Varupriserna i Amsterdam (Väriaineiden hintoja 1878)

Morgonbladet 258, 5.11.1878

Morocco Leather Dressing.

Scientific American 19, 3.11.1860

Although enameled oilcloth, having its surface finished to imitate morocco leather, has come into very extensive use during the past five years, still it does not seem to have njured the manufacture of the genuine article. Morocco dressing establishements are still increasing in number and extent. Real morocco leather is made of tanned goatskin; but the term is now, in a general manner, also applied to tanned sheepskin, which is colored and dressed with a polished and corded surface in imitation of morocco. Having been informed that the manufacture of sheepskin into colored leather was carried on extensively and in a superior manner, in Albany, N. Y., by the firm of A. Williamson & Sons - old and experienced leather dressers - we recently embraced on opportunity of visiting their establishment, while briefly sojouring in the capital of the empire State. It is situated near the upper extremity of a street called Broadway, and although this street is very unlike its great namesake in New York, it can boast of a good morocco factory, in which some new and improved processes are carried on. Colored sheepskin is principally used for shoe bindings, and, in this establishments, the majority of the pelts are obtained gree nfrom sheep and lambs slaughtered in the vicinity. About 100,000 skins are dressed annually in it, and from these about half a million pounds of wool are obtained and sold.

The first process through which they are made to pass is that of soaking and softening by water, to fit them for receiving the unhairing preparation. Formerly hydrate of lime was sprinkled in the inside of each pelt; it was then folded over with the wool side out and laid down on the floor, sometimes called "the pit." In this manner a whole pile or heap was made, and a heating action was engendered by which the roots of the wool were loosened, so that the fleece could be easily pulled or scraped off on a table afterwards. This method of loosening the roots of the wool was redious, occupying several days to complete, and the skins required constant watching, as they were liable to overheat and injury both to the wool and the gelatinous tissue. This was especially the case in warm weather; but the remedy for this trouble and these ills was lately introduced by the senior member of the firm, and is one of the most important improvements made, for many years, in this art. This is effected by a calcium orpiment compound, which they import and have also introduced among other manufacturers. It is made up into a thick creamy consistency, then applied to the inside of the skins which are folded over, wool side out, and laid in a heap, as before described. In twenty-four hours afterwards the skins can be deprived of their wool, and if they have to lie longer, no injury will result. In all cases the depilatory action is certain without injury to wool or skin tissue.

The next operation is that of washing the skins prior to unwooling them. This latter manipulation is executed by placing them upon an inelined bench, and rubbing off the wool with a blunt tool. The flesh side of the skins is also scraped to remove slime and loose flesh, after which they are ready for the liming operation. They are now placed in vats containing milk of lime (slacked lime mixed with water), in which they are treated for about two weeks. The office of the lime appears to be that of a corrosive agent for the removal of grease in the skins, as it would prevent the action of the tannic acid afterwards. The lime does not act upon the gelatinous tissue, which alone forms the leather when combined with a tanning agent. A new discovery to shorten and cheapen this part of the process would be invaluable.

The next operation consists in passing the skins through a bath of hen or pigeon manure, mixed with water, which softens them. After this they are washed and passed through a sour of dilute sulphuric acid, which neutralizes all hte lime that may remain in the pores of the skin, converting it into a sulphate, which is easily removed by a good washing in moderately warm water. After this they are dipped into a solution of common salt, sewed up at the edges with the grain side out, to form bags partly filled with tanning liquor, inflated and tied. They are now placed in a tub containing an extract of Sicily sumac, in which they float and are kept in constant motion for several hours; and when they have absorbed a sufficient amount of the tannic acid in the sumac to convert the skin into leather, they are taken out, drained and rinsed; and if not to be colored, they are ripped out and dried in the atmosphere in sheds constructed for the purpose. They are stretched on boards, rubbed out to render them smooth, and tacked down so as to dry without wrinkling. These skins are generally filled three times with fresh liquor to tan them fully.

