IMPROVEMENTS IN MANUFACTURING ORNAMENTED SURFACES WHEN GLASS AND OTHER SUBSTANCES ARE USED
Year: 1849

page_text: WHEREAS Her present most Excellent Majesty Queen Victoria, by Her
Royal Letters Patent under the Great Seal of the United Kingdom of Great
Britain and Ireland, bearing date at Westminster, the Eighteenth, day of
October, One thousand eight hundred and forty-nine, in the thirteenth year of
Her reign, did, for Herself, Her heirs and successors, give and grant unto
me, the said George Shove, my exors, admors, and assigns, Her especial
licence, full power, sole privilege and authority, that I, the said George. Shove,
my exors, admors, and assigns, and such others as I, the said George Shove,
my exors, admors, or assigns, should at any time agree with, and no
others, from time to time and at all times during the term of years therein
expressed, should and lawfully might make, use, exercise, and vend, within
England, Wales, and the Town of Berwick-upon-Tweed, the Invention of
"IMPROVEMENTS IN MANUFACTURING ORNAMENTED SURFACES WHEN GLASS AND
OTHER SUBSTANCES ARE USED," communicated to me from abroad; in which
said Letters Patent is contained a proviso, that I, the said George Shove,
should cause a particular description of the nature of the said Invention,
and in what manner the same is to be performed, by an instrument in writing
under my hand and seal, to be inrolled in Her said Majesty's High Court of
Chancery within six calendar months next and immediately after the date of

page_text: the said in part recited Letters Patent, as in and by the same, reference being
thereunto had, will more fully and at large appear.
NOW KNOW YE, that in compliance with the said proviso, I, the said
George Shove, do hereby declare that the nature of my said Invention, and the
manner in which the same is to be performed, are fully described and
ascertained in and by the following statement thereof, that is to say :-
The first of my improved surfaces is to produce imitations of marbles, agates,
jaspers, and ornamental natural stones on crown, sheet, and other glass, by
splashing, painting, printing, and designing the imitation patterns in oil or
varnish colors on a water bath, after the mode and manner well known to
paper stainers; the marble veining or figure in oil colors, floating on the top of
the aqueous material of the bath, has to be transferred by dipping the glass,
and this is more easily done by giving the surface of the glass intended to
receive the figure or pattern a thin coat of oil, varnish, or siccative oil, and
carefully laying the side so prepared on to the watery bath, when the floating
figure coming in contact with such tacky surface is taken up and becomes
fixed, and may now be put aside to drain and dry, after which it is to be
painted over with a ground color; suitable to the color it has to imitate.
My next improved surface consists in vitrifying imitation of marbles, agates,
jaspers, &c., such imitation to be produced by the bath, as aforesaid, or by the
tools in common use for similar purposes amongst marblers and house grainers,
and by using for the purpose those colors in common use amongst glass
stainers and china painters, and which become fixed and durable by passing
through the fire.
Under this head I claim also the imitation graining of woods done by the
ordinary graining tools; and which are to be burnt in the usual way; it is how-
ever necessary to mention that the manupilation of the graining of woods
proceeds inversely to the usual method, that is, the last finishing touches of
the graining as practised in ordinary graining, and, the glazings or stainings
will be the first portion of the figure to be worked upon glass. The menstrua
or vehicle for working the colors should be of such a nature as not to soften or
wash up upon proceeding with the next part of the operation, and for this
purpose siccative oils and oil varnishes may be used allowing time to dry
between each part of the operation: Copal- varnish diluted with turpentine
will answer as one of the menstrua.
My next surface is produced from patterns printed with blocks upon the
surface of the bath, the bath having been prepared with a pelicle of soap
diffused over the surface by sprinkling dilute soapy water in the first-place,

