStamps for Discharge Printing or Mordanting may be cut with\\na sharp knife out of cork the coarse thick cork sold as bath cork\\nserving for the larger letters. A very few rudimentary parts will\\nserve for stamping plain block letters, as will be evident from Fig.\\n5, which shows an alphabet followed by a synopsis of parts with\\nwhich not only the whole may be built up, but also many patterns\\nand borders. Fewer parts will serve if very slight modifications\\nof the latter are allowed. Guide line should be stitched into the\\ncalico with thread. The discharge mixture may also be applied\\nwith a brush a small hog\u00e2\u0080\u0099s-hair brush with the hairs cut short, and\\nworked end on like a stamp, being a convenient form.\\nDYEING SILK OR WOOL MATERIALS WITH ANILINE COLORS.\\nSoluble aniline colors for this purpose are now sold in packages\\nat a low price. In using these the main thing to be attended to is\\nto dye slowly and with much working and kneading, and for this\\nreason the solution of the dye best in warm water should be\\nvery weak. In most cases a little soap added to the water facili\u00c2\u00ac\\ntates the working.\\nVARNISHES.\\nA varnish is ordinarily a solution of a covering substance in a\\nvolatile liquid, and when the varnish is used the volatile portion\\ndries off, leaving the covering substance. The \u00e2\u0080\u009cdrying\u00e2\u0080\u009d oils\\nare, however, true varnishes of a somewhat different character, as\\nthey indurate by absorption of oxygen from the air and not by the\\n4i", "height": "3669", "width": "2957", "jp2-path": "dyesstainsinksla00lela_0031.jp2"}, "32": {"fulltext": "18\\nevaporation of a volatile constituent. The best and toughest\\nvarnishes are those which contain both a resinous substance\\nwhich is deposited, and a drying oil which indurates. These are\\ncommonly called oil varnishes, and are sometimes spoken of as\\ntrue varnishes.\\nGENERAL CONSIDERATIONS AS TO VARNISHING.\\nIn the case of wood the pores must ordinarily be filled in with\\nsize as already described (page 11), and the same must be done with\\npaper, plaster of paris, and most other porous materials. Speak\u00c2\u00ac\\ning generally, varnishing can only be done satisfactorily on an\\nimpervious or non-absorbent surface. Varnishes are applied in\\nvarious ways, as by brushing, dipping, pouring on, spraying, or\\nby rubbing on with a saturated pad, but the chief point to be\\nattended to in most cases is to give many thin coats of varnish\\nrather than one thick coat. When a brush is used it is generally\\nbest to use one in which each hair sets or springs to a definite\\nposition, and for straightforward work a flat brush is generally\\nconvenient. Little and often on the brush is a good general\\nrule, an obvious way of taking up little being to strike off the\\nexcess on the side of the containing vessel. Each coating with\\nthe brush should be so thin as not to run into ridges or tears,\\nyet just thick enough for the brush lines to flow into each other.\\nMost of that stated above is subject to exceptions, but excep\u00c2\u00ac\\ntions and special cases are best considered under the respective\\nvarnishes. French polishing, for example, is a method of varnish\u00c2\u00ac\\ning standing quite by itself, and is described after instructions have\\nbeen given for preparing that varnish known as French polish.\\nAll varnishing should be done in .a room which is dry and rather\\nwarm than cold.\\n42", "height": "3669", "width": "2957", "jp2-path": "dyesstainsinksla00lela_0032.jp2"}, "33": {"fulltext": "19\\nIn preparing those varnishes in which alcohol is the solvent,\\nthe macerating bottle is generally useful, and a few pieces of broken\\nglass assist in mixing the materials. Absolute alcohol is very\\nmuch better than the somewhat weaker wood alcohol, as varnish\\nprepared with the former has less tendency to become cloudy or\\nchill if applied in a damp place but only few persons will be pre\u00c2\u00ac\\npared to incur the expense of using absolute alcohol. Varnishes\\nmay be made with more or less solvent than recommended to suit\\ndifferent styles of working.