The next operation is that of coloring. If the color is to be applied topically by putting it on the surface with a sponge, the skins are first dried. If they are to be dyed in liquors, they are sewed so as to have the grain side out, then mordanted, and afterwards handled in a tub containing the coloring agents. Prussian blue colors are imparted by handling the skins first in a dilute solution of nitrate of iron for about an hour, then in a warm bath containing the cyanide of potash and a little sulphuric acid. A beautiful blue is thus dyed. A scarlet is prepared with a mordant of the muriate of tin and cream of tartar; the red color is afterwards obtained by handling them in an extract liquor or cochineal. Purple is dyed by applying a cochineal color on the top of a prussian blue. Bronze is obtained from a strong extract of logwood and alum. After being dyed, the skins are rinsed, stretched on boards, rubbed smoothly down, tacked around their edges and dried.

Topical applications of color are given to the grain surfaces in many instances. They simply consist of a strong extract applied with a sponge or a piece of cotton cloth; almost any color can thus be put on. A scarlet color is made by a topical application of an extract of turmeric upon a dyed cochineal red. To enable some of the coloring agents to go on evenly, milk and the white of eggsa re frequently mixed with them. These applications also serve to impart a metallic luster to the surface. Prior to rolling, and dyed skins are slightly shaved on the wrong side and trimmed at the edges.

The subsequent finishing operations consist in rolling the skins on a table under a small weighted roller having a grooved face, and which is attached to a suspended arm which the operator moves back and forth until the roller has traversed the entire surface. This operation imparts a glossy cordovan surface to the leather. A second rolling, with the grooves running in an agular direction, gives the surface a diamond corded finish - the true morocco style. Formerly these skins were all finished by hand labor. The operatives stretched them on inclined boards, and rubbed over their surface with grooved balls of ebony held in the hand. Sometimes and extra finish is still imparted in this manner to skins.

In this factory we saw the first aniline (popularly called Magenta) colors on morocco that have been applied in this country. The senior partner had been on a European tour last summer, and obtained the new color from abroad. It produces the most beautiful shades of purple, lavender and lilac upon leather. No coloring agent hitherto known can equal it.

All processes for making leather from skins is not tanning, although most persons so term them. White leather is prepared with alum, and in some instances with a paste of flour. These are tawing, not tanning processes. It requires an agent, such as hemlock, oak or sumne, containing tannic acid, brought into contact with gelatinous tissue, to constitute the tanning process.

Heavy sheepskins are frequently split by machinery, and for some purposes such leather is more suitable than any other kind. In thisfactory, a new machine for splitting had just arrived from England, and we were surprised to learn that, although it did not split so many skins in the same space of time as the American splitting machines, it was preferred because its work was of a superior quality. The cutting knife moves with a reelprocating sawing action, and is driven with a very high velocity.

We have in this brief description of morocco dressing mentioned three new improvements not to be found in works published on the subject, viz.: the depilatory process, the cleansing operations with dilute sulphuric acid, and the new styles of colors. Morocco leather dressing proper is principally carried on in out cities on the sraborad or in their immidiate vicinity, as the goat skins are all imported from India, Africa, &c., and the sumac for tanning them from the island of Sicily - that land to which the eyes of the whole civilized world have recently been directed, on account of the wonderful exploits of Garibaldi and his heroic followers, fighting for the freedom of Italy.

Toimiston muutos! (ilmoitus)

Mikkelin Sanomat 46, 18.11.1886

Wärjärin toimistoni joka tähän saakka on ollut kauppias N. Hartosella on muutettu kauppias W. A. Rönnmarkin luokse, joka wastaan ottaa ja ulosantaa minulle tulewia töitä, työt walmistan joutuun ja kunnollisesti.
Mikkeli, marrask. 17 p. 1886.
W. Jacklin.
Wärjäri Mäntyharjusta.

To Dye Silk a Brilliant Silver Color.

Scientific American 32, 1.5.1847

Proceed as directed in the last experiment, only use the nitrate of silver, instead of nitro muriate of hold. The process of crystalising, redissolving, &c., is the same. But the crystals of silver differ in color, being white, whereas those produced from gold are yellow. If a jar or boc be filled with hydrogen gas, and the silk suspended in it, the action of the gas, and consequently the revivification of the metals will be more uniform. For small figures, however, it may be as well to fix a stopper in the flask, having a small orifice through it, that the gas may be thrown with some force on the silk and will have more certain effect. A solution of muriate of tin may be managed in a similar manner, but none of these solutions can be thus revived on paper.