page_text: which confines the figure to its bounds; these prints may be made of copper
pins or lines, or wood or other substances; care must be taken not to twist the
block in taking it off the bath, and the glass is to be dipped in the way
described to receive the figure.
Another method, by which I marble, and ornament glass, is by taking up the
figure from the bath on a.transfer paper, such paper to be prepared by size or
water gums, so.as to be impervious to oils; one composition for preparing the
transfer paper would be starch and treacle, two parts dry starch to one of
treacle by bulk, diluted to the consistency of cream; this.is brushed over tissue
paper and allowed to dry.and pass through a calendering machine to. become
perfectly smooth, which helps the process to make the transfer on glass or
other substance; the same is to be coated with, adhesive varnish. It would be
well to do the same to the figured paper when the two surfaces in a
tacky state are to brought together and pressed into contact, when the
paper is to be damped and peeled off, and the loose gum washed away; by
this method ornaments and flowers may be transferred on the glass to be
backed up by the further embellishment of both agate and marble grounds.
Also by the transfer method above described irregular surfaces, cylindrical
glass, and the inner side of tubing may be marbled; the transfer paper is
rolled with the figure outside to the diameter.required, and burnished down, to
the lacky surface, and wash the paper away.
Another method I pursue.is to grain and marble direct on the paper and
transfer it to the glass, as before described; these grainings on the paper, or
other suitable medium may be with vitrious colors for burning; in which
process especially I claim.
Another process is by double transfer, that is, graining in the first place on
a suitable prepared surface (as paper, &c.); this, when dry, I transfer on to
another prepared paper, face downwards, to the second paper by, one of the
transfer varnishes in common use, known to varnish makers; having allowed
this to become dry, I wash away the superfluous gum, which may have
remained from the first surface of paper, with a soft brush, and give it. a. coat
of adhesive varnish, and retransfer it to the surface to which it is to be perma-
nently attached; by this means I can, write, grain, paint, print, and marble,
after the common manner, and not by the more uncertain one of inverse
painting before alluded to.
My next claim is for thickening up the glass to any desirable substance, by
annexing any of the various cements in common use, so as to make the glass
marble slabs less. liable to break, and better to handle by the workmen, in
fixing. I have found mastic cement, very good, but when water.cements are

page_text: used, the painted surface should have a liberal coating of lac varnish or asphalte
to prevent the damp from injuring the paint. I claim this and similar modes
of treating the marbled glass.
I also claim the combining of marbled glass by fastening the same by
cements of any suitable nature to surfaces not hitherto embellished by such
enrichments, videlicet, for interior and exterior facings for buildings to be
cemented by white lead, lac varnish, or any other suitable varnish on to
stone, brick, wood, plaster, cement, or any other material suitable for, such
purposes; also for pillars, pilasters, inlaying in parts thereof, chimney pieces
and parts thereof, for walls, ceilings, floors, pannels for doors and cabinet
work, dados, skirtings, mouldings, architraves, table slabs, hearths, entabla-
tures, baths, tessellated borders for hall floors, garden paths and seats,
arbors, shelves, showboards for shop windows, as parts of chair, sofa, and
bedstead frames, and railway stations, for mozaic paving, for snuff and tobacco
boxes, for brooches, door plates, dessert plates, cups and vessels of glass,
finger plates, buttons, studs, stove cheeks, knobs and handles, as picture
frames, or parts coverings and linings for dressing cases, tea caddies, ink-
stands, window screens, and panes for windows and partitions, where a
semitransparent glass is required, as an impermeable and ornamental
surface for ship cabins and cabin furniture, state rooms, as surface for tombs,
cenotaphs, mausoleums, communion tables, vaults, gravestones, church tablets,
and those used in cemeteries, for embellishment of churches, chapels, altar
pieces, fonts, for pannels of railway carriages.
Claim also the marbling, and also silvering of talc by any of the known
processes.
'
Claim also the formation of glass moulded, detached letters pressed up
from the metal while in a semifluid state, the same to be ground to a surface,
if desirable, and marbled at back or gilt, and used for various purposes,
éspecially to cement on to plate glass, after the 'manner of the brass letters
now in use.
Claim the transferring the bath marbling or veining on lithographic stone
by means of lithographic ink, instead of the usual colors diluted with turpen-
tine, and splashed or worked on the surface of the bath in which the stone is
dipped, and may be used for printing duplicates of the same veining.
Claim also the bath marbling, using engravers' stopping etching ground,
diluted with turpentine, the same taken upon copper, steel, glass, &c., the
same to be bit out with acids, so as to print from as engraved plates, or bit
through to form stencils.
Claim also the use of perforated sheets of plain or colored paper and lace,

