MENDING METAL-WORK OR REPAIRING BY MEANS OF IT
FIREPROOF CEMENTS, WITH IRON BINDERS

Metal-work, especially in iron, requires so much forging and so many appliances that it is to a certain extent beyond the ordinary mender, who must in most cases have resort to the smith or artificer. But there is still much within the capacity of the amateur to effect, and this I will describe.

One of the commonest requirements in repairing trunks and many other objects is to make a strap or strip of metal hold either to a surface or to itself. This is to be promptly effected by riveting. If the iron band on a trunk is broken, you cannot well nail it again into its place. A nail will not hold in the thin side, possibly of pasteboard. To learn how to repair in such a case, take a piece of common hoop iron, lay it on a block of wood or a board, and with a fine nail or brad-awl and hammer knock a hole in it. Then take a rivet or any flat-headed tack, put it through the hole, lay it with the head of the tack down on iron or stone if possible, and then give the point a blow, a little sideways. The result is that the point will be flattened and the tack firmly held. The result will be the same if the rivet passes through two thick pieces of metal. In this manner the two ends of an iron hoop for a box are fastened. Therefore, if we take a piece of tin or sheet-iron, put it in the trunk against the side, and bring down the broken strip on the outside, we can, with a little care, rivet it. It is advisable, when this is done, to paste a strong piece of muslin or leather over the tin to prevent it from cutting anything in the trunk. These riveted strips are far better for surrounding and holding many bundles than cords. They are better for books, because they do not leave marks on the edges, neither do they untie nor are they hard to fasten, requiring no knotting.

Riveted bands, corners, or bent pieces of sheet-metal are more generally applicable to broken furniture than is generally supposed. The plate thus applied can generally be concealed either by chiselling a place for it or by hammering it into the wood, and then cementing and painting it over.

Wire is also very useful for mending of many kinds, either in metal or wood. To manage it we need a pair of cutting pliers or pincers, as well as the long-nosed and flat pliers. Thus, to attach two bodies—for instance, the two parts of a broken gunstock—begin by fastening one end of the wire in one piece, and wind it round both, drawing it as tightly as possible with the flat pliers. When united, fasten the other end by driving it under the twist or into the wood. This also can be so adroitly treated that the wire, flattened with a file and hammered down, can be concealed under paint and varnish. By means of wire passed through holes made with long brad-awls or fine gimlets, picture-frames can be firmly repaired. In many cases the wire should be brought round and the ends fastened or wound together; in others, make a double ring in one end of the wire and nail it down, then pass the wire through the hole and fasten the other end in the same way. Many kinds of broken implements may be thus mended. Endeavour to get strong, flexible wire for such purposes.

Boxes containing goods will be doubly strong when protected by strips of iron nailed round them. Hoop-iron is generally used for this purpose.

Soldering is, however, the best and most usual means of repairing all kinds of metal-work, and this is very far from being so difficult as is generally supposed; indeed, a lady-writer on metal-work goes so far as to declare that it is fascinating. As every tinker and tinman knows how to “sodder,” and will willingly give instruction for a trifle (children, indeed, often behold the whole process admiringly for nothing), and, finally, as it is most unlikely that any reader of this work should be in a place where neither tinkers nor tinmen are to be found—for I have read that a gipsy tinker was once discovered mending a kettle seated in the shadow of the Great Wall of China—it is hardly necessary to describe in detail processes which any one can take in at a glance. The principle is this:—As in cementing glass, the glue which binds requires powdered glass to be mixed in it, so that it may establish a quicker and closer affinity with the glass; so to unite two metallic surfaces we must have a flux or some fusible substance as an intermediary. For this purpose various substances, such as resin and borax, are employed with the solder, which is a compound of metals, which melts very easily, takes a firm hold of other metals, and sets hard at once. There are many varieties of it, adapted to different metals. It is generally sold in small sticks for use.

I lay some stress on the fact that there should be some one in every family knowing how to repair, especially in metal, because there is no household in which there is not damage of tin and iron ware, trunks, kitchen utensils, and often even of jewellery, which a clever youth or young lady could easily restore. A pin is detached from a brooch. You could repair it yourself in five minutes, at a halfpenny’s expense; but no, it must be sent to a jeweller’s to be mended for a shilling. It is the same with earrings and chains and bracelets and clasps and securing-rings. When they become shaky you fasten them with thread. It will hold for the present, of course; and then comes an advertisement in the Times: “Lost—Twenty-five Pounds Reward!” All because you never learned how to repair or solder.

