1875 ANTIQUE RECIPES FIREWORKS EXPLOSIVES SOAP CANDLE JEWELRY METALS LEATHER DYE

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1875 ANTIQUE RECIPES FIREWORKS EXPLOSIVES SOAP CANDLE JEWELRY METALS LEATHER DYE:
$128.49

Note: Many of my clients are tradesmen, artisans, inventors, fabricators, amateur mad scientists, etc., all seeking detailed information about their preferred fields of interest. For their convenience I include the following details directly from this book:

Types of Recipes Included in this Book (General Only, For Specific Recipes See Full Contents in Main Description): Industrial Artisan Recipes Receipts How-To Guide Explosives Nitro Glycerine Nitroglycerine Dynamite Fulminates Detonation Rockets Coloured Stars Roman Candles Japanese Matches Colored Fire Catherine Wheels Fire Balloons Photography Dark Room Camera Stereoscope Lens Cyanotype Photo Lithography Opalotypes Collodion Albumens Toning Baths Negatives Soap Making Tallow Hard Soaps Toilet Soaps Scented Candle Making Wicks Alloys Castings Founding Foundry Bronze Bronzing Cements Dyes Glass Cutting Twisting Drilling Darkening Bending Staining Painting Pottery Porcelain Varnish Japanning Polishing Polish Pigment Paint Oil Water Color Fresco House Transparency Sign Carriage Painting Lathing Plastering Paper Hanging Fireworks Firework Making Pyrotechny Pyrotechnics Engraving Etching Electro Metallurgy Cleaning Dipping Batteries Silvering Gilding Solders Veneer Marble Work Dyeing Graining Staining Wood Copper Cast Wrought Silver Brass Zinc Pewter Gold Electroplating Jewelry Making Moulding Hydro Sulphuric Acid Tinning Brittania Cyanide Chloride Tombac Chinese Silver Bells Bell Metal Looking Glasses Mirrors Clock Dials Bronze Statuary Mother of Pearl Bookbinding Decorative Papers Tanning Leather Work Skins Hides Boots Shoes Gutta Percha Rubber Harness Glass Work Stained Glass Magic Lantern Pottery Porcelain Stone Ironstone Calcedony Enamel

WORKSHOP RECEIPTS For the Use of Manufacturers, Mechanics and Scientific Amateurs. By Ernest Spon. Published in 1875 by E. & F.N. Spon, London; New York. 7.5” x 5” cloth hardcover decorated with black and gilt. Illustrated. 450 pages.

Condition: VERY GOOD ANTIQUE CONDITION. Handsome exterior as shown in photo. Firm binding. Text is clean and complete. No torn, loose or missing pages. Great example of this rare treasury of 19th-century know-how.

Description:

Spon’s WORKSHOP RECEIPTS is one of the largest collections of 19th-century chemical formulations, recipes and processes for commercial and domestic use you are ever likely to see.

Though this book is 130 years old, the information it contains will no doubt prove quite valuable to artisans, craftspeople, and other professionals of today. WORKSHOP RECEIPTS has sections on making fireworks and explosives, soap-making, candle-making, early methods of photography including developing and printing, how to perform glasswork and create stained glass, how to produce a rainbow of dyes and dyeing techniques, varnishing, lacquering, enamelling and other finishing processes, marble-working, staining and graining wood, and more.

WORKSHOP RECEIPTS also features a large section on metallurgy and metal-working that will appeal to a broad range of metal-workers and manufacturers of metal products. Jewelry-makers will also find a great deal of valuable information on electro-plating, gilding, silvering, bronzing and other metal-finishing processes.

The Preface states:

WORKSHOP RECEIPTS was compiled to effect three purposes: to serve as a note-book for the small manufacturer; to supply the intelligent workman with information required to conduct a process, foreign perhaps to his habitual labor, but which it is necessary to practice at the time; and to impart to the scientific amateur a knowledge of many processes in the arts, trades and manufactures, which will, it is hoped, render his pursuits the more instructive and remunerating.

Chances are, if you like experimenting, inventing, or you’re just interested doing things “the old fashioned way,” this book is for you.

There are well over 2000 different receipts in this one book. To give you a better idea of the variety of receipts, formulations and processes included in this goldmine of 19th-century know-how, I have provided some helpful details below -- namely a detailed accounting of many of the receipts spread across the many different categories of the incredible antique book.

DON’T MISS THIS RARE 141-YEAR-OLD BOOK OF TECHNICAL AND CHEMICAL WIZARDRY!!! ADD SOME 19th-CENTURY KNOW-HOW TO YOUR 21st CENTURY PROJECTS WITH SPON’S WORKSHOP RECEIPTS!!!

