Sometimes, from frequent kneading, the paste gets discolored; these pieces should be set aside and used separately, as they can be painted in water colors to resemble tortoise shell or carved oak; this should be done after being fastened to the box.
Having completed your work, finish by varnishing it very carefully with ivory varnish, which should be almost colorless.
This design so nearly resembles carved ivory, that it has been mistaken for it when nicely done, and it is very strong if carefully cemented.
Cover boxes simply with the flake white solution, and then paint on them in water colors representations of flowers, varnishing when dry with colorless varnish. Such boxes are very easily made.
From the readiness with which the material can be obtained, this is an elegant amusement for all who are of an ingenious disposition.
23.—DIAPHANIE, OR STAINED GLASS.
This simple, but really beautiful invention, can easily be acquired by carefully reading the following directions, and by practice, the effect of gorgeous stained glass can be given to common window glass, with moderate expense. The materials required are plates of clear glass, free from specks or bubbles, designs, groundings, and borderings which are printed expressly for the purpose, and in transparent colors; a roller which is employed to press the paper closely on the glass, so as to remove the bubbles of air; transfer varnish, to fasten the prints upon the glass; clearing liquid, which is used after the paper has been removed, to render the work transparent and brilliant; the washable varnish, which protects the designs from damps, and renders them capable of being cleaned; and three camel’s hair brushes to apply the varnish, &c. There are three hundred sheets of designs published for this work, consisting of subjects, borderings, and groundings.
A window generally consists of parts of several sheets, as it should contain a medallion or subject, a border, and the whole of the remaining space filled up with grounding paper. Among some of the best subjects, we may mention “The Virgin and Child.” “The four Evangelists with architectural niches.” “The Adoration of the Magi, with architectural borders.” “St. Peter and St. Paul.” “The Annunciation.” “St. John the Baptist.” “St. Joseph.” “Mater Admirabilis.” “Adoration of the Magi.” “Boar hunt.” “Deer reposing.” “Two marine views.” “The Laborer’s Return.” “Winter scenes,” &c. For these suitable groundings and borderings must be selected according to the taste of the worker, who must, however, remember that the beauty of the work depends upon perfect harmony in coloring and design.
The materials being all collected, thoroughly cleanse and dry your sheet of glass, and lay it flat upon a folded cloth. Then cut out the medallion, or subject (unless the paper is to be applied in one piece), and fasten it to the glass by thoroughly damping it on the wrong side with a wet sponge, giving it a plentiful coating of transfer varnish on the printed side, laying it face downwards upon the glass, and firmly pressing it down with the roller, commencing at the centre, and gradually passing over the edges.
The border must be the next fixed. Then damp the printed side of the grounding paper, and lay it over; raise one end of the glass, so that the light passing through will enable you to see the position of the subject and border. Trace round them carefully with a pencil, remove the grounding paper, and cut it out a little within the line, so that the ground may slightly overlap the subject; give the coating of varnish, and apply it to the glass, as before described, pressing it down with the roller, so that no blisters are to be seen.