To Dye Silk a Brilliant Gold Color.

Scientific American 32, 1.5.1847

Take any quantity of nitro muriate of gold, and evaporate by exposing it to a gentle heat in a glass tumbler or phial; the gold will form itself in crystals on the bottom and sides of the vessel; collect these crystals and dissolve them in ten times their weight of pure water. Then put a gill of water into a common flask and add one ounce of graduated zinc, and one fourth of an ounce of sulphuric acid. Hydrogen gas will be evolved, and rise through the neck of the flask, which must not be stopped. Immerse a piece of white silk in the above mentioned aqueous solution of gold, and expose it, while wet, to the current of gas as it rises from the flask; the gold will soon be revived and the silk will become beautifully and permanently gilt. Any letters or flowers may be drawn on the silk with a camel hair pencil dipped in the solution, and on being exposed to the action of the gas, will be revived and shine with metallic brilliancy. The silk must be kept moist with water till the gold is revived. Zinc may be prepared for the above purpose, by melting it and stirring it continually with a stick or iron rod while it is cooling; or it may be pulverized with a hammer as soon as it becomes solid.

The Art of Painting. Plain Painting in Oil Colors.

Scientific American 32, 1.5.1847

(Continued from No. 31)

Plain Painting in Oil Colors.

The beauty of this kind of painting depends principally on the uniformity of its finish; and this is effected by distributing the paint equally on every part of the work, and finishing by drawing the brush lightly and steadilu over the work, in the direction of the grain of the wood. Care is required to avoid leaving a superfluous quantity of paint in the quirks and corners; all such accumulations must be brushed out. In painting houses outside, the workman should be particularly careful to paint the edges of the clapboards and all the hollow corners; and for this purpose, the brush must be held with the handle inclining downward, that the brush part may work upward, filling the edges and corners. Paint, for inside work, usually requires and ingredient more drying than raw linseed oil; and for this purpose, and article called litharge, being finely ground, is added to the paint, in the proportion of one ounce to each pound of paint; more or less according to circumstances. This litgarge is evidently the best dryer for floor paint that is known; paints tempered with this, dry harder, and wear better, than any other: but painters have in general use a fluid article, called drying japan, which is very convenient as a dryer, and is excellent for carriage and ornamental work, but is in more general use than it should be in house painting. This japan consists of oil, hum shellac, litgarge and red lead, united by being boiled together. Red lead is, of itself, a good dryer, in such colors as are not injured by its use; but when a delicate white is required, a sulphate of zinc, known as white vitriol, must be used. It is a general custom with painters, however, to prepare a drying oil, by boiling it, that it may the more readily dry, even without any other dryer. The usual mode of boiling the oil, is to place several gallons in an iron kettle over a slow fire, and when it begins to boil, add four ounces of litharge and an equal quantity of red lead, to each gallon of oil: the oil is continued boiling, being almost constantly stirred with a stick, for about half an hour, or until it boils clear without frothing; it is then taken off to cool. This oil can be always procured ready boiled at the paint shops; but paints mixed with this, will not prove so durable when exposed to the weather or to wear, as those ground in raw oil, and having good opportunity to dry. Raw oil, with litharge for a dryer, is best for floors or other inside work, in warm, dry weather. In giving the work a second or third coat, however, it is requisite to mix spirits of turpentine with the oil, to prevent too sharp a gloss, and render the paint more firm and hard. The paint is first mixed with oil and the spirits of turpentine is added, in the proportion of a pint to two quarts of oil; the proportion varying, however, according to circumstances. If the paint is required to be left flat, or without any gloss, the spirits may be used in the proportion of one half, or even two to one: but such paint will not wear so well. Alcohol is sometimes used instead of spirits of turpentine; but neither of these should be used in any considerable quantity on outside work in warm weather: in cold weather they are convenient to make the paint flew more freely. As a general rule, after the first cost of paint is dry, and when the second is to be applied, the work must be examined, and all the cracks, seams and holes filled up smoothly with putty, (a simple mixture of oil and Spanish whiting,) and all the rough parts smoothed with sand-paper or glass-paper; and after smoothing, the dust must be carefully removed with a dry brush. A general, but improper custom, which prevails with most painters, is to apply the putty with the fingers merely, in filling the cavities of nails and brads; but instead of this, the putty should always be smoothed with a chisel-shaped piece of wood. When any uneven part of the surface is to be smoothed, the putty should have a little white lead paint mixed with it, to make it adhere better. If an old room is to be painted, such parts of the surface as have been discolored with smoke, or have been exposed to wear, should be washed over with a dilute mixture of lime and water, and allowed to dry before the paint is applied: and such parts of a floor as have become bare, or from which the paint is worn off, should be first painted with very thin or dilute paint, and become dry before the whole is painted: as the same paint cannot be suitable for the painted and the unpainted parts. We shall now proceed to instructions in