Contents Include:

METALLURGY: Cleansing copper and its alloys * Cleansing silver * Scratch-brushing * Cleansing Lead and Tin * Cleansing Cast Iron * Cleansing Wrought Iron * Cleansing Steel * Galvanic Batteries * Bunsen’s Battery * Bunsen’s Battery modified by Archereau * Charge of the Battery * Reunion of Several elements * Bringing batteries into action * Keeping batteries in order * Important observations on batteries * Grenet’s battery * Marie-Davy Battery * Smee’s Battery * Watt’s Battery * Various kinds of metallic deposits * Porous cells * Callaud Battery * Copper Deposits * Brass deposits * Cold bath for iron or steel * Warm Bath * Hot or cold bath for tin, cast iron or large pieces of zinc * How to copper silver * Brass Deposits * Solutions for brass baths * Cold brass bath for all metals * Correcting the brass bath * Brass bath for steel, wrought and cast iron, and tin, using ordinary cyanide of potassium * Brass bath for zinc * Color of brass deposit * Arrangement of the brass bath * Doherty’s description * Brass plating by simple dipping * Brassing lead and pewter * Tinning * Tinning bath, by exchange, for iron * Electro-tinning * Tinning by double affinity * Color of tin deposit * How to tin zinc * Whitening by tin * Gilding * Preparation of the Gold Bath * Colouring process * Ormolu * Green and white gilding * Gilding silver by dipping * Gilding on porcelain, glass or crystal * Dutertre’s Process for Bright Gold Gilding * Gold dipping bath with bicarbonates * Gilding by diluted bath * Gilding by stirring and gold amalgam * Cold gilding with the rag * Gilding with the brush or with shell gold * Gold electroplating * Gold electrogilding baths * Gold electroplating in hot baths * Preparation of the Gold Bath * Red Gold * Pink Gold or New Gold * Gilding watch parts * Preparation of the silver parts * Graining powders * Silver powder * Graining * Resists * Gilding * Gilding with a dead lustre * Gilding by fire or mercury * Gilding with a partly Dead, partly Bright Lustre * Gilding zinc with a dead lustre * Dead lustre gilding * Dissolving gold from gilt articles * Plated silver * Silvering with silver foil * Cold silvering by rubbing * For plated silver reflectors * Silvering by dipping in a warm bath * Silvering by dipping in a cold bath * Preparation of bisulphate of soda for cold silvering * Cold silvering for dipping * Solution of silver or gold for silvering or gilding without the aid of a battery * Silver Electroplating * Bath * How to prevent electro-silver plating turning yellow by contact with the air * Silver-plating Britannia metal, pewter and all combinations of lead and tin * Small silver bath for amateurs * Bright lustre * Deposits on solder * Anodes * Burnishing * To dissolve silver from silvered articles – cold bath * Hot bath * Resists and reserves * Resist or reserve varnishes * Old Silvering * Oxidized silver * Nielled silver * Platinum deposits * Thin platinum electro deposits * Thick platinum electro deposits * Nickel deposits * Zinc deposits * Iron and steel deposits * Antimony deposits * Lead deposits * Reduction of old baths * Extraction of silver * Extraction of platinum * Extraction of copper salts * Galvanoplasm. Thick deposits * Deposits by separate batteries * Large apparatus * Simple apparatus for amateurs * Porous cells * Batteries * Acid baths * Placing the pieces in the bath * Adhesive deposits upon metals * Galvanoplastic deposits without adhesion * Deposits upon non-metallic substances * Metallization * Plumbago * Gilt Plumbago * Silvered plumbago * Rendering molds impervious to liquids * Metallization of ceramic articles * Metallization by the wet way * Solution of phosphorus in bisulphide of carbon * Plaster of Paris moulds * Moulding with stearine and wax * Moulding with fusible metal * Moulding with gelatine * Moulding with gutta percha * Moulding with the press * Moulding with a counter mold * Molding in the stove * Molding by hand * Deposits on undercut patterns which are sacrificed * Methods for articles in high relief with gutta percha moulds * Finishing up the articles * Removing the mould * Galvanoplastic operations with gold or silver * Galvanic etching * Composition and rendering the decomposing baths impervious * Deposits to imitate mosaic work * Bronze for medals * Bronze for zinc * Antique bronze * Black bronze * Bronze powders * Acetate of copper * Acetate, or sugar, of lead * Acetic Acid * Nitrous and Hyponitric acids * Boracic acid * Hydrocyanic acid, or prussic acid * Hydrochloric acid * Hydrofluoric acid * Hydrosulphuric acid * Tannic acid * Gold amalgam * Ammonia * Silver * Nitrate of silver or lunar caustic * Nitrate of Binoxide of mercury * Nitrate of potash or salt-petre * Bicarbonate of potash * Bitartate of potash, cream of tartar * India rubber * Chloride of silver * Protochloride of tin or tin salt * Chloride of gold * Bichloride of platinum * Chloride of zinc * Cyanide of silver * Cyanide of copper * Cyanide of calcium * Cyanide of gold * Cyanide of potassium * Ferrocyanide of potassium or yellow prussiate of potash * Cyanide of zinc * Gelatine or isinglass * Benzine * Phosphate of ammonia * Phosphate of soda * Pyrophosphate of soda * Plumbago or black lead * Amalgamating salt * Sulphate of copper or blue vitriol * Sulphate of protoxide of iron or green copperas * Sulphate of Mercury * Sulphate of zinc * Sulphite and bisulphate of soda * Sulphide of ammonium * Sulphides of calcium, potassium and sodium * Bisulphide of carbon * Stirring rods * Anodes * Mixtures