\\nNo. i. Medium Hard Varnish for Labels Maps Engravings\\nor Wooden Articles. This is one of the most useful varnishes for\\nthe general purposes of the amateur mechanic and decorator.\\nSandarac 4 ounces, mastic 1 y 2 ounce, Copaiba balsam 1 y 2 ounce,\\noil of turpentine 1 ounce. Strongest alcohol (absolute if practic\u00c2\u00ac\\nable, but ordinary wood alcohol will serve) 10 fluid ounces.\\nThese materials are put in the macerating bottle, together with a\\nfew pieces of broken glass, and when nothing more dissolves the\\nclear varnish is poured off. Labels, maps or engravings to be\\nvarnished must first be sized with a warm solution of one part of\\nclear white gelatin in eight of water. They should be quite dry\\nwhen the varnish is applied. This and other varnishes, if to be\\napplied by means of the spray bottle, must be diluted this varnish\\nwith rather more than its own volume of alcohol (or wood alcohol,\\nas the case may be).\\nNo. 2. Softer and Cheaper Varnish for Maps etc. Canada\\nbalsam one part, oil of turpentine two parts. Sticky, and not very\\nsatisfactory.\\nNo. 3. A Still Cheaper and Less Satisfactory Varnish. Pale\\ncolophony (common resin) 4 to 5 pounds, oil of turpentine 7\\npounds. A very poor varnish, but occasionally useful for out-\\n43", "height": "3669", "width": "2957", "jp2-path": "dyesstainsinksla00lela_0033.jp2"}, "34": {"fulltext": "20\\ndoor woodwork. Use macerating bottle and broken glass see\\nNo. i.\\nNo. 4. Bright Soft Varnish as Used for Tops. Sandarac\\nounces, alcohol or wood alcohol 8 fluid ounces. If the articles to\\nbe varnished are quite dry and the work-place is warm, this varnish\\ngives a very brilliant surface, but soft and easily scratched.\\nWooden articles for finishing with this varnish are usually painted\\nwith water colors. The varnish may be somewhat toughened by\\nusing y 2 ounce of soft elemi in place of the same weight of san\u00c2\u00ac\\ndarac. In making this varnish use macerating bottle and broken\\nglass.\\nNo. 5. White Hard Varnish Bleached shellac (which must\\nbe fresh and of good quality) 8 ounces, sandarac 2 ounces, soft\\nwhite elemi x 2 ounce, absolute alcohol or wood alcohol 2^ pints\\n(40 ounces). This is a very useful varnish for light wood, but\\nshould be used in a warm room.\\nNo. 6.\u00e2\u0080\u0094 Brown Hard Varnish. As No. 5, but with light or\\ndark shellac in place of the bleached shellac. As shellac is always\\nsomewhat injured in bleaching, this varnish has better working\\nqualities than No. 5. If light orange shellac is used the color is\\nbut faint, and the darker lacs give a range of deeper tints.\\nDragon\u00e2\u0080\u0099s-blood may be added to further deepen the tint.\\nNo. 7. Shellac Enamels and Scaling Wax Varnish. Sealing\\nwax of any color is broken in pieces and put in the macerating\\nbottle with rather more than enough absolute alcohol or wood\\nalcohol to cover it. If not made from ready prepared sealing wax,\\nshellac 4 ounces, Burgundy pitch 1 ounce, pigment 2 to 3 ounces.\\nThe pigment may be ultramarine, vermilion, chrome yellow, lamp\u00c2\u00ac\\nblack, burnt sienna, white lead, bronze powder, or indeed almost\\nany mineral pigment. When a very light pigment is used a light-\\n44\\nr\\nP", "height": "3669", "width": "2957", "jp2-path": "dyesstainsinksla00lela_0034.jp2"}, "35": {"fulltext": "21\\ncolored, or even bleached, shellac should be employed but this\\nlatter must be of good quality, and fresh. Lac enamels are best\\nmade in the macerating bottle, and plenty of broken glass should\\nbe used. A violent agitation every now and again is useful in\\nbreaking down the pigment.