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

533. TO CLEAN OLD BRASS WORK FOR LACQUERING

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

534. TO PREPARE FISH OIL FOR PAINT

Into a cask which will contain about 40 galls., put 32 galls. of good common vinegar; add to this 12 lbs. of litharge, and 12 lbs. of white copperas in powder: bung up the vessel, and shake and roll it well twice a-day for a week, when it will be fit to put into a ton of whale, cod, or seal oil, (but the southern whale oil is to be preferred, on account of its good colour and little or no smell:) shake and mix all together, when it may settle until the next day; then pour off the clear, which will be about seven-eighths of the whole. To clear this part, add 12 galls. of linseed oil, and 2 galls. of spirits of turpentine; shake them well together, and, after the whole has settled two or three days, it will be fit to grind white lead and all fine colours in; and, when ground, cannot be distinguished from those ground in linseed oil, unless by the superiority of colour. If the oil be wanted only for coarse purposes, the linseed oil and oil of turpentine may be added at the same time that the prepared vinegar is put in; and, after being well shaken up, is fit for immediate use, without being suffered to settle. The residue or bottom, when settled by the addition of half its quantity of fresh lime-water, forms an excellent oil for mixing with all the coarse paints for preserving outside work. All colours ground in the above oil, and used for inside work, must be thinned with linseed oil and oil of turpentine.

Gain by the above process.

One ton of fish oil, or 252 galls……………. $151.20 32 galls. of vinegar, at 12-1/2 cts. per gall…. 4.00 12 lbs. litharge, at 7 cts. per lb…………… 84 12 lbs. white copperas, at 8 cts. ditto………. 96 12 galls. of linseed oil, at 90 cts. per gall…. 10.80 2 galls. of spirit of turpentine, at 40 cts….. 80 ———— $168.60

252 galls. of fish oil 12 ditto linseed oil 2 ditto spirit of turpentine 32 ditto vinegar —- 298 galls., at 90 cts. per gal. $268.20 Deduct the expense…………. 168.60 ———— $ 99.60

535. PAINTING IN MILK

In consequence of the injury which has often resulted to sick and weakly persons from the smell of common paint, the following method of painting with milk has been adopted by some workmen, which, for the interior of buildings, besides being as free as distemper from any offensive odour, is said to be nearly equal to oil-painting in body and durability. Take 1/2 gall. of skimmed milk, 6 ozs. of lime newly slaked, 4 ozs. of poppy, linseed, or nut-oil, and 3 lbs. of Spanish white. Put the lime into an earthen vessel or clean bucket, and having poured on it a sufficient quantity of milk to make it about the thickness of cream, add the oil in small quantities at a time, stirring the mixture with a wooden spatula. Then put in the rest of the milk, and afterwards the Spanish white. It is, in general, indifferent which of the oils above-mentioned you use; but, for a pure white, oil of poppy is the best. The oil in this composition, being dissolved by the lime, wholly disappears; and, uniting with the whole of the other ingredients, forms a kind of calcareous soap. In putting in the Spanish white, you must be careful that it is finely powdered and strewed gently over the surface of the mixture. It then, by degrees, imbibes the liquid and sinks to the bottom. Milk skimmed in summer is often found to be curdled; but this is of no consequence in the present preparation, as its combining with the lime soon restores it to its fluid state. But it must on no account be sour; because, in that case, it would, by uniting with the lime, form an earthy salt, which could not resist any degree of dampness in the air. Milk paint may likewise be used for out-door objects by adding to the ingredients before-mentioned 2 ozs. each more of oil and slaked lime, and 2 ozs. of Burgundy pitch. The pitch should be put into the oil that is to be added to the milk and lime, and dissolved by a gentle heat. In cold weather, the milk and lime must be warmed, to prevent the pitch from cooling too suddenly, and to enable it to unite more readily with the milk and lime. Time only can prove how far this mode of painting is to be compared, for durability, with that in oil; for the shrinking to which coatings of paint are subject depends in great measure upon the nature and seasoning of the wood. The milk paint used for in-door work dries in about an hour; and the oil which is employed in preparing it entirely loses its smell in the soapy state to which it is reduced by its union with the lime. One coating will be sufficient for places that are already covered with any colour, unless the latter penetrate through it and produce spots. One coat will likewise suffice, in general, for ceilings and stair-cases; two will be necessary for new wood. Milk painting may be coloured, like every other in distemper, by means of the different colouring substances employed in common painting. The quantity I have given in the receipt will be sufficient for one coat to a surface of about twenty-five square yards.

