Henley's Twentieth Century Formulas, Recipes and Processes (part 2 of 7)

«Pickle for Brass.»—Stir 10 parts (by weight) of shining soot or snuff, 10 parts of cooking salt, and 10 parts of red tartar with 250 parts of nitric acid, and afterwards add 250 parts of sulphuric acid; or else mix 7 parts of aqua fortis (nitric acid) with 10 parts of English sulphuric acid. For the mixing ratio of the acid, the kind and alloy of the metal should be the guidance, and it is best found out by practical trials. The better the alloy and the less the percentage of zinc or lead, the handsomer will be the color. Genuine bronze, for instance, acquires a golden shade. In order to give brass the appearance of handsome gilding it is often coated with gold varnish by applying same thinly with a brush or sponge and immediately heating the metal over a coal fire.

«Pickling Brass to Look Like Gold.»—To pickle brass so as to make it resemble gold allow a mixture of 6 parts of chemically pure nitric acid and 1 part of English sulphuric acid to act for some hours upon the surface of the brass; then wash with a warm solution, 20 parts of tartar in 50 parts of water, and rub off neatly with dry sawdust. Then coat the article with the proper varnish.

«Pickle for Dipping Brass.»—To improve the appearance of brass, tombac, and copper goods, they are usually dipped. For this purpose they are first immersed in diluted oil of vitriol (brown sulphuric acid), proportion, 1 to 10; next in a mixture of 10 parts of red tartar; 10 parts of cooking salt; 250 parts of English sulphuric acid, as well as 250 parts of aqua fortis (only for a moment), rinsing off well in water and drying in sawdust. For obtaining a handsome matt gold color 1⁠/⁠20 part of zinc vitriol (zinc sulphate) is still added to the pickle.

«Restoration of Brass Articles.»—The brass articles are first freed from adhering dirt by the use of hot soda lye; if bronzed they are dipped in a highly dilute solution of sulphuric acid and rinsed in clean water. Next they are yellowed in a mixture of nitric acid, 75 parts; sulphuric acid, 100 parts; shining lampblack, 2 parts; cooking salt, 1 part; then rinsed and polished and, to prevent oxidation, coated with a colorless spirit varnish, a celluloid varnish being best for this purpose.

«Tempering Brass.»—If hammered too brittle brass can be tempered and made {133} of a more even hardness throughout by warming it, as in tempering steel; but the heat must not be nearly so great. Brass, heated to the blue heat of steel, is almost soft again. To soften brass, heat it nearly to a dull red and allow it to cool, or, if time is an object, it may be cooled by plunging into water.

«Drawing Temper from Brass.»—Brass is rendered hard by hammering or rolling, therefore when a brass object requires to be tempered the material must be prepared before the article is shaped. Temper may be drawn from brass by heating it to a cherry red and then simply plunging it into water, the same as though steel were to be tempered.

BRASS, FASTENING PORCELAIN TO: See Adhesives.

BRASS POLISHES: See Polishes.

BRASS SOLDERS: See Solders.

BRASS BRONZING: See Plating.

BRASS CLEANERS: See Cleaning Preparations and Methods.

BRASS PLATINIZING: See Plating.

BRASS, SAND HOLES IN: See Castings.

BRASSING: See Plating.

BREAD, DOG: See Dog Biscuit.

«BREATH PERFUMES:»

See also Paints and Wood.

«Preparation of Carbolineum.»—I.—Melt together 50 parts of American rosin (F) and 150 parts of pale paraffine oil (yellow oil), and add, with stirring, 20 parts of rosin oil (rectified).

II.—Sixty parts, by weight, of black coal tar oil of a specific gravity higher than 1.10; 25 parts, by weight, of creosote oil; 25 parts, by weight, of beechwood tar oil of a higher specific weight than 0.9. Mix together and heat to about 347° F., or until the fumes given off begin to deposit soot. The resulting carbolineum is brown, and of somewhat thick consistency; when cool it is ready for use and is packed in casks. This improved carbolineum is applied to wood or masonry with a brush; the surfaces treated dry quickly, very soon loose the odor of the carbolineum, and are effectively protected from dampness and formation of fungi.

CARBON PRINTING: See Photography.

CARBON PROCESS IN PHOTOGRAPHY: See Photography.

CARBONYLE: See Wood.

CARBUNCLE REMEDIES: See Boil Remedy.

CARDS (PLAYING), TO CLEAN: See Cleaning Preparations and Methods.

CARDBOARD, WATERPROOF GLUE FOR: See Adhesives under Cements and Waterproof Glues.

CARDBOARD, WATERPROOFING: See Waterproofing.

CARMINATIVES: See Pain Killers.

CARPET PRESERVATION: See Household Formulas.

CARPET SOAP: See Soap. {148}

CARRIAGE-TOP DRESSING: See Leather.

CARRON OIL: See Cosmetics.

CASE HARDENING: See Steel.

«Casein»

«Dried Casein, its Manufacture and Uses.»—For the production of casein, skimmed milk or buttermilk is used, articles of slight value, as they cannot be employed for feeding hogs or for making cheese, except of a very inferior sort, of little or no alimentive qualities. This milk is heated to from 70° to 90° C. (175°–195° F.), and sulphuric or hydrochloric acid is added until it no longer causes precipitation. The precipitate is washed to free it from residual lactose, redissolved in a sodium carbonate solution, and again precipitated, this time by lactic acid. It is again washed, dried, and pulverized. It takes 8 gallons of skimmed milk to make 1 pound of dry casein.

In the manufacture of fancy papers, or papers that are made to imitate the appearance of various cloths, laces, and silks, casein is very widely used. It is also largely used in waterproofing tissues, for preparation of waterproof products, and various articles prepared from agglomeration of cork (packing boards, etc.). With lime water casein makes a glue that resists heat, steam, etc. It also enters into the manufacture of the various articles made from artificial ivory (billiard balls, combs, toilet boxes, etc.), imitation of celluloid, meerschaum, etc., and is finding new uses every day.

Casein, as known, may act the part of an acid and combine with bases to form caseinates or caseates; among these compounds, caseinates of potash, of soda, and of ammonia are the only ones soluble in water; all the others are insoluble and may be readily prepared by double decomposition. Thus, for example, to obtain caseinate of alumina it is sufficient to add to a solution of casein in caustic soda, a solution of sulphate of alumina; an insoluble precipitate of casein, or caseinate of alumina, is instantly formed.

This precipitate ought to be freed from the sulphate of soda (formed by double decomposition), by means of prolonged washing. Pure, ordinary cellulose may be incorporated with it by this process, producing a new compound, cheaper than pure cellulose, although possessing the same properties, and capable of replacing it in all its applications.

According to the results desired, in transparency, color, hardness, etc., the most suitable caseinate should be selected. Thus, if a translucent compound is to be obtained, the caseinate of alumina yields the best. If a white compound is desired, the caseinate of zinc, or of magnesia, should be chosen; and for colored products the caseinates of iron, copper, and nickel will give varied tints.

The process employed for the new products, with a base of celluloid and caseinate, is as follows: On one hand casein is dissolved in a solution of caustic soda (100 parts of water for 10 to 25 parts of soda), and this liquid is filtered to separate the matters not dissolved and the impurities. On the other hand, a salt of the base of which the caseinate is desired is dissolved, and the solution filtered. It is well not to operate on too concentrated a solution. The two solutions are mixed in a receptacle provided with a mechanical stirrer, in order to obtain the insoluble caseinate precipitate in as finely divided a state as possible. This precipitate should be washed thoroughly, so as to free it from the soda salt formed by double decomposition, but on account of its gummy or pasty state, this washing presents certain difficulties, and should be done carefully. After the washing the mass is freed from the greater part of water contained, by draining, followed by drying, or energetic pressing; then it is washed in alcohol, dried or pressed again, and is ready to be incorporated in the plastic mass of the celluloid.

For the latter immersion and washing it has been found that an addition of 1 to 5 per cent of borax is advantageous, for it renders the mass more plastic, and facilitates the operation of mixing. This may be conducted in a mixing apparatus; but, in practice, it is found preferable to effect it with a rolling mill, operating as follows:

The nitro-cellulose is introduced in the plastic state, and moistened with a solution of camphor in alcohol (40 to 50 parts of camphor in 50 to 70 of alcohol for 100 of nitro-cellulose) as it is practiced in celluloid factories.

This plastic mass of nitro-cellulose is placed in a rolling mill, the cylinders of which are slightly heated at the same time as the caseinate, prepared as above; then the whole mass is worked by the cylinders until the mixture of the two {149} is perfectly homogeneous, and the final mass is sufficiently hard to be drawn out in leaves in the same way as practiced for pure celluloid.

These leaves are placed in hydraulic presses, where they are compressed, first hot, then cold, and the block thus formed is afterwards cut into leaves of the thickness desired. These leaves are dried in an apparatus in the same way as ordinary celluloid. The product resembles celluloid, and has all its properties. At 90° to 100° C. (194° to 212° F.), it becomes quite plastic, and is easily molded. It may be sawed, filed, turned, and carved without difficulty, and takes on a superb polish. It burns less readily than celluloid, and its combustibility diminishes in proportion as the percentage of caseinate increases; finally, the cost price is less than that of celluloid, and by using a large proportion of caseinate, products may be manufactured at an extremely low cost.

«Phosphate of Casein and its Production.»—The process is designed to produce a strongly acid compound of phosphoric acid and casein, practically stable and not hydroscopic, which may be employed as an acid ingredient in bakers’ yeast and for other purposes.

The phosphoric acid may be obtained by any convenient method; for example, by decomposing dicalcic or monocalcic phosphate with sulphuric acid. The commercial phosphoric acid may also be employed.

The casein may be precipitated from the skimmed milk by means of a suitable acid, and should be washed with cold water to remove impurities. A caseinate may also be employed, such as a compound of casein and an alkali or an alkaline earth.

The new compound is produced in the following way: A sufficient quantity of phosphoric acid is incorporated with the casein or a caseinate in such a way as to insure sufficient acidity in the resulting compound. The employment of 23 to 25 parts by weight of phosphoric acid with 75 to 77 parts of casein constitutes a good proportion.

An aqueous solution of phosphoric acid is made, and the casein introduced in the proportion of 25 to 50 per cent of the weight of the phosphoric acid present. The mixture is then heated till the curdled form of the casein disappears, and it assumes a uniform fluid form. Then the mixture is concentrated to a syrupy consistency. The remainder of the casein or of the caseinate is added and mixed with the solution until it is intimately incorporated and the mass becomes uniform. The compound is dried in a current of hot air, or in any other way that will not discolor it, and it is ground to a fine powder. The intimate union of the phosphoric acid and casein during the gradual concentration of the mixture and during the grinding and drying, removes the hydroscopic property of the phosphoric acid, and produces a dry and stable product, which may be regarded as a hyperphosphate of casein. When it is mixed with water, it swells and dissolves slowly. When this compound is mingled with its equivalent of sodium bicarbonate it yields about 17 per cent of gas.

CASEIN CEMENTS: See Adhesives.

CASEIN VARNISH: See Varnishes.

«CASKS:»

«To Render Shrunken Wooden Casks Watertight.»—When a wooden receptacle has dried up it naturally cannot hold the water poured into it for the purpose of swelling it, and the pouring has to be repeated many times before the desired end is reached. A much quicker way is to stuff the receptacle full of straw or bad hay, laying a stone on top and then filling the vessel with water. Although the water runs off again, the moistened straw remains behind and greatly assists the swelling up of the wood.

CASSIUS, PURPLE OF: See Gold.

CASKET TRIMMINGS: See Castings.

CASTS (PLASTER), PRESERVATION OF: See Plaster.

CASTS, REPAIRING OF BROKEN: See Adhesives and Lutes.

CASTS FROM WAX MODELS: See Modeling.

«Casting»

«Castings Out of Various Metals.»—Until recent years metal castings were all made in sand molds; that is, the patterns were used for the impressions in the sand, the same as iron castings are produced to-day. Nearly all of the softer metals are now cast in brass, copper, zinc, or iron molds, and only the silver {150} and German silver articles, like wire real bronze, are cast the old way, in sand. Aluminum can be readily cast in iron molds, especially if the molds have been previously heated to nearly the same temperature as the molten aluminum, and after the molds are full the metal is cooled gradually and the casting taken out as soon as cooled enough to prevent breaking from the shrinkage. Large bicycle frames have been successfully cast in this manner.

The French bronzes, which are imitations, are cast in copper or brass molds. The material used is principally zinc and tin, and an unlimited number of castings can be made in the mold, but if a real bronze piece is to be produced it must be out of copper and the mold made in sand. To make the castings hollow, with sand, a core is required. This fills the inside of the figure so that the molten copper runs around it, and as the core is made out of sand, the same can be afterwards washed out. If the casting is to be hollow and is to be cast in a metal mold, then the process is very simple. The mold is filled with molten metal, and when the operator thinks the desired thickness has cooled next to the walls, he pours out the balance. An experienced man can make hollow castings in this way, and make the walls of any thickness.

Casket hardware trimmings, which are so extensively used on coffins, especially the handles, are nearly all cast out of tin and antimony, and in brass molds. The metal used is brittle, and requires strengthening at the weak portions, and this is mostly done with wood filling or with iron rods, which are secured in the molds before the metal is poured in.

Aluminum castings, which one has procured at the foundries, are usually alloyed with zinc. This has a close affinity with aluminum, and alloys readily; but this mixture is a detriment and causes much trouble afterwards. While this alloy assists the molder to produce his castings easily, on the other hand it will not polish well and will corrode in a short time. Those difficulties may be avoided if pure aluminum is used.

Plaster of Paris molds are the easiest made for pieces where only a few castings are wanted. The only difficulty is that it requires a few days to dry the plaster thoroughly, and that is absolutely necessary to use them successfully. Not only can the softer metals be run into plaster molds, but gold and silver can be run into them. A plaster mold should be well smoked over a gaslight, or until well covered with a layer of soot, and the metal should be poured in as cool a state as it will run.

«To Prevent the Adhesion of Modeling Sand to Castings.»—Use a mixture of finely ground coke and graphite. Although the former material is highly porous, possessing this quality even as a fine powder, and the fine pulverization is a difficult operation, still the invention attains its purpose of producing an absolutely smooth surface. This is accomplished by mixing both substances intimately and adding melted rosin, whereupon the whole mass is exposed to heat, so that the rosin decomposes, its carbon residue filling up the finest pores of the coke. The rosin, in melting, carries the fine graphite particles along into the pores. After cooling the mass is first ground in edge mills, then again in a suitable manner and sifted. Surprising results are obtained with this material. It is advisable to take proportionately little graphite, as the different co-efficients of expansion of the two substances may easily exercise a disturbing action. One-fifth of graphite, in respect to the whole mass, gives the best results, but it is advisable to add plenty of rosin. The liquid mixture must, before burning, possess the consistency of mortar.

«Sand Holes in Cast-Brass Work.»—Cast-brass work, when it presents numerous and deep sand holes, should be well dipped into the dipping acid before being polished, in order thoroughly to clean these objectionable cavities; and the polishing should be pushed to an extent sufficient to obliterate the smaller sand holes, if possible, as this class of work looks very unsightly, when plated and finished, if pitted all over with minute hollows. The larger holes cannot, without considerable labor, be obliterated; indeed, it not infrequently happens that in endeavoring to work out such cavities they become enlarged, as they often extend deep into the body of the metal. An experienced hand knows how far he dare go in polishing work of this awkward character.