\\nNo. 8. A Reviving Varnish for Leather and Book-Bindings\\nGum benzoin i 1 ounces, wood alcohol, 20 ounces; dissolve in the\\nmacerating bottle and filter through paper.\\nNo. 9. Varnish for Photographic Negatives. (a) White hard\\nvarnish No. 5, 1 ounce; wood alcohol, 2 ounces. The negative is\\nwarmed, the varnish is flowed over it, and after draining, the var\u00c2\u00ac\\nnish is dried off before a fire or over a lamp. Amber and\\nchloroform varnish; amber, 4 grains; chloroform, 1 ounce; mac\u00c2\u00ac\\nerate and filter. Flowed over the negative (cold), and the excess\\ndrained off.\\nFRENCH POLISH AND HOW TO USE IT.\\nFrench Polish is essentially a shellac in spirit varnish similar to\\nNo. 6, but ordinarily somewhat more dilute. No. 5 diluted with\\nfrom half its bulk to equal volumes of wood alcohol will be a very\\ngood French polish, but a French polish containing benzoin is some\u00c2\u00ac\\nwhat easier to use and gives greater brilliancy. We recommend\\nthe following Shellac 3 ounces, benzoin 3 ounces, boiled linseed\\noil ounce, wood alcohol 2^/2 pints. Dissolve in the macerating\\nbottle (page 3) and filter through paper. The spirit used may be\\ncolored beforehand by soaking turmeric (yellow) in it; or dragon\u00e2\u0080\u0099s-\\nblood (deep red) may be added to the materials in the macerating\\nbottle.\\nPreparing the Wood. Wood for French polishing is ordinarily\\nnot sized. It is brought to a high finish with fine glass-paper, and\\n45", "height": "3669", "width": "2957", "jp2-path": "dyesstainsinksla00lela_0035.jp2"}, "36": {"fulltext": "22\\npreviously to the final glass-papering the grain and small cavities\\nare filled in with plaster of paris and water, or whiting and boiled\\nlinseed oil. When the filling is quite hard, a glass-paper finish is\\ngiven. The rubber with which the polish is now applied is made\\nby rolling up a piece of flannel about three inches square so as to\\nform a ball. This is saturated with the polish, and is then covered\\nwith a square of muslin; the edges of this being gathered by the\\nfingers, and the rubber is so held as to present a convex surface to\\nthe work. A trace of linseed oil having been applied to the pad\\n(already saturated with polish) the pad is worked over the wood\\nwith light circular strokes, so planned as to range all over the sur\u00c2\u00ac\\nface of the article, or of a determined area. The rubber being\\nkept charged with polish, and a drop of oil being occasionally\\napplied to the face of the rubber, the above process is repeated\\nuntil the surface of the wood is uniformly hardened or filled in with\\nthe polish, when a few hours\u00e2\u0080\u0099 drying is desirable, followed by\\nanother application of the finest glass-paper. The polishing is\\nthen resumed, and this series of operations is repeated until a suffi\u00c2\u00ac\\ncient coating of resinous matter is deposited on the wood. The\\nfinal luster is given by the process of spiriting off. A fresh rubber\\nis slightly charged with spirit, and is applied to the work with very\\nlight circular strokes, and finally with straight sweeps in the direc\u00c2\u00ac\\ntion of the grain; this treatment being continued until the rubber\\nis quite dry.\\nLACQUER FOR METAL, AND HOW TO LACQUER.\\nA lacquer for brass or other metal is a thin spirit varnish (see\\nalso No. 12 celluloid varnish), generally colored with dragon\u00e2\u0080\u0099s-\\nblood, saffron, annatto, gamboge or red sanderswood. There is\\nno occasion whatever to give a number of recipes, as one will serve\\n46", "height": "3669", "width": "2957", "jp2-path": "dyesstainsinksla00lela_0036.jp2"}, "37": {"fulltext": "23\\nall purposes if the conditions for varying it are indicated. Orange\\nshellac, 3 ounces; wood alcohol, 20 ounces. Dissolve in the\\nmacerating bottle. This will ordinarily be too pale for brass,\\nalthough very suitable for gun metal or copper. To