Part 385

IX.—To restore the gloss of polished wood which has sweated, prepare a mixture of 100 parts of linseed oil, 750 parts of ether, 1,000 parts of rectified oil of turpentine, and 1,000 parts of petroleum benzine, perfumed, if desired, with a strongly odorous essential oil, and colored, if required, with cuicuma, orlean, or alkanna. The objects to be treated are rubbed thoroughly with this mixture, using a woolen rag.

«MISCELLANEOUS POLISHING AGENTS:»

«Polishing Agent which may also be used for Gilding and Silvering.»—The following mediums hitherto known as possessing the aforenamed properties, lose these qualities upon having been kept for some time, as the metal salt is partly reduced. Furthermore, it has not been possible to admix reducing substances such as zinc to these former polishing agents, since moisture causes the metal to precipitate. The present invention obviates these evils. The silver or gold salt is mixed with chalk, for instance, in a dry form. To this mixture, fine dry powders of one or more salts (e. g., ammonia compounds) in whose solutions the metal salt can enter are added; if required, a reducing body, such as zinc, may be added at the same time. The composition is pressed firmly together and forms briquettes, in which condition the mass keeps well. For use, all that is necessary is to scrape off a little of the substance and to prepare it with water.

«Silver Polishing Balls.»—This polishing agent is a powder made into balls by means of a binding medium and enjoys much popularity in Germany. It is prepared by adding 5 parts of levigated chalk to 2 parts of yellow tripoli, mixing the two powders well and making into a stiff paste with very weak gum water—1 part gum arabic to 12 parts of water. This dough is finally shaped by hand into balls of the size of a pigeon’s egg. The balls are put aside to dry on boards in a moderately warm room, and when completely hard are wrapped in tin-foil paper.

«To Prepare Polishing Cloths.»—The stuff must be pure woolen, colored with aniline red, and then put in the following:

Castile soap, white 4 parts Jewelers’ red 2 parts Water 20 parts

Mix. One ounce of this mixture will answer for a cloth 12 inches square, where several of them are saturated at the same time. For the workshop, a bit of chamois skin of the same size (a foot square), is preferable to wool, on account of its durability. After impregnation with the soap solution, it should be dried in the air, being manipulated while drying to preserve its softness and suppleness.

«To Polish Delicate Objects.»—Rub the objects with a sponge charged with a mixture of 28 parts of alcohol, 14 parts of water, and 4 parts of lavender oil. {600}

«Polish for Gilt Frames.»—Mix and beat the whites of 3 eggs with one-third, by weight, of javelle water, and apply to the gilt work.

«Steel Dust as a Polishing Agent.»—Steel dust is well adapted for polishing precious stones and can replace emery with advantage. It is obtained by spraying water on a bar of steel brought to a high temperature. The metal becomes friable and can be readily reduced to powder in a mortar. This powder is distinguished from emery by its mordanting properties and its lower price. Besides, it produces a finer, and consequently, a more durable polish.

«Polishing Bricks.»—Stir into a thick pulp with water 10 parts of finely powdered and washed chalk, 1 part of English red, and 2 parts of powdered gypsum; give it a square shape and dry.

«Polishing Cream.»—

Denaturized alcohol 400 parts Spirit of sal ammoniac 75 parts Water 150 parts Petroleum ether 80 parts Infusorial earth 100 parts Red bole or white bole 50 parts Calcium carbonate 100 parts

Add as much of the powders as desired. Mirbane oil may be used for scenting.

«Polishing Paste.»—

Infusorial earth (Kieselguhr) 8 ounces Paraffine 2 ounces Lubricating oil 6 fluidounces Oleic acid 1 fluidounce Oil mirbane 30 minims

Melt the paraffine with the lubricating oil, and mix with the infusorial earth, then add the oleic acid and oil of mirbane.

«To Polish Paintings on Wood.»—According to the statements of able cabinet makers who frequently had occasion to cover decorations on wood, especially aquarelle painting, with a polish, a good coating of fine white varnish is the first necessity, dammar varnish being employed for this purpose. This coat is primarily necessary as a protective layer so as to preserve the painted work from destructive attacks during the rubbing for the production of a smooth surface and the subsequent polishing. At all events, the purest white polishing varnish must be used for the polish so as to prevent a perceptible subsequent darkening of the white painting colors. Naturally the success here is also dependent upon the skill of the polisher. To polish painting executed on wood it is necessary to choose a white, dense, fine grained wood, which must present a well-smoothed surface before the painting. After the painting the surface is faintly coated with a fine, quickly drying, limpid varnish. When the coating has dried well, it is carefully rubbed down with finely pulverized pumice stone, with tallow or white lard, and now this surface is polished in the usual manner with a good solution prepared from the best white shellac.

«Polishing Mediums.»—For iron and steel, stannic oxide or Vienna lime or iron oxide and sometimes steel powder is employed. In using the burnisher, first oil is taken, then soap water, and next Vienna lime.

For copper, brass, German silver, and tombac, stearine oil and Vienna lime are used. Articles of brass can be polished, after the pickling, in the lathe with employment of a polish consisting of shellac, dissolved in alcohol, 1,000 parts; powdered turmeric, 1,000 parts; tartar, 2,000 parts; ox gall, 50 parts; water, 3,000 parts.

Gold is polished with ferric oxide (red stuff), which, moistened with alcohol, is applied to leather.

For polishing silver, the burnisher or bloodstone is employed, using soap water, thin beer, or a decoction of soap wort. Silver-plated articles are also polished with Vienna lime.

To produce a dull luster on gold and silver ware, glass brushes, i. e., scratch brushes of finely spun glass threads, are made use of.

Pewter articles are polished with Vienna lime or whiting; the former on a linen rag, the latter on leather.

If embossed articles are to be polished, use the burnisher, and for polish, soap water, soap-wort decoction, ox gall with water.

Antimony-lead alloys are polished with burnt magnesia on soft leather or with fine jewelers’ red.

Zinc is brightened with Vienna lime or powdered charcoal.

Vienna lime gives a light-colored polish on brass, while ferric oxide imparts a dark luster.