«Black Wash for Casting Molds.»—Gumlac, 1 part; wood spirit, 2 parts; lampblack, in sufficient quantity to color.

«How to Make a Plaster Cast of a Coin or Medal.»—The most exact observance of any written or printed directions is no guarantee of success. Practice alone can give expertness in this work. {151} The composition of the mold is of the most varied, but the materials most generally used are plaster of Paris and brick dust, in the proportion of 2 parts of the first to 1 of the second, stirred in water, with the addition of a little sal ammoniac. The best quality of plaster for this purpose is the so-called alabaster, and the brick dust should be as finely powdered as possible. The addition of clay, dried and very finely powdered, is recommended. With very delicate objects the proportion of plaster may be slightly increased. The dry material should be thoroughly mixed before the addition of water.

As the geometrically exact contour of the coin or medal is often the cause of breaking of the edges, the operator sometimes uses wax to make the edges appear half round and it also allows the casting to be more easily removed from the second half of the mold. Each half of the mold should be about the thickness of the finger. The keys, so called, of every plaster casting must not be forgotten. In the first casting some little half-spherical cavities should be scooped out, which will appear in the second half-round knobs, and which, by engaging with the depressions, will ensure exactness in the finished mold.

After the plaster has set, cut a canal for the flow of the molten casting material, then dry the mold thoroughly in an oven strongly heated. The halves are now ready to be bound together with a light wire. When bound heat the mold gradually and slowly and let the mouth of the canal remain underneath while the heating is in progress, in order to prevent the possible entry of dirt or foreign matter. The heating should be continued as long as there is a suspicion of remaining moisture. When finally assured of this fact, take out the mold, open it, and blow it out, to make sure of absolute cleanness. Close and bind again and place on a hearth of fine, hot sand. The mold should still be glowing when the casting is made. The ladle should contain plenty of metal, so as to hold the heat while the casting is being made. The presence of a little zinc in the metal ensures a sharp casting. Finally, to ensure success, it is always better to provide two molds in case of accident. Even the most practiced metal molders take this precaution, especially when casting delicate objects.

«How to Make Castings of Insects.»—The object—a dead beetle, for example—is first arranged in a natural position, and the feet are connected with an oval rim of wax. It is then fixed in the center of a paper or wooden box by means of pieces of fine wire, so that it is perfectly free, and thicker wires are run from the sides of the box to the object, which subsequently serve to form air channels in the mold by their removal. A wooden stick, tapering toward the bottom, is placed upon the back of the insect to produce a runner for casting. The box is then filled up with a paste with 3 parts of plaster of Paris and 1 of brick dust, made up with a solution of alum and sal ammoniac. It is also well first to brush the object with this paste to prevent the formation of air bubbles. After the mold thus formed has set, the object is removed from the interior by first reducing it to ashes. It is, therefore, allowed to dry, very slowly at first, by leaving in the shade at a normal temperature (as in India this is much higher than in our zone, it will be necessary to place the mold in a moderately warm place), and afterwards heating gradually to a red heat. This incinerates the object, and melts the waxen base upon which it is placed. The latter escapes, and is burned as it does so, and the object, reduced to fine ashes, is removed through the wire holes as suggested above. The casting is then made in the ordinary manner.

«Casting of Soft Metal Castings.»—I.—It is often difficult to form flat back or half castings out of the softer metals so that they will run full, owing mostly to the thin edges and frail connections. Instead of using solid metal backs for the molds it is better to use cardboard, or heavy, smooth paper, fastened to a wooden board fitted to the back of the other half of the mold. By this means very thin castings may be produced that would be more difficult with a solid metal back.

II.—To obtain a full casting in brass molds for soft metal two important points should be observed. One is to have the deep recesses vented so the air will escape, and the other is to have the mold properly blued. The bluing is best done by dipping the mold in sulphuric acid, then placing it on a gas stove until the mold is a dark color. Unless this bluing is done it will be impossible to obtain a sharp casting.

«Drosses.»—All the softer grades of metal throw off considerable dross, which is usually skimmed off; especially with tin and its composition. Should much of this gather on the top of the molten {152} metal, the drosses should all be saved, and melted down when there is enough for a kettle full. Dross may be remelted five or six times before all the good metal is out.

«Fuel.»—Where a good soft coal can be had at a low price, as in the middle West, this is perhaps the cheapest and easiest fuel to use; and, besides, it has some advantages over gas, which is so much used in the East. A soft-coal fire can be regulated to keep the metal at an even temperature, and it is especially handy to keep the metal in a molten state during the noon hour. This refers particularly to the gas furnaces that are operated from the power plant in the shop; when this power shuts down during the noon hour the metal becomes chilled, and much time is lost by the remelting after one o’clock, or at the beginning in the morning.

«Molds.»—I.—Brass molds for the casting of soft metal ornaments out of britannia, pewter, spelter, etc., should be made out of brass that contains enough zinc to produce a light-colored brass. While this hard brass is more difficult for the mold maker to cut, the superiority over the dark red copper-colored brass is that it will stand more heat and rougher usage and thereby offset the extra labor of cutting the hard brass. The mold should be heavy enough to retain sufficient heat while the worker is removing a finished casting from the mold so that the next pouring will come full. If the mold is too light it cools more quickly, and consequently the castings are chilled and will not run full. Where the molds are heavy enough they will admit the use of a swab and water after each pouring. This chills the casting so that it can be removed easily with the plyers.

II.—Molds for the use of soft metal castings may be made out of soft metal. This is done with articles that are not numerous, or not often used; and may be looked upon as temporary. The molds are made in part the same as when of brass, and out of tin that contains as much hardening as possible. The hardening consists of antimony and copper. This metal mold must be painted over several times with Spanish red, which tends to prevent the metal from melting. The metal must not be used too hot, otherwise it will melt the mold. By a little careful manipulation many pieces can be cast with these molds.

III.—New iron or brass molds must be blued before they can be used for casting purposes. This is done by placing the mold face downward on a charcoal fire, or by swabbing with sulphuric acid, then placing over a gas flame or charcoal fire until the mold is perfectly oxidized.

IV.—A good substantial mold for small castings of soft metal is made of brass. The expense of making the cast mold is considerable, however, and, on that account, some manufacturers are making their molds by electro-deposition. This produces a much cheaper mold, which can be made very quickly. The electro-deposited mold, however, is very frail in comparison with a brass casting, and consequently must be handled very carefully to keep its shape. The electro-deposited ones are made out of copper, and the backs filled in with a softer metal. The handles are secured with screws.

«Plaster Molds.»—Castings of any metal can be done in a plaster mold, provided the mold has dried, at a moderate heat, for several days. Smoke the mold well with a brand of rosin to insure a full cast. Where there are only one or two ornaments or figures to cast, it may be done in a mold made out of dental plaster. After the mold is made and set enough so that it can be taken apart, it should be placed in a warm place and left to dry for a day or two. When ready to use the inside should be well smoked over a gaslight; the mold should be well warmed and the metal must not be too hot. Very good castings may be obtained this way; the only objection being the length of time needed for a thorough drying of the mold.

«Temperature of Metal.»—Metals for casting purposes should not be overheated. If any of the softer metals show blue colors after cooling it is an indication that the metal is too hot. The metal should be heated enough so that it can be poured, and the finished casting have a bright, clean appearance. The mold may be very warm, then the metal need not be so hot for bright, clean castings. Some of the metals will not stand reheating too often, as this will cause them to run sluggish. Britannia metal should not be skimmed or stirred too much, otherwise there will be too much loss in the dross.

CASTING IN WAX: See Modeling.

CASTINGS, TO SOFTEN IRON: See Iron. {153}

«CASTOR OIL:»

«Purifying Rancid Castor Oil.»—To clean rancid castor oil mix 100 parts of the oil at 95° F. with a mixture of 1 part of alcohol (96 per cent) and 1 part of sulphuric acid. Allow to settle for 24 hours and then carefully decant from the precipitate. Now wash with warm water, boiling for 1⁠/⁠2 hour; allow to settle for 24 hours in well closed vessels, after which time the purified oil may be taken off.

«How to Pour Out Castor Oil.»—Any one who has tried to pour castor oil from a square, 5-gallon can, when it is full, knows how difficult it is to avoid a mess. This, however, may be avoided by having a hole punched in the cap which screws onto the can, and a tube, 2 inches long and 3⁠/⁠4 of an inch in diameter, soldered on. With a wire nail a hole is punched in the top of the can between the screw cap and the edge of the can. This will admit air while pouring. Resting the can on a table, with the screw-cap tube to the rear, the can is carefully tilted forward with one hand and the shop bottle held in the other. In this way the bottle may be filled without spilling any of the oil and that, too, without a funnel. It is preferable to rest the can on a table when pouring from a 1- or 2-gallon square varnish can, when filling shop bottles. With the opening to the rear, the can is likewise tilted forward slowly so as to allow the surface of the liquid to become “at rest.” Even mobile liquids, such as spirits of turpentine, may be poured into shop bottles without a funnel. Of course, the main thing is that the can be lowered slowly, otherwise the first portion may spurt out over the bottle. With 5-gallon round cans it is possible to fill shop bottles in the same manner by resting the can on a box or counter. When a funnel is used for non-greasy liquids, the funnel may be slightly raised with the thumb and little finger from the neck of the bottle, while holding the bottle by the neck between the middle and ring fingers, to allow egress of air.

«Tasteless Castor Oil.»—

I.—Pure castor oil 1 pint Cologne spirit 3 fluidounces Oil of wintergreen 40 minims Oil of sassafras 20 minims Oil of anise 15 minims Saccharine 5 grains Hot water, a sufficient quantity.

Place the castor oil in a gallon bottle. Add a pint of hot water and shake vigorously for about 15 minutes. Then pour the mixture into a vessel with a stopcock at its base, and allow the mixture to stand for 12 hours. Draw off the oil, excepting the last portion, which must be rejected. Dissolve the essential oils and saccharine in the cologne spirit and add to the washed castor oil.

II.—First prepare an aromatic solution of saccharine as follows:

Refined saccharine 25 parts Vanillin 5 parts Absolute alcohol 950 parts Oil of cinnamon 20 parts

Dissolve the saccharine and vanillin in the alcohol, then add the cinnamon oil, agitate well and filter. Of this liquid add 20 parts to 980 parts of castor oil and mix by agitation. Castor oil, like cod-liver oil, may be rendered nearly tasteless, it is claimed, by treating it as follows: Into a matrass of suitable size put 50 parts of freshly roasted coffee, ground as fine as possible, and 25 parts of purified and freshly prepared bone or ivory black. Pour over the mass 1,000 parts of the oil to be deodorized and rendered tasteless, and mix. Cork the container tightly, put on a water bath, and raise the temperature to about 140° F. Keep at this heat from 15 to 20 minutes, then let cool down, slowly, to 90°, at which temperature let stand for 3 hours. Finally filter, and put up in small, well-stoppered bottles.

III.—Vanillin 3 grains Garantose 4 grains Ol. menth. pip. 8 minims Alcoholis 3 drachms Ol. ricinus 12 ounces Ol. olivæ (imported), quantity sufficient 1 pint

M. ft. sol.

Mix vanillin, garantose, ol. menth. pip. with alcohol and add castor oil and olive oil.

Dose: One drachm to 2 fluidounces.

IV.—The following keeps well:

Castor oil 24 parts Glycerine 24 parts Tincture of orange peel 8 parts Tincture of senega 2 parts Cinnamon water enough to make 100 parts

Mix and make an emulsion. Dose is 1 tablespoonful.

V.—One part of common cooking molasses to 2 of castor oil is the best {154} disguise for the taste of the oil that can be used.

VI.—Castor oil 1 1⁠/⁠2 ounces Powdered acacia 2 drachms Sugar 2 drachms Peppermint water 4 ounces

Triturate the sugar and acacia, adding the oil gradually; when these have been thoroughly incorporated add the peppermint water in small portions, triturating the mixture until an emulsion is formed.

VII.—This formula for an emulsion is said to yield a fairly satisfactory product:

Castor oil 500 c.c. Mucilage of acacia 125 c.c. Spirit of gaultheria 10 grams Sugar 1 gram Sodium bicarbonate 1 gram

VIII.—Castor oil 1 ounce Compound tincture of cardamom 4 drachms Oil of wintergreen 3 drops Powdered acacia 3 drachms Sugar 2 drachms Cinnamon water enough to make 4 ounces. IX.—Castor oil 12 ounces Vanillin 3 grains Saccharine 4 grains Oil of peppermint 8 minims Alcohol 3 drachms Olive oil enough to make 1 pint.

In any case, use only a fresh oil.

«How to Take Castor Oil.»—The disgust for castor oil is due to the odor, not to the taste. If the patient grips the nostrils firmly before pouring out the dose, drinks the oil complacently, and then thoroughly cleanses the mouth, lips, larynx, etc., with water, removing the last vestige of the oil before removing the fingers, he will not get the least taste from the oil, which is bland and tasteless. It all depends upon preventing any oil from entering the nose during the time while there is any oil present.

«Castor-Oil Chocolate Lozenges.»—

Cacao, free from oil 250 parts Castor oil 250 parts Sugar, pulverized 500 parts Vanillin sugar 5 parts

Mix the chocolate and oil and heat in the water, both under constant stirring. Have the sugar well dried and add, stirring constantly, to the molten mass. Continue the heat for 30 minutes, then pour out and divide into lozenges in the usual way.

CAT DISEASES AND THEIR REMEDIES: See Insecticides and Veterinary Formulas.

«CATATYPY.»

It is a well-known fact that the reactions of the compounds of silver, platinum, and chromium in photographic processes are generally voluntary ones and that the light really acts only as an accelerator, that is to say the chemical properties of the preparations also change in the dark, though a longer time is required. When these preparations are exposed to the light under a negative, the modification of their chemical properties is accelerated in such a way that, through the gradations of the tone-values in the negative, the positive print is formed. Now it has been found that we also have such accelerators in material substances that can be used in the light, the process being termed catalysis. It is remarkable that these substances, called catalyzers, apparently do not take part in the process, but bring about merely by their presence, decomposition or combination of other bodies during or upon contact. Hence, catalysis may be defined, in short, as the act of changing or accelerating the speed of a chemical reaction by means of agents which appear to remain stable.

Professor Ostwald and Dr. O. Gros, of the Leipsic University, have given the name of “catatypy” to the new copying process. The use of light is entirely done away with, except that for the sake of convenience the manipulations are executed in the light. All that is necessary is to bring paper and negative into contact, no matter whether in the light or in the dark. Hence the negative (if necessary a positive may also be employed) need not even be transparent, for the ascending and descending action of the tone values in the positive picture is produced only by the quantity in the varying density of the silver powder contained in the negative. Hence no photographic (light) picture, but a catatypic picture (produced by contact) is created, but the final result is the same.