But, as ’tis never too late to mend, and no one should be a mend I-can’t, or go begging to others to do for him what he can do for himself, I trust that reflection on this subject will induce many to become practical repairers. If you have a valuable coin, do not take half the value out of it, as most people do, by boring a hole through it. Make a simple twist and eyelet of a bit of silver wire and solder it on the edge. Do not tie a gold chain with twine; mend it properly. Rivet your broken scissors, and when hinges come out screw them on again. If there were really anything difficult in all this I would honestly say so, but there is not, and people who have received some education learn how to do it all with ease in a short time.

A recipe for a cement to attach metal to any other substance is made as follows:—

Mix thoroughly, and add water to a creamy consistency.

The following for metals is also very strong:—

The acid is stirred in at the same time with the cement, which should be as dense as possible, and with this mixture the surfaces of the metal are covered. “The nitric acid is intended to make the surfaces of the metal rough, but it has the drawback that it hinders the drying of the glue” (Lehner). This slowly drying is, however, a great advantage. The same is found when it is mixed with common glue, which generally dries too rapidly. Cements which dry rather slowly take hold the most firmly and permanently. The acid hardens the mass by contracting the cellular tissue. To hasten the drying, the metallic parts, which should be very strongly compressed together, must be exposed to heat.

A simpler method for light articles of metal is to wet the surfaces with nitric acid for a few minutes till they are roughened, then wash away the acid in water, and cement the metal with sturgeon’s bladder cement.

A special cement for zinc is made by thickening very strong dense glue with powdered slacked lime, into which is kneaded one-tenth part of flowers of sulphur.

A so-called Jeweller’s Cement, which holds firmly, is the so-called Diamond, elsewhere given; also the following:—

The sturgeon’s bladder is dissolved in as little water as possible with strong spirits of wine (equivalent to ordinary spirits). To prepare the mastic varnish, mix finely powdered mastic with the most highly rectified spirits of wine and benzine, and use as little liquid as possible. The two mixtures must be then rubbed as intimately as possible together. When carefully made this cement will serve for anything—glass or china, &c.

A cement for zinc, especially for ornaments and small work:—In ten parts by weight of silicate of soda (solution) stir two parts of cleansed chalk and three of zinc in powder. This is kneaded for some time into a putty, with which defects, roughnesses, &c., can be remedied. After twenty-four hours, when polished with agate, this cement has all the appearance of zinc.

It may be observed that other metals in fine powder may be substituted for the zinc, and that with bronze powders, oxides of metals, and indeed with all the range of painters’ colours, combinations may be formed of infinite application in the arts. According to Lehner the silicate of soda should be of 33°.

A specially strong and valuable cement, capable of many uses in metal, wood, glass, or china, or to fasten glass to metal, is made as follows:—Take best purified litharge, stir it with glycerine until it becomes a thin homogeneous mass, which in less than an hour will become a very hard mass, which is of almost universal application. It is not affected by water, and resists the action (according to Lehner) of almost all acids, the strongest alkalies, as well as etherised oils and the fumes of chlorine and alcohol. The surfaces which are to be united with it must first be covered with pure, thick glycerine.

It will readily occur to the reader that in or to this, as in every recipe given in this book, modifications, alterations, and additions can be made, of very great value, adaptable to a great variety of substances. It is to be observed that in such cases as this, where one cannot be sure of the exact result, it is best, e.g., to first experiment with a very little finest pulverised oxide of lead with the glycerine.

Another form of this powerful metallic cement is given as follows:—

To make a cement to fill or close joints in zinc-work:—Soak three parts by weight of glue in water, pour off the superfluous water, dissolve the glue in warm water, stir into it six parts of slacked lime and one of flowers of sulphur.

When ironwork, as, for instance, window-bars, is to be set in stone, the following is commended as taking a firm hold:—

The following recipes, though I have found many of them in other works, are here taken, with acknowledgment, from Lehner, as his proportions are invariably accurate, or confirmed by experiment.

An iron cement which resists heat and moisture:—

A very strong waterproof cement for iron:—

This in a few days will begin to turn into a hard rust.

Another OXIDISED CEMENT, which holds like iron, is made as follows:—

The sulphuric acid is diluted with water and added to the mixed powders.

