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1515 Valant, Pierre Telemaque, 23 Pue de Seine ,Paris —Stationer .
Fancy • stationery: ornamented letter-paper. Orna-mented letter-paper, with, illustrations. Improved en-velopes, cut by machinery. Easy method of learningflower painting and every style of drawing without amaster.
1516 Van Balthoven, Pierre, 28 Faubourg St.Antoine , Paris —Manufacturer.
A cupboard, with mirrors. Bedsteads. Chest ofdrawers, in rose-wood, with marbles.
1517 Vantiexard & Co., Merovel , near UAigle ( Orne ).
(Agents, L’ Habitant & G-uynet, 9 Pue duSentier, Pans —Manufacturers.)
"White iron pins, manufactured by a patent process.These pins are sponger, more brilliant, and have theirpoints sharper than those made with brass wire. Ex-hibited for cheapness and durability.
1521 Viard, Louis, 34 Pue St Martin, Paris , and45 Wellington Square, Clerkemvell —Manu-facturer.
Various samples of colours and varnish, includinga varnish to impart colour without rubbing, which driesin two hours, adapted for staircases, ship-cabins, woodenfloors, &c., as well as all architectural ornaments.
1522 Villeroi, —, C.E., 3 Pue Pavee St. Andre, Paris —Musical Instrument-maker.
New instrument of music, under the name of har-monine.
[The liarmonine, an instrument of recent invention,is the only one amongst wind instruments, upon whicha musician may produce various species of chords;and with the same powerful effect as may be producedby the keys of the harpsichord or piano-forte. It admitsof various degrees of intonation, and gives free scope tothe delicate touches produced by the movements of thetongue. It is likewise capable of producing the binfor-zando, and the smorzando passages. Its compass or ex-tent comprises a chromatic scale of thirty-six notes, viz.,from the bass C in the flute, to the fourth octave, or Cabove.
The sounds, which it emits with peculiar sweetness, arerather melancholy, and at the same time bear a strongresemblance both to the hautboy and the bag-pipe, aswell as to the violin-
The mouth-piece of the karmonine, although in a direc-tion opposite to that of other wind instruments, is of easymanagement, and it requires but little practice to obtain acertain degree of proficiency; even on a first trial, theleast skilful musician may produce a melody of soundthroughout the whole compass of the instrument. Thefingering is simple and natural, especially for those whomay have acquired a moderate proficiency on any otherinstrument.
The form of the liarmonine, although singular is notinelegant, and being of smaller dimensions than the flute,
is equally portable. The harmonine being a completeinstrument, may be used as an accompaniment, either inthe orchestra or drawing-room.]
1523 Vilpeele, T., Montereau-sur-Yonne (Seine and Marne) —Manufacturer.Sculptured steel dagger, of one single piece.
1524 Vig-nat Brothers, St. Etienne (Loire), 3 Placedes Victoires , Paris —Manufacturers.
Specimens of silk ribbons printed, figured and plain, ofall kinds. Specimen of Chine silk.
152o Vincent, Hippolyte, 14 Pue JVeuve St. Francois(Marais), and 40 Wigmore Street , CavendishSquare —Inventor and Manufacturer.
Specimens of gelatine casts invented by the exhibitor.
Specimens of the application of the galvano-plastic artto the gelatine casts, by a new process of electro-metal-lurgy.
[By means of gelatine reduced to a liquid state, elasticmoulds can be taken capable of reproducing, with greataccuracy, and in a single piece, casts of elaborately-sculptured objects of remarkable finish and delicacy.
The process of casting consists in dissolving a certainquantity of gelatine in hot water until it is reduced to thestate of liquid paste, when it is run over the object in-tended to be reproduced. As it cool's, the gelatine assumesa consistency offering a considerable degree of resistance,and highly elastic, which latter quality enables it to beeasily detached from the embossed work on which it hasbeen fitted, although the complicated details of the sub-ject and its cavities, might seem to render this processalmost impossible. In the hollow formed by the gela-tine a kind of plaster, prepared for the purpose, is nextrun; and when the plaster has acquired the requisitedegree of hardness, the gelatine mould is detached in thesame manner as from the original: and from this appa-rently fragile mould as many as six copies may be takenall reproducing the original with great fidelity.
Many difficulties had to be overcome before this resultcould be obtained. The chief of these consisted in pre-venting the two plastic substances, each impregnated witha certain quantity of water, from becoming welded to-gether, or retaining on them surfaces (thus put intojuxtaposition) traces of the deposits of plaster or gelatine,which was constantly the case in the first experiments.
By the ordinary method of taking casts (namely, inplaster moulds, composed of several pieces), the work ofthe sculptor or engraver is frequently disfigured by theimperfection of the mould itself, and by the unskilfulmethod employed to obliterate the marks of the seams,which impair the finish of the work. The new processretains the touches of the original, which the usual modeof casting generally destroys, especially when the modelhappens to be in wax or any other delicate material.
In the* imitations produced by gelatine, even the ma-terial of the original may be recognized by the minutereproduction of the design, the veins, the lineaments, theirregularities of the surface, Ac.
In the reproduction of anatomical specimens, muscle,artery, vesicle, membrane, Ac., stand out in strong relief.
This application has already been highly serviceable tothe arts of the sculptor, the chaser, the engraver, andthe electro-typist; and to the sciences of anatomy, numis-matics, natural history, Ac.