Add boiled oil 1 part. Apply warm.
Architectural cement is a kind of papier-mache, and is used for making entire models, busts, ornaments, etc, rather than for uniting the parts of any article. It is very light, and takes a good polish, but is easily affected by moisture. (1) Reduce paper to a smooth pulp by boiling it in water, and work it over. Squeeze this paste dry, and add an equal bulk of whiting. Then mix the whole into a paste of the required consistence with good size or solution of glue. (2) Same as (1), but with plaster-of-Paris instead of whiting. (3) Strong rice-water size is mixed with paper which has been pulped in boiling water; whiting is then added, in sufficient quantity to produce the desired consistence.
(1) The jewellers of Turkey, who are mostly Armenians, have a singular method of ornamenting watch cases, etc, with diamonds and other precious stones, by simply gluing or cementing them on. The stone is set in gold or silver, and the lower part of the metal made flat, or to correspond with that part to which it is to be fixed. It is then warmed gently and the glue applied, which is so very strong that the parts thus cemented never separate. For this glue, which will firmly unite bits of glass and even polished steel, and which may, of course, be applied to a vast variety of useful purposes, a large number of formulae have been published. The following is the original recipe: - Dissolve 5 or 6 bits of gum mastic, each the size of a large pea, in as much alcohol as will suffice to render them liquid; in another vessel dissolve as much isinglass, previously a little softened in water (though none of the water must be used), in good brandy or rum, as will make a 2-oz. phial of very strong glue, adding 2 small bits of gal-bauum or ammoniacum, which must be rubbed or ground until they are dissolved. Then mix the whole with a sufficient heat, keep the glue in a phial closely stoppered, and when it is to be used, set the phial in boiling water.
To avoid the cracking of the phial by exposure to such sudden heat, use a thin, green, glass phial, and hold it in the steam for a few seconds before immersing it in the hot water. (2) Dr. Ure's. - Isinglass, 1 oz.; distilled water, 6 oz.; boil to 3 oz., and add rectified spirit, 1 1/2 oz.; boil for a minute or two, strain and add while hot, first, a milky emulsion of ammoniac, 1/2 oz., and then tincture of mastic, 5 dr. (3) Keller's. - Soak 1/2 oz. of isinglass in 4 oz. water, for 24 hours; evaporate in a water bath to 2 oz., add 2 oz. rectified spirit (alcohol 85 per cent.), and strain through linen. Mix this solution while warm with a solution of best gum mastic in 2 oz. alcohol; add 1 dr. powdered gum ammoniac, and triturate together until perfectly incorporated, avoiding loss of the alcohol by evaporation as much as possible. (4) Isinglass dissolved in alcohol (by first soaking in water) 3 oz.; bottoms of mastic varnish (thick but clear) 1 1/2 oz.; mix well.
A cement used for filling up holes and covering defects in mechanical work. The most commonly used is putty, coloured to suit. Statuaries use a mixture of plaster and freestone for this purpose; carpenters, a mixture of sawdust and glue; coopers, a mixture of tallow and chalk.
The same name is given to a stone-coloured mixture used for the fronts of houses, and of which the published composition is wood-dust and lime, slaked together, stone-powder, and a little umber or sienna mixed up with alum water to the consistence of cement. The real composition is probably some good hydraulic cement coloured to suit. See Mahogany,
(1) In the better class of preparations, good sealing-wax is used when the object is merely to ornament the cork. Where it is desired to close the pores of cork hermetically a softer and more tenacious cement should be used: Chemical or Glycerine are good. The following are well-tried recipes for bottle cement or bottle wax. (2) Shellac, 2 lb.; resin, 4 lb.; Venice turpentine, 1 1/2 lb.; red lead, 11/2 lb. Fuse the shellac and resin cautiously in a copper pan over the fire; when melted, add the turpentine, and lastly the red lead, which should be dry and warm. Pour into moulds, or make it into sticks by rolling on a marble slab. Care must be taken to have the red lead equally diffused through the melted mass by constant stirring, as owing to its great specific gravity it is apt to sink to the bottom. (3) Resin and beeswax, equal parts; melt together, and add sufficient Venetian red to give a good colour, and enough neatsfoot oil to prevent its being brittle when cold. (4) Sealing-wax, 1 lb.; resin, 1 lb.; beeswax, 8 oz.; melt together. Bottles may be sealed by dipping the corks in this melted mixture.
If it froths, add a very small piece of tallow, and stir. (5) Resin, 15 parts; tallow, 4; beeswax, 2; melt, and colour with red ochre or ivory black. (6) Black pitch, 6 lb.; ivory black and whiting, each 1 lb. Melt the pitch and add the other ingredients hot and dry. (7) Maissiatfs. Indiarubber is melted either with or without about 15 per cent, of either beeswax or tallow; quicklime in fine powder is gradually added, and the heat continued until change of odour shows that combination has taken place, and until a proper consistence is obtained. Used as a waterproof and airtight covering for corks, bungs, etc. (8) Copal varnish made thick with zinc white, red lead, ivory black or any other colour, and applied like a paint.
(9) A paste composed of commercial silicate of soda and pulverized kaolin, with or without chalk, is applied to the corks, and left to dry. (10) 1 lb. rosin, 1/4 lb. tallow or suet, melted together, and sufficient colouring matter stirred in. (11) 5 lb. rosin, 1 lb. beeswax. (12) To 1 lb. of (11) add 3 oz. finely powdered dry whiting, 4 oz. powdered burnt ochre (or sufficient red bole to produce the desired red tint). (13) To 1 lb. of (10) or (11) add sufficient ivory black to produce a black colour.