ANGLO-JAPANESE WORK

667. This elegant and most useful work is very easy in its execution, while the means and appliances for its performance are within the reach of every one. The materials are simply yellow withered leaves, a little dissolved gum, black paint, and copal varnish: while the objects to be ornamented may be a box, cupboard, table, &c., in fact, any old furniture that has been rendered unsightly by age or long use. A plain deal box, costing about a shilling, may by this process, so far as the outside goes, be converted into a costly-looking dressing-case. An exquisite chess-board may be made, with very little skill, from a square piece of deal. Flower-pots, pole-screens, folding and hand-screens, may all be decorated in this manner, and, from untidy-looking lumber, may be converted into articles of use, elegance, and beauty; and this at a merely nominal expense, _taste_ being the chief requisite in the production. The employment forms one of the most agreeable and pleasing amusements for summer days and winter evenings; in the summer, giving a purpose and an aim to many a joyous ramble, for in these desultory walks a goodly collection may be made of Nature's ambered jewels.

All leaves that are small, of uneven shape, and serrated at the edges, are well adapted for this work. As they are collected, they should be placed between sheets of paper, but not close together, then pressed by placing a board on the top, with a weight upon it, to express any moisture that may be therein, and to render them quite flat. In the autumn, the sweet-scented geranium-leaves, the maple, thorn, chrysanthemum, wild parsley, fern, and a multitude of others, may be found, including the smaller sycamore and small vine-leaves; but they must all have turned of a golden hue, or reddish-tinted yellow. Prepare the article to be ornamented, thus:--First rub the surface smoothly down with sand-paper; then coat it over with black paint, which can be procured, ready-mixed, at any oil-shop; when dry, rub it down smoothly with pumice-stone, and give two more coats. When these are dry, arrange the leaves on the surface in a careless manner, but not in groups, unless preferred. Butterflies drawn, and colored yellow with gamboge, or cut out of prints, and then colored, may be stuck at different spaces with advantage; but there should be no other color than the brown and different tints of yellow in the leaves. Gum the wrong side of the leaf, and press it on in its appointed place with a hard tuft of wadding, fastened tightly up in a piece of silk. Continue this with the whole of the leaves; and when they are all gummed on, dissolve some gelatine or isinglass in warm water, and while rather warm, brush it well over every portion of the work, using the brush entirely one way, not forward and back. When dry, give the work three coats of the best copal varnish, letting the article remain a day or two between each coat. This process, though elaborate in detail, is easily and even quickly done, and will well repay any trouble that may be taken, as, with a renewed coat of varnish every five or six years, it will remain, as long as the wood will hold together, as bright in appearan

668. _Sealing Wax Varnish._--For fancy work, this has, of late years, been much used, and if well applied, and the wax good, will be a very good imitation of India Japan. The method of making the varnish or japan is very easy, being simply reducing the wax to a coarse powder, and pouring the best spirits of wine on it in a bottle, and letting it gradually dissolve without heat, shaking the bottle occasionally till it is all dissolved. A two-ounce stick of the best wax will be enough for a quarter of a pint of spirits. Recollect that much depends on the goodness of the sealing-wax; and that you may vary the color of the varnish by using different colored wax. As this varnish dries very quickly, it should not be made until it is wanted for use.

669. _Method of preparing the Composition used for Colored Drawings and Prints, so as to make them resemble Paint in Oil._--Take of Canada Balsam, one ounce; spirit of turpentine, two ounces; mix them together. Before this composition is applied, the drawing or print should be sized with a solution of isinglass in water, and when dry, apply the varnish with a camel-hair brush.

670. _Oil and Water Gilding._--In oil gilding, the frame is first covered with a composition of whiting and parchment size, then with a coating of "_oil gold size_," (a kind of varnish,) upon which when nearly dry, gold leaf is applied.

671. _In Water Gilding_, a size mixed with _water_ is used. Parts of the frame are burnished, other parts left _dead_. This is the most beautiful and expensive style of gilding, but it does not bear washing as oil gilding does.

["The Carver and Gilder," published by Knight, furnishes much useful information on this subject.]

672. _To mount Prints or Maps._--Upon a table, floor, or board, stretch a piece of calico or smooth canvas, by first fixing it with tacks along one side, then straining it tightly with one hand, and driving the tacks with the other: nail the remaining edges, leaving no wrinkles on the surface. Paste the back of the print or map, fold it together, and let it remain until the paper is _soaked_, then open it, and place it evenly on the canvas, cover it with a sheet of clean paper, and beginning in the middle, rub it down carefully with the hand, going from the centre all round to the edges, until all the air is excluded, and the paper adheres closely to the canvas. When quite dry, with a large camel-hair brush lay on a coating of parchment size, repeating this when dry: then varnish with mastic varnish. Parchment size is made by boiling parchment cuttings in water, until it forms a jelly when cold. Mastic varnish may be procured at oil and color-shops.

673. _New Camera Lucida._--Sir John Robinson devised, a few years since, a cheap and easily-used camera lucida, applicable to the delineation of flowers and other small objects. A piece of plate glass is made to stand in a vertical position by means of a support. It rests on a table covered with white paper, and the object is placed on the paper on one side of the glass. On looking down from that side of the glass diagonally, an image of the object is seen on the paper on the other side, and a drawing of it can be readily taken.