Producing and Compounding Colors.

White is considered as not only a principal color in painting, but the base or foundation of all light colored paints. White lead is the principal white in use, though a more delicate white called slake white, is used in ornamental work. Several common colors, known as lead color, slate color, &c., are produced by mixing lampblack with white lead in different proportions. A small quantity of Prussian blue, finely ground and added to white lead, constitutes the common sky blue. Minute quantities of blue and yellow added to white, produce the delicate pearl color, so much in vogue for parlors and halls. Straw color is produced by the addition of a little chrome yellow to white: and pead green by addition of Paris green. A beautiful light purple or peach blossom color is produced, by adding to white lead, small quantities of ultramarine blue, and drop lake. It is needless to specify the exact proportion of the ingredients in these compounds; the only rule being to add the coloring ingredients in minute quantities till the required color is produced. The most common color for floors, is composed of white lead and yellow ochre, in about equal quantities by weight, with the addition of one ounce of red lead to each pound of the mixture. In painting carriages or ships, a great variety of compound colors are used, a few of which may be here noticed. The best black is composed of lampblack and Prussian blue. A dark green consists of a mixture of chrome green and Prussian blue. A brilliant plum color is produced by a mixture of lampblack and vermillion. Olive color is produced by mixing lampblack and chrome yellow. A brilliant orange color is produced by mixing chrome yellow and orange lead - (a pigment similar to red lead, but more refined.) A stone brown is composed of lampblack, yellow ochre and Venetian red, equal parts: the addition of white to this compound reduces this color to a drab, or light stone color. A mixture of lamp black with Venetian red, constitute the chocolate color. A bright rose color, which is much used in ornamenting, is composed of white lead and drop lake. As a general rule, the colors should be mixed with oil and ground separately before being compounded, or mixed together; but should not be diluted any more than is required for grinding, until the color is perfected. We shall proceed with some instruction in carriage painting in our next number.

(To be continued.)

Walkea tuli eilen wallalleen... (uutinen)

Länsi-Suomi 9, 2.3.1878
Walkea tuli eilen wallalleen noin kello 12:n aikana päiwällä wärjäri Stenbergin perillisten wärjäyslaitoksessa ensimmäisessä kaupungin osassa. Tulipalo ei kestänyt pitkää aikaa, waan sammutusmiesten täytyi kuitenkin repiä rautainen katto rikki, että sen kautta saiwat wettä ruiskutetuksi tulen sammuttamiseksi. Syytä tulen irtipääsöön emme warmaan tunne, mutta arwattawasti oli tuli päässyt irti jostakin takkatorwen reiästä ja siten sytyttänyt kuiwaushuoneen wälikaton tai seinän.

Black Walnut Polish.

Scientific American 8, 17.2.1866

Messrs. Editors: - Edward Everett, in your paper of Feb. 3d, inquires how to give to black walnut a dark, smooth, dead surface. Let him try the following method: -

Take asphaltum, pulverize it, place it in a har or bottle, pour over it about twice its bulk of turpentine or benzile, put it in a warm place, and shake it from time to time. When dissolved strain it and apply it to the wood with a cloth or stiff brush. If it should make too dark a stain, thin it with turpentine or benzole. This will dry in a few hours.