ALLOYS, CASTING AND FOUNDING: Babbitt’s attrition metal * Blanched copper * Yellow brass * Red Brass * Another Brass * Best red brass * Rolled brass * Common brass * Hard brass * Brass melting * Hardening for Britannia * Britannia metal * Lining metal * Bronze metal * How to make ar tificial gold * German silver * Imitation of silver * Pinchbeck * Tombac * Red Tombac * Stereotype metal * How to get stereo-plates by the paper process * Fusible alloy * Muntz metal * Alloy for cymbals and gongs * Alloy for tam-tams or gongs * Alloy for bells of clocks * Bell metal * Cock metal * Alloy for journal boxes * Queen’s metal * Chinese silver * Hard white metal * Metal for taking impressions * Metal for tinning * Frick’s German silver * Best Pewter * Common Pewter * Speculum metal * Type metal * Statuary metal * Metal for medals * Ormolu * Spanish tutania * Gun metal * Rivet metal * Bullet metal * Pipe metal for organs * Aluminum bronze * Aquafortis * Aqua regia * How to work amber * How to mend amber * Brightening and Coloring Brass

SILVERING: Silvering looking-glasses * Silvering cheap looking glasses * Silvering glass, Drayton’s process * Partially resilvering pier glass * Silvering curved glass * Silvering large mirrors for photography * Silvering mirrors * How to silver glass specula * The silvering fluid * To prepare the speculum * To clean the speculum * Silvering glass globes * Silvering brass * Silvering for barometer and thermometer scales * Oxidizing silver articles * Silvering powder * Silvering powder for coating copper * Silvering by heat * Mixture for silver * Platenizing silver * Varnished silver leaf * Nitrate of silver * To separate silver from copper * Silvering cast iron * Plating * Frosted silver * Silvering clock dials * Desilvering * How to silver by heat * How to silver in the cold way * How to silver copper ingots

BRONZES AND BRONZING: Bronze for Statuary * Bronzing powders * Copper-colored bronze * Silver Bronze * Gold powder for bronzing * Gold size * Bronzing plaster * Green bronze * Black brasswork for instrumentation * Black Bronze for brass * Bronzing iron * Bronzing copper utensils * How to bronze electrotypes

GILDING: Gilding * Oil gilding on wood * Japanners’ gilding * Burnished or water-gilding * Gilding signs or letters * Burnished gilding on glass * Preparation and gilding of picture frames * Burnished gilt frames * Cleaning gilt frames * Re-gilding frames * Gilding pottery * Gilding on paint * Gilding zinc * Gold size * Fat-oil gold size * Flock gold-size * Bronzing gold size * Gold powder for gilding * To cover bars of copper with gold so as to be rolled out into sheets * To gild in colours * Grecian gilding * To dissolve gold in aqua regia * To gild iron or steel with a solution of gold * To gild by gold dissolved in Aqua regia * Amalgam of gold in the large way * To gild by amalgamation * To gild glass and porcelain * Gilding on glass * How to gild leather * How to gild or finish boots * To gild the edges of paper * To gild copper by amalgam * To heighten the color of yellow gold * To heighten the color of green gold * To heighten the color of red gold * To separate gold from gilt copper and silver * Gilding on steel * Gold leaf for illumination * Gold paper-hangings

TINNING: How to tin copper and brass * How to tin iron and copper vessels * How to tin brass or copper * Tinning iron saucepans * Tinning brass wire * Cold tinning * Tinning cast and wrought iron pipes * Crystallized tin plate * Cleaning tinware * Tinning small articles

MOTHER OF PEARL, ETC: How to create mother-of-pearl * Artificial mother-of-pearl buttons * Inlaying with mother-of-pearl * To imitate tortoiseshell with horn * Preparation of horn

POLISHING: How to polish bar iron and steel * Friction polish * Polishing steel * Brass Polishing * To polish German silver * Polishing wheels * Artificial grindstone * Making glaze wheels for finishing steel * Polishing materials * Crocus * Powders for cleaning plate * Jeweler’s Rouge * Putty powder or oxide of tin * Cutting pebbles * Polishing vulcanite * Polishing plaster casts * Polishing shells * Polishing mother of pearl * Polishing Horn and Ivory * Polishing Bullocks’ Horns * Burnishing