536. ETHEREAL SOLUTION OF GOLD

The following mode of effecting this solution (used chiefly for gilding steel) is recommended by Mr. H. Mill, in the "Technical Repository," as being superior to any previously made known. "The instructions," he says, "given in most elementary works on chemistry for this purpose are either erroneous or not sufficiently explicit." The process answers equally well for either gold or platina. Dissolve any quantity of gold or platina in nitro-muriatic acid, (aqua regia,) until no further effervescence is occasioned by the application of heat. Evaporate the solution of gold or platina, thus formed, to dryness, in a gentle heat, (it will then be freed from all excess of acid, which is essential,) and re-dissolve the dry mass in as little water as possible: next take an instrument which is used by chemists for dropping liquids, known by the name of a separating funnel, having a pear-shaped body, tapering to a fine sharp point, and a neck capable of being stopped with the finger or a cork, which may contain a liquid once or more; fill it with the liquid about one-quarter part, and the other three parts must be filled with the very best sulphuric ether. If this be rightly managed, the two liquids will not mix. Then place the tube in a horizontal position, and gently turn it round with the finger and thumb. The ether will very soon be impregnated with the gold or platina, which may be known by its changing its colour; replace it in a perpendicular position, and let it rest for twenty-four hours; having first stopped up the upper orifice with a cork. The liquid will then be divided into two parts—the darkest colouring being underneath. To separate them, take out the cork and let the dark liquid flow out: when it has disappeared, stop the tube immediately with the cork, and what remains in the tube is fit for use, and may be called gilding liquid. Let it be put into a bottle, and tightly corked. The muriate of gold or platina, formed by digesting these metals in nitro-muriatic acid, must be entirely free from all excess of acid; because it will otherwise act too forcibly on the steel, and cause the coating of gold to peel off. Pure gold must be employed; the ether must not be shaken with the muriate of gold, as is advised in chemical publications, for it will be sure, then, to contain acid; but if the two liquids be brought continually into contact by the motion described, the affinity between ether and gold is so strong as to overcome the obstacle of gravity, and it will hold the gold in solution. The ethereal solution may also be concentrated by gentle evaporation.

537. VARNISH POLISH

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

538. VARNISH FOR COLOURED DRAWINGS

Mix together 1 oz. of Canada balsam and 2 ozs. of spirits of turpentine. Before applying the composition, size the drawing or print with a solution of isinglass in water; when this is dry, apply the varnish with a camel's-hair brush. The use of this varnish gives to coloured drawings and prints an appearance resembling that of oil paintings.

539. VARNISH FOR GLASS

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

540. TO CLEAN PICTURES

Having taken the picture out of its frame, take a clean towel, and making it quite wet, lay it on the face of your picture, sprinkling it from time to time with clear soft water; let it remain wet for two or three days; take the cloth off, and renew it with a fresh one; after wiping your picture with a clean wet sponge, repeat the process till you find all the dirt soaked out of your picture; then wash it well with a soft sponge, and let it get quite dry; rub it with some clear nut or linseed oil, and it will look as well as when freshly done.

541. ANOTHER METHOD

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

542. VARNISH FOR CLOCK FACES, &c.

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

543. VARNISH FOR BALLOONS

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

544. TO PREPARE RENNET TO TURN MILK

Take out the stomach of a calf as soon as killed, and scour it inside and out with salt; after it is cleared of the curd always found in it, let it drain a few hours, then sew it up with two good handsful of salt in it, or stretch it well salted on a stick, or keep it in the salt wet; and when wanted soak it a little in fresh water, and repeat the same when again required.