If it is desired to bring out the grain still more, apply a mixture of boiled oil and turpentine; this is better than oil alone. put no oil with the asphaltum mixture, as it will dry very slowly. When the oil is dry the wood can be polished with the following: - Shellac varnish, of the usual consistency, two parts: boiled oil, one part. Shake it well before using. Apply it to the wood by putting a few drops on a cloth and rubbing brisky on the wood for a few moments. This polish works well on old varnished furniture.

Lyijyvalkoista käyttäen parempiin työtuloksiin ja suurempiin ansioihin

Lyijyvalkoista käyttäen parempiin työtuloksiin ja suurempiin ansioihin...


Lyijyvalkomainonnasta on hyötyä maalareille...
Lyijyvalkomainonta on saanut yleisön ymmärtämään maalauksen suuren merkityksen rakennusten, laivojen, siltojen tm. rautarakenteiden suojana. Omistajat ovat oppineet pitämään rakennuksensa hyvässä kunnossa ja maalauttamaan niitä kaikkeen ulkomaalaukseen parhaiten soveluvalla värillä, lyijyvalkoisella. Ilmoittelussa painostetaan ammattimaalarien välttämättömyyttä maalaustöiden suorituksessa - täten tarjoutuu myöskin maalareille uusia työtilaisuuksi ja lisää ansioita.
Tukekaa Tekin puolestanne lyijyvalkoimainontaa!

Lyijyvalkomainonta lisää työtilaisuuksia!


Lyijyvalkoilmoituksia v.1932-38
ILMO
Oy. Suomen Ilmoituskeskus
Helsinki 1939


Hyötykää lyijyvalkomainonnasta - maalatkaa lyijyvalkoisella!
Suositelkaa lyijyvalkoista kaikkeen ulkomaalaukseen!

Black Dye For Wood.

The Manufacturer and Builder 3, 1883.

First sponge the wood with a solution of chlorhydrate of aniline in water, to which a small quantity of copper chloride is added. Allow it to dry, and go over it with a solution of potassium bichromate. Repeat the process two or three times, and the wood will take a fine black color, unaffected by light or chemicals.

Sekasanomia. Merkilliset sormikkaat.

Savonlinna 12, 23.6.1876

(Lähetetty.)
Muutaman wärjärin piti oikeudessa todistaman eräässä riita-asiassa ja walaa tehdessä käski tuomari lain mukaan panna sormet kirjalle, jonka hän wiipymättä tekikin.
Tuomari. "Ottake handsikka pois".
Wärjäri. "Pankaapas lasit silmillenne."
Tuomari. "Mine sano teitill toisti kerta ottake handsikka pois".
Wärjäri. "Kyll' en ota, ennenkun otatte silmälasit."
Tuomari. Tuskastuneena alkoi ärjyä: "Mine sano teitill kolmas kerta, ottake handsikka pois, — elle mine kuttu fiskali paikall".
Wärjäri. "Hywä! kutsukaa maikka kaksi".
Tuomari. Wiskalin saapumille tultua, sanoi tuomari: "teme kumma mees ei otta handsikka pois; waikka mine käski kolme kerta, — ja nyt mine tahto sakotta hän — miks hän pilkka oikeutt ja komenteera minu panna lasi päähän."
Wiskali. "Minkätähden ette täyttäneet tuomarinkäskiä?"
Wärjäri. "Minkämoista käskyä?"
Wiskali. "Ette riisuneet sormikkaitanne walaa tehdessä."
Wärjäri. "Eihän minulla mitä sormikkaita olekaan, kotiinhan ne unohtui."
Wiskali. Huomattuaan asian haarat, selitti ruotsiksi tuomarille, jotta epähuomio oli tapahtunut asiassa.
Tuomari. "Miks teitti ei sano minull esken, ett teitill ei ole handsikka?"
Wärjäri. "Ettehän sitä ole minulta kysyneetkään."
Tuomari. "Astuka ulos".
Ja tämäpä sormikasseikka loukkasi tuomaria niin, jotta lyhyen ajan kuluttua otti wirka-eron.

Wähäsen kewätkuoseista.