674. _Varnish for Oil Pictures._--According to the number of your pictures, take the whites of the same number of eggs, and an equal number of pieces of sugar-candy, the size of a hazel-nut, dissolved, and mix it with a tea-spoonful of brandy; beat the whites of your eggs to a froth, and let it settle; take the clear, put it to your brandy and sugar, mix them well together, and varnish over your pictures with it.

This is much better than any other varnish, as it is easily washed off when your pictures want cleaning again.

675. _To take Impressions of Butterflies' Wings._--Lay the wings gently on paper, wet with gum arabic water, and nearly dry; a copy will be left when the wing is removed, but inferior in beauty to the wing itself. It is better to gum the wings themselves on paper, and paint the body of the fly in its natural position.

676. _To preserve the Eggs of Birds._--First clean them of their contents. This may be done with the larger eggs by making a hole on one side large enough to admit a quill, and shaking out the contents. Then wash them well with a solution of camphor, not too strong, or it will make them brittle. When dry, fasten them with gum on the side in which the hole was made to a piece of card board, and write the name under each. As the colors of many of them are perishable, to preserve them give them a slight coating of varnish. The best varnish for this purpose is isinglass dissolved in gin. In cleaning the smaller eggs, make a hole at each end, a little to one side, and blow them. The camphor solution need not be used.

677. _To make Artificial Coral._--Melt together four parts of yellow resin and one part of vermilion. Dip twigs, cinders or stones in this, and when dry they will resemble coral.

678. _An Excellent Pen-Wiper for Steel Pens._--Fill a short, wide-mouthed vial with shot, the smaller the better. Whenever it is necessary to clean the pen, rub it up and down in the shot. This is much more effectual than cloth wipers, and the shot will last a life-time.

679. _To preserve Steel Pens._--Metallic pens may be preserved from rusting by throwing into the bottle containing the ink a few nails, or broken pieces of steel pens, if not varnished. The corrosive action of the acid which the ink contains is expended on the iron so introduced, and will not therefore affect the pen.

680. _Black Paper for drawing Patterns._--Mix and smooth lamp-black and sweet oil; with a bit of flannel cover a sheet or two of large writing-paper with this mixture; then dab the paper dry with a bit of fine linen, and keep it by for using in the following manner:--Put the black side on another sheet of paper, and fasten the corners together with small pins. Lay on the back of the black paper the pattern to be drawn, and go over it with the point of a steel pencil; the black paper will then leave the impression of the pattern on the under sheet, on which you must draw it with ink.

If you draw patterns on cloth or muslin, do it with a pen dipped in a bit of stone blue, a bit of sugar, and a little water, mixed smooth in a teacup, in which it will be always ready for use, if fresh: wet to a due consistence as wanted.

681. _To make Transparent Paper for Drawing._--Tracing paper is readily made by taking a sheet of very thin silk, or other paper, and rubbing it over gently with some soft substance, filled with a mixture of equal parts of drying oil, and oil of turpentine, which, being suspended and dried, will be fit for use in a few days; or it may be had at any of the shops. Lay this transparent material on the print or drawing to be transferred, and, with a sharp black lead pencil, trace the outlines exactly as they appear through the paper. If more permanent or stronger lines are wished, ink mixed with ox-gall will be necessary to make it adhere to the oiled surface.

682. _Transparent Paper._--Wet some fine paper with a feather on both sides with a thin layer of rosin, dissolved in spirits of wine. It will then serve to put over anything you wish to take off.

683. _Method of using Tracing Paper._--Take a piece of the size required, and rub it equally over, on one side, with black lead, reduced to a powder, till the surface will not readily soil a finger; then lay a piece of white paper with the leaded side of this paper next to it, under the print, and securing them firmly together with pins at the corners, proceed to take the outlines with a blunt point, and some degree of pressure, which will transfer the lead to the clean paper precisely in the direction the point passed over the print; this may be corrected with the black lead pencil, and cleansed of any soil by the crumbs of stale bread.

684. _Method of setting Pencil Drawings._--A solution of alum water, in which the drawing is to be dipped (not washed on with a brush, as it would smear) will answer the purpose extremely well.

685. _Wash for preserving Drawings made with Black Lead Pencil, or with hard Black Chalk._--A thin wash of isinglass will fix either black lead or hard black chalk, &c., so as to prevent their rubbing out; or the same effect may be produced by the simple application of skimmed milk. The best way of using the latter, is, to lay the drawing flat upon the surface of the milk, and then, taking it up expeditiously, to hang it by the one corner till it drains and dries. The milk must be perfectly free from cream, or it will grease the paper.

686. _To make Red Sealing Wax._--To every ounce of shell-lac take half an ounce each of resin and vermilion, all reduced to a fine powder. Melt them over a moderate fire; and when thoroughly incorporated and sufficiently cool, form the composition into what are called sticks. On account of the dearness of shell-lac, seed-lac is usually substituted. A more ordinary sort, but sufficiently good for most occasions, may be made by mixing equal parts of resin and shell-lac with two parts of red lead and one of vermilion. In a still commoner sort, the vermilion is often entirely omitted.