page_text: and figured muslins between two sheets of glass for window blinds and screens,
the same to be painted, if desirable.
Claim also the expanding or contracting, enlarging, and diminishing of
designs to be used for window blinds and other surfaces by printing or tracing
the figure in the first place on sheet vulcanized rubber, the contracting of the
printed figure to be effected by printing on the sheet rubber in an extended
state, transferring it to lithographic stone or zinc, and printing from the same.
Claim also the transferring of printing and painting by any transfer paper
or media to window blinds, after the manner already described on glass.
+:
Claim also the inlaying of figured woven texture into plain or other muslin's
or cloths, by cutting the pattern a little larger than the hole or part it has to
cover, and cementing the same by gumming the edges or where the lap takes
place to each other, the same to be afterwards callendered.
Claim also the finishing of painted blinds by passing them through the
callender or embossing rollers.
Claim also the callendering of size-stiffened, figured, and plain muslins for
blinds; the same may be printed or afterwards painted upon, and ornamented
with greater facility, and are much improved in appearance.
Claim the application of lithographic, or zincographic, or mezzotint printing
on soft or undressed cotton cloth for window blinds.
Claim window blinds to be made of callendered cloth, printed afterwards
by pigments from block and cylinder in the usual manner.
Claim saturating muslin with oil pigment colors, instead of dye colors to be
used for blinds, the color to be imparted by a padding mill, or any other way
most convenient.
Claim as a mode of imparting ornamental patterns to zinc and wire and
coarse tissue blinds, instead of painting or printing the same, as is usual; to fill
up the interstices, the use of a plastic matter, putty or any like matter, the
same to be rolled or pressed into a thin sheet, and laid over a stencil on to
the fabric or texture, and pressed through into the interstices, or to have
the pattern cut out by a stamp and laid on the wire and pressed to its place,
where it becomes fixed by reason of the sticky nature of the composition, when
it may be assisted by any varnish or cement; in this state it forms a solid
ground color for painting or printing on in the usual manner, and may be
embossed by ornamental tools and gilt.
Claim an improved mode of engraving; the design is to be cut on wood or
other suitable matter through a white or other colored surface, matter, or
preparation, of suitable thickness, say one thirty-second of an inch more or less;
this may be made of wax and white lead; the artist cuts thro' this into the

page_text: wood or under surface, so that the design is in its perfect form on this under
surface of the wood, to assist him to judge of the perfection of his work,
as he proceeds. The underground or wood may be dyed black or dark
color. Having got this engraving to please him, he next takes a cast in
stereotype (or otherwise) of the same by any known method, and when he
has thickness enough, or if he prefer, he may only take a thin facing of
copper and fill up with cement; he next grinds down on a stone, or by a
lathe cuts of all the superfluous elevations of the pattern, until he arrives
at the level of the wood block, at which intermediate distance of the cutting,
he will find the pattern with all the beautiful swell of the lines, and strength
and freedom of a line engraving, and greatly improved beyond glyphography,
or any other sort of engraving, instead of engraving through the composition
named. The artist may veneer his colored block with thin wood, and proceed
in that way. The thickness of the veneer gives to the cast or block when
finished for printing the depth of the
spaces.
In witness whereof, I, the said George Shove, have hereunto set my
hand and seal, this Eighteenth day of April, in the year of our Lord
One thousand eight hundred and fifty.
Enrolled the Eighteenth day of April, in the year of our Lord One
thousand eight hundred and fifty.