545. TO MAKE CHEESE

Put the milk into a large tub, warming a part till it is of a degree of heat quite equal to new; if too hot the cheese will be tough. Put in as much rennet as will turn it, and cover it over; let it stand till completely turned, then strike the curd down several times with the skimming-dish, and let it separate, still covering it. There are two modes of breaking the curd, and there will be a difference in the taste of the cheese according as either is observed: one is, to gather it with the hands very gently towards the side of the tub, letting the whey pass through the fingers till it is cleared, and ladling it off as it collects; the other is, to get the whey from it by early breaking the curd; the last method deprives it of many of its oily particles, and is therefore less proper. Put the vat on a ladder over the tub, and fill it with curd by the skimmer; press the curd close with your hand, and add more as it sinks, and it must be finally left two inches above the edge. Before the vat is filled, the cheese-cloth must be laid at the bottom, and when full, draw smoothly over on all sides. These are two modes of salting cheese; one by mixing it in the curd while in the tub, after the whey is out, and the other by putting it into the vat and crumbling the curd all to pieces with it, after the first squeezing with the hands has dried it. The first method appears best on some accounts, but not on all, and therefore the custom of the country must direct. Put a board under and over the vat, and place it in the press; in two hours turn it out and put a fresh cheese-cloth; press it again for eight or ten hours; then salt it all over, and turn it again in the vat, and let it stand in the press fourteen or sixteen hours, observing to put the cheese last made undermost. Before putting them the last time into the vat, pare the edges if they do not look smooth. The vat should have holes at the sides and at bottom, to let all the whey pass through; put on clean boards, and change and scald them.

546. TO PRESERVE CHEESE SOUND

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

547. TO MAKE CREAM CHEESE

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

548. ELEGANT AND INGENIOUS ARTS, &c.

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

549. GRECIAN PAINTING

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

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

Rule First.—Procure a frame one inch longer than the engraved part of the print. Second.—Cut the engraving the size of the frame, then make a stiff paste, and spread thickly on the frame. Third.—Place the engraving face down and sponge it gently with water; then press the frame firmly and evenly down on; leave it till entirely dry (not by the fire) and it will become even and tight.

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

To use the Varnish.—Pour sufficient spirits of turpentine on the back of the picture to moisten it well, then put on the varnish and rub it THOROUGHLY with a stiff brush, and continue to apply it until the picture is perfectly transparent.

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

Drying.—Place the picture, face downward, where it will be free from dust, and leave it three or four days.

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

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

Flesh Tints.—Flake white, with a very little vermillion and Naples yellow.

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

Sky.—Clouds touched in with white; the rest permanent blue and white.

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

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

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

White Background.—Flake and silver white.

Buff Background.—Naples yellow.

Orange Background.—Chrome yellow, with vermillion.

Blue Background.—Flake white and Prussian blue.

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

Pink Background.—White and vermillion.

Crimson Background.—Vermillion and white, with carmine.

Green Background.—Chrome yellow and Prussian blue.

Paints for the front of the picture.—Drying oil must be used with all the colours on the front.

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

Cheeks.—Carmine; soften the edges carefully.

Lips.—Carmine, with a touch of vermilion.

Hair and Eyebrows.—Yellow lake and vandyke brown.

Draperies.—These are always painted on the back, and shaded on the front with vandyke brown.

Backgrounds.—If plain, glaze with yellow lake.

Foliages.—Yellow lake and vandyke brown.