A rust or oxide cement, resisting fire:—

Fine clay may be used in lack of the finest porcelain clay.

An iron cement to resist heat:—

The borax and salt are melted in water and then quickly mixed with the remaining ingredients, which are in a combined powder. At a white-heat this becomes a glassy substance, which seals hermetically.

Iron cement to resist intense heat:—

This is applied with silicate of soda. It must dry gradually.

Iron cement to resist heat:—

Fireproof cement:—

This powder is made into a paste with vinegar. It must dry for a long time before being submitted to heat.

Another cement of the same kind is as follows:—

This is also made up with vinegar, and must be dried for a long time.

To set iron in stone:—

Also combined with vinegar.

When there are defects in iron castings, they may be filled up with the following cement:—

To be mixed with water to a paste. It does not fuse nor act as a paste until exposed to great heat. Before applying it wash the edges to be united with liquid ammonia. Brimstone or sulphur melts iron very promptly when the latter is red-hot, and applied to it, the iron will drop like melted sealing-wax.

A cement for iron stoves is made as follows:—

This is made into a paste, which can be rendered porous by mixing with it bristles, chopped straw, sawdust, or chaff. When the latter is converted to coal by heat, the cement is, of course, full of cavities. In like manner, clay for water-coolers is made light and spongy by mixing it with salt. The salt gradually melts in the damp clay, forming a porous substance.

When iron doors are to be hermetically sealed at very high temperatures the following may be used:—

When the iron plates about a fireplace give way the following may be used:—

This mixture may be combined with either blood or silicate of soda, preferably the latter, as the former has a disagreeable smell.

Iron filings mixed with vinegar are allowed to stand till of a brown colour, and then driven with plugs and hammer into cavities, where they form a rust cement.

For cracks in iron pots, &c.:—

This is mixed with linseed-oil to a paste. It requires several weeks to harden, but forms a hard cement.

A black cement for ironware:—

Schwartz’s iron cement for holes in pots, &c.:—

I.

To be powdered extremely fine or levigated and made with water to a paste. Resists fire and hot water.

II.

To be finely pulverised and combined with silicate of soda.

An important part of all metal-mending is soldering. This is based on the principle that certain metallic compounds which fuse at a very low heat can, however, be so brought into union with others which have an affinity for them as by melting to unite the harder objects. Thus bismuth, which will melt in hot water, has an affinity for lead, which combines easily with tin and brass, &c.; as, in like manner, borax and resin with iron.

Newton’s solder (Lehner):—

This melts at 94.5° Celsius.

Rose’s solders:—

I.

II.

A metallic-glass solder:—

The lead is first carefully melted, then the tin added, and the melted mixture carefully stirred; the bismuth is put in last of all.

Cement for iron stoves:—

To be mixed with water to form a firm paste. Also applicable to holes in trees. Clay mixed with waste-paper is also applicable for the latter purpose (Lehner). (Glue may be added to it.) This mixture of clay and paper should be well mixed with sour milk.

Claus’s cement for metal and glass:—40 grammes of starch and 320 grammes purified chalk are dissolved in 2 quarts water, into which is stirred ½ pint solution of caustic soda.

The most important part of mending broken metal-work is soldering, and this is so difficult to practically teach by mere writing, while it can be so easily learned from any tinsmith, or even tinker, that I deem it common-sensibly best to acquire it from the latter. Those who would study it in all its details, scientific or technological, may do so in Das Löthen und die Bearbeitung der Metalle, by Edmund Schlosser; Vienna, A. Hartleben, price 3s.

REPAIRING LEATHER-WORK
TRUNKS, SHOES, OR IN ANY OTHER FORMS—JOINING STRAPS—MAKING CHEAP SHOES

Leather-work when much worn is seldom restored, and, except by a few experts, it is generally regarded as incurable. That is to say, that leather-work is only repaired by the same method in which it is made—that is, by sewing—when in fact a great deal is lost which might be saved, and much imperfectly repaired which might seem like new by resorting to a more scientific process. And therefore, having devoted much attention to it, I am persuaded that the worst cases may be mended. Within a week I purchased two small folio volumes which had been beautifully bound in black leather, embossed in deep relief, about 1520, in a style which was then becoming antiquated. The pattern had been cut in a wooden mould, stamped on the wet leather, and then completely worked over by hand with tracers and matted or stamped in the ground. But the black colour had been worn away from the relief and turned brown, and it was otherwise dilapidated at the edges.