Catatypy is carried out as follows: Pour dioxide of hydrogen over the negative, which can be done without any damage to the latter, and lay a piece of paper on (sized or unsized, rough or smooth, according to the effect desired); by a contact lasting a few seconds the paper receives the picture, dioxide of hydrogen being destroyed. From a single application several prints can be made. The acquired picture—still {155} invisible—may now in the further course of the process, have a reducing or oxydizing action. As picture-producing bodies, the large group of iron salts are above all eminently adapted, but other substances, such as chromium, manganese, etc., as well as pigments with glue solutions may also be employed. The development takes place as follows: When the paper which has been in contact with the negative is drawn through a solution of ferrous oxide, the protoxide is transformed into oxide by the peroxide, hence a yellow positive picture, consisting of iron oxide, results, which can be readily changed into other compounds, so that the most varying tones of color can be obtained. With the use of pigments, in conjunction with a glue solution, the action is as follows: In the places where the picture is, the layer with the pigments becomes insoluble and all other dye stuffs can be washed off with water.

The chemical inks and reductions, as well as color pigments, of which the pictures consist, have been carefully tested and are composed of such as are known to possess unlimited durability.

After a short contact, simply immerse the picture in the respective solution, wash out, and a permanent picture is obtained.

CATERPILLAR DESTROYERS: See Insecticides.

«CATGUT:»

«Preparation of Catgut Sutures.»—The catgut is stretched tightly over a glass plate tanned in 5 per cent watery extract of quebracho, washed for a short time in water, subjected to the action of a 4 per cent formalin solution for 24 to 48 hours, washed in running water for 24 hours, boiled in water for 10 to 15 minutes, and stored in a mixture of absolute alcohol with 5 per cent glycerine and 4 per cent carbolic acid. In experiments on dogs, this suture material in aseptic wounds remained intact for 65 days, and was absorbed after 83 days. In infected wounds it was absorbed after 32 days.

CATSUP (ADULTERATED): See Foods.

CATTLE DIPS AND APPLICATIONS: See Disinfectants and Insecticides.

CEILING CLEANERS: See Cleaning Preparations and Methods, and also Household Formulas.

«CELERY COMPOUND.»

Celery (seed ground) 25 parts Coca leaves (ground) 25 parts Black haw (ground) 25 parts Hyoscyamus leaves (ground) 12 1⁠/⁠2 parts Podophyllum (powdered) 10 parts Orange peel (ground) 6 parts Sugar (granulated) 100 parts Alcohol 150 parts Water, q. s. ad. 400 parts

Mix the alcohol with 150 parts of water and macerate drugs for 24 hours; pack in percolator and pour on menstruum till 340 parts is obtained; dissolve sugar in it and strain.

CELLS, SOLUTIONS AND FILLERS FOR BATTERY: See Battery Solutions and Fillers.

CELLARS, WATERPROOF: See Household Formulas.

CELLOIDIN PAPER: See Paper.

«Celluloid»

«New Celluloid.»—M. Ortmann has ascertained that turpentine produced by the Pinus larix, generally denominated Venice turpentine, in combination with acetone (dimethyl ketone), yields the best results; but other turpentines, such as the American from the Pinus australis, the Canada turpentine from the Pinus balsamea, the French turpentine from the Pinus maritima, and ketones, such as the ketone of methyl-ethyl, the ketone of dinaphthyl, the ketone of methyl-oxynaphthyl, and the ketone of dioxy-naphthyl, may be employed.

To put this process in practice, 1,000 parts of pyroxyline is prepared in the usual manner, and mixed with 65 parts of turpentine, or 250 parts of ketone and 250 parts of ether; 500 parts or 750 parts of methyl alcohol is added, and a colorant, such as desired. Instead of turpentine, rosins derived from it may be employed. If the employment of camphor is desired to a certain extent, it may be added to the mixture. The whole is shaken and left at rest for about 12 hours. It is then passed between hot rollers, and finally pressed, cut, and dried, like ordinary celluloid. {156}

The product thus obtained is without odor, when camphor is not employed; and in appearance and properties it cannot be distinguished from ordinary celluloid, while the expense of production is considerably reduced.

«Formol Albumen for Preparation of Celluloid.»—Formol has the property of forming combinations with most albuminoid substances. These are not identical with reference to plasticity, and the use which may be derived from them for the manufacture of plastic substances. This difference explains why albumen should not be confounded with gelatin or casein. With this in view, the Société Anonyme l’Oyonnaxienne has originated the following processes:

I.—The albumen may be that of the egg or that of the blood, which are readily found in trade. The formolizing may be effected in the moist state or in the dry state. The dry or moist albumen is brought into contact with the solution of commercial formol diluted to 5 or 10 per cent for an hour. Care must be taken to pulverize the albumen, if it is dry. The formol penetrates rapidly into the albuminoid matter, and is filtered or decanted and washed with water until all the formol in excess has completely disappeared; this it is easy to ascertain by means of aniline water, which produces a turbid white as long as a trace of formic aldehyde remains.

The formol albumen is afterwards dried at low temperature by submitting it to the action of a current of dry air at a temperature not exceeding 107° F. Thus obtained, the product appears as a transparent corneous substance. On pulverizing, it becomes opaque and loses its transparency. It is completely insoluble in water, but swells in this liquid.

II.—The formol albumen is reduced to a perfectly homogeneous powder, and mixed intimately with the plastic matter before rolling. This cannot be considered an adequate means for effecting the mixture. It is necessary to introduce the formol albumen, in the course of the moistening, either by making an emulsion with camphor alcohol, or by mixing it thoroughly with nitro-cellulose, or by making simultaneously a thorough mixture of the three substances. When the mixture is accomplished, the paste is rolled according to the usual operation. The quantity of formol albumen to add is variable, being diminished according to the quantity of camphor.

Instead of adding the desiccated formol albumen, it may previously be swollen in water in order to render it more malleable.

Instead of simple water, alkalinized or acidified water may be taken for this purpose, or even alcoholized water. The albumen, then, should be pressed between paper or cloth, in order to remove the excess of moisture.

«Plastic Substances of Nitro-Cellulose Base.»—To manufacture plastic substances the Compagnie Française du Celluloid commences by submitting casein to a special operation. It is soaked with a solution of acetate of urea in alcohol; for 100 parts of casein 5 parts of acetate of urea and 50 parts of alcohol are employed. The mass swells, and in 48 hours the casein is thoroughly penetrated. It is then ready to be incorporated with the camphored nitro-cellulose. The nitro-cellulose, having received the addition of camphor, is soaked in the alcohol, and the mass is well mixed. The casein prepared as described is introduced into the mass. The whole is mixed and left at rest for 2 days.

The plastic pulp thus obtained is rolled, cut, and dried like ordinary cellulose, and by the same processes and apparatus. The pulp may also be converted into tubes and other forms, like ordinary celluloid.

It is advisable to subject the improved plastic pulp to a treatment with formaldehyde for the purpose of rendering insoluble the casein incorporated in the celluloid. The plastic product of nitro-cellulose base, thus obtained, presents in employment the same general properties as ordinary celluloid. It may be applied to the various manufacturing processes in use for the preparation of articles of all kinds, and its cost price diminishes more or less according to the proportion of casein associated with the ordinary celluloid. In this plastic product various colorants may be incorporated, and the appearance of shell, pearl, wood, marble, or ivory may also be imparted.

«Improved Celluloid.»—This product is obtained by mingling with celluloid, under suitable conditions, gelatin or strong glue of gelatin base. It is clear that the replacement of part of the celluloid by the gelatin, of which the cost is much less, lowers materially the cost of the final product. The result is obtained without detriment to the qualities of the objects. These are said to be of superior properties, having more firmness than those of celluloid. And the new material {157} is worked more readily than the celluloid employed alone.

The new product may be prepared in open air or in a closed vessel under pressure. When operated in the air, the gelatin is first immersed cold (in any form, and in a state more or less pure) in alcohol marking about 140° F., with the addition of a certain quantity (for example, 5 to 10 per cent) of crystallizable acetic acid. In a few hours the material has swollen considerably, and it is then introduced in alcohol of about 90 per cent, and at the same time the celluloid pulp (camphor and gun cotton), taking care to add a little acetone. The proportion of celluloid in the mixture may be 50 to 75 per cent of the weight of the gelatin, more or less, according to the result desired. After heating the mixture slightly, it is worked, cold, by the rollers ordinarily employed for celluloid and other similar pastes, or by any other suitable methods.

The preparation in a closed vessel does not differ from that which has been described, except for the introduction of the mixture of gelatin, celluloid, alcohol, and acetone, at the moment when the heating is to be accomplished in an autoclave heated with steam, capable of supporting a pressure of 2 to 5 pounds, and furnished with a mechanical agitator. This method of proceeding abridges the operation considerably; the paste comes from the autoclave well mingled, and is then submitted to the action of rollers. There is but little work in distilling the alcohol and acetic acid in the autoclave. These may be recovered, and on account of their evaporation the mass presents the desired consistency when it reaches the rollers. Whichever of the two methods of preparation may be employed, the substance may be rolled as in the ordinary process, if a boiler with agitator is made use of; the mass may be produced in any form.

«Preparation of Uninflammable Celluloid.»—The operation of this process by Woodward is the following: In a receiver of glass or porcelain, liquefied fish glue and gum arabic are introduced and allowed to swell for 24 hours in a very dry position, allowing the air to circulate freely. The receiver is not covered. Afterwards it is heated on a water bath, and the contents stirred (for example, by means of a porcelain spatula) until the gum is completely liquefied. The heating of the mass should not exceed 77° F. Then the gelatin is added in such a way that there are no solid pieces. The receiver is removed from the water bath and colza oil added, while agitating anew. When the mixture is complete it is left to repose for 24 hours.

Before cooling, the mixture is passed through a sieve in order to retain the pieces which may not have been dissolved. After swelling, and the dissolution and purification by means of the sieve, it is allowed to rest still in the same position, with access of air. The films formed while cooling may be removed. The treatment of celluloid necessitates employing a solution completely colorless and clear. The celluloid to be treated while it is still in the pasty state should be in a receiver of glass, porcelain, or similar material.

The mass containing the fish glue is poured in, drop by drop, while stirring carefully, taking care to pour it in the middle of the celluloid and to increase the surface of contact.

When the mixture is complete, the celluloid is ready to be employed and does not produce flame when exposed.

The solution of fish glue may be prepared by allowing 200 parts of it to swell for 48 hours in 1,000 parts of cold distilled water. It is then passed through the sieve, and the pieces which may remain are broken up, in order to mingle them thoroughly with the water. Ten parts of kitchen salt are then added, and the whole mass passed through the sieve.

This product may be utilized for the preparation of photographic films or for those used for cinematographs, or for replacing hard caoutchouc for the insulation of electric conductors, and for the preparation of plastic objects.

«Substitute for Camphor in the Preparation of Celluloid and Applicable to Other Purposes.»—In this process commercial oil of turpentine, after being rectified by distillation over caustic soda, is subjected to the action of gaseous chlorhydric acid, in order to produce the solid monochlorhydrate of turpentine. After having, by means of the press, extracted the liquid monochlorhydrate, and after several washings with cold water, the solid matter is desiccated and introduced into an autoclave apparatus capable of resisting a pressure of 6 atmospheres. Fifty per cent of caustic soda, calculated on the weight of the monochlorhydrate, and mingled with an equal quantity of alcohol, is added in the form of a thick solution. The apparatus is closed and heated for several hours at the {158} temperature of 284° to 302° F. The material is washed several times for freeing it from the mingled sodium chloride and sodium hydrate, and the camphor resulting from this operation is treated in the following manner:

In an autoclave constructed for the purpose, camphene and water strongly mixed with sulphuric acid are introduced and heated so as to attain 9 pounds of pressure. Then an electric current is applied, capable of producing the decomposition of water. The mass is constantly stirred, either mechanically or more simply by allowing a little of the steam to escape by a tap. In an hour, at least, the material is drawn from the apparatus, washed and dried, sublimed according to need, and is then suitable for replacing camphor in its industrial employments, for the camphene is converted entirely or in greater part into camphor, either right-hand camphor, or a product optically inactive, according to the origin of the oil of turpentine made use of.

In the electrolytic oxidation of the camphene, instead of using acidulated water, whatever is capable of furnishing, under the influence of the electric current, the oxygen necessary for the reaction, such as oxygenized water, barium bioxide, and the permanganates, may be employed.

«Plastic and Elastic Composition.»—Formaldehyde has the property, as known, of removing from gelatin its solubility and its fusibility, but it has also another property, prejudicial in certain applications, of rendering the composition hard and friable. In order to remedy this prejudicial action M. Deborda adds to the gelatin treated by means of formaldehyde, oil of turpentine, or a mixture of oil of turpentine and German turpentine or Venice turpentine. The addition removes from the composition its friability and hardness, imparting to it great softness and elasticity. The effect is accomplished by a slight proportion, 5 to 10 per cent.

«Production of Substances Resembling Celluloid.»—Most of the substitutes for camphor in the preparation of celluloid are attended with inconveniences limiting their employment and sometimes causing their rejection. Thus, in one case the celluloid does not allow of the preparation of transparent bodies; in another it occasions too much softness in the products manufactured; and in still another it does not allow of pressing, folding, or other operations, because the mass is too brittle; in still others combinations are produced which in time are affected unfavorably by the coloring substances employed.

Callenberg has found that the halogenous derivatives of etherized oils, principally oil of turpentine, and especially the solid chloride of turpentine, which is of a snowy and brilliant white, and of agreeable odor, are suitable for yielding, either alone or mixed with camphor or one of its substitutes, and combined by ordinary means with nitrated cellulose, or other ethers of cellulose, treated with acetic ether, a celluloidic product, which, it is said, is not inferior to ordinary celluloid and has the advantage of reduced cost.

«Elastic Substitute for Celluloid.»—Acetic cellulose, like nitro-cellulose, can be converted into an elastic corneous compound. The substances particularly suitable for the operation are organic substances containing one or more hydroxy, aldehydic, amide, or ketonic groups, as well as the acid amides. Probably a bond is formed when these combinations act on the acetate of cellulose, but the bond cannot well be defined, considering the complex nature of the molecule of cellulose. According to the mode of preparation, the substances obtained form a hard mass, more or less flexible. In the soft state, copies of engraved designs can be reproduced in their finest details. When hardened, they can be cut and polished. In certain respects they resemble celluloid, without its inflammability, and they can be employed in the same manner. They can be produced by the following methods—the Lederer process:

I.—Melt together 1 part of acetate of cellulose and 1 1⁠/⁠2 parts of phenol at about the temperature of 104° to 122° F. When a clear solution is obtained place the mass of reaction on plates of glass or metal slightly heated and allow it to cool gradually. After a rest of several days the mass, which at the outset is similar to caoutchouc, is hard and forms flexible plates, which can be worked like celluloid.

II.—Compress an intimate mixture of equal parts of acetic cellulose and hydrate of chloride or of aniline, at a temperature of 122° to 140° F., and proceed as in the previous case.

In the same way a ketone may be employed, as acetophenone, or an acid amide, as acetamide.

III.—A transparent, celluloid-like substance which is useful for the {159} production of plates, tubes, and other articles, but especially as an underlay for sensitive films in photography, is produced by dissolving 1.8 parts, by weight, of nitro-cellulose in 16 parts of glacial acetic acid, with heating and stirring and addition of 5 parts of gelatin. After this has swelled up, add 7.5 parts, by weight, of alcohol (96 per cent), stirring constantly. The syrupy product may be pressed into molds or poured, after further dilution with the said solvents in the stated proportion, upon glass plates to form thin layers. The dried articles are well washed with water, which may contain a trace of soda lye, and dried again. Photographic foundations produced in this manner do not change, nor attack the layers sensitive to light, nor do they become electric, and in developing they remain flat.