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

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

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

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

550. DIAPHANIE

This is a beautiful, useful, and inexpensive art, easily acquired, and producing imitation of the richest and rarest stained glass; and also of making blinds, screens, skylights, Chinese lanterns, &c., in every variety of colour and design. In decorating his house, a gentleman spends as much money as he can conveniently spare; the elegancies and refinements of modern taste demand something more than mere comfort; yet though his walls are hung with pictures, his drawing-room filled with bijouterie, how is it that the windows of his hall, his library, his staircase, are neglected? The reason is obvious. The magnificent historical glass might be envied, but could not be brought within the compass of ordinary means. Recent improvements in printing in colours led the way to this beautiful invention, by which economy is combined with the most perfect results. A peculiar kind of paper is rendered perfectly transparent, upon which designs are printed in glass colours, (vitro de couleurs,) which will not change with the light. The paper is applied to the glass with a clear white varnish, and when dry, a preparation is finally applied, which increases the transparency, and adds tenfold brilliancy to the effect. There is another design, printed in imitation of the half-light (abatiour;) this is used principally for a ground, covering the whole surface of the glass, within which (the necessary spaces having been previously cut out before it is stuck on the glass,) are placed medallion centres of Watteau figures, perfectly transparent, which derive increased brilliancy from the semi-transparency of the surrounding country. To ascertain the quantity of designs required, measure your glass carefully, and then calculate how many sheets it will take. The sheets are arranged so that they can be joined together continuously, or cut to any size or shape.

Practical Instructions.—Choose a fine day for the operation, as the glass should be perfectly dry and unaffected by the humidity of the atmosphere. Of course, if you have a choice, it is more convenient to work on your glass before it is fixed in the frame. If you are working on a piece of unattached glass, lay it on a flat table, (a marble slab is preferable,) over which you must previously lay a piece of baize of cloth to keep the glass steady. The glass being thus fixed, clean and polish the side on which you intend to operate, (in windows this is the inner side,) then with your brush lay on it very equably a good coat of the prepared varnish; let this dry for an hour, more or less, according to the dryness of the atmosphere and the thickness of the coat of varnish. Meantime cut and trim your designs carefully to fit the glass, (if it is one entire transparent sheet you will find it little trouble;) then lay them on a piece of paper, face downwards, and damp the back of them with a sponge, applied several times, to equalise the moisture. After this operation, arrange your time so that your designs may now be finally left to dry for fifteen minutes before application to the glass, the varnish on which has now become tacky or sticky, and in a proper state to receive them. Apply the printed side next to the glass without pressure; endeavour to let your sheet fall perfectly level and smooth on your glass so that you may avoid leaving creases, which would be fatal. Take now your palette, lay it flat on the design, and press out all the air bubbles, commencing in the centre, and working them out from the sides; an ivory stick will be found useful in removing creases; you now leave this to dry, and after twenty-four hours apply a slight coat of the liqueur diaphane, leaving it another day, when if dry, apply a second coat of the same kind, which must be left several days: finally, apply a coat of varnish over all. If these directions are carefully followed, your glass will never be affected by time or by any variations in the weather: it will defy hail, rain, frost and dust, and can be washed the same as any ordinary stained glass, to which, in some respects, it is even superior. It is impossible to enumerate the variety of articles to the manufacture of which diaphanie may be successfully applied as it is not confined to glass, but can be done on silk, parchment, paper, linen, &c., after they have been made transparent, which may be accomplished in the following manner:— stretch your paper, or whatever it may be, on a frame or drawing board, then apply two successive coats (a day between each,) of diaphanous liquor, and after leaving it to dry for several days, cover it with a thin layer of very clear size, and when dry it will be in a fit state to receive the coat of varnish and the designs. Silk, linen, or other stuffs, should be more carefully stretched, and receive a thicker coat of size than paper or parchment; the latter may be strained on a drawing or any other smooth board, by damping the sheet, and after pasting the edges, stretching it down while damp. Silk, linen, or other stuffs require to be carefully stretched on a knitting or other suitable frame. Take great care to allow, whatever you use, time to dry before applying the liqueur diaphane. All kinds of screens, lamp-shades, and glasses, lanterns, &c., &c., may be made in this way, as heat will produce no effect upon them. The transparent pictures are successful, because they may be hung on a window frame or removed at will, and the window blinds are far superior to any thing of that kind that have yet been seen. Instead of steeping the designs in the transparent liquor at the time of printing them, which was previously done in order to show their transparency to the purchaser, but which was practically objectionable, as the paper in that state was brittle, and devoid of pliancy, necessitating also the use of a peculiarly difficult vehicle to manage (varnish) in applying it to the glass, the manufacturer now prepares his paper differently, in order to allow the use of parchment size in sticking them on the glass. The liqueur diaphane, which is finally applied, renders them perfectly transparent. In this mode of operation, no delay is requisite, the designs being applied to the glass immediately after laying on the size, taking care to press out all the air bubbles, for which purpose a roller will be found indispensable. The designs should be damped before the size is applied to them. We are of opinion that this art may be applied to the production of magic-lantern slides, dissolving views, and dioramic effects; though we are not aware whether such experiments have been tried.