I took a volume and where the surface was ragged moistened it, applied gum-arabic in solution, and smoothed it down with an agate burnisher. Leather treated in this way soon becomes like a paste. When it was all even I painted it over with strong liquid Indian ink. Common ink would have done as well. Then I varnished it over lightly with the admirable vernis à retoucher, No. 3, of Soehnée, which is flexible, preservative, and does not crack. I may add for ladies that it smells like eau de cologne. This dries almost immediately. It may be had at all artists’ material shops. Finally, I rubbed it for some time by hand. Then the binding was as good as new, yet not too new. It was simply perfectly restored.

I have in the introduction mentioned another work which I also restored. This was a Madonna in high relief, very much dilapidated; that is to say, it was of thin leather, which had been originally made in a mould, and was accordingly puffed out, so to speak, like a pie-crust. On the mould there had been laid a coat of muslin or cotton fabric; this, when dry, had been very thinly covered with gesso or plaster of Paris, and on this, when dry, a thin wet leather had been pressed. I may here note that very often the gesso was then blackened without any leather being applied, and that when thus blackened, covered, and varnished it looked exactly like leather—an easy art, which may be practised to profit by any one who can carve or buy moulds.

On examining this, I found that it would be very difficult to repair it with good leather. I found in a shop some thin black sham-leather, such as the Japanese apparently manufacture from leather dust, made by grinding up all kinds of leather waste to a powder. It was wretched, rotten stuff as leather, but all the better suited to my purpose. Some of this I cut into small bits, and with a knife soon mashed it, mixed with gum-arabic and water, into a very smooth paste. With such a paste one can repair any tear, roughening, or imperfection, care being taken that the paste and leather be alike in colour. With this I filled the hollows at the back, making the work solid; and having wetted all the ragged edges and fractured or torn places, smoothed them down with gum and a pen or paper knife, supplying deficiencies with the black paste. When all was smooth and dry I applied a coat of Soehnée’s varnish, and then rubbed it well down by hand. It was quite restored.

As this varnishing leather may sound like a heresy to artistic leather-workers, I would ask them if they would consider an application of tannin in solution—which is the preservative principle of leather itself—as “inartistic.” Certainly it is not, nor is the application of Soehnée (which is more of a simple preservative than a glaze) a mere finish for show.

The leather-paste of which I speak has certain qualities of its own which make it quite different from any other substance. We may include in leather “paste” not only the mere dust made from the dried substance, but all scraps, and also any thin leather, thoroughly softened or macerated. Even in the latter form it is, combined with a binder, really a plastic substance, since it can be worked into any form with ease. Mixed with caoutchouc or indiarubber in solution, and then dried, it is invaluable for mending boots and making waterproof soles. As I have indicated, it is excellent for mending old books. And here I may mention that if you have, let us say, one cover of a book in high relief, and the other, it may be, lost or worn plain, you can supply or make the duplicate very easily, very cheaply, and in a short time as follows:—Take a sheet of soft, white newspaper, dampen it, and press it on the relief. As soon as possible, taking care not to wet the book, fill in the back of the squeeze either with other coats of wet paper, melted wax, or liquid plaster of Paris. When this is dry, wax or oil carefully the face of the squeeze, wipe it dry, and make a cast from it in leather-paste. Thus you will have a facsimile of the relief. From a solid plaster mould, well oiled or boiled in wax, a cast may be taken in softened or wet leather, which is even better; it sets hard and tough.

I may here mention that it is very unusual to see books bound in deep relief with hand-worked, black, or black and gold, antique patterns, and that such a cover, say of eight by ten inches, would probably cost at least a pound, and be cheap at that. And yet any girl of ordinary capacity with, let us say, fifty shillings’ worth of moulds, and two weeks’ practice in tracing and stamping grounds, could produce from two to four such book-covers as those before me in a day.

There is now generally sold in furnishing or chemists’ shops a good waterproof glue. Leather softened and then well incorporated with this is also waterproof, and may be used to mend trunks. I have known a torn boot to be mended in this manner, and that so well that it lasted for a long time. Even a leather strap which is subjected to great tugging may be restored, if cut or broken in two, by shaving the edges obliquely, so as to sharpen them.