FIREWORK MAKING AND EXPLOSIVES: Rockets * Size of Rockets * Rocket Cases or Cartridges * Charging Rockets * Priming Rockets * Rocket Pot or Head * Loading Rockets * Rocket Sticks * Rocket Compositions * Common Brilliant Stars * Tailed Stars * Coloured Stars * Crimson Stars * Rose-colored Stars * Green Stars * Pale Rose-colored stars * Pale Green Stars * Yellow Stars * Golden yellow stars * Blue stars * White Stars * How to prepare Chertier’s Copper * How to prepare Nitrate of Strontia * Golden Rain * Silver Rain * Portfires * Roman Candles * Roman Candle Stars * Composition for Roman Candles * Touchpaper * Quick-match * Gerbes and Jets of Brilliant, Chinese and Common Fires * Red Chinese Fire * White Chinese Fire * Brilliant Fire * Common and Sparkling Fires * Lances * Compositions for Lances * White * Yellow * Green * Emerald Green * Red Lances * Rose Colored Lances * Blue Lances * Violet * Lilac * To exhibit lances * Coloured Lights * White Lights for Decoration * Yellow Lights * Green Lights * Red Lights * Purple * Tourbillons * Plain Tourbillons * Brilliant Tourbillons * Drawing Room Fireworks * Lightning Paper * Japanese Matches * Quick-Match * Fire Balloons * Serpents or Squibs * Showers of Fire * Pin, or Catherine Wheels * Crackers * Colored Fires * Blue Fire * Crimson Fire * Green Fire * Lilac Fire * Purple Fire * Red Fire * Violet Fire * White Fire * Yellow Fire * Pyrotechnic Mixtures * White Light * Red Light * Blue Light * Yellow Light * Green Light * Violet Light * Matches * Matches without Sulphur * Safety Matches * Matches without phosphorous * Gun Cotton * Nitro-glycerine * Dynamite * Fulminates * Fulminate of Silver * Throw-down Detonating Cracker * Double fulminate of silver and ammonia * Fulminating platinum * Fulminating gold * Terchloride of gold * Gunpowder * Sulphur * Charcoal * Pharaoh’s Serpents

PHOTOGRAPHY: The Operating Room * Dark Room * The Camera * Lens * How to arrange the lenses in a portrait combination * Focus * The glass frame * Cleaning the glasses * Sizes of photographic glasses * The Argentometer * Positives and negatives * The Collodion process * The Spirits of Wine * Ether * Gun cotton * Weights and measures used in photography * Fluid measure * Collodion positives * Positive collodion * Nitrate of silver bath * Developing solution * Fixing solution * Coating the plate with collodion * Exposure * Developing * Fixing * Crystal varnish * Black varnish for backing * General instructions for Glass Positives * Collodion negatives * Faults in negatives * Softening of photographic pictures * Printing Process * Positive paper * Albumenized Paper * Plain paper * Preparing the paper * Printing * Toning * Fixing * Washing * Mounting * Mounting * To varnish cartes de visite * Crystal enamel * Defects in paper prints * Plain collodion * Sensitized Collodion * Iodide and bromide solution * Iodide of cadmium * Bromide of cadmium * Iodized collodion * Nitrate of silver bath for negatives * Developing solution for negatives * Intensifying solution No. 1 * Another intensifying bath * Fixing solution for negatives * Sensitizing solution for paper * Another negative collodion * Toning baths * Fixing solution for paper prints * Stopping out negatives * Albumen varnish for negatives * Amber varnish for negatives * Views and landscapes * Toning bath * Toning and fixing in one Bath * To quickly obtain positive prints * Thomas Sutton’s wet collodion process * The Organifier * The Varnish * For the conversion of a negative into a positive * Dr. Ryley’s modified collodio-albumen process * England’s modified collodio-albumen process * Collodio-bromide process * The Autotype process * Gum and Gallic Acid Process * Photo-crayon Portraits * Diaphanotypes * The Ivorytype * Heliotype * Swan’s Process – Photographs in pigments * Sensitizing the tissue * Exposure under the negative * Mounting and preparing for development of the image * Transferring to cardboard * Sensitive collodio-gelatine tissue * The neetmok pigment employed * Coloring carbon prints * Water colors * Oil colors * Retouching carbon prints * Tardy solution of the superfluous gelatine development * Bichromate of potash crystallizing on the tissue in drying * Uneven development * Blisters during development * Overexposure * Under-exposure * Weak and flat prints * Hardness and excessive contrast * An uneven texture in the finished print * Portions of the image tearing off in transferring * A green tint pervading the blacks * Unequal sensitiveness * The gelatinous coating will run in sensitizing * Dark spots * A sparkling appearance in the print after final transfer * Dry Collodion Process * Preservative solution for sensitive plates * Collodio-albumen process * Nitrate of silver bath * Iodized albumen * Aceto-nitrate bath * Plain pyrogallic developer * Intensifying solution * Alkaline pyrogallic developer * Collodio-albumen Process * Albumen * Sensitizing the plates for use * Nitrate of silver solution * Developing * Causes of failures * To prevent film splitting * The Honey Process * The Tannin Process * Gelatine solution * Tannin preserving bath * Developing solutions * Enlargement of negatives * Stereoscopic views or stereotypes * Twin lens camera * Stereoscopic views with one ordinary camera * Stereoscopic views with two ordinary cameras * Photography by artificial light * Transparent positives * Copying camera * To calculate length of camera required * Magic Lantern Slides * The Solar Camera * Sensitizing Bath * Developing Bath * Fixing * Photo-lithography * Nature Printing * Photography on Silk * Photography for wood engraving * To reduce old baths and nitrate of silver solutions * Background * Blue pictures, or the Cyanotype process * Magic Photographic pictures * Development of the magic picture * To obtain the gold from an old toning bath * Silver from trimming of untoned prints * Chloride of silver from washing of the prints * To reduce nitrate of silver bath * To intensify negatives after they are varnished * On reducing the intensity of negatives * To remove silver stains from the hands * Removing silver stains from linen * Removing yellow iron stains from linen * Iron developer to produce dense negatives * Varieties of the iron developer * Opalotype pictures * Opalotypes by the dry method * Opalotype collodio-chloride * Cabinet portraits * Effects of weather and temperature * Photographic newsletters * Photo-micrographs or photographs for microscopic slides

