Enquire Within Upon Everything Part 192

Recent improvements in printing in colours led the way to this beautiful invention, by which economy is combined with the most perfect results. A peculiar kind of paper is rendered perfectly transparent, upon which designs are printed in gla.s.s colours (_vitre de couleurs_), which will not change with the light. The paper is applied to the gla.s.s with a clear white varnish, and when dry, a preparation is finally applied, which increases the transparency, and adds tenfold brilliancy to the effect.

2550. Imitation of Half-Light.

There is another design, printed in imitation of the half-light (_abat-jour_); this is used princ.i.p.ally for a ground, covering the whole surface of the gla.s.s, within which (the necessary s.p.a.ces having been previously cut out before it is stuck on the gla.s.s) are placed medallion centres of Watteau figures, perfectly transparent, which derive increased brilliancy from the semi-transparency of the surrounding ground. This is by far the cheapest method, though involving extra trouble, as the plain grounds printed in sheets are only a fourth the price of the sheets which contain the medallion Watteau centres or other small designs suitable for the purpose.

2551. Sheets of Designs.

The transparent sheets measure 20-1/2 in. by 16-1/2, and are ready for immediate use. The other articles required are some clear white varnish, some liqueur diaphane, brushes, metal palettes, and ivory sticks. These are all the appliances required.

2552. Calculation of Quant.i.ties.

To ascertain the quant.i.ty of designs required, measure your gla.s.s carefully, and then calculate how many sheets it will take (the sheets being 20-1/2 in. by 16-1/2 in. as given above). The sheets are arranged so that they can be joined together continuously, or cut to any size or shape.

2553. Practical Instructions.

Choose a fine day for the operation, as the gla.s.s should be perfectly dry, and unaffected by the humidity of the atmosphere. Of course, if you have a choice, it is more _convenient_ to work on your gla.s.s before it is fixed in the frame. If you are working on a piece of unattached gla.s.s, lay it on a _flat_ table (a marble slab is preferable), over which you must previously lay a piece of baize or cloth to keep the gla.s.s steady.

The gla.s.s being thus fixed, clean and polish the side on which you intend to operate (in windows this is the inner side), then with your brush lay on it very equably a good coat of the prepared varnish; let this dry for _an hour_, more or less, according to the dryness of the atmosphere and the thickness of the coat of varnish; meantime cut and trim your designs carefully to fit the gla.s.s (if it is one entire transparent sheet you will find little trouble); then lay them on a piece of paper, face downwards, and damp the back of them with a sponge, applied several times, to equalize the moisture.

In ths operation arrange your time so that your designs may now be finally left to dry for fifteen minutes before application to the gla.s.s, the varnish on which has now become tacky or sticky, and in a proper state to receive them. Apply the printed side next to the gla.s.s without pressure; endeavour to let your sheet fall perfectly level and smooth on your gla.s.s, so that you may avoid leaving creases, which would be fatal.

Take now your palette, lay it flat on the design, and press out all the air-bubbles, commencing in the centre, and working them out at the sides; an ivory stick will be found useful in removing creases: you now leave this to dry, and after twenty-four hours apply a slight coat of the liqueur diaphane, leaving it another day, when, if dry, apply a second coat of the same kind, which must be left several days; finally, apply a coat of varnish over all.

2554. Probable Results.

If these directions are carefully followed, your gla.s.s will never be affected by time or any variations in the weather; it will defy hail, rain, frost, and dust, and can be washed the same as ordinary stained gla.s.s, to which, in some respects, it is even superior.

2555. Application of Diaphanie.

It is impossible to enumerate the variety of articles to the manufacture of which Diaphanie may be successfully applied, as it is not confined to gla.s.s, but can be done on silk, parchment, paper, linen, &c., _after they have been made transparent_ which may be accomplished in the following manner:

2556. Management of Paper, &c.

Stretch your paper, or whatever it may be, on a frame or drawing board, then apply two successive coats (a day between each) of diaphanous liquor, and after leaving it to dry for _several_ days, cover it with a thin layer of very clear size, and when dry it will be in a fit state to receive the coat of varnish and the designs.

2557. Management of Textile Fabrics.

Silk, linen, or other stuffs should be more carefully stretched, and receive a thicker coat of size than paper or parchment; the latter may be strained on a drawing or any other smooth board, by damping the sheet, and after pasting the edges, stretching it down while damp.

Silk, linen, and other stuffs require to be carefully stretched on a suitable frame. _Whatever you use_, take great care to allow time to dry before applying the liqueur diaphane.

2558. Screens, &c., in Diaphanie.

All kinds of screens, lamp shades and gla.s.ses, lanterns, &c., &c., may be made in this way, as heat will produce no effect upon them. The transparent pictures are successful, because they may be hung on a window frame or removed at will, and the window blinds are superior to anything of that kind yet produced.

2559. Vitremanie.

Vitremanie is a process of imitating painting on gla.s.s similar to Diaphanie, and Potichomanie is a process of like nature by which gla.s.s plates, vases, &c., are made to resemble porclain.

2560. Decalcomanie.

This recently discovered and beautiful art consists in transferring coloured drawings to gla.s.s, porcelain, china, wood, silk, furniture, plaster of Paris, alabaster, ivory, paper, paper hangings, windows, tea trays, oil cloth, and all kinds of fancy articles; in short, materials of any kind, shape, or size, provided they possess a smooth surface, can be decorated with Decalcomanie; the immediate result being an exact resemblance to painting by hand. The art itself is simple and ingenious, and while affording agreeable occupation to ladies, it may be made to serve many useful purposes, on account of the numerous objects which will admit of being thus ornamented.

2561. Materials Employed in Decalcomanie.

i. A bottle of transfer varnish for fixing the drawings.

ii. A bottle of light varnish to pa.s.s over the drawings when fixed.

iii. A bottle of spirit to clean the brushes, and to remove those pictures which may not be successful.

iv. A piece of beaver cloth about nine inches square.

v. A paper-knife and roller.

vi. Two or three camel-hair brushes.

vii. A basin of water.

viii. A bottle of opaque varnish.

2562. Instructions.

Thoroughly clean and free from grease the article to be decorated; then, having cut off the white paper margin of the drawing, dip one of the brushes into the transfer varnish, and give it a very light coat, being especially careful to cover the whole of the coloured portion, but not to allow it to touch the blank paper; then lay the drawing, face downwards, on the object to be ornamented, taking care to place it at once where it is to remain, as it would be spoilt by moving. If the varnish, on its first application, is too liquid, allow the picture to remain for about ten minutes to set.

Moisten the cloth with water, and lay it gently on the drawing which has been previously laid in its place on the object to be decorated; then rub it over with the paper-knife or roller, so as to cause the print to adhere in every part; this done, remove the cloth, well soak the paper with a camel-hair brush dipped in water, and immediately after lift the paper by one corner, and gently draw it off.

The picture will be left on the object, while the paper will come off perfectly white. Care must be taken that the piece of cloth, without being too wet, is sufficiently so to saturate the paper completely.

The drawing must now be washed with a camel-hair brush, in clean water, to remove the surplus varnish, and then left till quite dry. On the following day, cover the picture with a light coat of the fixing varnish, to give brilliancy to the colours.

[THE STRANGER IN HIS WRETCHEDNESS...]

2563. To Ornament Dark-coloured Objects.