200 RICHMOND. 



CHARACTERISTICS OF VAKNISH FILMS MADE IN THIS MANNER. 



The varnishes were filtered hot and allowed to stand in closed jars for 

 three months. 



Well-planed strips of native hard wood were first given one coating of 

 boiled oil and allowed to dry in a dust-free atmosphere. The surfaces 

 were then thoroughly rubbed with ground pumice and the varnishes 

 spread with a brush. When the first, coat was dry, it was in turn scraped 

 and pumiced and a second coat applied. 



Under the local conditions of heat and moisture, the varnish films 

 which contained their ingredients in the proportion corresponding to 

 approximately 8, 10, 12 and 15 gallon varnishes have now stood a year 

 without showing any appreciable loss of luster. They were completely 

 dry to touch and rubbing tests in twenty-four hours. 



Tarnishes made with the proportion of oil corresponding to 20 and 30 

 gallon varnishes did not dry completely in forty-eight hours, and when 

 dry presented a dull appearance. All the varnishes made in this manner 

 were exceptionally pale and did not tint or tone the color of either light 

 or dark hard woods. 



Within the period of observation the films have not shown any tendency 

 to check, as would be expected with a Manila copal varnish, short of oil. 



A few varnishes were made containing clemi resin in addition to 

 Manila copal. The elemi 30 resin used consisted of the residue remain- 

 ing when Manila elemi is freed from terpenes by distillation under reduced 

 pressure. 



It is a light-brown solid, with a brilliant fracture, soluble in the cold 

 in practically all organic solvents including turpentine, and amounts 

 to about 70 per cent of the elemi. 



Tarnishes made with equal parts by weight of elemi resin and fused 

 Manila copal remained tacky for several days. A varnish containing the 

 resin in the proportion of 1 of elemi to 2 of copal dried to a hard, very 

 lustrous film in one to two days. A laboratory filing case of dark, stained 

 wood was given one coat of this varnish, and it has remained brilliant for 

 over two years. A limited amount of this elemi resin appears to increase 

 the elasticity and brilliancy of a Manila resin varnish without affecting 

 its drying properties or the hardness of the film. 



In this connection attention is called to an oleoresinous varnish pre- 

 pared in this laboratory from exclusively Philippine raw materials. 

 Lnmbang oil 31 (Aleurites moluccana Willd.) was substituted for linseed 

 as a drying oil. It was incorporated with commercial Manila copal in 

 the usual manner and the solution was diluted to proper spreading con- 



30 Bacon. This Journal, Sec. A (1909), 4, 93. 



31 Candle-nut oil, Chinese "tung" or wood oil; This Journal, Sec. A (1907), 

 2, 4: , ,9. 