ENGRAVING AND ETCHING: Engraving on wood * Lithography * How to prepare Lithographic stones * Lithographic ink * Lithographic chalk * Lithographic transfer plate * Transferring * Drawing on stone * Etching-in, for printing on stone * Engraving on stone * To imitate woodcuts on stone * Inking roller * Removing the transfer * Transferring from copper to stone * Engraving on Steel * Engraving steel cylinders * Etching * Ground * Dabber * Oil-rubber * Rotten stone * Smoking taper or lamp * Bordering wax * Engraver’s shade * Hand rest * Stopping-out varnish * Turpentine varnish * Aquafortis * Tracing and tracing paper * Transferring paper * Testing the ground * Heating the plate * Smoking the plate * Transferring * Etching * Bordering the plate * Biting-in * Second biting * Cleaning off * Re-etching * Etching – Process avoiding stopping-out * Etching – General instructions * Soft ground * Laying the ground * Drawing * Biting in * Aqua-tinta engraving * Aqua-tint ground * To test the spirits * Trial of aqua-tinta ground * Laying the ground * Stopping-out the lights * First Lights * Second Lights * Third Lights * Touching Stuff * Ground to etch on * Aqua-tint engraving – General instructions * Hamerton’s Brush Process * Hamerton’s Positive Process * Etching from Nature * Etching on cast iron * Etching on steel or iron * Etching glass * Engraving on copper * Copper Plate * Engraving on silver or gold * Line engraving on gold

PIGMENTS AND PAINTING (IN OILS, WATER-COLOURS, AS WELL AS FRESCO, HOUSE, TRANSPARENCY, SIGN AND CARRIAGE PAINTING): Indian Red Pigment * Light Red Pigment * Red Chalk Pigment * Red-Lead Pigment * Massicot * Minium * How to test Red-Lead * Carmine * Painters’ Cream* Lakes * Blue Lake * Brazil-wood Lake * Carminated Lake * Cochineal Lake * Green Lake * Lac Lake * Madder Lake * Orange Lake * Red Lake * Yellow Lake * White Pigments * Derbyshire White * Mineral White * Newcastle White * Peark White * Permanent White * Spanish White * White Lead * King’s Yellow or Orpiment * Naples Yellow * Blue Pigments * Ultramarine Ashes * Azure Blue or Paris Blue * Cobalt Blue * Prussian Blue * Saxon Blue * Black Pigments * Lampblack * Blue Black * Ochres * Cake Colours * Jay’s Metallic Paint * Paint for Wirework * Economical Paint * Anti-corrosive Paint * Bronze Paint * Painting in Oil Colours * Palettes * The Easel * The Rest, or Mahl Stick * Brushes for Oil Painting * Hog-hair tools* Sable Brushes * Badger tools * Cleaning oil-paint brushes * Canvas * Oil Sketching Paper * Grounds * Oils * Japanners Gold Size * Megilps * Impasting * Harmony of Colors * Painting in Water Colours * Materials * The Painting Room * Pencils or Brushes for Water Colours * Management of a Water-Colour Drawing * House Painting * House Painters’ Tools * Mixing Colors for House Painting * Painting New Work * Painting Old Work * Priming for New Work * Second color for new work * Colors for House Painting * Cleaning House Paint * To Paint Plaster * Fresco Painting * Transparent Painting on Linen * Transparent painting on paper * Painting and preserving Ironwork * Painting sign boards * To Prepare Picture Canvas * Varnishing Valuable Paintings * To preserve a scaling or cracked painting * Drying Oils * Distemper for Photographic Backgrounds * To Prepare Zinc for Painting * Vehicle for Color * Purifying Linseed Oil * Silicate of Soda Paint * To Line Old Paintings * Ox-Gall Purifying * To Remove Old Paint * To Destroy Paint * To whitewash or color wash

SOAP MAKING: Soaps * Vegetable Oils * Cocoanut Oil * Palm Oil * Bleaching Palm Oil * Olive Oil * Oil of Poppy * Mafurra Tallow * Animal Fats * Beef Tallow * Mutton Suet * Lard * Horse Fat * Bone Fat * Fish Oil * Sperm Oil * Oleic Acid * Elardic acid * Of Potassa, Soda and Caustic Soda * Soda * Soda ash * Caustic Soda * Testing the chemicals * How to estimate the amount of water * How to estimate the amount of caustic and carbonated alkali* To determine the nature of foreign ingredients * Preparation of the leys * Leys * Kettles * Brick kettles * Cast iron kettles * Sheet iron kettles * Heating the pans with open fire * Heating pans with steam * Cutting up the pan * Clear Boiling * How to produce marbling * Pelouze’s Process * Saponification by Agitation * Gossage’s Process * Silicated Soaps * Quality of Soaps * How to make Household soaps * How to make Hard Soaps * Tallow Rosin Soaps * Rosin Soap * Cocoanut Oil Soap * Palm Oil Soaps * Toilet Soaps * Making Soaps in the Cold Way * Coloring Soaps * Perfuming Soaps * Windsor Soap * Honey Soap * Musk Soap * Glycerine Soap * Almond Soap * Bouquet Soap * Rose Soap * Cinnamon Soap * Lavender Soap * Orange flower Soap * Flowers of Erin * Primrose Soap * Iodine Soap * Mercurial Soap * Sulphur Soap * Antimonial Soap * Shaving Soaps * Cream Soap * Shaving essence or fluid * Soap Balls * Camphor Savonette * Sand Ball

