MANUFACTURE OF PAPIER MACHE. 257 
with pumice-stone. The number of drying processes the articles have 
to go through consume so much time that it takes three or four weeks 
to fit them for ornamentation, which is applied in bronze-powder, gold 
or colour, and for many articles also in mother-of-pearl. The ornamen- 
tation of these articles is sometimes effected in the highest style of the 
painter's art. It was in Wolverhampton that Bird, It. A., worked as a 
"japanner," the technical name given to an "ornamentor ; " and we believe 
some other of our great artists have sprung from the pursuit of this 
occupation. 
The gold-leaf is laid on with a solution of isinglass in water, the 
design then pencilled on with asphaltum, the superfluous gold removed 
with a dossil of cotton dipped in water, which leaves intact the parts 
touched with asphaltum, and the latter finally removed with essence of 
turpentine. The cotton pledgets used are, of course, carefully collected 
to recover the gold removed by them. 
After the application of every coat of colour or varnish, the obj ct 
so coloured or varnished is dried in an oven or chamber, called a stove, 
and heated by flues to as high a temperature as can safely be employed 
without injuring the articles or causing the varnish to blister. All articles 
so japanned, or to use the technical term, " stoved," are more durable 
than they would be if simply left to dry in the air. 
For black grounds, drop ivory-black mixed with dark coloured anime 
varnish is used ; for coloured grounds the ordinary painter's colours, 
ground with linseed oil or turpentine, and mixed with anime" varnish. 
The colours most in use are white lead, cobalt blue, yellow, vermillion 
(used more particularly to imitate tortoise shell), Indian red, verdigris, 
umber, and the intermediate tints produced by mixing two or several 
of them together. The varnishes most used are anime and copal. The 
grounds and varnishes are generally laid on with painting brushes, or 
flat brushes, made of fine soft bristles. Tin-plate articles intended for 
japanning, are first thoroughly cleansed from every trace of grease that 
may adhere to them, with turpentine or spirits of tar, then rubbed with 
sand-paper. They are then ready to receive the first coat, after which 
they are thoroughly dried in the stove. 
For black japanned works, the ground is prepared with a coating of 
black made just as now stated, by mixing drop ivory- black with dark- 
coloured anime varnish, which gives a blacker surface than would be 
produced by the japan alone ; and the object is then dried in the stove ■ 
from three to six coats of japan are afterwards successively applied, the 
work being always thoroughly dried again in the stove ovens between 
the laying on of every fresh coat. 
For brown japanned works, umber is mixed with the japan, to give 
the required tint ; the process in all other respects being the same as 
for black japanned works. 
The colours are protected against atmospheric influences, and made 
to shine with greater brilliancy by two or three coats of copal or anime 