IV.—Viscose is the name of a new product of the class of substances like celluloid, pegamoid, etc., substances having most varied and valuable applications. It is obtained directly from cellulose by mascerating this substance in a 1 per cent dilution of hydrochloric acid. The maceration is allowed to continue for several hours, and at its close the liquid is decanted and the residue is pressed off and washed thoroughly. The mass (of which we will suppose there is 100 grams) is then treated with a 20 per cent aqueous solution of sodium hydrate, which dissolves it. The solution is allowed to stand for 3 days in a tightly closed vessel; 100 grams carbon disulphide are then added, the vessel closed and allowed to stand for 12 hours longer, when it is ready for purification. Viscose thus formed is soluble in water, cold or tepid, and yields a solution of a pale brownish color, from which it is precipitated by alcohol and sodium chloride, which purifies it, but at the expense of much of its solubility. A solution of the precipitated article is colorless, or of a slightly pale yellow. Under the action of heat, long continued, viscose is decomposed, yielding cellulose, caustic soda, and carbon disulphide.

See also Casein for Celluloid Substitutes.

«Celluloid of Reduced Inflammability.»—I.—A practicable method consists in incorporating silica, which does not harm the essential properties of the celluloid. The material is divided by the usual methods, and dissolved by means of the usual solvents, to which silica has been added, either in the state of amylic, ethylic, or methylic silicate, or in the state of any ether derivative of silicic acid. The suitable proportions vary according to the degree of inflammability desired, and according to the proportion of silica in the ether derivative employed; but sufficient freedom from inflammability for practical purposes is attained by the following proportions: Fifty-five to 65 parts in volume of the solvent of the celluloid, and 35 to 45 parts of the derivative of silicic acid.

When the ether derivative is in the solid form, such, for instance, as ethyl disilicate, it is brought to the liquid state by means of any of the solvents. The union of the solvent and of the derivative is accomplished by mixing the two liquids and shaking out the air as much as possible. The incorporation of this mixture with the celluloid, previously divided or reduced to the state of chips, is effected by pouring the mixture on the chips, or inversely, shaking or stirring as free from the air as possible. The usual methods are employed for the desiccation of the mass. A good result is obtained by drying very slowly, preferably at a temperature not above 10° C. (50° F.). The resulting residue is a new product scarcely distinguished from ordinary celluloid, except that the inherent inflammability is considerably reduced. It is not important to employ any individual silicate or derivative. A mixture of the silicates or derivatives mentioned will accomplish the same results.

II.—Any ignited body is extinguished in a gaseous medium which is unsuitable for combustion; the attempt has therefore been made to find products capable of producing an uninflammable gas; and products have been selected that yield chlorine, and others producing bromine; it is also necessary that these bodies should be soluble in a solvent of celluloid; therefore, among chlorated products, ferric chloride has been taken; this is soluble in the ether-alcohol mixture.

This is the process: An ether-alcohol solution of celluloid is made; then an ether-alcohol solution of ferric perchloride. The two solutions are mingled, and a clear, syrupy liquid of yellow color, yielding no precipitate, is obtained. The liquid is poured into a cup or any suitable vessel; it is left for spontaneous evaporation, and a substance of shell-color is produced, which, after washing and drying, effects the desired result. The celluloid thus treated loses none of its properties in pliability and transparency, and is not only uninflammable, but also incombustible. {160}

Of bromated compounds, calcium bromide has been selected, which produces nearly the same result; the product obtained fuses in the flame; outside, it is extinguished, without the power of ignition.

It may be objected that ferric perchloride and calcium bromide, being soluble in water, may present to the celluloid a surface capable of being affected by moist air; but the mass of celluloid, not being liable to penetration by water, fixes the chlorinated or brominated product. Still, as the celluloid undergoes a slight decomposition, on exposure to the light, allowing small quantities of camphor to evaporate, the surface of the perchlorinated celluloid may be fixed by immersion in albuminous water, after previous treatment with a solution of oxalic acid, if a light yellow product is desired.

For preventing the calcium bromide from eventually oozing on the surface of the celluloid, by reason of its deliquescence, it may be fixed by immersing the celluloid in water acidulated with sulphuric acid. For industrial products, such as toilet articles, celluloid with ferric perchloride may be employed.

Another method of preparing an uninflammable celluloid, based on the principle above mentioned, consists in mixing bromide of camphor with cotton powder, adding castor oil to soften the product, in order that it may be less brittle. The latter product is not incombustible, but it is uninflammable, and its facility of preparation reduces at least one-half the apparatus ordinarily made use of in the manufacture of celluloid. The manufacture of this product is not at all dangerous, for the camphor bromide is strictly uninflammable, and may be melted without any danger of dissolving the gun cotton.

III.—Dissolve 25 parts of ordinary celluloidin in 250 parts of acetone and add a solution of 50 parts of magnesium chloride in 150 parts of alcohol, until a paste results, which occurs with a proportion of about 100 parts of the former solution to 20 parts of the latter solution. This paste is carefully mixed and worked through, then dried, and gives an absolutely incombustible material.

IV.—Glass-like plates which are impervious to acids, salts, and alkalies, flexible, odorless, and infrangible, and still possess a transparency similar to ordinary glass, are said to be obtained by dissolving 4 to 8 per cent of collodion wool (soluble pyroxylin) in 1 per cent of ether or alcohol and mixing the solution with 2 to 4 per cent of castor oil, or a similar non-resinifying oil, and with 4 to 6 per cent of Canada balsam. The inflammability of these plates is claimed to be much less than with others of collodion, and may be almost entirely obviated by admixture of magnesium chloride. An addition of zinc white produces the appearance of ivory.

«Solvents for Celluloid.»—Celluloid dissolves in acetone, sulphuric ether, alcohol, oil of turpentine, benzine, amyl acetate, etc., alone, or in various combinations of these agents. The following are some proportions for solutions of celluloid:

I.—Celluloid 5 parts Amyl acetate 10 parts Acetone 16 parts Sulphuric ether 16 parts

II.—Celluloid 10 parts Sulphuric ether 30 parts Acetone 30 parts Amyl acetate 30 parts Camphor 3 parts

III.—Celluloid 5 parts Alcohol 50 parts Camphor 5 parts

IV.—Celluloid 5 parts Amyl acetate 50 parts

V.—Celluloid 5 parts Amyl acetate 25 parts Acetone 25 parts

«Softening and Cementing Celluloid.»—If celluloid is to be warmed only sufficiently to be able to bend it, a bath in boiling water will answer. In steam at 120° C. (248° F.), however, it becomes so soft that it may be easily kneaded like dough, so that one may even imbed in it metal, wood, or any similar material. If it be intended to soften it to solubility, the celluloid must then be scraped fine and macerated in 90 per cent alcohol, whereupon it takes on the character of cement and may be used to join broken pieces of celluloid together. Solutions of celluloid may be prepared: 1. With 5 parts, by weight, of celluloid in 16 parts, by weight, each of amyl acetate, acetone, and sulphuric ether. 2. With 10 parts, by weight, of celluloid in 30 parts, by weight, each of sulphuric ether, acetone, amyl acetate, and 4 parts, by weight, camphor. 3. With 5 parts, by weight, celluloid in 50 parts, by weight, alcohol and 5 parts, by weight, camphor. 4. With 5 parts, by weight, celluloid in 50 parts, by weight, amyl acetate. 5. With 5 parts, by weight, celluloid in 25 parts, by weight, amyl acetate and 25 parts, by weight, acetone. {161}

It is often desirable to soften celluloid so that it will not break when hammered. Dipping it in water warmed to 40° C. (104° F.) will suffice for this.

«Mending Celluloid.»—Celluloid dishes which show cracks are easily repaired by brushing the surface repeatedly with alcohol, 3 parts, and ether, 4 parts, until the mass turns soft and can be readily squeezed together. The pressure must be maintained for about one day. By putting only 1 part of ether in 3 parts of alcohol and adding a little shellac, a cement for celluloid is obtained, which, applied warm, produces quicker results. Another very useful gluing agent for celluloid receptacles is concentrated acetic acid. The celluloid fragments dabbed with it stick together almost instantaneously.

See also Adhesives for Methods of Mending Celluloid.

«Printing on Celluloid.»—Printing on celluloid may be done in the usual way. Make ready the form so as to be perfectly level on the impression—that is, uniform to impressional touch on the face. The tympan should be hard. Bring up the form squarely, allowing for about a 3- or 4-sheet cardboard to be withdrawn from the tympan when about to proceed with printing on the celluloid; this is to allow for the thickness of the sheet of celluloid. Use live but dry and well-seasoned rollers. Special inks of different colors are made for this kind of presswork; in black a good card-job quality will be found about right, if a few drops of copal varnish are mixed with the ink before beginning to print.

«Colored Celluloid.»—

Black: First dip into pure water, then into a solution of nitrate of silver; let dry in the light.

Yellow: First immerse in a solution of nitrate of lead, then in a concentrated solution of chromate of potash.

Brown: Dip into a solution of permanganate of potash made strongly alkaline by the addition of soda.

Blue: Dip into a solution of indigo neutralized by the addition of soda.

Red: First dip into a diluted bath of nitric acid; then into an ammoniacal solution of carmine.

Green: Dip into a solution of verdigris.

Aniline colors may also be employed but they are less permanent.

«Bleaching Celluloid.»—If the celluloid has become discolored throughout, its whiteness can hardly be restored, but if merely superficially discolored, wipe with a woolen rag wet with absolute alcohol and ether mixed in equal proportions. This dissolves and removes a minute superficial layer and lays bare a new surface. To restore the polish rub briskly first with a woolen cloth and finish with silk or fine chamois. A little jeweler’s rouge or putzpomade greatly facilitates matters. Ink marks may be removed in the same manner. Printer’s ink may be removed from celluloid by rubbing first with oil of turpentine and afterwards with alcohol and ether.

«Process of Impregnating Fabrics with Celluloid.»—The fabric is first saturated with a dilute celluloid solution of the consistency of olive oil, which solution penetrates deeply into the tissue; dry quickly in a heating chamber and saturate with a more concentrated celluloid solution, about as viscous as molasses. If oil be added to the celluloid solution, the quantity should be small in the first solution, e. g., 1 to 2 per cent, in the following ones 5 to 8 per cent, while the outer layer contains very little or no oil. A fabric impregnated in this manner possesses a very flexible surface, because the outer layer may be very thin, while the interior consists of many flexible fibers surrounded by celluloid.

CELLULOID CEMENTS AND GLUES: See Adhesives.

CELLULOID LACQUER: See Lacquer.

CELLULOID PUTTY: See Cements.

«Cements»

(See also Putties.)

For Adhesive Cements intended for repairing broken articles, see Adhesives.

«Putty for Celluloid.»—To fasten celluloid to wood, tin, etc., use a compound of 2 parts shellac, 3 parts spirit of camphor, and 4 parts strong alcohol.

«Plumbers’ Cement.»—A plumbers’ cement consists of 1 part black rosin, melted, and 2 parts of brickdust, thoroughly powdered and dried.

«Cement for Steam and Water Pipes.»—A cement for pipe joints is made as follows: Ten pounds fine yellow ocher; 4 pounds {162} ground litharge; 4 pounds whiting, and 1⁠/⁠2 pound of hemp, cut up fine. Mix together thoroughly with linseed oil to about the consistency of putty.

«Gutter Cement.»—Stir sand and fine lime into boiled paint skins while hot and thick. Use hot.

«Cement for Pipe Joints.»—A good cement for making tight joints in pumps, pipes, etc., is made of a mixture of 15 parts of slaked lime, 30 parts of graphite, and 40 parts of barium sulphate. The ingredients are powdered, well mixed together, and stirred up with 15 parts of boiled oil. A stiffer preparation can be made by increasing the proportions of graphite and barium sulphate to 30 and 40 parts respectively, and omitting the lime. Another cement for the same purpose consists of 15 parts of chalk and 50 of graphite, ground, washed, mixed, and reground to fine powder. To this mixture is added 20 parts of ground litharge, and the whole mixed to a stiff paste with about 15 parts of boiled oil. This last preparation possesses the advantage of remaining plastic for a long time when stored in a cool place. Finally, a good and simple mixture for tightening screw connections is made from powdered shellac dissolved in 10 per cent ammonia. The mucinous mass is painted over the screw threads, after the latter have been thoroughly cleaned, and the fitting is screwed home. The ammonia soon volatilizes, leaving behind a mass which hardens quickly, makes a tight joint, and is impervious to hot and cold water.

«Protection for Cement Work.»—A coating of soluble glass will impart to cement surfaces exposed to ammonia not only a protective covering, but also increased solidness.

Cemented surfaces can be protected from the action of the weather by repeated coats of a green vitriol solution consisting of 1 part of green vitriol and 3 parts of water. Two coatings of 5 per cent soap water are said to render the cement waterproof; after drying and rubbing with a cloth or brush, this coating will become glossy like oil paint. This application is especially recommended for sick rooms, since the walls can be readily cleaned by washing with soapy water. The coating is rendered more and more waterproof thereby. The green vitriol solution is likewise commendable for application on old and new plastering, since it produces thereon waterproof coatings. From old plastering the loose particles have first to be removed by washing.

«Puncture Cement.»—A patented preparation for automatically repairing punctures in bicycle tires consists of glycerine holding gelatinous silica or aluminum hydrate in suspension. Three volumes of glycerine are mixed with 1 volume of liquid water glass, and an acid is stirred in. The resulting jelly is diluted with 3 additional volumes of glycerine, and from 4 to 6 ounces of this fluid are placed in each tire. In case of puncture, the internal pressure of the air forces the fluid into the hole, which it closes.

«To Fix Iron in Stone.»—Of the quickly hardening cements, lead and sulphur, the latter is popularly employed. It can be rendered still more suitable for purposes of pouring by the admixture of Portland cement, which is stirred into the molten sulphur in the ratio of 1 to 3 parts by weight. The strength of the latter is increased by this addition, since the formation of so coarse a crystalline structure as that of solidifying pure sulphur is disturbed by the powder added.

«White Portland Cement.»—Mix together feldspar, 40–100 parts, by weight; kaolin, 100 parts; limestone, 700 parts; magnesite, 20–40 parts; and sodium chloride, 2.5–5 parts, all as pure as possible, and heat to 1430° to 1500° C. (2606° to 2732° F.), until the whole has become sintered together, and forms a nice, white cement-like mass.

«Cement for Closing Cracks in Stoves.»—Make a putty of reduced iron (iron by hydrogen) and a solution of sodium or potassium silicate, and force it into the crack. If the crack be a very narrow one, make the iron and silicate into paste instead of putty. This material grows firmer and harder the longer the mended article is used.

«Cement for Waterpipe.»—I.—Mix together 11 parts, by weight, Portland cement; 4 parts, by weight, lead white; 1 part, by weight, litharge; and make to a paste with boiled oil in which 3 per cent of its weight of colophony has been dissolved.

II.—Mix 1 part, by weight, torn-up wadding; 1 part, by weight, of quicklime, and 3 parts, by weight, of boiled oil. This cement must be used as soon as made.