551. WATER-COLOURS USED IN DRAWING

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

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

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

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

552. DIRECTIONS FOR MIXED COLOURS

Ash Colour.—Ceruse white, Keating's black and white, shaded with cherry-stone black.

Bay.—Lake and flake white, shaded with carmine; bistre and vermilion shaded with black.

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

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

Cloud Colour.—Light masticot, or lake and white, shaded with blue verditer.

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

Another.—White, with a little lake and blue verditer, make a good cloud colour for that part next the horizon.

Crimson.—Lake and white, with a little vermilion, shaded with lake and carmine.

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

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

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

Another.—Constant white and a little carmine, shaded with Spanish liquorice washed with carmine.

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

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

Hair Colour.—Masticot, ochre, umber, ceruse, and cherry-stone black.

Lead Colour.—Indigo and white.

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

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

Light Green.—Pink, smalt, and white.

Another.—Blue verditer and gamboge.

Another.—Gamboge and verdigris. This is chiefly used for the ground colours of trees, fields, &c.

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

Murrey.—Lake and white lead.

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

Orange Tawney.—Lake, light pink, a little masticot, shaded with gall-stone and lake.

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

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

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

Russet.—Cherry-stone black and white.

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

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

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

Sky Colour for Drapery.—Blue bice and ceruse, or ultramarine and white, shaded with indigo.

Straw Colour.—Masticot and a very little lake, shaded with Dutch pink.

Yellow Colour.—Indigo, white, and lake; or fine Dutch bice and lake, shaded with Indigo; or litmus smalt and bice, the latter predominant.

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

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

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

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

To prepare Alum Water.—Take 4 ozs. of alum, and 1 pint of spring water; boil it till the alum is thoroughly dissolved, and then filter it through blotting-paper.

To use Alum Water.—Before laying on the colours, take some of this water, hot, and with a sponge wet the back of the paper, which, if not good, must be wet three or four times, letting the paper dry each time before wetting it again. This will prevent the sinking of the colours, and give them additional lustre.

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

553. TO PREPARE WASH COLOURS FOR MAPS

Blue.—Dilute Saxon blue with water; or to the solution of litmus add distilled vinegar.

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

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

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

554. TO MIX WATER-COLOURS FOR ANIMALS

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

Horses, chestnut brown.—Red ochre and black mixed together, shaded with black, heightened with red ochre and white.

Horses, grey.—Black and white mixed, shaded with black, white, and bistre; heightened with pure water.

Lions.—Colour much in the same manner as horses, adding lake in the ground colour.

Bears.—Brown ochre, red ochre, and black, mixed; shaded with bistre and ivory black.

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

Asses.—Black and white mixed; or, add a little brown ochre, shaded with black.

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

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

555. FRUIT IN WATER-COLOURS

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

Cherries.—Vermilion and lake, shaded with carmine, heightened with vermilion and white.

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

Grapes, white.—Verdigris and masticot mixed, shaded with thin verdigris heightened with masticot and white.

Peaches.—Thin masticot shaded with brown ochre; the bloom, lake heightened with white.

Pears.—Masticot deepened and mellowed with brown ochre.

Strawberries.—White; draw it over with vermilion and lake, shaded with fine lake, heightened with red lead and masticot mixed, and then with white; stipple them with white and thin lead.

556. TO PAINT FLOWERS

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

Leaves.—Sap-green, shaded with indigo and French berries; the stalk brown.