Then apply glue with acid, and before it is quite dry apply pressure, though not so great as to squeeze the glue out. Shaving across the edges, judicious pressing together, and final smoothing are of the greatest importance in all leather patching and piecing, because it depends on these to make the juncture imperceptible. Very few persons—even shoemakers—are at all aware of the degree of perfection to which mending rents in foot-covering can be carried by the use of waterproof glue, such as is sold by many chemists. I have worn such a patch for months, and it was hardly perceptible. But, like every art, it requires some practice to apply such patches properly, and I cannot promise to any lady that she can perfectly and neatly patch a boot by simply daubing on a piece of leather at a first trial.

It may be noted that in such strap-joining as that which I have described, the repair will be greatly strengthened by pasting very thin bits of leather, or even of muslin, over the edges and pressing them in. It is true that this cover will soon wear away, but meanwhile the mended leather is all the while growing stronger and uniting more perfectly. Even paper, glued and pressed on, materially aids to make the exposed joint unite.

And here I may say that many a lady and youth would do well to take a few practical lessons from any shoemaker in the noble art of cobbling; that is to say, of heeling, soleing, and patching, all of which are as easy to learn as steps in dancing, and are even more interesting or amusing when once mastered. It is, moreover, an art which will be of use through life. Those who can do this will probably, if ambitious by nature, progress to making slippers, it may be shoes; and he who can do this may be assured that he never need quite starve to death while human beings go shod. It is not so difficult as many think, for I have known shoemakers of very ordinary minds, and I also once knew a mechanical artist who learned to make a fine pair of shoes in a few weeks. In fact, there is a living in a great many things for those who have once learned to use their fingers.

Few people are aware of the extraordinary durability of leather-work of certain kinds. There are in the British Museum Roman sandals, probably made of raw hide, but cut into pretty form, which were found in the Thames, and which look as new as if recently made. I have seen within a day as I write a gracefully formed pitcher of the early fifteenth century of very solid black leather, like the old blackjacks once common in England, which has probably passed through centuries of use, and is as perfect as ever. Wood splits, earthenware breaks, and metal rusts, but raw hide, or cuir bouilli, as set forth in the old song of the “Leather Bottél,” seems to endure every trial. As the man commemorated in “Æsop’s Fables” declared, “After all, there is nothing like leather.” The reader who may be especially interested in this easiest of all the minor arts may consult on this subject my Manual of Leather-Work (5s.); Whittaker & Co., 2 White Hart Street, Paternoster Square, London, E.C.

Strips of raw hide are without equal for repairing broken vehicles, wheels, saddles, and similar articles, because they shrink while drying, drawing everything tight, and set so hard when once dry that what is mended is often stronger than before. I have elsewhere mentioned that the strongest trunks in the world are made in America from it, as they had need to be, since there is no country in the world where the “baggage-smasher,” figurative or literal, is so much to be feared.

The reader who has occasion to repair anything in leather should study the chapter of this book which treats of indiarubber and gutta-percha, the subjects being in many respects the same.

A strong cement for leather is made by combining gutta-percha and Schwefelkohlenstoff, or bisulphide of carbon, with petroleum to a syrupy consistency. A very good cement specially adapted to joining leather straps is as follows:—

The materials, excepting the Schwefelkohlenstoff, are put together in a bottle which stands in hot water for several hours; when the mass has grown thick with the petroleum add the rest, and let the whole stand for several days, shaking it very often. If the pieces of leather to be united are first heated and then pressed very tightly together, the adhesion will be increased. This cement is as well adapted for glass, crockery, horn, ivory, wood, or metal as for leather. It is admirable for mending trunks, whether made of leather, wood, or pasteboard.

When a trunk is made of any of these, and a hole is broken through the side or top, take a newspaper and coat it with this cement, applying another, till there are a dozen or more thicknesses. If, as it gradually dries, this be pressed and hardened with a roller, or even a round ruler, it will be much improved. Glue this into or upon the fracture. In most cases with care it can be made as strong as ever. Where a rib is broken it should be promptly replaced. (Vide Metal-Work.) All trunks should be covered with waterproof glue or varnish, as it effectually protects them from exposure to the rain. This is very rarely done, however, the result being an immense amount of loss to all travellers. In any town where there is a chemist’s shop, and where a bit of indiarubber is to be had, even at the stationer’s, a waterproof cement can be at once manufactured. The easiest of these to prepare is the following:—

The resin is first melted in a pan, the gutta-percha, in very small bits, being gradually stirred in till all is amalgamated. When used it must be warmed again. This cement can be used for as many different articles as the preceding.

