scientific secrets-第13节
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228。 No。3 FLUX
Fused borax； 5 parts； calcined flint； 3 parts； pure minium； 1 part。 This
mixture is also melted。 The above fluxes are used in procuring the
different colours for staining glass。
229。 INDIGO BLUE
Oxide of cobalt； 1 part； flux No。3； 2 parts。
230。 TURQUOISE BLUE
Oxide of cobalt； 1 part； oxide of zinc； 3 or 4 parts； flux No。3； 6 parts；
melt and pour out。 If it is not sufficiently green； increase the zinc and
flux。
231。 AZURE BLUE
Oxide of cobalt； 1 part； oxide of zinc； 2 parts； flux No。2； 8 parts； melt
them together。
232。 DEEP AZURE BLUE
Oxide of cobalt； 1 part； oxide of zinc； 2 parts； flux No。2； 5 parts。 The
beauty of this colour depends on the proportion of flux。 As little as
possible is to be used； it must； however； be brilliant。 Sometimes less is
used than the proportion indicated。
233。 SKY BLUE
Oxide of cobalt； 1 part； oxide of zinc； 2 parts； flux No。2； 12 parts；
pound up； melt； and pour out。
234。 EMERALD GREEN
Oxide of copper； 1 part； antimonic acid； 10 parts； flux No。1； 30 parts；
pulverize together； and melt。
235。 BLUEISH GREEN
Green oxide of chromium； 1 part； oxide of cobalt； 2 parts； triturate； and
melt at a high heat。 The product is a button slightly melted； from which
is removed the portion in contact with the crucible。 This button is
pounded up； and three parts of flux No。3； for one of the button； are added
to it。
236。 GRASS GREEN
Green oxide of chromium 1 part； flux No。3； 3 parts； triturate and melt。
237。 DEEP YELLOW
Antimonic acid 2 parts； subsulphate of iron 1 part； flux No。1； 10 parts；
melt and pour out。 The subsulphate of iron may be increased a little； the
proportions of flux vary。
238。 JONQUILLE YELLOW FOR FLOWERS
Litharge 18 parts； sand 6 parts。 The product of the calcination of equal
parts of lead and tin 2 parts； carbonate of soda 1 part； antimonic acid 1
part； rub together； or triturate； and melt。
239。 WAX YELLOW
Litharge 18 parts； sand 4 parts； oxide of antimony 2 parts； sienna earth 2
parts； melt。 If it is too deep the proportion of sienna earth may be
decreased。
240。 ORANGE YELLOW
Chromate of lead 1 part； minium 3 parts。
241。 BRICK RED
Yellow No。240； 12 parts； red oxide of iron； 1 part。
242。 DEEP BLOOD RED
Subsulphate of iron； calcined in a muffle until it becomes a beautiful
capucine red； 1 part； flux No。2； 3 parts； mix without melting。
243。 BROWN YELLOW OCHRE
Yellow ochre No。244； 10 parts； sienna earth； 1 part； triturate without
melting。
244。 DEEP YELLOW OCHRE … CALLED YELLOW BROWN
Subsulphate of iron； 1 part； oxide of zinc； 1 part； flux No。2； 5 parts；
triturate without melting。
245。 PURE PURPLE
The purple powder of Cassius mixed while moist with flux No。3； and
sometimes a little chloride of silver previously melted with flux No。3。 If
the purple； when prepared； does not melt sufficiently easy； some flux may
be added when it is dry。
246。 DEEP VIOLET
The purple of Cassius； in place of flux No。3； flux No。1 is mixed with it。
Sometimes a little of blue No。233 is added。
247。 FLESH RED
The sulphate of iron； put in a small crucible； and lightly calcined；
produces a suitable red oxide。 Those which have the desired tone are
selected。 All the flesh reds are made in this way； and vary only in the
degree of heat which they receive。
248。 HAIR BROWN
Yellow ochre； No。244； 15 parts； oxide of cobalt； 1 part； well triturated
and calcined； in order to give the tone to it。
249。 LIVER BROWN
Oxide of iron made of a red brown； and mixed with three times its weight
of flux No。2。 A tenth of sienna earth is added to it if it is not
sufficiently deep。
250。 WHITE
The white enamel of commerce in cakes。
251。 YELLOWISH GREY
Yellow No。252； 1 part； blue No。233； 1 part； oxide of zinc； 2 or 3 parts；
flux No。2； 5 parts； sometimes a little black is added； according to the
tone which the mixture produces。 The proportions of the blue and yellow
vary。
252。 YELLOW FOR BROWNS & GREENS
Antimonic acid； 2 parts； sulphate of iron 1 part； flux No。1； 9 parts。 This