Honeysuckles.—Inside of the petals, white shaded with sap-green, or gamboge and bistre.

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

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

Stalks.—Sap-green and carmine.

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

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

Leaves.—Upper side, sap-green, shaded with indigo and French berries mixed; under-side, white indigo and sap-green mixed, shaded with the same.

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

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

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

557. BIRDS IN WATER-COLOURS

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

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

Owls.—Ochre mixed with white, in different shades; legs, yellow ochre.

Pheasants.—White and black mixed; legs, Dutch pink, shaded with black.

Swans.—White shaded with black; the legs and bills black; eyes yellow; a ball in the midst.

Turkeys.—Black, black and white mixed, shaded off to a white underneath; sprinkled and shaded with black.

558. LANDSCAPES IN WATER-COLOURS

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

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

The gray colour is made of burnt umber, indigo, and lake; each rubbed separately in a saucer, and then mixed in a fourth saucer as to produce the exact colour—a warm gray. This is thinned for the light tints, as sky and distances. Deeper is to be used for the shadows and near parts, softening with water till the exact effect is produced.

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

Breadths of Light are obtained by destroying the scattered lights with grays.

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

Figures are touched with lake and indigo.

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

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

Hills, retiring.—Tint the whole with weak blue; then the nearer ones with indigo and lake; add a little gamboge to the next, keeping one subordinate to the other; the most distant being lost in the aerial tints.

Land, distant.—Ultramarine and lake. Ground near is tinted with ochre.

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

Smoke.—Lake and indigo.

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

Opposing masses of trees are tinted with sepia and indigo.

Windows.—Indigo and burnt umber.

559. POTICHOMANIE

This elegant accomplishment, which has become so extremely popular and fashionable, promises not only to supercede altogether many of those accomplishments which have hitherto absorbed the attention of our fair countrywomen, but to rank among the fine arts.

Advantages of this Art.—It possesses many advantages: and the process is simple and easily acquired. It is an exceedingly pleasing and interesting employment, requiring no previous knowledge of drawing, yet affording abundant space for the exercise of the most exquisite taste. The time employed is richly repaid; the results produced are of actual value; articles of ornament and domestic utility being produced, in perfect imitation of the most beautiful Chinese and Japanese porcelain, of Sevres and Dresden china, and of every form that is usual in the productions of the Ceramic Art. It furnishes an inexhaustible and inexpensive source for the production of useful and elegant presents, which will be carefully preserved as tokens of friendship, and as proofs of the taste and talent of the giver.

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

Directions.—We will suppose the object selected for imitation to be a Chinese vase. After providing yourself with a plain glass vase, of the proper shape, you take your sheets of coloured prints on which are depicted subjects characteristic of that peculiar style. From these sheets you can select a great variety of designs, of the most varied character, on the arrangement and grouping of which you can exercise your own taste. After you have fully decided upon the arrangement of your drawings, cut them out accurately with a pair of scissors, then apply some liquid gum carefully over the coloured side of the drawings, and stick them on the inside of the vase, according to your own previous arrangement—pressing them down till they adhere closely, without any bubbles of air appearing between the glass and the drawings. When the drawings have had sufficient time to dry, take a fine brush and cover every part of them (without touching the glass) with a coat of parchment size or liquid gum, which prevents the oil colour (which is next applied) from sinking into or becoming absorbed by the paper. When the interior of the vase is perfectly dry, and any particles of gum size that may have been left on the glass have been removed, your vase is ready for the final and most important process. You have now to tint the whole of the vase with a proper colour to give it the appearance of porcelain; for up to this time, you will recollect, it is but a glass vase, with a few coloured prints stuck thereon. Select from your stock of prepared colours, in bottles, the tint most appropriate to the kind of china you are imitating, (as we are now supposed to be making a Chinese vase, it will be of a greenish hue,) mix fully sufficient colour in a glass vessel, then pour the whole into the vase. Take now your vase in both hands, and turn it round continually in the same direction, until the colour is equally spread over the whole of the interior: when this is satisfactorily accomplished, pour back the remainder. If the prepared colour is too thick, add a little varnish to the mixture before applying it. If preferred, the colour may be laid on with a soft brush. Should the vase be intended to hold water, the interior must be well varnished after the above operations, or lined with zinc or tin foil. If the potichomanist wishes to decorate the mouth of his vase with a gold border, he can do so by mixing some gold powder in a few drops of the essence of lavender and some varnish, applying it on the vase with a fine brush; or he can purchase gold bands, already prepared for application, in varied sheets, suitable to the potichomanie designs. Potichomanists have found the art capable of greater results than the mere imitation of porcelain vases, by the introduction of glass panels (previously decorated with beautiful flowers on a white ground) into drawing-room doors, and also into walls which, being panel papered, offer opportunities of introducing centre pieces of the same character as the doors; elegant chess and work-tables, folding and cheval-screens, panels for cabinets, chiffoniers and book-cases, slabs for pier and console-tables, glove-boxes, covers for books, music, albums, &c. The most common cause of failure is, that the drawings inside are not thoroughly pressed down.