It may here be noted that vast quantities of waste leather from shoemakers and bookbinders, which sell for a mere trifle, can be utilised to make admirable waterproof carpets and wall-covers. The leather is first soaked till soft, then smoothed out and mixed with waterproof cement, and rolled into one flat piece. This makes a very cheap sub-carpet for winter—better than oil-cloth, being softer. For walls it can be pressed in moulds, gilded, or painted. If varnished there is no unpleasant smell from it. The harder it is compressed or rolled the more will all smell disappear. Even with rolling by hand with a bread-roller almost all substances—for instance, paper, cloth-rags, sawdust, leather, clay, wool, cotton-wool, when combined with any fit adhesive or cement—can be made very hard or tough; and it is remarkable, considering the cheapness of the materials, how little this principle is as yet applied.

It may be remarked that there are many people who do not know what to do when the sole of a boot splits off or wears away and there is no shoemaker at hand. If the heel is lost and no leather can be had, a very good substitute can be cut from wood and cemented on. A few tacks will make it last as long almost as leather. If a piece of sole leather can be got, even from another old shoe, one or two layers can be cemented on to make a sole. A short screw or nail through three-quarters of the heel greatly aids in making the layers adhere. This may also be done with a vice.

In the town of Bagni di Lucca, where I now am, a pair of leather shoes with wooden soles, such as are commonly worn by women and children, cost only fivepence. They are, of course, rough, but still far better than none. The sole is rudely and very easily cut, with a high heel, from white pine or larch wood. The upper is a single piece of leather, which only covers the front half of the foot. It is moistened and bent into shape, and then tacked or glued on. Many people simply buy the soles, then the leather, and make the shoes for themselves, in which case the expense does not amount to more than twopence. In Florence there is often added to this the back, or heel-piece, which costs twopence more, and makes an almost perfect shoe. This art would be worth knowing in a wild country.

Lehner (vide Indiarubber and Gutta-percha) specially commends for mending soles the composition of—Gutta-percha, 10; benzine, 100; linseed-oil varnish, 100. It is extremely elastic and tough, and therefore suitable to soles. Mixed with black dye, or made with japan, it forms patent leather or polished leather. It should for this purpose be applied with a broad brush in thin successive coats, and well dried before applying a new one. This is far superior to ordinary blacking; it is more easily applied, and does not injure the leather so much, because the latter is often made with vitriol, which, while it promptly gives a shine, eats away the fibre. Boots and shoes will, in fact, wear much longer with this coating than without it.

This is even more applicable to a great deal of harness, saddle, and bridle mending, and restoring sheet leather in every form; as, for instance, waggon curtains, when worn and dry. First soften the leather, then restore its quality, if required, with tannin or indiarubber in solution. If very dry and exhausted, it may first be treated with neat’s-foot oil for several days. Then sew it up, if a seam, or mend by applying leather and the cement. If all persons who own much harness would carefully study this subject, they would be astonished to find what economy could be effected by judicious mending.

It may happen that the reader may have occasion to wish to renew black, glazed leather-work, or to make a brilliant black pattern on a brown ground in stamped leather. I have often executed it with success. In such a case it suffices to simply blacken the leather with ink or dye, and then coat it with any flexible varnish; that is, one into which glycerine or gutta-percha has been infused. Any one who can draw can in this manner execute very beautiful work for covering walls, panels, chests, or doors. Or flexible black varnish can be directly applied.

Lehner gives a recipe for attaching leather to metal, which may also be applied to any other substance:—Cover the leather with a thin and very hot coating of glue, press it on the metal, and then wet the other side with a strong solution of gall-apples or tannin (Lohe, extract of oak-bark) till it is thoroughly-penetrated. The tannin combines with the glue, and attaches the leather with extreme tenacity to the metal, &c. It is advisable to roughen the metallic surface to facilitate adhesion.

By combining glue (and many other adhesives) directly with the tannin or gall nut astringent we obtain a waterproof cement of great strength, which is very useful for shoes. It is, in fact, not at all a difficult matter, where other appliances are wanting, to make from leather, without sewing, a soled shoe when tannin and glue are obtainable. The same can be done with canvas.