CANDLE MAKING: Tallow boiling * New Methods of rendering – D’Arcet’s Apparatus * To neutralize effluvia from tallow pans * Wilson’s Process * Fouche’s Process * Evrard’s Process * Stein’s Process * Clarifying tallow * Ozokerit * Hardening of tallow by Cappacioni’s process * Cassgrand’s Process for Bleaching Wax * Wicks * Index to the thickness of wicks * Preparing wicks * Dips * Molds * Composite Candles * Diaphane * Parlour bougies * Composite Candles * Belmont Sperm * Belmont Wax * Candles with snuffless wicks

BOOKBINDING AND MAKING DECORATIVE PAPERS: Tools * Sewing * Cutting * Ornamenting * Head-banding * The finishing process * Substitute for brass lettering * To polish the edges of the leaves * How to bind a book without tools * Marbling paper and book edges * A skimmer * A stone and muller * Brushes * Rods * Colours * Compound colours * Colours intended to represent veins * Colours for producing spots like lacework * Patterns * Sprinkling the edges of books

TANNING AND LEATHER-WORK: Tanning by decoction of bark * To tan calf or other thin skins * To tan hides * Sheep-skins * Morocco Leather * Russia Leather * Another Russia Leather * Tanning Nets * Tanning sheep or other skins with the wool on * Preserving small skins * Discoloration of Leather * Tanning sole leather * Preparing skins * Dyeing Leather * Red * Purple * Green * Dark Green * Yellow * Light Orange * Sky Colour * Chamois Leather * Tawed Leather * Tannic Acid * Dressing furs and skins * Preservation of leather * Harness Polish * Waterproof harness paste * Boot-top Liquid * Driving belts * Varnish for boots and shoes * Cleaning harness or saddles and bridles * Blacking for harness * Harness composition * To preserve leather driving-bands or leather water-hose * Piecing leather straps without laces * Softening leather * Fastening emery to leather * Cleaning buff-coloured leather * Boot and Shoe-making

GLASS-WORK AND STAINED GLASS, MAGIC LANTERN GLASS, ETC: Glass Making * Flint Glass * Crown Glass * Bottle or Green Glass * Plate Glass * Common Window Glass * Colors for Glass * Strass * Soluble or Water Glass * Hard Glass for Receiving Color * Glazing Windows * Glass Painting and Staining * Red Orange and Yellow Stains for Glass * White enamel for painting glass * Purple * Rose Color * Red * Transparent Orange * Yellow * Dark Brown * Light Brown * Green * Blue * Black * Black Flux * Indigo Blue * Etching and Deadening Color * How to transfer engravings on glass * Annealing Glass * Cutting Glass * How to draw on glass * Stencilling on Glass – Writing on Glass * Painting Glass for the Magic Lantern * Pigments for Magic Lantern Slides * Glass Cleaning * Frosting Glass * Drilling Glass * Darkening Glass * Bending Glass Tubes * Glass, to Powder

DYES AND DYEING:

How to dye silk: For jet black silk * For black silk * For hat black * Dyeing shots * For cinnamon brown * For olive brown * For French brown * For claret * For pale blue * How to prepare extract of indigo * For royal blue * For pea green * For common pale green * For grass green * For myrtle green * For olive green * For drab * For fawn * For stone * For straw * For buff * For cream colour * For chamois * For salmon color * For orange * For amber * For pink * How to prepare safflower * For rose colour with cochineal * For scarlet with cochineal * For fast crimson * For purple * For royal blue purple * For lilac * For lavender * For aniline colours

How to dye woolens: * For jet black * For Geneva black * For fast black * For cinnamon brown * For French brown * For claret * For olive brown * For common dark brown * For ruby * For purple * For royal purple * For pale blue * For royal blue * For royal blue purple * For pea green * For common pale green * For grass green * For olive green * For peach * For drab * For light drab * For fawn * For stone * For slate * For straw * For primrose * For yellow * For buff * For amber * For lilac * For lavender 8 For French grey * For silver grey * For French pink * For rose color * For scarlet with cochineal * For scarlet with lac * For scarlet with lac and cochineal * For limawood crimson * For fast crimson * For cochineal crimson

For Dyeing Cotton: Black * Brown * Madder brown * Dark brown with catechu * Light catechu brown * For claret * For ruby * For purple * For scarlet * For crimson with cochineal * For limawood red * For barwood red * For drab * For fawn * For stone * For lavender * For lilac * For pink * For deep blue * For pale blue * For royal blue * For orange * For orange yellow * For chrome yellow * For olive * For buff * For green * For fast chrome green

Vats for Various Colors: Woad vat * Ash Vat, woolen * Blue Vat, cotton * Purple Vat * Crimson Vat * Lavender Vat