560. COLOURING FOR CHEESE

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

561. TO SHARPEN EDGE TOOLS

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

562. BLUE COMPOSITION FOR DYEING

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

563. TO GILD LETTERS ON VELLUM OR PAPER

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

564. TO PRESERVE STRAWBERRY PLANTS

Sir Joseph Banks, from a variety of experiments, and the experience of many years, recommends a general revival of the now almost obsolete practice of laying straw under strawberry plants, when the fruit begins to swell; by which means the roots are shaded from the sun, the waste of moisture by evaporation prevented, the leaning fruit kept from damage by resting on the ground, particularly in wet weather, and much labour in watering saved. Twenty trusses of long straw are sufficient for 1800 feet of plants.

565. MANAGEMENT OF STRAWBERRY PLANTS

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

566. THE LANGUAGE OF FLOWERS

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

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

567. FRENCH POLISH FOR BOOTS, &c.

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

568. AN ILLUMINOUS BOTTLE

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

569. CHINESE METHOD OF MENDING CHINA

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

570. TO MAKE STILTON CHEESE

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

571. TO PRESERVE BEER

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

572. TO RECOVER SOUR BEER

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

573. CARVACROL—THE NEW REMEDY FOR TOOTH-ACHE

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

574. CAMPHOR CERATE FOR CHAPPED HANDS

The following receipt was given to the contributor by a maid of honour to Queen Victoria. It is an excellent one. Scrape into an earthen vessel one ounce and a half of spermaceti and half an ounce of white wax; add six drachms of pounded camphor, and four tablespoonsful of the best olive oil. Let it stand near the fire till it dissolves, stirring it well when liquid. Before the hands are washed, rub them thoroughly with a little of the cerate, then wash them as usual. Putting the cerate on before retiring answers very well. This quantity costs about twenty-five cents, and will last three winters. The vessel it is kept in should be covered, to prevent evaporation.

575. THE WAY TO WEALTH

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

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

Fortune, they say, is a fickle dame—full of her freaks and caprices; who blindly distributes her favours without the slightest discrimination. So inconsistent, so wavering is she represented, that her most faithful votaries can place no reliance on her promises.

Disappointment, they tell us, is the lot of those who make offerings to her shrine. Now, all this is a vile slander upon the dear blind lady.

Although wealth often appears the result of mere accident, or a fortunate concurrence of favourable circumstances, without any exertion of skill or foresight, yet every man of sound health and unimpaired mind may become wealthy, if he takes the proper steps.

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

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

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

Next, let us consider the advantages of a cautious circumspection in our intercourse with the world. Slowness of belief, and a proper distrust are essential to success.

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

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

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

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

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

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

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

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

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

God helps those who help themselves.

Many words won't fill a bushel.

Sloth, like rust, consumes faster than labour wears.

The key often used is always bright.

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

The sleeping fox catches no poultry.

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

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

Lost time is never found again.

What we call time enough, always proves little enough.

