The Iola register. [volume] (Iola, Allen County, Kansas) 1875-1902, 1886-06-25
,M,rArlno GEMS.


Row Transparent bat Colorisss stones Nay
Ne Given Play or Luster.
The demand for gems or their semi
blances as setting in . multitude Of
decorative articles, as not only accord
ant with the antique, but a. presenting
in themselves special color effects not
otherwise obtainable, is becoming so
pronounced that we consider it worth
while to indicate the means by which
transparent but colorless stones may bo
given play or lustcr; other stones, or
translucent compositions, have their
hues intensified and the most admired
natural stones duplicated Is to appear.
ance.
In this art color il thrown to the sur.
face and force given to the tinge by cop
per or tin foils. Tin without color is
used where the effect Of giving luster to
the stone is produced by the polish Of
the surface, making it act as mirror,
and by rejecting the light. preventing
the deafness which attends duller
ground under the stone or glass, and
bringing it nearer to the effect Of dia-
mond. Otherwise, the foil is colored
with a pigment or stain, changing the
hue of the stone; thus, q yellow foil
may be put under green when it Is too
much inclined to blue, or under crimson
where it is desired to have the ap-
pearance of orange or scarlet. Copper
foils are cut from the thinnest possible
sheets of copper, polished to high de-
gree of brightness, dipped in aqua FORTS
in which silver has been dissolved, and
then rubbed with cream of tartar and
common salt.
The colors used for painting foils may
be mixed with either oil, water rendered
glutinous by gum arabic, size or varnish.
Where deep colors are wanted oil is
most proper, because some pigments
become wholly transparent in it, as
lake or Prussian blue; yellow or green
may be better laid on in varnish, as
these colors may be had in perfection
from tinge wholly dissolved in spirit
of wine, in the same manner rs in the
case of lacquers; the most beautiful
green is to be produced by distilled ver-
digris, which is apt to lose its. color and
turn black with oil. In common cases,
however, any of the cOlors may be.
with the least trouble, laid on with
isinglass size, in the same manner as
the glazing colors used in miniature
painting.
Where the ruby is to be initiated, .
little lake used in isinglass size, car
mine or shellac varnish, is to be en-
ployed, if the glass or paste be full
crimson verging toward the purple; but
if the glass incline to the scarlet or Or
ange, very bright lake, not purple, may
be used alone in oil.
For garnet red, dragons blood dis
solved in seedlac varnish may be used;
and for the vinegar garnet. orange lake,
tempered with shellac varnish, will be
found excellent.
For the amethyst, lake with a little
Prussian blue, used with oil and very
thinly spread on the foil, will answer.
For blue, where deep color or sap
phire is wanted, Prussian blue, not too
deep, should be used in oil, and be
spread more or less thinly on the foil.
according to the lightness or depth of
the color required.
For deep green, crystals of verdigris,
tempered in shellac varnish, should be
used; where the emerald is to be imi-
tated. little yellow lacquer must be
and Decoration.