color it, from\\n20 to 40 grains of any one of the above-mentioned coloring mate\u00c2\u00ac\\nrials may be soaked in each ounce of the lacquer; 30 grains of tur\u00c2\u00ac\\nmeric and 5 grains of saffron to each ounce of the plain lacquer\\ngiving a very suitable color for brass. The best way of applying\\nthe lacquer to brasswork is to warm the carefully cleaned and pol\u00c2\u00ac\\nished brass before a kitchen fire, and after having allowed it to cool\\nto about the temperature of the room, the lacquer is applied with\\nlong sweeping strokes of a camel\u00e2\u0080\u0099s-hair varnish brush, after which\\nthe work is placed in the oven to dry or is held before the fire.\\nLathework made slightly warm by the friction of the final cleaning\\nis allowed a little time to cool down, when the lacquer is applied\\nwhile the lathe is slowly turned. The lacquer is then dried off as\\nabove described. The process above described is known as cold\\nlacquering. Hot lacquering is done by applying the lacquer to the\\nmetal object heated to about the temperature at which it becomes\\nuncomfortable to handle. Drying in this case is almost instan\u00c2\u00ac\\ntaneous.\\nNo. 12. Celluloid Varnish Celluloid, 1 ounce; amyl acetate, 6\\nounces. A tough varnish suitable for almost any purpose. If made\\nup with double the above-mentioned quantity of amyl acetate, it\\nmakes a good varnish for photographic negatives, and also a good\\ncolorless lacquer for protecting metals from corrosion. It is merely\\nnecessary to brush it on the metal; no heat being required.\\nNo. 13. True or Oil Varnish Few will care to make varnishes\\nof this character on a small scale, and one example of a varnish of\\nthis kind will be sufficient; the copal varnish made as follows being\\n47", "height": "3669", "width": "2957", "jp2-path": "dyesstainsinksla00lela_0037.jp2"}, "38": {"fulltext": "24\\nas suitable for fine woodwork as for use on oil paintings. A small\\ncopper pot holding about 5 pints is set up over a Bunsen gas\\nburner, in a yard or outhouse where a blaze-up of the contents can\\ndo no great harm. In this pot, fuse half a pound of clear white\\ngum copal, stirring well with a copper stirrer till the copal is thor\u00c2\u00ac\\noughly melted; now slowly add, and stir in 20 ounces of good\\nboiled linseed oil, maintaining the heat until oil and copal are\\nthoroughly incorporated. Turn out the gas and stir in 2 pints of\\noil of turpentine. When cold, the varnish is ready for use.\\n48", "height": "3669", "width": "2957", "jp2-path": "dyesstainsinksla00lela_0038.jp2"}, "39": {"fulltext": "Plate XII.]\\nUseful Arts and Handicrafts, No. 2.\\nTwo designs, with borders.", "height": "3669", "width": "2957", "jp2-path": "dyesstainsinksla00lela_0039.jp2"}, "40": {"fulltext": "", "height": "3669", "width": "2957", "jp2-path": "dyesstainsinksla00lela_0040.jp2"}, "41": {"fulltext": "Church Decoration. W. T. Whitehead.\\nFirst Steps in Painting and Coloring Engravings. Leland and Wall.\\nPastel or Crayon Drawing, and Crayon Making. Leland and Wall.\\nPressure Painting, Stamp-sketching, etc. C. G. Leland.\\nGesso Painting and Grecian Painting. C. G. Leland.\\nSmoke-painting. Leland and Wall.\\nNature-printing Leaves, Ferns, etc., applied to decorating by the\\nprinting-ink, spatter-work, and photographic methods. Leland\\nand Holtzapffel.\\nSign-writing and Lettering. Leland and Dawson.\\nModeling in Clay or Wax. Leland and Lambert.\\nHome Decoration, with a View to Economy. Leland and Lambert.\\nFurniture. To Make and Repair. Leland and Bolas.\\nBook-shelves and Arrangement of Books. A. H. Wall.\\nBellows, Fans, and Hand Screens. To Make and Decorate. C. G.\\nLeland.\\nDoor Mats and Rugs. Cheap but handsome. C. G. Leland.\\nLamp Shades and Lanterns. C. G. Leland.\\nClothes and Woven Stuffs. To Repair. C. G. Leland.\\nSimple Hand-weaving. Leland and Snowden Ward.