Silk Spirits: Nitrate of iron * Purple vat spirits * Crimson vat spirits * Lavender * Muriate of tin * Extract of Indigo * Ammonia paste

Woolen Spirits: Scarlet spirit * Crimson spirits * Lac Scarlet spirit * Purple spirits

Cotton Spirits: Red * Purple

Black Liquor, Red Mordant, Ageing Liquor, Pink Mordant, Cheap Filter

POTTERY AND PORCELAIN: Potting, Bodies * Ironstone Body * Firing * Porcelain body * Printed earthenware * Cream-colored body * Lilac porcelain body * Drab body * Common brown or cottage body * Fawn or drab body * Brown body * Jasper body * Superior white body * Stone body * Stone mortar body * Black Egyptian body * Saucer mold body * Fawn porous body * Silicious and aragillaceous clays * Glazes * Porcelain glaze * Ironstone glaze * Body frit * Frit for glazes * Earthenware printed glaze * Common printed glaze * White earthenware glaze * Blue and green edge glaze * Cream color glaze * Crystal glaze * Calcedony glaze * Drab glaze * Blue glaze * Green glaze * Yellow glaze * Alkaline glaze * Colours under glaze * Naples Yellow under glaze * Lining brown under glaze * Painting brown under glaze * Orange under glaze * Yellow under glaze * Green under glaze * Printed brown under glaze * Printed black under glaze * Printed mulberry under glaze * Green for edging under glaze * Blue printed flux * Painting and edging blue * Strong printing blue * Printing oil for pottery * Stains for pottery * Blue stain * Green stain * Gold Flux * Enamel flux * Smalts * Enamels for porcelain painting * White enamels * Veneetian white enamels * Common white enamel * Blue enamels * Black enamels * Enamel painting black * Enamel printed black * Copper black enamel * Red enamel * Neetmok enamel * Brown enamel * Blue green enamel * Grass green enamel * Yellow enamel * Cornelian red enamel * Pomona green enamel * Burnish Gold from Brown Gold * Burnish gold from green gold * Purple enamel * Rose color enamel * Gold luster * Persian gold luster * Silver of steel lustre * Oxide of Platina * Bronze gold * Solution of gold * Solution and oxide of silver * Solution of tin * Oxide of tin * Balsam or sulphur * Regulus of Zaffre * Blue Calx * Cobalt blue, or regulus of cobalt

VARNISHES, JAPANS AND POLISHES: Manufacture of Varnishes * Boiling Linseed Oil * Making Varnish on a Small Scale * Linseed Oil * Spirits of Turpentine * Copal Varnishes for Fine Paintings * Artist’s Virgin Copal * Cabinet Varnish * Best Body Copal Varnish for Coach Makers * Quick Drying Carriage Varnish * Common Body Varnish for Carriages * Quick Drying Body Copal Varnish * Best Pale Carriage Varnish * Second Carriage Varnish * Wainscot Varnish * Japanners’ Gold Size * Varnish, Coach Makers’ Black * Asphalte Varnish * Varnish for Ironwork * Varnish for Common Work * Varnish for Iron Patterns * Black Japan * Pale Amber Varnish * Brunswick Black * Ironwork Black * Varnish for Prints, Engravings or Maps * To Varnish Paper or Cardwork * Varnish for Coloured Drawings * Photographer’s Negative Varnish * Transfer Varnish * Gold Varnish * Varnish for Gilt Articles * Black Leather Varnish * White Varnish * Table Varnish * How to Varnish Furniture * Varnishes for Furniture * Cheap Oak Varish * Mahogany Varnish * White Furniture Varnish * Dark Varnish for Light Wood Work * Varnish for Violins * Varnish for Wood which Resists Boiling Water * Wainscot Varnish * Brown Hard Spirit Varnish * Turpentine Varnish * White Hard Spirit Varnish * Mastic Varnish * Soft Brilliant Varnish * Sealing Wax Varnish * Etching Varnishes * Varnish for Waterproof Goods * Common Varnish * Colorless Varish * Copal Varnish * White Copal Varnish * Black Varnish for Straw hats * Dammar Varnish * Varnish for Glass * Varnish for Polished Metal * Varnish for Silver * Varnish for Iron and Steel * Varnish for Backing Positives * Removing Varnish from Prints * India Rubber Varnish * Varnish for Gas Balloons * Varnish Brushes * Green Transparent Varnish * Golden Varnish * Gutta Percha Varnish * Choosing Gums and Spirits * To Bleach Lac * Lacquering * How to prepare brass for lacquering * Re-lacquering brasswork * Lacquer for brass * Pale Lacquer * Green lacquer * Pale Gold lacquer * Lacquer for tin * Lacquer for philosophical instruments * High-colored lacquer * Chinese lacquer work * Japanning * How to prepare work for Japan * Japan grounds * Black japan grounds * White japan grounds * Blue japan grounds * Red japan ground * Yellow japan grounds * Orange japan grounds * Purple japan grounds * Tortoiseshell japan * Painting japan work * Varnishing japan-work * Tunbridge Ware * Painting tunbridge * Varnishing tunbridge * Rubbing down tunbridge * Polishing and finishing tunbridge * Carriage Japan * Carriage Painting * Repainting Carriages * Carriage japanning * Carriage Graining * Bird’s eye Maple * Curled Maple * Varnishing and Polishing Fret-work * French Polishing * Polishing Wood Carving * Polishing or Oiling Planes * French Polish * French Polish reviver * Furniture Paste * Furniture Cream * Furniture oils * Furniture reviver * Polish for turner’s work * Cleaning and polishing mahiogany * Furniture polish * How to polish wainscot * Polish for carved cabinet work