Päivän Uutiset 95, 25.4.1888

Kun kewätaika nyt alkaa, omat waatetehtaat ja kuosipuodit Pariisissa täydessä toimessaan.

Täksi kewääksi on "keksitty" uusi wäri, n. k. hedelmän wihreys, (fruit-vert) joka on wiheriänharmaata, ja jota ei saa waihettaa tähän asti kuosina olleeseen sinisenharmaaseen.

Hatut saawat kapotti-muodon wähän enemmän à la diadem ja warustetaan sywillä silkki- tai harso-poimuilla, ja oikean siwun alasyrjään pannaan wähän tummemman wärinen sulka kuin hattu on, kaikki hedelmänwiheriäistä wäriä, sen pitäisi sopiman melkein jokaiselle.

Hedelmänwiheriäiset puwut niiyttäwät parhaimmilta tehtyinä yksiwärisestä, mutta kuitenkin kuosinmukaisesta kankaasta. Hameet, nyöreillä kirjailtuina, tulewat tänä kewännä kaikkein uusimman kuosisiksi.

Kankaista pidetään parhaimpana tuo sangen soma n. k. Lady Harstorf, hauskan näköinen, englantilainen malli, jossa on kapeita monen wärisiä juowia.

Kaunistakaa Kotinne.

Lounas 96, 12.12.1890

Keinona kietoa ihmissydäntä on kiinnittää se kotiinsa ja siteittten wahwistamiseksi on koti tehtäwä niin hauskaksi, mukawaksi ja kauniiksi kuin mahdollista, ja löytyy tuhat tapaa aikaan saada tämä wähillä kustannuksilla, wähällä ajalla ja wähällä taidolla. Se nopeus, jolla me woimme koristaa kotimme, on suuri-arwoinen ja paljon enemmänkin pienet kustannukset.

Yksi näitä äärettömän monia keinoja siihen, jotka nyt owat naisten ja jopa poikain ja tyttöjenkin käytettawinä, on emaljoitsemis taito.

Se emalji, jota on helpoin käyttää, on äskettäin keksitty "Aspinall'in emailji". Sitä on yhtä helppo käyttää kuin tawallista wäriä ja tekee pinnan yhtä kauniin kowaksi ja kiiltäwäksi kuin mikä lakeeraus tahansa — Tuskinpa löytyy yhtään esinettä taloudessa, jota tällä ei woitaisi siistitä tai muuttaa niitä wiehättäwämmäksi koristeeksi. Muutamat naiset owat emaljoineet makuhuoneensa huonekalut siinä tarkotuksessa että ne sopusointuisiwat wärillään muutamiin kallisarwoisiin poimutelmiin, ja moni esine, olkoonpa kuinka wanha ja ruma tahansa, woidaan wähällä kustannuksella muuttaa uudeksi, somaksi esineeksi.

Luku hyödyllisiä keinoja, joilla Aspinallin emaljia woidaan käyttää, woitaisiin lukea äärettömiin saakka, tarwitsee waan alkaa ja yksi aate toisensa perästä syntyy wähemminkin nerokkaassa päässä. Saadakseen toimeen helppoja lahjoja on emailji werrattoman arwokas, kun jokainen wanha esine woidaan niin kaunistaa, että lahjan ikää ei koskaan woida huomata.

Jokainen, jota on käyttänyt herra Aspinall'in emaljia, osottaa kernaasti hänelle kiitostansa, ja ennemmin tai myöhemmin on warmaan herra Aspinall'ille jokaisessa hauskassa perheessä, missä yksi purkki hänen emaljiaan on auttanut werhoomaan paljon wiallisuuksia, pystytettäwä kiitollisuuden muistomerkki."

Edellä olewa kiittäwä lausunto on ollut luettawana eräässä italialaisessa lehdessä.

Täällä Porissa myöpi tätä näin kiitettyä koristus-ainetta kapteeni Oscar Heine, joka asuu kauppias Alfthanin talossa raastuwantorin kulmassa.

A Lost Art.

Chambers's Edinburgh Journal.

New Series.

Conducted by
William and Robert Chambers,
Editors of Chambers's Educational Course, 'Information For The People,' &c.

Volume XVI.

Nos. 382 to 417. July December, 1851.

