Part 281

KHAKI COLORS: See Dyes.

KID: See Leather.

KISSINGEN SALTS: See Salts (Effervescent).

KISSINGEN WATER: See Waters.

KNIFE-SHARPENING PASTES: See Razor Pastes.

KNOCKENPLOMBE: See Adhesives.

KNOTS: See Paint.

KOLA CORDIAL: See Wines and Liquors.

«KOUMISS SUBSTITUTE:»

See also Beverages.

To prepare a substitute for koumiss from cow’s milk: Dissolve 1⁠/⁠2 ounce grape sugar in 3 fluid ounces water. Mix 18 grains well washed and pressed beer yeast with 2 fluid ounces of cow’s milk. Mix the two liquids in a champagne bottle, fill with milk, stopper securely, and keep for 3 to 4 days at a temperature not exceeding 50° F., shaking frequently. The preparation does not keep longer than 4 to 5 days.

KÜMMEL: See Wines and Liquors.

KWASS: See Beverages.

LABEL PASTES, GLUES, AND MUCILAGES: See Adhesives.

LABEL VARNISHES: See Varnishes.

LACE LEATHER: See Leather.

LACE, TO CLEAN GOLD AND SILVER: See Cleaning Preparations and Methods.

LACES, WASHING AND COLORING OF: See Laundry Preparations.

«Lacquers»

(See also Enamels, Glazes, Paints, Varnishes, and Waterproofing.)

«LAC AND THE ART OF LACQUERING.»

The art of lacquering includes various steps, which are divulged as little as possible. Without them nothing but a varnish of good quality would be realized. Thus in Tonkin, where the abundant {438} production is the object of an important trade with the Chinese, it is so used only for varnishing, while in China the same product from the same sources contributes to most artistic applications.

When the Annamites propose to lacquer an object, a box, for example, they first stop up the holes and crevices, covering all the imperfections with a coating of diluted lac, by means of a flat, close, short brush. Then they cover the whole with a thick coating of lac and white clay. This clay, oily to the touch, is found at the bottom of certain lakes in Tonkin; it is dried, pulverized, and sifted with a piece of fine silk before being embodied with the lac. This operation is designed to conceal the inequalities of the wood and produce a uniform surface which, when completely dry, is rendered smooth with pumice stone.

If the object has portions cut or sunk the clayey mixture is not applied, for it would make the details clammy, but in its place a single, uniform layer of pure lac.

In any case, after the pumicing, a third coating, now pure lac, is passed over the piece, which at this time has a mouse-gray color. This layer, known under the name of sou lot, colors the piece a brilliant black. As the lac possesses the remarkable property of not drying in dry air, the object is left in a damp place. When perfectly dried the piece is varnished, and the desired color imparted by a single operation. If the metallic applications are excepted, the lac is colored only black, brown, or red.

The following formulas are in use:

Black.—One part of turpentine is warmed for 20 minutes beyond the fusing point; then poured into 3 parts of lac; at the same time pheu deu (copperas) is added. The mixture is stirred for at least a day, sometimes more, by means of a large paddle.

Maroon.—This is prepared by a process similar to the preceding, replacing half of the copperas by an equal quantity of China vermilion.