colour is melted and sometimes a little Naples Yellow is added if it is
too soft； i。e。； melts too easily。
253。 BLUEISH GREY FOR MIXTURES
Blue previously made by melting together three parts of flux No。1； and one
part of the mixture of oxide of cobalt； 8 parts； oxide of zinc； 1 part；
sulphate of iron calcined at a forge heat； 1 part； flux No。2； 3 parts；
triturate and add a little manganese in order to render it more grey。
254。 GRAYISH BLACK FOR MIXTURES
Yellow ochre； No。244； 15 parts； oxide of cobalt； 1 part； triturate and
calcine in a crucible until it has the desired tone。 A little oxide of
manganese is added in order to make it blacker； sometimes a little more of
oxide of cobalt。
255。 DEEP BLACK
Oxide of cobalt； 2 parts； oxide of copper； 2 parts； oxide of manganese； 1
part； flux No。1； 6 parts； fused borax； 1/2 part； melt and add oxide of
manganese； 1 part； oxide of copper； 2 parts； triturate without melting。
256。 GENERAL DIRECTIONS
The colours thus prepared after having been rubbed up on a plate of ground
glass with the spirits of turpentine or lavender； thickened in the air are
applied with a hair pencil。 Before using them； however； it is necessary to
try them on small pieces of glass； and expose them to the fire； to
ascertain if the desired tone of colour is produced。 The artist must be
guided by these proof pieces in using his colours。 The proper glass for
receiving these colours should be uniform； colourless； and difficult of
fusion。 For this reason crown glass made with a little alkali or kelp is
preferred。 A design must be drawn upon paper and placed beneath the plate
of glass。 The upper side of the glass being sponged over with gum…water
affords； when dry； a surface proper for receiving the colours； without the
risk of their running irregularly； as they would be apt to do on the
slippery glass。 The artist draws on the plate； with a fine pencil all the
traces which mark the great outlines and shades of the figures。 This is
usually done in black ； and afterwards； when it is dry； the vitrifying
colours are laid on by means of larger hair pencils。 The yellow formed
with chloride of silver is generally laid on the back of the glass； for it
is apt to run with the other colours while heating。
The pigments used in painting on glass are principally matallic oxides and
chlorides； and as； in most of these； the colour is not brought out until
after the painting is submitted to heat； it is necessary to ascertain
beforehand if the colours are properly mixed by painting on slips of
glass； and exposing them to heat in a muffle。 The painter is guided by
these trial pieces in laying on his colours。 To fire the paintings a
furnace with a muffle is used。 The muffles are made of refractory clay。
257。 WHITE COATING FOR GOLD VARNISHES
A quart of strong parchment size and half a pint of water are to be made
quite hot； and to these are to be added； （in small portions from time to
time；） two good handsful of common whiting； passed through a fine sieve；
this mixture is to be left to infuse for half an hour； when it is to be
stirred carefully so that the amalgamation may be perfect。 This coating is
preferable to any glue or cement for coating picture frames； &c。； on which
is to be laid the tin or silver foil； to be varnished with gold varnishes
or lackers。
258。 LEAD COLOURING PAINT
Whiting； 112 lbs。。。。。。。。。。。。。。。。。。。。。。 1。12
Blue…black； 5 lbs。。。。。。。。。。。。。。。。。。。。。 0。25
White lead ground in oil； 28 lbs。。。。。。 2。24
Road…dirt； 56 lbs。。。。。。。。。。。。。。。。。。。。。 0。10
Lime…water； 5 galls。。。。。。。。。。。。。。。。。。。 0。05
Residue of the oil； 2 1/4 galls。。。。。。。 1。25
Weights； 256 lbs。。。。。。。 5。01
To the above add two galls。 of the incorporated oil； and 2 galls。 of the
linseed oil to thin it for use； and it will not exceed two cents and a
quarter。 The lime…water； whiting； road…dirt； and blue…black； must be first
mixed together； then add the ground lead； first blending it with 2 1/2
galls。 of the prepared fish
