A Dictionary of Arts, Manufactures and Mines / containing a clear exposition of their principles and practice

by Andrew Ure

With the same resins and proof spirit a varnish is made for the bookbinders to do over their morocco leather.

The varnish of Watin, for gilded articles.—Gum lac, in grain, 125 parts; gamboge, 125; dragon’s blood, 125; annotto, 125; saffron, 32. Each resin must be dissolved in 1000 parts by measure, of alcohol of 90 per cent.; two separate tinctures must be made with the dragon’s blood and annotto, in 1000 parts of such alcohol; and a proper proportion of each should be added to the varnish, according to the shade of golden colour wanted.

For fixing engravings or lithographs upon wood, a varnish called mordant is used in France, which differs from others chiefly in containing more Venice turpentine, to make it sticky; it consists of—sandarach, 250 parts; mastic in tears, 64; rosin, 125; Venice turpentine, 250; alcohol, 1000 parts by measure.

Copal varnish.—Hard copal, 300 parts; drying linseed or nut oil, from 125 to 250 parts; oil of turpentine, 500; these three substances are to be put into three separate vessels; the copal is to be fused by a somewhat sudden application of heat; the drying oil is to be heated to a temperature a little under ebullition, and it is to be added by small portions at a time to the melted copal. When this combination is made, and the heat a little abated, the essence of turpentine, likewise previously heated, is to be introduced by degrees: some of the volatile oil will be dissipated at first; but more being added, the union will take place. Great care must be taken to prevent the turpentine vapour from catching fire, which might occasion serious accidents to the operator. When the varnish is made, and has cooled down to about the 130th degree of Fahr., it may be strained through a filter, to separate the impurities and undissolved copal.

Almost all varnish-makers think it indispensable to combine the drying oil with the copal, before adding the oil of turpentine; but in this they are mistaken. Boiling oil of turpentine combines very readily with fused copal; and, in some cases, it would probably be preferable to commence the operation with it, adding it in successive small quantities. Indeed, the whitest copal varnish can be made only in this way; for if the drying oil have been heated to nearly its boiling point, it becomes coloured, and darkens the varnish.

This varnish improves in clearness by keeping. Its consistence may be varied by varying the proportions of the ingredients, within moderate limits. Good varnish, applied in summer, should become so dry in 24 hours that the dust will not stick to it, nor receive an impression from the fingers. To render it sufficiently dry and hard for polishing, it must be subjected for several days to the heat of a stove.

Milk of wax, is a valuable varnish, which may be prepared as follows:—Melt in a porcelain capsule a certain quantity of white wax, and add to it, while in fusion, an equal quantity of spirit of wine, of sp. gr. 0·830; stir the mixture, and pour it upon a large porphyry slab. The granular mass is to be converted into a paste by the muller, with the addition, from time to time, of a little alcohol; and as soon as it appears to be smooth and homogeneous, water is to be introduced in small quantities successively, to the amount of four times the weight of the wax. This emulsion is to be then passed through canvas, in order to separate such particles as may be imperfectly incorporated.

The milk of wax, thus prepared, may be spread with a smooth brush upon the surface of a painting, allowed to dry, and then fused by passing a hot iron (salamander) over its surface. When cold, it is to be rubbed with a linen cloth to bring out the lustre. It is to the unchangeable quality of an encaustic of this nature, that the antient paintings upon the walls of Herculaneum and Pompeii owe their freshness at the present day.

The most recent practical account of the manufacture of varnishes, is that communicated by Mr. J. Wilson Neil to the Society of Arts, and published in the 49th volume of their “Transactions.”

The building or shed wherein varnish is made, ought to be quite detached from any buildings whatever, to avoid accidents by fire. For general purposes, a building about 18 feet by 16 is sufficiently large for manufacturing 4000 gallons and upwards annually, provided there are other convenient buildings for the purpose of holding the utensils, and warehousing the necessary stock.