«Cement for Pallet Stones.»—Place small pieces of shellac around the stone when in position and subject it to heat. Often the lac spreads unevenly or swells up; and this, in addition to being unsightly, is apt to displace the stone. This can be avoided as follows: The pallets are {163} held in long sliding tongs. Take a piece of shellac, heat it and roll it into a cylinder between the fingers; again heat the extremity and draw it out into a fine thread. This thread will break off, leaving a point at the end of the lac. Now heat the tongs at a little distance from the pallets, testing the degree of heat by touching the tongs with the shellac. When it melts easily, lightly touch the two sides of the notch with it; a very thin layer can thus be spread over them, and the pallet stone can then be placed in position and held until cold enough. The tongs will not lose the heat suddenly, so that the stone can easily be raised or lowered as required. The projecting particles of cement can be removed by a brass wire filed to an angle and forming a scraper. To cement a ruby pin, or the like, one may also use shellac dissolved in spirit, applied in the consistency of syrup, and liquefied again by means of a hot pincette, by seizing the stone with it.

«DENTAL CEMENTS:»

«Fairthorne’s Cement.»—Powdered glass, 5 parts; powdered borax, 4 parts; silicic acid, 8 parts; zinc oxide, 200 parts. Powder very finely and mix; then tint with a small quantity of golden ocher or manganese. The compound, mixed before use with concentrated syrupy zinc-chloride solution, soon becomes as hard as marble and constitutes a very durable tooth cement.

«Huebner’s Cement.»—Zinc oxide, 500.0 parts; powdered manganese, 1.5 parts; yellow ocher, powdered, 1.5–4.0 parts; powdered borax, 10.0 parts; powdered glass, 100.0 parts.

As a binding liquid it is well to use acid-free zinc chloride, which can be prepared by dissolving pure zinc, free from iron, in concentrated, pure, hydrochloric acid, in such a manner that zinc is always in excess. When no more hydrogen is evolved the zinc in excess is still left in the solution for some time. The latter is filtered and boiled down to the consistency of syrup.

Commercial zinc oxide cannot be employed without previous treatment, because it is too loose; the denser it is the better is it adapted for dental cements, and the harder the latter will be. For this reason it is well, in order to obtain a dense product, to stir the commercial pure zinc oxide into a stiff paste with water to which 2 per cent of nitric acid has been added; the paste is dried and heated for some time at white heat in a Hessian crucible.

After cooling, the zinc oxide, thus obtained, is very finely powdered and kept in hermetically sealed vessels, so that it cannot absorb carbonic acid. The dental cement prepared with such zinc oxide turns very hard and solidifies with the concentrated zinc-chloride solution in a few minutes.

«Phosphate Cement.»—Concentrate pure phosphoric acid till semi-solid, and mix aluminum phosphate with it by heating. For use, mix with zinc oxide to the consistency of putty. The cement is said to set in 2 minutes.

«Zinc Amalgam, or Dentists’ Zinc.»—This consists of pure zinc filings combined with twice their weight of mercury, a gentle heat being employed to render the union more complete. It is best applied as soon as made. Its color is gray, and it is said to be effective and durable.

«Sorel’s Cement.»—Mix zinc oxide with half its bulk of fine sand, add a solution of zinc chloride of 1.260 specific gravity, and rub the whole thoroughly together in a mortar. The mixture must be applied at once, as it hardens very quickly.

«Metallic Cement.»—Pure tin, with a small proportion of cadmium and sufficient mercury, forms the most lasting and, for all practical purposes, the least objectionable amalgam. Melt 2 parts of tin with 1 of cadmium, run it into ingots, and reduce it to filings. Form these into a fluid amalgam with mercury, and squeeze out the excess of the latter through leather. Work up the solid residue in the hand, and press it into the tooth. Or melt some beeswax in a pipkin, throw in 5 parts of cadmium, and when melted add 7 or 8 parts of tin in small pieces. Pour the melted metals into an iron or wooden box, and shake them until cold, so as to obtain the alloy in a powder. This is mixed with 2 1⁠/⁠2 to 3 times its weight of mercury in the palm of the hand, and used as above described.

CEMENT COLORS: See Stone.

CEMENT, MORDANT FOR: See Mordants.

CEMENT, PAINTS FOR: See Paint.

CEMENT, PROTECTION OF, AGAINST ACID: See Acid-Proofing. {164}

CHAIN OF FIRE: See Pyrotechnics.

CHAINS (WATCH), TO CLEAN: See Cleaning Preparations and Methods.

«CHALK FOR TAILORS.»

Knead together ordinary pipe clay, moistened with ultramarine blue for blue, finely ground ocher for yellow, etc., until they are uniformly mixed, roll out into thin sheets, cut and press into wooden or metallic molds, well oiled to prevent sticking, and allow to dry slowly at ordinary temperature or at a very gentle heat.

CHAPPED HANDS: See Cosmetics.

CHARTA SINAPIS: See Mustard Paper.

CHARTREUSE: See Wines and Liquors.

«Ceramics»

GROUND CERAMICS—LAYING OIL FOR: See Oil.

«Notes for Potters, Glass-, and Brick-makers.»—It is of the highest importance in selecting oxides, minerals, etc., for manufacturing different articles, for potters’ use, to secure pure goods, especially in the purchase of the following: Lead, manganese, oxide of zinc, borax, whiting, oxide of iron, and oxide of cobalt. The different ingredients comprising any given color or glaze should be thoroughly mixed before being calcined, otherwise the mass will be of a streaky or variegated kind. Calcination requires care, especially in the manufacture of enamel colors. Over-firing, particularly of colors or enamels composed in part of lead, borax, antimony, or litharge, causes a dullness of shade, or film, that reduces their value for decorative purposes, where clearness and brilliancy are of the first importance.

To arrest the unsightly defect of “crazing,” the following have been the most successful methods employed, in the order given:

I.—Flux made of 10 parts tincal; 4 parts oxide of zinc; 1 part soda.

II.—A calcination of 5 parts oxide of zinc; 1 part pearl ash.

III.—Addition of raw oxide of zinc, 6 pounds to each hundredweight of glaze.

To glazed brick and tile makers, whose chief difficulty appears to be the production of a slip to suit the contraction of their clay, and adhere strongly to either a clay or a burnt brick or tile, the following method may be recommended:

Mix together:

Ball clay 10 parts Cornwall stone 10 parts China clay 7 parts Flint 6 1⁠/⁠2 parts

To be mixed and lawned one week before use.

«To Cut Pottery.»—Pottery or any soft or even hard stone substance can be cut without chipping by a disk of soft iron, the edge of which has been charged with emery, diamond, or other grinding powder, that can be obtained at any tool agency. The cutting has to be done with a liberal supply of water fed continually to the revolving disk and the substance to be cut.

«BRICK AND TILEMAKERS’ GLAZED BRICKS:»

«White.»—When the brick or tile leaves the press, with a very soft brush cover the part to be glazed with No. 1 Slip; afterwards dip the face in the same mixture.

«No. 1 Slip.»—

Same clay as brick 9 parts Flint 1 part Ball clay 5 parts China 4 parts

Allow the brick to remain slowly drying for 8 to 10 hours, then when moist dip in the white body.

«White Body.»—

China clay 24 parts Ball clay 8 parts Feldspar 8 parts Flint 4 parts

The brick should now be dried slowly but thoroughly, and when perfectly dry dip the face in clean cold water, and immediately afterwards in glaze.

«Hard Glaze.»—

Feldspar 18 parts Cornwall stone 3 1⁠/⁠2 parts Whiting 1 1⁠/⁠2 parts Oxide of zinc 1 1⁠/⁠2 parts Plaster of Paris 3⁠/⁠4 part

{165}

«Soft Glaze.»—

White lead 13 parts Feldspar 20 parts Oxide of zinc 3 parts Plaster of Paris 1 part Flint glass 13 parts Cornwall stone 3 1⁠/⁠2 parts Paris white 1 1⁠/⁠4 parts

Where clay is used that will stand a very high fire, the white lead and glass may be left out. A wire brush should now be used to remove all superfluous glaze, etc., from the sides and ends of the brick, which is then ready for the kiln. In placing, set the bricks face to face, about an inch space being left between the two glazed faces. All the mixtures, after being mixed with water to the consistency of cream, must be passed 2 or 3 times through a very fine lawn. The kiln must not be opened till perfectly cold.

«Process for Colored Glazes.»—Use color, 1 part, to white body, 7 parts. Use color, 1 part, to glaze, 9 parts.

«Preparation of Colors.»—The specified ingredients should all be obtained finely ground, and after being mixed in the proportions given should, in a saggar or some clay vessel, be fired in the brick kiln and afterwards ground for use. In firing the ingredients the highest heat attainable is necessary.

«Turquoise.»—

Oxide of zinc 8 parts Oxide of cobalt 1 1⁠/⁠4 parts

«Grass Green.»—

Oxide of chrome 6 parts Flint 1 part Oxide of copper 1⁠/⁠2 part

«Royal Blue.»—

Pure alumina 20 parts Oxide of zinc 8 parts Oxide of cobalt 4 parts

«Mazarine Blue.»—

Oxide of cobalt 10 parts Paris white 9 parts Sulphate barytes 1 part

«Red Brown.»—

Oxide of zinc 40 parts Crocus of martis 6 parts Oxide of chrome 6 parts Red lead 5 parts Boracic acid 5 parts Red oxide of iron 1 part

«Orange.»—

Pure alumina 5 parts Oxide of zinc 2 parts Bichromate of potash 1 part Iron scale 1⁠/⁠2 part

«Claret Brown.»—

Bichromate of potash 2 parts Flint 2 parts Oxide of zinc 1 part Iron scale 1 part

«Blue Green.»—

Oxide of chrome 6 parts Flint 2 parts Oxide of cobalt 3⁠/⁠4 part

«Sky Blue.»—

Flint 9 parts Oxide of zinc 13 parts Cobalt 2 1⁠/⁠2 parts Phosphate soda 1 part

«Chrome Green.»—

Oxide of chrome 3 parts Oxide of copper 1 part Carbonate of cobalt 1 part Oxide of cobalt 2 parts

«Olive.»—

Oxide of chrome 3 parts Oxide of zinc 2 parts Flint 5 parts Oxide of cobalt 1 part

«Blood Red.»—

Oxide of zinc 30 parts Crocus martis 7 parts Oxide of chrome 7 parts Litharge 5 parts Borax 5 parts Red oxide of iron 2 parts

«Black.»—

Chromate of iron 24 parts Oxide of nickel 2 parts Oxide of tin 2 parts Oxide of cobalt 5 parts

«Imperial Blue.»—

Oxide of cobalt 10 parts Black color 1 1⁠/⁠2 parts Paris white 7 1⁠/⁠2 parts Flint 2 1⁠/⁠2 parts Carbonate of soda 1 part

«Mahogany.»—

Chromate of iron 30 parts Oxide of manganese 20 parts Oxide of zinc 12 parts Oxide of tin 4 parts Crocus martis 2 parts

«Gordon Green.»—

Oxide of chrome 12 parts Paris white 8 parts Bichromate of potash 4 1⁠/⁠2 parts Oxide of cobalt 3⁠/⁠4 part

«Violet.»—

Oxide of cobalt 2 1⁠/⁠2 parts Oxide of manganese 4 parts Oxide of zinc 8 parts Cornwall stone 8 parts

{166}

«Lavender.»—

Calcined oxide of zinc 5 parts Carbonate of cobalt 3⁠/⁠4 part Oxide of nickel 1⁠/⁠4 part Paris white 1 part

«Brown.»—

Manganese 4 parts Oxide of chrome 2 parts Oxide of zinc 4 parts Sulphate barytes 2 parts

«Dove.»—

Oxide of nickel 7 parts Oxide of cobalt 2 parts Oxide of chrome 1 part Oxide of flint 18 parts Paris white 3 parts

«Yellow Green.»—

Flint 6 parts Paris white 4 parts Bichromate of potash 4 1⁠/⁠2 parts Red lead 2 parts Fluorspar 2 parts Plaster of Paris 1 1⁠/⁠2 parts Oxide of copper 1⁠/⁠2 part

«BODIES REQUIRING NO STAIN:»

«Ivory.»—

Cane marl 16 parts Ball clay 12 parts Feldspar 8 parts China clay 6 parts Flint 4 parts

«Cream.»—

Ball clay 22 parts China clay 5 1⁠/⁠2 parts Flint 5 parts Feldspar 3 1⁠/⁠2 parts Cane marl 12 parts

«Black.»—

Ball clay 120 parts Ground ocher 120 parts Ground manganese 35 parts

«Buff.»—

Ball clay 12 parts China clay 10 parts Feldspar 8 parts Bull fire clay 16 parts Yellow ocher 3 parts

«Drab.»—

Cane marl 30 parts Ball clay 10 parts Stone 7 parts Feldspar 4 parts

«Brown.»—

Red marl 50 parts China clay 7 parts Ground manganese 6 parts Feldspar 3 parts

In making mazarine blue glazed bricks use the white body and stain the glaze only.

Mazarine blue 1 part Glaze 7 parts

For royal blue use 1 part stain to 6 parts white body, and glaze unstained.

«Blood-Red Stain.»—Numerous brick manufacturers possess beds of clay from which good and sound bricks or tiles can be made, the only drawback being that the clay does not burn a good color. In many cases this arises from the fact that the clay contains more or less sulphur or other impurity, which spoils the external appearance of the finished article. The following stain will convert clay of any color into a rich, deep red, mixed in proportions of stain, 1 part, to clay, 60 parts.

«Stain.»—

Crocus martis 20 parts Yellow ocher 4 parts Sulphate of iron 10 parts Red oxide of iron 2 parts

A still cheaper method is to put a slip or external coating upon the goods. The slip being quite opaque, effectively hides the natural color of the brick or tile upon which it may be used.

The process is to mix:

Blood-red stain 1 part Good red clay 6 parts

Add water until the mixture becomes about the consistency of cream, then with a sponge force the liquid two or three times through a very fine brass wire lawn, No. 80, and dip the goods in the liquid as soon as they are pressed or molded.

«Blue Paviors.»—Blue paving bricks may be produced with almost any kind of clay that will stand a fair amount of heat, by adopting the same methods as in the former case of blood-red bricks, that is, the clay may be stained throughout, or an outside coating may be applied.

«Stain for Blue Paviors.»—

Ground ironstone 20 parts Chromate of iron 5 parts Manganese 6 parts Oxide of nickel 1 part

Use 1 part clay and 1 part stain for coating, and 50 or 60 parts clay and 1 part stain for staining through.

Fire blue paviors very hard.

«Buff Terra-Cotta Slip.»—

Buff fire clay 16 parts China clay 6 parts {167} Yellow ocher 3 parts Ball clay 10 parts Flint 4 parts

Add water to the materials after mixing well, pass through the fine lawn, and dip the goods when soft in the liquid.

«Transparent Glaze.»—

Ground flint glass 4 parts Ground white lead 4 parts Ground oxide of zinc 1⁠/⁠4 part

This glaze is suitable for bricks or tiles made of very good red clay, the natural color of the clay showing through the glaze. The goods must first be fired sufficiently hard to make them durable, afterwards glazed, and fired again. The glaze being comparatively soft will fuse at about half the heat required for the first burning. The glaze may be stained, if desired, with any of the colors given in glazed-brick recipes, in the following proportions: Stain, 1 part; glaze, 1 part.