Sloth makes all things difficult, but industry all easy.

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

Laziness travels so slowly, that poverty soon overtakes him.

Drive thy business, lest it drive thee.

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

Industry need not wish.

He that lives upon hope, will die fasting.

There are no gains without pains.

Help, hands, for I have no lands.

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

The drone in the hive makes no honey.

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

Industry pays debts, but despair increaseth them.

Diligence is the mother of good luck.

God gives all things to industry.

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

One today is worth two tomorrow.

Have you somewhat to do tomorrow, do it today.

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

The cat in gloves catches no mice.

Light strokes fell great oaks.

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

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

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

Troubles spring from idleness, and grievous toils from needless ease.

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

Industry gives comfort, plenty, and respect.

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

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

Three removes are as bad as a fire.

Keep thy shop, and thy shop will keep thee.

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

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

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

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

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

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

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

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

A little neglect may breed great mischief.

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

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

A fat kitchen makes a lean will.

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

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

What maintains one vice would bring up two children.

Many a little makes a mickle.

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

Who dainties love, shall beggars prove.

Fools make feasts, and wise men eat them.

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

At a great bargain pause awhile.

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

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

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

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

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

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

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

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

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

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

Pride that shines on vanity sups on contempt.

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

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

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

Lying rides upon debt's back.

It is hard for an empty bag to stand upright.

Creditors have better memories than debtors.

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

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

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

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

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

They that will not be counselled cannot be helped.

Distrust and caution are the parents of security.

After feasts made, the maker shakes his head.

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

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

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

Light purse, heavy heart.

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

Great talkers, little doers.

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

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

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

578. EXCELLENT PASTE

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

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

579. BLACK CAKE

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

580. MAIZE CAKE

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

581. COMPOSITION CAKE

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

582. GINGER BISCUITS AND CAKES

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

583. TO SILVER IRON WITH SILVER FOIL

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

Directions in full.—First polish the iron you are about to plate, then wet it with soldering fluid, (receipt No. 21,) then give it a coat of solder, (receipt No. 22;) this is done by laying a piece of solder on the iron, and spreading it over with a heated soldering iron; or it is sometimes done by having the solder melted, and then dipping the iron to be silvered into it. After the iron is coated by either of these methods, with solder, some workmen propose to then place it in the fire for a few moments, that the coating of solder may be thereby made smoother. The next thing to be done is to dampen with soldering fluid, then lay on your silver foil, and rub it over with a soldering iron heated to such a degree as to melt the solder, and thereby fasten the plate at once to the iron; or rather to the solder on the iron; or else as some workmen prefer, have your soldering iron only hot enough to slightly stick the foil to the solder, and then place the article in the fire until the solder melts, and thereby the foil becomes firmly united with the iron. Whichever of these methods you adopt, as soon as the silver is united to the iron, you must then at once proceed to polish it, which is done by taking a piece of coarse cloth, dipping it in whiting, previously dampened with alcohol, and rubbing it over the surface until it is well polished. If at any time, as sometimes will happen, the plate of silver becomes stained so that you cannot polish it, wet it with the fluid, put another plate of silver foil over it, and proceed to fasten it to the iron as you did with the first plate,then polish it with the whiting, &c. Some merely spit on the whiting instead of dampening it with the alcohol, but it is not so speedy a method. A friend of mine prefers heating the iron, then applying the soldering fluid, then the coat of solder, and then laying on the silver foil, and pressing on by means of a cloth, which he does by taking a piece of cloth about four inches wide and eight or ten inches long, catching one end in each hand and pressing and rubbing it from side to side, and round the article until the silver foil is firmly united, and then polishing as mentioned above. Some prefer plating the iron first with tin foil, then covering the tin with silver foil, and it is a good plan. A very good plan, if it is plane work (not carved) you are doing, is to take a piece of board one or two inches wide, and six or eight inches long, and lay it over the cloth you are polishing with, which gives you a greater purchase. I never knew this receipt to be sold for less than from $24 to $60.

TO ALL WHO HAVE PURCHASED THIS WORK

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