During the great wars in America thousands of soldiers often went barefoot in winter-time, with abundance of horses or cattle killed all round them, because they did not know that a strong moccasin can be made by cutting out a piece of raw hide, piercing holes in it, and drawing it up like a bag round the ankles, as is so commonly done here in the mountain districts in Italy. I once astonished a soldier in the war by suggesting this, and he declared he must try it. It is remarkable how rarely man in an uneducated state ever invents anything, be it a myth, a tale, or a practical invention.

If the upper leather of a slipper or shoe be cut out, it can, if wet, be easily made to assume the form of a foot by drying it on a last, or even on another shoe. Let the seam of the back jut or flap over the edge, and allow full selvage for the rest to turn under the sole. The latter may be of sole leather. If there is none, glue two or three pieces of the leather together with the tannin cement, and roll them over strongly. Then glue the back and the under-lap with great care. With a little practice a fairly good shoe can be thus made. Canvas can be used in the same way. To dwellers in the wilderness this may be valuable information. But very pretty ornamental slippers can be made by young ladies out of scraps of gaily coloured leather. They can buy a pair of soles, and get the leather at a leather-dealer’s. This is all simply substituting glueing for sewing, and strong tannin-glue holds quite as strongly as a great deal of the sewing of cheap, machine-made shoes. It would, indeed, not be a very difficult or expensive thing to shoe or clothe all mankind comfortably, were it not for the fashions followed by the wealthy.

These very cheap shoes, made with either wooden or leather soles, and that so easily that a child can learn to manufacture them in an hour, can be easily ornamented so as to be really attractive. Take the leather, moisten it with a sponge, and then with a tracer, which is like the end of a screw-driver—i.e.—

draw a pattern in the damp, soft leather. When it dries the pattern will remain. Then with a point or stamp, dot or roughen the ground. Finally, when dry, paint the pattern black, and then varnish it. Anybody with the least knowledge of drawing can make and sell such ornamented shoes for a good profit, as they are as yet hardly known to anybody. Other colours may be substituted for black, or gilding applied.

I have in another place shown (vide Papier-Mâché) how good artificial leather can be made by combining paper—best in pulp—with indiarubber and benzole fluid solution. Also how soles can be made by steeping pasteboard in the same, and how these, which are very easily and cheaply made, can be glued on to the leather so as to protect the latter from wearing out, for ever, if renewed. A bottle of this cement, combined with Diamond or Turkish Cement, will in like manner repair boots when the sole begins to split or part; and if applied when it begins to gape, it will be closed for a long time. This is such a practical, cheap, and easy method of making boots and shoes last, that my wonder is that every man who goes shod, and especially every traveller, has not a bottle of it by him. Observe that the two edges should be well pinched or screwed together (a six-penny vice will answer for this), and the leather first heated, though all this is not a sine quâ non, but only an improvement.

Leather thus attached by a very strong cement is quite as durable and much pleasanter to wear than “copper toes” or iron heels, which assimilate their wearers to horses. And it takes no longer to make and attach a heel or a sole in this manner than to black a pair of boots, as I have myself verified within a few hours.

Where seams rip out, the best repairing is by sewing as shoemakers do, which is not hard to learn, and I advise all young people to learn it. But where sewing cannot be resorted to, the cement, well applied and compressed till dry, will hold almost any break for a long time.

I urge ladies of all classes and conditions to carefully consider this chapter. They are more accustomed to repairing than men, and will take to it more intelligently. As their chaussures are made of thinner leather than ours, they need repair oftener, but are, on the other hand, so much the easier to repair. Every mother of a family will at least profit by studying this book.

Shoemakers’ paste, much used for shoes, belongs properly to leather-work. It is made by boiling crushed barley to a thick mess, the water being kept extremely hot. It is then set aside till fermentation begins, which announces itself by an extremely offensive smell. Thence it passes to a stage in which it is a brownish syrupy mass, possessing great power as an adhesive. It is now taken from the fire and a little carbolic acid added to arrest fermentation. This can be used by itself for an adhesive; it also combines well with indifferent substances, such as powdered lime, or chalk, white zinc, ochre, clay, or umber. It may be as well used for binding books.

I have already given a very good recipe for reuniting broken leather straps. I here add another from Lehner. It is very good, but hardly worth the very considerable extra trouble and expense as compared to the former:—

Reduce to bits and boil in water to a solution, to which add:—

The strap-ends, or pieces of leather, having been thoroughly cleaned, are now covered with the adhesive and pressed together between hot plates, where the work must remain till cold.