«SPECIAL RECIPES FOR POTTERY AND BRICK AND TILE WORKS:»

«Vitrifiable Bodies.»—The following mixtures will flux only at a very high heat. They require no glaze when a proper heat is attained, and they are admirably adapted for stoneware glazes.

I.—Cornwall stone 20 parts Feldspar 12 parts China clay 3 parts Whiting 2 parts Plaster of Paris 1 1⁠/⁠2 parts

II.—Feldspar 30 parts Flint 9 parts Stone 8 parts China clay 3 parts

III.—Feldspar 20 parts Stone 5 parts Oxide of zinc 3 parts Whiting 2 parts Plaster of Paris 1 part Soda crystals, dissolved 1 part

«Special Glazes for Bricks or Pottery at One Burning.»—To run these glazes intense heat is required.

I.—Cornwall stone 40 parts Flint 7 parts Paris white 4 parts Ball clay 15 parts Oxide of zinc 6 parts White lead 15 parts

II.—Feldspar 20 parts Cornwall stone 5 parts Oxide of zinc 3 parts Flint 3 parts Lynn sand 1 1⁠/⁠2 parts Sulphate barytes 1 1⁠/⁠2 parts

III.—Feldspar 25 parts Cornwall stone 6 parts Oxide of zinc 2 parts China clay 2 parts

IV.—Cornwall stone 118 parts Feldspar 40 parts Paris white 28 parts Flint 4 parts

V.—Feldspar 16 parts China clay 4 parts Stone 4 parts Oxide of zinc 2 parts Plaster of Paris 1 part

VI.—Feldspar 10 parts Stone 5 parts Flint 2 parts Plaster 1⁠/⁠2 part

The following glaze is excellent for bricks in the biscuit and pottery, which require an easy firing:

«White.»—

White lead 20 parts Stone 9 parts Flint 9 parts Borax 4 parts Oxide of zinc 2 parts Feldspar 3 parts

These materials should be procured finely ground, and after being thoroughly mixed should be placed in a fire-clay crucible, and be fired for 5 or 6 hours, sharply, or until the material runs down into a liquid, then with a pair of iron tongs draw the crucible from the kiln and pour the liquid into a bucket of cold water, grind the flux to an extremely fine powder, and spread a coating upon the plate to be enameled, previously brushing a little gum thereon. The plate must then be fired until a sufficient heat is attained to run or fuse the powder.

«POTTERY BODIES AND GLAZES:»

«Ordinary.»—

I.—China clay 2 1⁠/⁠2 parts Stone 1 1⁠/⁠2 parts Bone 3 parts

II.—China clay 5 parts Stone 2 1⁠/⁠2 parts Bone 7 parts Barytes 3 parts

III.—Chain clay 5 parts Stone 3 parts Flint 1⁠/⁠4 part Barytes 8 parts

«Superior.»—

I.—China clay 35 parts Cornwall stone 23 parts Bone 40 parts Flint 2 parts {168}

II.—China clay 35 parts Cornwall stone 8 parts Bone 50 parts Flint 3 parts Blue clay 4 parts

III.—China clay 8 parts Cornwall stone 40 parts Bone 29 parts Flint 5 parts Blue clay 18 parts

IV.—China clay 32 parts Cornwall stone 23 parts Bone 34 parts Flint 6 parts Blue clay 5 parts

V.—China clay 7 parts Stone 40 parts Bone 28 parts Flint 5 parts Blue clay 20 parts

«Finest China Bodies.»—

I.—China clay 20 parts Bone 60 parts Feldspar 20 parts

II.—China clay 30 parts Bone 40 parts Feldspar 30 parts

III.—China clay 25 parts Stone 10 parts Bone 45 parts Feldspar 20 parts

IV.—China clay 30 parts Stone 15 parts Bone 35 parts Feldspar 20 parts

«Earthenware Bodies.»—

I.—Ball clay 13 parts China clay 9 1⁠/⁠2 parts Flint 5 1⁠/⁠2 parts Cornwall stone 4 parts

II.—Ball clay 12 1⁠/⁠2 parts China clay 8 parts Flint 5 1⁠/⁠2 parts Cornwall stone 2 1⁠/⁠2 parts One pint of cobalt stain to 1 ton of glaze.

III.—Ball clay 13 1⁠/⁠4 parts China clay 11 parts Flint 4 parts Cornwall stone 5 parts Feldspar 4 parts Stain as required.

IV.—Ball clay 18 1⁠/⁠2 parts China clay 13 1⁠/⁠2 parts Flint 8 1⁠/⁠2 parts Stone 4 parts Blue stain, 2 pints to ton.

V.—Ball clay 15 parts China clay 12 parts Flint 6 parts Stone 4 parts Feldspar 4 parts Blue stain, 2 pints to ton.

VI. (Parian).— Stone 11 parts Feldspar 10 parts China clay 8 parts

«COLORED BODIES:»

«Ivory Body.»—

Ball clay 22 parts China 5 1⁠/⁠2 parts Flint 5 parts Stone 3 1⁠/⁠2 parts

«Dark Drab Body.»—

Cane marl 30 parts Ball clay 10 parts Cornwall stone 7 parts Feldspar 4 parts

«Black Body.»—

Ball clay 120 parts Ocher 120 parts Manganese 35 parts Cobalt carbonate 2 parts

Grind the three last mentioned ingredients first.

«Caledonia Body.»—

Yellow clay 32 parts China clay 10 parts Flint 4 parts

«Brown Body.»—

Red clay 50 parts Common clay 7 1⁠/⁠2 parts Manganese 1 part Flint 1 part

«Jasper Body.»—

Cawk clay 10 parts Blue clay 10 parts Bone 5 parts Flint 2 parts Cobalt 1⁠/⁠4 part

«Stone Body.»—

Stone 48 parts Blue clay 25 parts China clay 24 parts Cobalt 10 parts

«Egyptian Black.»—

Blue clay 235 parts Calcined ocher 225 parts Manganese 45 parts China clay 15 parts

«Ironstone Body.»—

Stone 200 parts Cornwall clay 150 parts {169} Blue clay 200 parts Flint 100 parts Calx 1 part

«Cream Body.»—

Blue clay 1 1⁠/⁠2 parts Brown clay 1 1⁠/⁠2 parts Black clay 1 part Cornish clay 1 part Common ball clay 1⁠/⁠4 part Buff color 1⁠/⁠4 part

«Light Drab.»—

Cane marl 30 parts Ball clay 24 parts Feldspar 7 parts

«Sage Body.»—

Cane marl 15 parts Ball clay 15 parts China clay 5 parts Stained with turquoise stain.

«COLORED GLAZES FOR POTTERY:»

«Blue.»—

White glaze 100 parts Oxide of cobalt 3 parts Red lead 10 parts Flowing blue 3 parts Enamel blue 3 parts

Grind.

«Pink.»—

White glaze 100 parts Red lead 8 parts Marone pink U. G. 8 parts Enamel red 3 parts

Grind.

«Buff.»—

White glaze 100 parts Red lead 10 parts Buff color 8 parts

Grind.

«Ivory.»—

White glaze 100 parts Red lead 8 parts Enamel amber 8 parts Yellow underglaze 2 parts

Grind.

«Turquoise.»—

White glaze 100 parts Red lead 10 parts Carbonate of soda 5 parts Enamel blue 4 parts Malachite, 110 4 parts

Grind.

«Yellow.»—

I.—White glaze 100 parts Red lead 10 parts Oxide of uranium 8 parts

Grind.

II.—Dried flint 5 parts Cornwall stone 15 parts Litharge 50 parts Yellow underglaze 4 parts

Grind.

«Green.»—

I.—Oxide of copper 8 parts Flint of glass 3 parts Flint 1 part Red lead 6 parts

Grind, then take:

Of above 1 part White glaze 6 parts

Or stronger as required.

II.—Red lead 60 parts Stone 24 parts Flint 12 parts Flint glass 12 parts China clay 3 parts Calcined oxide of copper 14 parts Oxide of cobalt 1⁠/⁠4 part

Grind only.

«Green Glaze, Best.»—

III.—Stone 80 parts Flint 8 parts Soda crystals 4 parts Borax 3 1⁠/⁠2 parts Niter 2 parts Whiting 2 parts Oxide of cobalt 1⁠/⁠4 part

Glost fire, then take:

Above frit 60 parts Red lead 57 parts Calcined oxide of copper 5 1⁠/⁠4 parts

«Black.»—

Red lead 24 parts Raddle 4 parts Manganese 4 parts Flint 2 parts Oxide of cobalt 2 parts Carbonate of cobalt 2 parts

Glost fire.

«WHITE GLAZES:»

«China.»—Frit:

I.—Stone 6 parts Niter 2 parts Borax 12 parts Flint 4 parts Pearl ash 2 parts

To mill:

Frit 24 parts Stone 15 1⁠/⁠2 parts Flint 6 1⁠/⁠2 parts White lead 31 parts

{170}

II.—Frit:

Stone 24 parts Borax 53 parts Lynn sand 40 parts Feldspar 32 parts Paris white 16 parts

To mill:

Frit 90 parts Stone 30 parts White lead 90 parts Flint 4 parts Glass 2 parts

III.—Frit:

Stone 50 parts Borax 40 parts Flint 30 parts Flint glass 30 parts Pearl barytes 10 parts

To mill:

Frit 160 parts Red lead 30 parts Enamel blue 1⁠/⁠2 part Flint glass 2 parts

IV.—Frit:

Borax 100 parts China clay 55 parts Whiting 60 parts Feldspar 75 parts

To mill:

Frit 200 parts China clay 16 parts White clay 3 1⁠/⁠2 parts Stone 3 parts Flint 2 parts

V.—Frit:

Stone 40 parts Flint 25 parts Niter 10 parts Borax 20 parts White lead 10 parts Flint glass 40 parts

To mill:

Frit 145 parts Stone 56 parts Borax 16 parts Flint 15 parts Red lead 60 parts Flint glass 8 parts

«Earthenware.»—Frit:

I.—Flint 108 parts China clay 45 parts Paris white 60 parts Borax 80 parts Soda crystals 30 parts

To mill:

Frit 270 parts Flint 20 parts Paris white 15 parts Stone 80 parts White lead 65 parts

II.—Frit:

Flint 62 parts China clay 30 parts Paris white 38 parts Boracic acid 48 parts Soda crystals 26 parts

To mill:

Frit 230 parts Stone 160 parts Flint 60 parts Lead 120 parts

III.—Frit:

Stone 56 parts Paris white 55 parts Flint 60 parts China clay 20 parts Borax 120 parts Soda crystals 15 parts

To mill:

Frit 212 parts Stone 130 parts Flint 50 parts Lead 110 parts

Stain as required.

IV.—Frit:

Stone 100 parts Flint 44 parts Paris white 46 parts Borax 70 parts Niter 10 parts

To mill:

Frit 200 parts Stone 60 parts Lead 80 parts

«Pearl White Glaze.»—Frit:

Flint 50 parts Stone 100 parts Paris white 20 parts Borax 60 parts Soda crystals 20 parts

To mill:

Frit 178 pounds Lead 55 pounds Stain 3 ounces

«Opaque Glaze.»—Frit:

Borax 74 parts Stone 94 parts Flint 30 parts China clay 22 parts Pearl ash 5 1⁠/⁠2 parts

To mill:

Frit 175 parts Lead 46 parts {171} Flint 10 parts Oxide of tin 12 parts Flint glass 12 parts

«Glaze for Granite.»—Frit:

I.—Stone 100 parts Flint 80 parts China clay 30 parts Paris white 30 parts Feldspar 40 parts Soda crystals 40 parts Borax 80 parts

To mill:

Frit 360 parts Flint 50 parts Stone 50 parts Lead 80 parts

II.—Frit:

Borax 100 parts Stone 50 parts Flint 50 parts Paris white 40 parts China clay 20 parts

To mill:

Frit 210 parts Stone 104 parts Flint 64 parts Lead 95 parts

«Raw Glazes.»—White:

I.—White lead 160 parts Borax 32 parts Stone 48 parts Flint 52 parts

Stain with blue and grind.

II.—White lead 80 parts Litharge 60 parts Boracic acid 40 parts Stone 45 parts Flint 50 parts

Treat as foregoing.

III.—White lead 100 parts Borax 4 parts Flint 11 parts Cornwall stone 50 parts

IV.—Red lead 80 parts Litharge 60 parts Tincal 40 parts Stone 40 parts Flint 52 parts

«ROCKINGHAM GLAZES.»

I.—Litharge 50 parts Stone 7 1⁠/⁠2 parts Red marl 3 parts Oxide of manganese 5 parts Red oxide of iron 1 part

II.—White lead 30 parts Stone 3 parts Flint 9 parts Red marl 3 parts Manganese 5 parts

III.—Red lead 20 parts Stone 3 parts Flint 2 parts China clay 2 parts Manganese 3 parts Red oxide of iron 1 part

«Stoneware Bodies.»—

Ball clay 14 parts China clay 10 parts Stone 8 parts

Ball clay 8 parts China clay 5 parts Flint 3 parts Stone 4 parts

Ball clay 14 parts China clay 11 parts Flint 4 parts Stone 5 parts Feldspar 4 parts

Cane marl 16 parts China clay 10 parts Stone 9 parts Flint 5 parts

«Glazes.»—Hard glaze:

Stone 10 parts Flint 5 parts Whiting 1 1⁠/⁠2 parts Red lead 10 parts

Hard glaze:

Feldspar 25 parts Flint 5 parts Red lead 15 parts Plaster 1 part

Softer:

White lead 13 parts Flint glass 10 parts Feldspar 18 parts Stone 3 parts Whiting 1 1⁠/⁠2 parts

Best:

Feldspar 20 parts Flint glass 14 parts White lead 14 parts Stone 3 parts Oxide of zinc 3 parts Whiting 1 1⁠/⁠2 parts Plaster 1 part

«Rockingham Bodies.»—

Ball clay 20 parts China clay 13 parts Flint 7 parts Stone 1 part

Cane marl 22 parts China clay 15 parts Flint 8 parts Feldspar 1 part {172}

«Glazes.»—

I.—Red lead 60 parts Stone 8 parts Red clay 3 parts Best manganese 5 parts

II.—White lead 60 parts Feldspar 6 parts Flint 16 parts Red clay 6 parts Manganese 12 parts

III.—Red lead 100 parts Stone 15 parts Flint 10 parts China clay 10 parts Manganese 40 parts Crocus martis 2 parts

IV.—Litharge 100 parts Feldspar 14 parts China clay 20 parts Manganese 40 parts Oxide of iron 2 parts

«Jet.»—Procure some first-class red marl, add water, and, by passing through a fine lawn, make it into a slip, and dip the ware therein.

When fired use the following:

Glaze.—

Stone 60 parts Flint 30 parts Paris white 7 1⁠/⁠2 parts Red lead 140 parts

One part mazarine blue stain to 10 parts glaze.

Mazarine Blue Stain.—

Oxide of cobalt 10 parts Paris white 9 parts Sulphate barytes 1 part

Calcine.