Edinburgh:
Published by William and Robert Chambers,
and W. S. Orr, London.
1852.



Chambers's Edinburgh Journal. No. 411. New Series.
Saturday, November 15, 1851.

In No. 407 of this Journal there is an article entitled 'A Lost Art,' in which is mentioned the juggling trick of swallowing water, and then vomiting it again under the semblance of wine, &c. On reading it I remembered having read an explanation of this feat somewhere, and on examination found an account of it in an intelligent little book for its time, 'Experimental Philosophy, by Henry Power, Doctor of Physick. London, 1664.' His account, after describing the changes produced in vegetable infusions by acids, &c. is as follows: - 'By which ingenious commixtion of spirits and liquors did Floram Marchand, that famous waterfrinker, exhibit those rare tricks and curiositys at London of vomiting all kind of liquors at his mouth. For, first, before he mounts the stage, he always drinks in his private chamber, fasting, a gill of the decoction of Brasil; tehn, making his appearance, he presents you with a pailful of lukewarm water, and twelve or thirteen glasses, some washed in vinegar, others with oyl of tartar and oyl of vitriol; then he drinks four-and-twenty glasses of the water, and carefully taking up the glasse which was washed with oyl of tartar, he vomits a reddish liquor into it, which presently is brightened up and tinged into perfect and lovely claret. After this first assay, he drinks six or seven glasses more (the better to provoke his vomiting), as also the more to dilute and empale the Brasil decoction within him; and then he takes a glass rinsed in vinegar, and vomits it full, which instantly, by its acidity, is transcoloured into English beer, and vomiting also at the same time into another glass - which he washes in fair water - he presents the spectators with a glass of paler claret or Burgundian wine; then drinking again as before, he picks out the glass washed with oyl of vitriol, and, vomiting a faint Brasil-water into it, it presently appears to be sack - and perchance if he washed the one half of the glass with spirit of sack, it would have a faint odour and flavour of that wine also. He then begins his carouse again, and drinking fifteen or sixteen glasses, till he has almost extinguished the strength and tincture of his Brasil-water; he then vomits into a vinegar-glass again, and that presents white wine. At the next disgorgement - when his stomach is full of nothing but clear water, indeed, which he has filled so by the exceeding quantity of water which at every interval he frinks. he then deludes the spectators by vomiting rose-water, angelica-water, and cinnamon-water, into those glasses which have been formerly washed with those spirits. And thus was that famous cheat performed, and indeed acted with such a port and floweing grace by that Italian bravado, that he did not onely strike an admiration into vulgar heads and common spectators, but even into the judicious and more knowing part of men, who could not readily find out the ingenuity of his knavery. From this it would appear that the method used was the same with that of the Wizards of the present day; with this difference - that, in accordance with the tastes of a ruder age, they formerly used their stomachs as receptacles for the liquor, whereas in the present more fastidious age they are contented with a bottle. The art of vomiting and spouting the water would of course require considerable practice, and I should think would not be very conducive to the health of the operators. - From a Correspondent.

Complementary Colours.

Chambers's Edinburgh Journal.

New Series.

Conducted by
William and Robert Chambers,
Editors of Chambers's Educational Course, 'Information For The People,' &c.

Volume XV.

Nos. 366 to 391. January-June, 1851.

Edinburgh:
Published by William and Robert Chambers,
and W. S. Orr, London.
1851.

Chambers's Edinburgh Journal. No. 385. New Series.
Saturday, May 17, 1851.

It is well known that the combination of two complementary colours produces white; and this is usually shown in lectures by employing two glasses - one of a red, and the other of a green colour, the tints of which, alhough of considerable intensity, entirely disappear during the simultaneous interposition of the glasses between the eye and the source of light. M. Maumené several years since arrived at the same result by using coloured liquors, and especially by mixing a solution of cobalt with one of nickel, both perfectly pure, and so diffused that their colour is nearly of equal intensity. The rose-red colour of the cobalt is completely destroyed by the green of the nickel, even in concentrated solutions, and the mixed liquid remains colourless.
- Journ. de Pharm. et de Chim., Mars 1850: Philos. Mag., No. 244.