A very good artificial leather, perfectly waterproof, may be made by covering a strip of strong paper, or, better still, one of glazed muslin, with the gutta-percha cement. Add to this fresh layers of cement and paper, till the requisite thickness is obtained. This is useful for mending soles. Where the gutta-percha or indiarubber cement is not to be had, substitute copal varnish and glycerine, or thick turpentine varnish and a little glycerine.

TO MEND HATS, BLANKETS, AND SIMILAR FABRICS BY FELTING

Wool, as is well known, if put into a pair of shoes, will pack or settle into a solid felt sole if the shoes are worn. This felt is like cloth. The same can be done by rolling it like dough on a board with a roller. Lay the cloth or hat to be mended so that the felt to be made can be worked into it. Then take fine wool and clean and roll it thoroughly, working it into the edges. It may happen many a time to a man without a needle to succeed in mending garments in this manner.

Waterproof glue or adhesive, such as is fully described in the chapter on Indiarubber, may be added to facilitate the adhesion of the felt to the cloth or felt ground. There is a peculiar art or knack of working moistened felt into the edges of cloth, and of ironing or pressing them down so as not to show, which can, however, be soon acquired. In this way cloth may be glued upon cloth with very good effect. The extraordinary tenacity and fineness of the adhesives now made, be it specially observed, renders mending of this kind (which was impossible a generation ago) now perfectly possible. I advise those who doubt this to get a piece of cloth and experiment for themselves. The patch may not be invisible, but it will look better than if botched with a needle. Felt, however, can easily be repaired to perfection.

Large pieces of stuff can be made by rolling slightly gummed wool, which fact many men do not know, even when living in the wilderness, where wool or hair may be abundant. Nothing is so common as to see shepherds in utter raggedness where the very shreds of wool left by their sheep on the thorns would clothe them, with a little industry. The quality, durability, and fineness of felt depend on the quality of the wool, and the care and skill of the operator. Many of the cheap cloths known as shoddy are really felts.

Felt is easily formed, because under certain conditions it seems to have a strange tendency to form itself. The reader knows that a string in the pocket, subjected to our every movement, will inevitably tangle and knot itself up in the most mysterious manner; and so the fibres of wool, if rubbed together, twine and bind themselves into most intimate union. I earnestly advise all who expect to live where sheep are plenty, and tailors or seamstresses few and far between, to experiment in felt-making, and, if possible, learn from a hatmaker how it is done. There was at one time in New York a factory where strong, serviceable suits of felt cloth were made, and these, consisting of coat, waistcoat, and trousers, were sold at retail for five dollars, or one pound—I myself having seen them.

When a piece of cloth is thus adjusted or applied to fill a hole or mend a rent, the edges may be either simply gummed and adjusted, or they may be treated with a mixture of felt or cloth-dust and gum. In this case, before the adhesive is quite hard, yet after it has ceased to be soft, lay over the patch a piece of cloth of exactly the same kind, and press it with a warm flat-iron. (Vide Invisible Mending of Garments, Laces, or Embroideries.)

In most cases a torn woollen garment may be very well restored by carefully sewing a piece into the hole, or by uniting the edges with long stitches. Then make a paste of felt or dust, or short, fine threads of the same cloth, with indiarubber cement, and work it over the surface. With practice this can be done so neatly as to quite conceal the mending. Pass an iron over the whole. When indiarubber cement cannot be obtained, glue mixed with one-fourth glycerine can be used.

Ammonia combined with wool forms a solvent which is also a cement. I have not experimented with it.

INVISIBLE MENDING OF GARMENTS, LACES, OR EMBROIDERIES

Most people are aware that there are tailors or others who are such artists in mending that they can sew up a rent “in almost anything” so skilfully that the tear cannot be perceived. I have myself seen this done so admirably in fine black cloth that not only was there no sign of a tear perceptible, but none was manifest after long wearing the garment. This nicety is partly due to skill, but there is also a method in it. Such mending is specially shown in Italy by Jewesses in repairing valuable old laces, embroideries, and the like. As a very large proportion of those who buy and sell such goods are Jews, it is but natural that their wives and female friends should be specially employed in mending. The process which they employ is as follows:—