Another Process Body.—

Ball clay 16 parts China clay 12 parts Flint clay 9 parts Stone clay 6 parts Black stain 7 parts

Glaze.—

Litharge 70 parts Paris white 3 parts Flint 12 parts Stone 30 parts Black stain 20 parts

Black Stain.—

Chromate of iron 12 parts Oxide of nickel 2 parts Oxide of tin 2 parts Carbonate of cobalt 5 parts Oxide of manganese 2 parts

Calcine and grind.

Blue Stains.—

I.—Oxide of cobalt 2 1⁠/⁠2 parts Oxide of zinc 7 1⁠/⁠2 parts Stone 7 1⁠/⁠2 parts

Fire this very hard.

II.—Zinc 6 pounds Flint 4 pounds China clay 4 pounds Oxide of cobalt 5 ounces

Hard fire.

III.—Whiting 3 3⁠/⁠4 parts Flint 3 3⁠/⁠4 parts Oxide of cobalt 2 1⁠/⁠2 parts

Glost fire.

Turquoise Stain.—

Prepared cobalt 1 1⁠/⁠2 parts Oxide of zinc 6 parts China clay 6 parts Carbonate of soda. 1 part

Hard fire.

«MATERIALS:»

«Tin Ash.»—

Old lead 4 parts Grain tin 2 parts

Melt in an iron ladle, and pour out in water, then spread on a dish, and calcine in glost oven with plenty of air.

«Oxide of Tin.»—

Granulated tin 5 pounds Niter 1⁠/⁠2 pound

Put on saucers and fire in glost oven.

«Oxide of Chrome» is made by mixing powdered bichromate of potash with sulphur as follows:

Potash 6 parts Flowers of sulphur 1 part

Put in saggar, inside kiln, so that fumes are carried away, and place 4 or 5 pieces of red-hot iron on the top so as to ignite it. Leave about 12 hours, then pound very fine, and put in saggar again. Calcine in hard place of biscuit oven. Wash this until the water is quite clear, and dry for use.

«Production of Luster Colors on Porcelain and Glazed Pottery.»—The luster colors are readily decomposed by acids and atmospheric influences, because they do not contain, in consequence of the low baking temperature, enough silicic acid to form resistive compounds. In order to attain this, G. Alefeld has patented a process according to which such compounds are added to the luster preparations as leave behind after the burning an acid which transforms the luster preparation into more resisting {173} compounds. In this connection the admixture of such bodies has been found advantageous, as they form phosphides with the metallic oxides of the lusters after the burning. These phosphides are especially fitted for the production of saturated resisting compounds, not only on account of their insolubility in water, but also on account of their colorings. Similarly titanic, molybdic, tungstic, and vanadic compounds may be produced. The metallic phosphates produced by the burning give a luster coating which, as regards gloss, is not inferior to the non-saturated metallic oxides, while it materially excels them in power of resistance. Since the lusters to be applied are used dissolved in essential oils, it is necessary to make the admixture of phosphoric substance also in a form soluble in essential oils. For the production of this admixture the respective chlorides, preeminently phosphoric chloride, are suitable. They are mixed with oil of lavender in the ratio of 1 to 5, and the resulting reaction product is added to the commercial metallic oxide luster, singly or in conjunction with precious metal preparations (glossy gold, silver, platinum, etc.) in the approximate proportion of 5 to 1. Then proceed as usual. Instead of the chlorides, nitrates and acetates, as well as any readily destructible organic compounds, may also be employed, which are entered into fusing rosin or rosinous liquids.

«Metallic Luster on Pottery.»—According to a process patented in Germany, a mixture is prepared from various natural or artificial varieties of ocher, to which 25–50 per cent of finely powdered more or less metalliferous or sulphurous coal is added. The mass treated in this manner is brought together in saggars with finely divided organic substances, such as sawdust, shavings, wood-wool, cut straw, etc., and subjected to feeble red heat. After the heating the material is taken out. The glazings now exhibit that thin but stable metallic color which is governed by the substances used. Besides coal, salts and oxides of silver, cobalt, cadmium, chrome iron, nickel, manganese, copper, or zinc may be employed. The color-giving layer is removed by washing or brushing, while the desired color is burned in and remains. In this manner handsome shades can be produced.

«Metallic Glazes on Enamels.»—The formulas used by the Arabs and their Italian successors are partly disclosed in manuscripts in the British and South Kensington Museums; two are given below:

Arab Italian Copper sulphide 26.87 24.74 Silver sulphide 1.15 1.03 Mercury sulphide — 24.74 Red ocher 71.98 49.49

These were ground with vinegar and applied with the brush to the already baked enamel. A great variety of iridescent and metallic tones can be obtained by one or the other, or a mixture of the following formulas:

I II III IV V VI Copper carbonate 30 — — 28 — 95 Copper oxalate — — — — 5 — Copper sulphide — 20 — — — — Silver carbonate — 3 — 2 1 5 Bismuth subnitrate — 12 — — 10 — Stannous oxide — — 25 — — — Red ocher 70 85 55 70 84 —

Silver chloride and yellow ocher may be respectively substituted for silver carbonate and red ocher. The ingredients, ground with a little gum tragacanth and water, are applied with a brush to enamels melting about 1814° F., and are furnaced at 1202° F. in a reducing atmosphere. After cooling the ferruginous deposit is rubbed off, and the colors thus brought out.

Sulphur, free or combined, is not necessary, cinnabar has no action, ocher may be dispensed with, and any organic gummy matter may be used instead of vinegar, and broom is not needed in the furnace. The intensity and tone of the iridescence depend on the duration of the reduction, and the nature of the enamel. Enamels containing a coloring base—copper, iron, antimony, nickel—especially in presence of tin, give the best results.

«To Toughen China.»—To toughen china or glass place the new article in cold water, bring to boil gradually, boil for 4 hours, and leave standing in the water till cool. Glass or china toughened in this way will never crack with hot water.

«How to Tell Pottery and Porcelain.»—The following simple test will serve: Hold the piece up to the light, and if it can be seen through—that is, if it is translucent—it is porcelain. Pottery is opaque, and not so hard and white as porcelain. The main differences in the manufacture of stoneware, earthenware, and porcelain are due to the ingredients used, to the way they are mixed, and to the degree of heat to which they are {174} subjected in firing. Most of the old English wares found in this country are pottery or semichina, although the term china is commonly applied to them all.

«Cheese»

«Manufacture.»—The process of cheese making is one which is eminently interesting and scientific, and which, in every gradation, depends on principles which chemistry has developed and illustrated. When a vegetable or mineral acid is added to milk, and heat applied, a coagulum is formed, which, when separated from the liquid portion, constitutes cheese. Neutral salts, earthy and metallic salts, sugar, and gum arabic, as well as some other substances, also produce the same effect; but that which answers the purpose best, and which is almost exclusively used by dairy farmers, is rennet, or the mucous membrane of the last stomach of the calf. Alkalies dissolve this curd at a boiling heat, and acids again precipitate it. The solubility of casein in milk is occasioned by the presence of the phosphates and other salts of the alkalies. In fresh milk these substances may be readily detected by the property it possesses of restoring the color of reddened litmus paper. The addition of an acid neutralizes the alkali, and so precipitates the curd in an insoluble state. The philosophy of cheese making is thus expounded by Liebig:

“The acid indispensable to the coagulation of milk is not added to the milk in the preparation of cheese, but it is formed in the milk at the expense of the milk-sugar present. A small quantity of water is left in contact with a small quantity of a calf’s stomach for a few hours, or for a night; the water absorbs so minute a portion of the mucous membrane as to be scarcely ponderable; this is mixed with milk; its state of transformation is communicated (and this is a most important circumstance) not to the cheese, but to the milk-sugar, the elements of which transpose themselves into lactic acid, which neutralizes the alkalies, and thus causes the separation of the cheese. By means of litmus paper the process may be followed and observed through all its stages; the alkaline reaction of the milk ceases as soon as the coagulation begins. If the cheese is not immediately separated from the whey, the formation of lactic acid continues, the fluid turns acid, and the cheese itself passes into a state of decomposition.

“When cheese-curd is kept in a cool place a series of transformation takes place, in consequence of which it assumes entirely new properties; it gradually becomes semi-transparent, and more or less soft, throughout the whole mass; it exhibits a feebly acid reaction, and develops the characteristic caseous odor. Fresh cheese is very sparingly soluble in water, but after having been left to itself for two or three years it becomes (especially if all the fat be previously removed) almost completely soluble in cold water, forming with it a solution which, like milk, is coagulated by the addition of the acetic or any mineral acid. The cheese, which whilst fresh is insoluble, returns during the maturation, or ripening, as it is called, to a state similar to that in which it originally existed in the milk. In those English, Dutch, and Swiss cheeses which are nearly inodorous, and in the superior kinds of French cheese, the casein of the milk is present in its unaltered state.

“The odor and flavor of the cheese is due to the decomposition of the butter; the non-volatile acids, the margaric and oleic acids, and the volatile butyric acid, capric and caproic acids are liberated in consequence of the decomposition of glycerine. Butyric acid imparts to cheese its characteristic caseous odor, and the differences in its pungency or aromatic flavor depend upon the proportion of free butyric, capric, and caproic acids present. In the cheese of certain dairies and districts, valerianic acid has been detected along with the other acids just referred to. Messrs Jljenjo and Laskowski found this acid in the cheese of Limbourg, and M. Bolard in that of Roquefort.

“The transition of the insoluble into soluble casein depends upon the decomposition of the phosphate of lime by the margaric acid of the butter; margarate of lime is formed, whilst the phosphoric acid combines with the casein, forming a compound soluble in water.

“The bad smell of inferior kinds of cheese, especially those called meager or poor cheeses, is caused by certain fetid products containing sulphur, and which are formed by the decomposition or putrefaction of the casein. The alteration which the butter undergoes (that is, in becoming rancid), or which occurs in the milk-sugar still present, being transmitted to the casein, changes both the composition of the latter substance and its nutritive qualities.

“The principal conditions for the preparation of the superior kinds of cheese {175} (other obvious circumstances being of course duly regarded) are a careful removal of the whey, which holds the milk-sugar in solution, and a low temperature during the maturation or ripening of the cheese.”

Cheese differs vastly in quality and flavor according to the method employed in its manufacture and the richness of the milk of which it is made. Much depends upon the quantity of cream it contains, and, consequently, when a superior quality of cheese is desired cream is frequently added to the curd. This plan is adopted in the manufacture of Stilton cheese and others of a like description. The addition of a pound or two of butter to the curd for a middling size cheese also vastly improves the quality of the product. To insure the richness of the milk, not only should the cows be properly fed, but certain breeds chosen. Those of Alderney, Cheddar, Cheshire, etc., have been widely preferred.

The materials employed in making cheese are milk and rennet. Rennet is used either fresh or salted and dried; generally in the latter state. The milk may be of any kind, according to the quality of the cheese required. Cows’ milk is that generally employed, but occasionally ewes’ milk is used; and sometimes, though more rarely, that from goats.

In preparing his cheese the dairy farmer puts the greater portion of the milk into a large tub, to which he adds the remainder, sufficiently heated to raise the temperature to that of new milk. The whole is then whisked together, the rennet or rennet liquor added, and the tub covered over. It is now allowed to stand until completely “turned,” when the curd is gently struck down several times with the skimming dish, after which it is allowed to subside. The vat, covered with cheese cloth, is next placed on a “horse” or “ladder” over the tub, and filled with curd by means of the skimmer, care being taken to allow as little as possible of the oily particles or butter to run back with the whey. The curd is pressed down with the hands, and more added as it sinks. This process is repeated until the curd rises to about two inches above the edge. The newly formed cheese, thus partially separated from the whey, is now placed in a clean tub, and a proper quantity of salt, as well as of annotta, added when that coloring is used, after which a board is placed over and under it, and pressure applied for about 2 or 3 hours. The cheese is next turned out and surrounded by a fresh cheese cloth, and then again submitted to pressure in the cheese press for 8 or 10 hours, after which it is commonly removed from the press, salted all over, and again pressed for 15 to 20 hours. The quality of the cheese especially depends on this part of the process, as if any of the whey is left in the cheese it rapidly becomes bad-flavored. Before placing it in the press the last time the common practice is to pare the edges smooth and sightly. It now only remains to wash the outside of the cheese in warm whey or water, to wipe it dry, and to color it with annotta or reddle, as is usually done.

The storing of the newly made cheese is the next point that engages the attention of the maker and wholesale dealer. The same principles which influence the maturation or ripening of fermented liquors also operate here. A cool cellar, neither damp nor dry, and which is uninfluenced by change of weather or season, is commonly regarded as the best for the purpose. If possible, the temperature should on no account be permitted to exceed 50° or 52° F. at any portion of the year. An average of about 45° F. is preferable when it can be procured. A place exposed to sudden changes of temperature is as unfit for storing cheese as it is for storing beer. “The quality of Roquefort cheese, which is prepared from sheep’s milk, and is very excellent, depends exclusively upon the places where the cheeses are kept after pressing and during maturation. These are cellars, communicating with mountain grottoes and caverns which are kept constantly cool, at about 41° to 42° F., by currents of air from clefts in the mountains. The value of these cellars as storehouses varies with their property of maintaining an equable and low temperature.”

It will thus be seen that very slight differences in the materials, in the preparation, or in storing of the cheese, materially influence the quality and flavor of this article. The richness of the milk; the addition to or subtraction of cream from the milk; the separation of the curd from the whey with or without compression; the salting of the curd; the collection of the curd, either whole or broken, before pressing; the addition of coloring matter, as annotta or saffron, or of flavoring; the place and method of storing; and the length of time allowed for maturation, all tend to alter the taste and odor of the cheese in some or other particular, and that in a way readily {176} perceptible to the palate of the connoisseur. No other alimentary substance appears to be so seriously affected by slight variations in the quality of the materials from which it is made, or by such apparently trifling differences in the methods of preparing.

The varieties of cheese met with in commerce are very numerous, and differ greatly from each other in richness, color, and flavor. These are commonly distinguished by names indicative of the places in which they have been manufactured, or of the quality of the materials from which they have been prepared. Thus we have Dutch, Gloucester, Stilton, skimmed milk, raw milk, cream, and other cheeses; names which explain themselves. The following are the principal varieties:

«American Factory.»—Same as Cheddar.

«Brickbat.»—Named from its form; made, in Wiltshire, of new milk and cream.

«Brie.»—A soft, white, cream cheese of French origin.

«Cheddar.»—A fine, spongy kind of cheese, the eyes or vesicles of which contain a rich oil; made up into round, thick cheeses of considerable size (150 to 200 pounds).

«Cheshire.»—From new milk, without skimming, the morning’s milk being mixed with that of the preceding evening’s, previously warmed, so that the whole may be brought to the heat of new milk. To this the rennet is added, in less quantity than is commonly used for other kinds of cheese. On this point much of the flavor and mildness of the cheese is said to depend. A piece of dried rennet, of the size of a half-dollar put into a pint of water over night, and allowed to stand until the next morning, is sufficient for 18 or 20 gallons of milk; in large, round, thick cheeses (100 to 200 pounds each). They are generally solid, homogeneous, and dry, and friable rather than viscid.

«Cottenham.»—A rich kind of cheese, in flavor and consistence not unlike Stilton, from which, however, it differs in shape, being flatter and broader than the latter.