VENEERING: Cauls * Veneering hammer * Removing blisters from veneer * Blue * Yellow * Bright yellow * Liquid for brightening and setting colors * Bright green * Bright red * Purple * Orange * Silver Grey

MARBLE WORKING: General * Polishing * Mounting * Selecting Marble * Veneering Marble * Veneering on Metals * Marble on zinc * Marble veneer on boxes * Sculpture of marble by acids * Mastic for repairs * Cement mastic * Cold mastic * Mason’s mastic * Stuccoes * Wax varnish to preserve statues and Marble exposed to the air * Colouring marble in imitation of mosaic work * Cleansing marble * To remove stains from marble * Repairing marble * Marble cement * Polishing marble * Enameling slates

DYEING, GRAINING AND STAINING WOOD: Washing * Matching * Darkeners * Improving * How to improve the color of any stain * Directions for staining * Worrall’s process for imitating woods * Imitating oak wainscot * How to imitate various woods * Mordants * Imitating mahogany * How to stain beech a mahogany color * Imitation of mahogany * Mahogany stain * To remove stains from mahogany * Imitating rosewood Bronzing inlaid work * To imitate King or Botany Bay wood * Black stain * Black stain for immediate use * Brown stain * Red Stain * Red stain for bedsteads and common chairs * Walnut stain * Oak stain * Ebony stains * Graining woods * Mahogany * Birds eye maple and satin wood * Dark oak * Wainscot Oak * Light * Oak graining in oil * Overgraining * Oak in spirit color * Graining oak in distemper * Birds eye maple * Mahogany * Pollard oak in distemper * Pollard oak in oil * Satin wood * Yew tree * Rosewood * Hair wood * Graining roller * Marbling on wood * Oriental verde antique * Jasper Marble * Black and gold marble * Sienna marble * Dove Marble * Blue and Gold Marble * Italian marble * Black and white marble * Granite * Porphyry

BLEACHING: How to bleach silk * How to bleach wool * How to bleach paper * How to bleach prints and printed books * Bleaching ivory * Bleaching powder, or chloride of lime * How to bleach sponge * How to whiten lace

CEMENTS: How to use cements * Armenian or jeweller’s cement * Acid-proof cement * Cutler’s cement * Cement for bottle corks * Cement for ivory or mother of pearl * Cement for jet * Cement for meerschaum * Plumber’s cement * Turner’s cement * Indianite cement * Cheap India rubber cement * Elastic cement * Cement for mounting photographic prints * Cement for wood vessels * Cement for leather * Marble cement * Impervious cement for Apparatus, Corks, etc * Chinese Cement * Cements for cracks in wood * Cements for joining metals * Stonemason’s cement * Fireproof and waterproof cement * Electrical or chemical cement * Engineer’s cement for making joints * Iron cements or rust joints * Cement to mend iron pots and pans * London cement * Architectural cement * Glue Melting * Elastic Glue * Glue for Gutta Percha * Glue to resist heat or moisture * Marine glue * Bookbinder’s Paste * Putty * Soft Putty * How to soften putty * Sealing wax

LATHING AND PLASTERING

WALL PAPER AND PAPER-HANGING

FOR MECHANICAL DRAUGHTSMEN: Drawing Paper * Mounting Drawings or Paper on Linen * To fasten paper on a Drawing Board * Cutting Pencils * Erasing errors * How to buy drawing instruments * Drawing Board * How to use a drawing pen * To test the accuracy of a straight-edge * In using the Plain Parallel Rule * Using dividers or compasses * Pencilling * Finishing a drawing * Borders * Indian Ink * Shading * Colouring tracings * How to cut stencil plates * How to remove drawings from the board * The frame for a drawing * Vegetable parchment * Indelible Pencil Writing * To fix pencil drawings * How to mount engravings * How to renew manuscripts * Uniting parchment to paper or wood * Tracing paper * Transfer paper

TAXIDERMY: How to Skin and Stuff Birds

SOLDERS

MISCELLANEOUS: How to make Alcohol Barrels tight * Black for Blackboard * Papier Mache * Silkworm gut for Fishing * Printers’ Rollers * Boiler incrustation * How to brown gun barrels * How to make Catgut * How to carve cameos * How to clean pearls * How to make crayons * Colours for crayons * Lubricants * Hair for Brushes * How to write on slate * Enlarging woodcuts for diagrams * How to make a thermometer * How to clean marble, jasper, porphyry, etc * Cleaning alabaster * How to clean pictures * Cleaning the hands * How to clean plate * How to clean brass or copper * Cleaning brass inlaid work * Silver cleaning liquid * Cleaning steel articles * Cleaning hats * Cleaning metals * Cleaning jewelry * Cleaning engravings * How to scour articles of dress

Remember folks, this is an 1875 original. This book is 141 years old.

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