\\nWoven F abrics, To Clean and Dust. C. G. Leland.\\nTappa Printing on Fabrics. C. G. Leland.\\nTapestry and Tambourine Painting. C. G. Leland.\\nImitation Applique and Embroidery. C. G. Leland.\\nVelvet Work, Satin Glazing, etc. C. G. Leland.\\nShoes, To Repair and to Decorate. C. G. Leland.\\nPicture Restoring and Cleaning. Leland and Wall.\\nBookbinding; and the Repair of Documents, etc. Leland and Wall.\\nIlluminating Books and MSS. Leland and Dawson.\\nBasket-making. Reed, Grass, and Willowwork. C. G. Leland.\\nPaper Work. Indented Work; papier crepe, paper reliefs, carton-\\nnage, etc. C. G. Leland.\\nPaper on Fabrics, Wood on Paper. C. G. Leland.\\nPapier-Mache, and Modeling in Paper. C. G. Leland.\\nin", "height": "3669", "width": "2957", "jp2-path": "dyesstainsinksla00lela_0041.jp2"}, "42": {"fulltext": "Leather Work. C. G. Leland.\\nChina Painting. C. G. Leland.\\nRepairing China, Glass, etc. C. G. Leland.\\nWater-glass Decoration. Leland and Bolas.\\nSteatite or Soapstone Carving. Leland and Bolas.\\nEtching on China, Glass, etc. Glass Embossing. Leland and\\nWhitehead.\\nSand-blast Decoration. J. Holtzapffel.\\nMosaic Work and Enamels. C. G Leland.\\nStained and Leaded Glass. W. T. Whitehead.\\nGlass Mosaic. Thomas Bolas.\\nGems, Flints, and Other Stones. To Cut, Polish, etc. Leland and\\nBolas.\\nPebble-work and Gravel in Decoration. C. G. Leland.\\nSilver Ornaments and Wire Jewelry. C. G. Leland.\\nRustic Jewelry. From fruit-stones, oyster-shells, etc. C. G.\\nLeland.\\nEgg-shells in Decoration. C. G. Leland.\\nRustic Arts. The use of bark, moss, and lichen rose leaves and\\nfaded flowers orange peel, etc., in the decorative arts. C. G.\\nLeland.\\nStraw, Cork, and Sponge in Decoration. C. G. Leland.\\nBead and Shell Work. Wampum Engraved Shells, etc. C. G.\\nLeland.\\nBones and Horns and Their Decorative Treatment. C. G. Leland.\\nAmber and Imitation Amber. Pipe-bowls, etc. C. G. Leland.\\nCameos, Coral, and Ivory. To Repair and to Imitate. C. G. Leland.\\nEncaustic Painting. Rice and Lime Work. Cardboard as sub\u00c2\u00ac\\nstantial as wood. C. G. Leland.\\nHorseshoes, Wooden Spoons, Egg-shells, Terra-cotta Ware, etc.,\\nin decoration. C. G. Leland.\\nSachets, Scent-bags. To design, make, and fill. C. G. Leland.\\nEmballage, or the Packing of Trunks, etc. By C. G. Leland.\\nFruit Decorating and Molding. Walking-stick Training, etc.\\nLeland and Snowden Ward.\\nPlaster Casting Mixed Plasters, Scagliola, etc. Leland and Bolas.\\nMicroscopes and Telescopes. Home-made, but effective. John\\nMills, F.R.M.S.\\nKaleidoscopes and Spectroscopes. Home-made. Leland and Mills.\\nIV", "height": "3669", "width": "2957", "jp2-path": "dyesstainsinksla00lela_0042.jp2"}, "43": {"fulltext": "Bad\\nWriters\\nConverted\\ninto\\nGood\\nPenmen\\nFor\\n25 Cents.\\nMailed Free on Receipt\\nof Price\\nThe Photo-Beacon Co.\\n15 Tribune Building,\\nChicago.\\nEastern Office: 80 Wall St.\\nNew York.\\nA\\nGuide\\nto\\nPlain\\nPenmanship\\nBy.\\nF. DUNDAS TODD,\\nDoes\\nThe\\nTrick", "height": "3669", "width": "2957", "jp2-path": "dyesstainsinksla00lela_0043.jp2"}, "44": {"fulltext": "Works on Photography\\nBy F. DUNDAS TODD.\\nFirst Step in Photography, Price, 25 Cents\\n40th Thousand.\\nSecond Step in Photography, ..Price, 50 Cents\\n15th Thousand.\\nr\\nA Reference Book of Practical Photography,\\nParts I and II, Each, 50 Cents\\nAmateur Portraiture at Home, J Price, 50 Cents\\nf\\nThe Photo-Beacon Exposure Tables, Price, 25 Cents\\n20th Thousand.\\nArtistic Lighting, by Jamies Ingus, Price, $1.00\\nThe Photo-Beacon\\nEdited by F. DUNDAS TODD.\\nThe Most Popular Photographic Journal in America. Plain and Practical.\\nPrice, $1.00 a Year. Single Copy, 10 Cents.\\nTHE PHOTO-BEACON CO.\\nEstablished 1889...... /5 Tribune Building CHICAGO\\nTHE HENRY O. SHEPARD CO.. PRINTERS AND BINDERS, CHICAGO.", "height": "3669", "width": "2957", "jp2-path": "dyesstainsinksla00lela_0044.jp2"}}