«Cream.»—From the “strippings” (the last of the milk drawn from the cow at each milking), from a mixture of milk and cream, or from raw cream only, according to the quality desired. It is usually made in small oblong, square, or rounded cakes, a general pressure only (that of a 2- or 4-pound weight) being applied to press out the whey. After 12 hours it is placed upon a board or wooden trencher, and turned every day until dry. It ripens in about 3 weeks. A little salt is generally added, and frequently a little powdered lump sugar.

«Damson.»—Prepared from damsons boiled with a little water, the pulp passed through a sieve, and then boiled with about one-fourth the weight of sugar, until the mixture solidifies on cooling; it is next poured into small tin molds previously dusted out with sugar. Cherry cheese, gooseberry cheese, plum cheese, etc., are prepared in the same way, using the respective kinds of fruit. They are all very agreeable candies or confections.

«Derbyshire.»—A small, white, rich variety, very similar to Dunlop cheese.

«Dunlop.»—Rich, white, and buttery; in round forms, weighing from 30 to 60 pounds.

«Dutch (Holland).»—Of a globular form, 5 to 14 pounds each. Those from Edam are very highly salted; those from Gouda less so.

«Emmenthaler.»—Same as Gruyère.

«Gloucester.»—Single Gloucester, from milk deprived of part of its cream; double Gloucester, from milk retaining the whole of the cream. Mild tasted, semi-buttery consistence, without being friable; in large, round, flattish forms.

«Green or Sage.»—From milk mixed with the juice of an infusion or decoction of sage leaves, to which marigold flowers and parsley are frequently added.

«Gruyère.»—A fine kind of cheese made in Switzerland, and largely consumed on the Continent. It is firm and dry, and exhibits numerous cells of considerable magnitude.

«Holland.»—Same as Dutch.

«Leguminous.»—The Chinese prepare an actual cheese from peas, called tao-foo, which they sell in the streets of Canton. The paste from steeped ground peas is boiled, which causes the starch to dissolve with the casein; after straining the liquid it is coagulated by a solution of gypsum; this coagulum is worked up like sour milk, salted, and pressed into molds.

«Limburger.»—A strong variety of cheese, soft and well ripened.

«Lincoln.»—From new milk and cream; in pieces about 2 inches thick. Soft, and will not keep over 2 or 3 months. {177}

«Neufchâtel.»—A much-esteemed variety of Swiss cheese; made of cream, and weighs about 5 or 6 ounces.

«Norfolk.»—Dyed yellow with annotta or saffron; good, but not superior; in cheeses of 30 to 50 pounds.

«Parmesan.»—From the curd of skimmed milk, hardened by a gentle heat. The rennet is added at about 120°, and an hour afterwards the curdling milk is set on a slow fire until heated to about 150° F., during which the curd separates in small lumps. A few pinches of saffron are then thrown in. About a fortnight after making the outer crust is cut off, and the new surface varnished with linseed oil, and one side colored red.

«Roquefort.»—From ewes’ milk; the best prepared in France. It greatly resembles Stilton, but is scarcely of equal richness or quality, and possesses a peculiar pungency and flavor.

«Roquefort, Imitation.»—The gluten of wheat is kneaded with a little salt and a small portion of a solution of starch, and made up into cheeses. It is said that this mixture soon acquires the taste, smell, and unctuosity of cheese, and when kept a certain time is not to be distinguished from the celebrated Roquefort cheese, of which it possesses all the peculiar pungency. By slightly varying the process other kinds of cheese may be imitated.

«Sage.»—Same as green cheese.

«Slipcoat or Soft.»—A very rich, white cheese, somewhat resembling butter; for present use only.

«Stilton.»—The richest and finest cheese made in England. From raw milk to which cream taken from other milk is added; in cheeses generally twice as high as they are broad. Like wine, this cheese is vastly improved by age, and is therefore seldom eaten before it is 2 years old. A spurious appearance of age is sometimes given to it by placing it in a warm, damp cellar, or by surrounding it with masses of fermenting straw or dung.

«Suffolk.»—From skimmed milk; in round, flat forms, from 24 to 30 pounds each. Very hard and horny.

«Swiss.»—The principal cheeses made in Switzerland are the Gruyère, the Neufchâtel, and the Schabzieger or green cheese. The latter is flavored with melitot.

«Westphalian.»—Made in small balls or rolls of about 1 pound each. It derives its peculiar flavor from the curd being allowed to become partially putrid before being pressed. In small balls or rolls of about 1 pound each.

«Wiltshire.»—Resembles Cheshire or Gloucester. The outside is painted with reddle or red ocher or whey.

«York.»—From cream. It will not keep.

We give below the composition of some of the principal varieties of cheese:

Double Cheddar Gloucester Skim Water 36.64 35.61 43.64 Casein 23.38 21.76 45.64 Fatty matter 35.44 38.16 5.76 Mineral matter 4.54 4.47 4.96 ────── ────── ────── 100.00 100.00 100.00

Stilton Cotherstone Water 32.18 38.28 Butter 37.36 30.89 Casein 24.31 23.93 Milk, sugar, and extractive matters 2.22 3.70 Mineral matter 3.93 3.20 ────── ────── 100.00 100.00

Gruyère Ordinary (Swiss) Dutch Water 40.00 36.10 Casein 31.50 29.40 Fatty matter 24.00 27.50 Salts 3.00 .90 Non─nitrogenous organic matter and loss. 1.50 6.10 ────── ────── 100.00 100.00

When a whole cheese is cut, and the consumption small, it is generally found to become unpleasantly dry, and to lose flavor before it is consumed. This is best prevented by cutting a sufficient quantity for a few days’ consumption from the cheese, and keeping the remainder in a cool place, rather damp than dry, spreading a thin film of butter over the fresh surface, and covering it with a cloth or pan to keep off the dirt. This removes the objection existing in small families against purchasing a whole cheese at a time. The common practice of buying small quantities of cheese should be avoided, as not only a higher price is paid for any given quality, but there is little likelihood of obtaining exactly the same flavor twice running. Should cheese become too dry to be {178} agreeable, it may be used for stewing, or for making grated cheese, or Welsh rarebits.

«Goats’ Milk Cheese.»—Goats’ milk cheese is made as follows: Warm 20 quarts of milk and coagulate it with rennet, either the powder or extract. Separate the curds from the whey in a colander. After a few days the dry curd may be shaped into larger or smaller cheeses, the former only salted, the latter containing salt and caraway seed. The cheeses must be turned every day, and sprinkled with salt, and any mold removed. After a few days they may be put away on shelves to ripen, and left for several weeks. Pure goat’s milk cheese should be firm and solid all the way through. Twenty quarts of milk will make about 4 pounds of cheese.

CHEESE COLORANT: See Food.

CHEMICAL GARDENS: See Gardens, Chemical.

CHERRY BALSAM: See Balsam.

CHERRY CORDIAL: See Wines and Liquors.

«Chewing Gums»

«Manufacture.»—The making of chewing gum is by no means the simple operation which it seems to be. Much experience in manipulation is necessary to succeed, and the published formulas can at best serve as a guide rather than as something to be absolutely and blindly followed. Thus, if the mass is either too hard or soft, change the proportions until it is right; often it will be found that different purchases of the same article will vary in their characteristics when worked up. But given a basis, the manufacturer can flavor and alter to suit himself. The most successful manufacturers attribute their success to the employment of the most approved machinery and the greatest attention to details. The working formulas and the processes of these manufacturers are guarded as trade secrets, and aside from publishing general formulas, little information can be given.

Chicle gum is purified by boiling with water and separating the foreign matter. Flavorings, pepsin, sugar, etc., are worked in under pressure by suitable machinery. Formula:

I.—Gum chicle 1 pound Sugar 2 pounds Glucose 1 pound Caramel butter 1 pound

First mash and soften the gum at a gentle heat. Place the sugar and glucose in a small copper pan; add enough water to dissolve the sugar; set on a fire and cook to 244° F.; lift off the fire; add the caramel butter and lastly the gum; mix well into a smooth paste; roll out on a smooth marble, dusting with finely powdered sugar, run through sizing machine to the proper thickness, cut into strips, and again into thin slices.

II.—Chicle 6 ounces Paraffine 2 ounces Balsam of Tolu 2 drachms Balsam of Peru 1 drachm Sugar 20 ounces Glucose 8 ounces Water 6 ounces Flavoring, enough.

Triturate the chicle and balsams in water, take out and add the paraffine, first heated. Boil the sugar, glucose, and water together to what is known to confectioners as “crack” heat, pour the syrup over the oil slab and turn into it the gum mixture, which will make it tough and plastic. Add any desired flavor.

III.—Gum chicle. 122 parts Paraffine 42 parts Balsam of Tolu. 4 parts Sugar 384 parts Water 48 parts

Dissolve the sugar in the water by the aid of heat and pour the resultant syrup on an oiled slab. Melt the gum, balsam, and paraffine together and pour on top of the syrup, and work the whole up together.

IV.—Gum chicle 240 parts White wax 64 parts Sugar 640 parts Glucose 128 parts Water 192 parts Balsam of Peru 4 parts Flavoring matter, enough.

Proceed as indicated in II.

V.—Balsam of Tolu 4 parts Benzoin 1 part White wax 1 part Paraffine 1 part Powdered sugar 1 part

Melt together, mix well, and roll into sticks of the usual dimensions.

Mix, and, when sufficiently cool, roll out into sticks or any other desirable form. {179}

Spruce Chewing Gum.—

Spruce gum 20 parts Chicle 20 parts Sugar, powdered 60 parts

Melt the gums separately, mix while hot, and immediately add the sugar, a small portion at a time, kneading it thoroughly on a hot slab. When completely incorporated remove to a cold slab, previously dusted with powdered sugar, roll out at once into sheets, and cut into sticks. Any desired flavor or color may be added to or incorporated with the sugar.

CHICKEN-COOP APPLICATION: See Insecticides.

CHICKEN DISEASES AND THEIR REMEDIES: See Veterinary Formulas.

CHICORY, TESTS FOR: See Foods.

CHILBLAINS: See Ointments.

CHILBLAIN SOAP: See Soap.

CHILDREN, DOSES FOR: See Doses.

CHILLS, BITTERS FOR: See Wines and Liquors.

CHINA CEMENTS: See Adhesives and Lutes.

CHINA: See Ceramics.

CHINA, TO REMOVE BURNED LETTERS FROM: See Cleaning Preparations and Methods, under Miscellaneous Methods.

CHINA REPAIRING: See Porcelain.

«CHINA RIVETING.»

China riveting is best left to practical men, but it can be done with a drill made from a splinter of a diamond fixed on a handle. If this is not to be had, get a small three-cornered file, harden it by placing it in the fire till red hot, and then plunging it in cold water. Next grind the point on a grindstone and finish on an oilstone. With the point pick out the place to be bored, taking care to do it gently for fear of breaking the article. In a little while a piece will break off, then the hole can easily be made by working the point round. The wire may then be passed through and fastened. A good cement may be made from 1 ounce of grated cheese, 1⁠/⁠2 ounce of finely powdered quicklime, and white of egg sufficient to make a paste. The less cement applied the better, using a feather to spread it over the broken edge.

CHLORIDES, PLATT’S: See Disinfectants.

CHLORINE-PROOFING: See Acid-Proofing.

«CHOCOLATE.»

Prepare 1,000 parts of finished cacao and 30 parts of fresh cacao oil, in a warmed, polished, iron mortar, into a liquid substance, add to it 800 parts of finely powdered sugar, and, after a good consistency has been reached, 60 parts of powdered iron lactate and 60 parts of sugar syrup, finely rubbed together. Scent with 40 parts of vanilla sugar. Of this mass weigh out tablets of 125 parts into the molds.

«Coating Tablets with Chocolate.»—If a chocolate which is free from sugar be placed in a dish over a water bath, it will melt into a fluid of proper consistence for coating tablets. No water must be added. The coating is formed by dipping the tablets. When they are sufficiently hardened they are laid on oiled paper to dry.

CHOCOLATE CASTOR-OIL LOZENGES: See Castor Oil.

CHOCOLATE CORDIAL: See Wines and Liquors.

CHOCOLATE EXTRACTS: See Essences and Extracts.

CHOCOLATE SODA WATER: See Beverages.

CHOKING IN CATTLE: See Veterinary Formulas.

«CHOLERA REMEDIES:»

«Sun Cholera Mixture.»—

Tincture of opium 1 part Tincture of capsicum 1 part Tincture of rhubarb 1 part Spirit of camphor 1 part Spirit of peppermint 1 part

«Squibb’s Diarrhea Mixture.»—

Tincture opium 40 parts Tincture capsicum 40 parts Spirit camphor 40 parts Chloroform 15 parts Alcohol 65 parts {180}

«Aromatic Rhubarb.—»

Cinnamon, ground 8 parts Rhubarb 8 parts Calumba 4 parts Saffron 1 part Powdered opium 2 parts Oil peppermint 5 parts Alcohol, q. s. ad. 100 parts

Macerate the ground drugs with 75 parts alcohol in a closely covered percolator for several days, then allow percolation to proceed, using sufficient alcohol to obtain 95 parts of percolate. In percolate dissolve the oil of peppermint.

«Rhubarb and Camphor.—»

Tincture capsicum 2 ounces Tincture opium 2 ounces Tincture camphor 3 ounces Tincture catechu 4 ounces Tincture rhubarb 4 ounces Spirit peppermint 4 ounces

«Blackberry Mixture.—»

Fluid extract blackberry root 2 pints Fluid ginger, soluble 5 1⁠/⁠3 ounces Fluid catechu 5 1⁠/⁠3 ounces Fluid opium for tincture 160 minims Brandy 8 ounces Sugar 4 pounds Essence cloves 256 minims Essence cinnamon 256 minims Chloroform 128 minims Alcohol (25 per cent), q. s. ad. 1 gallon

CHOWCHOW: See Condiments.

CHROME YELLOW, TEST FOR: See Pigments.

CHROMIUM GLUE: See Adhesives.

«CHROMO MAKING.»

The production of chromo pictures requires a little skill. Practice is necessary. The glass plate to be used should be washed off with warm water, and then laid in a 10 per cent solution of nitric acid. After one hour, wash with clean, cold water, dry with a towel, and polish the plate with good alcohol on the inside—hollow side—until no finger marks or streaks are visible. This is best ascertained by breathing on the glass; the breath should show an even blue surface on the glass.

Coat the unmounted photograph to be colored with benzine by means of wadding, but without pressure, so that the retouching of the picture is not disturbed. Place 2 tablets of ordinary kitchen gelatin in 8 3⁠/⁠4 ounces of distilled or pure rain water, soak for an hour, and then heat until the gelatin has completely dissolved. Pour this warm solution over the polished side of the glass, so that the liquid is evenly distributed. The best way is to pour the solution on the upper right-hand corner, allowing it to flow into the left-hand corner, from there to the left below and right below, finally letting the superfluous liquid run off. Take the photograph, which has been previously slightly moistened on the back, lay it with the picture side on the gelatin-covered plate, centering it nicely, and squeeze out the excess gelatin solution gently, preferably by means of a rubber squeegee. Care must be taken, however, not to displace the picture in this manipulation, as it is easily spoiled.

The solution must never be allowed to boil, since this would render the gelatin brittle and would result in the picture, after having been finished, cracking off from the glass in a short time. When the picture has been attached to the glass plate without blisters (which is best observed from the back), the edge of the glass is cleansed of gelatin, preferably by means of a small sponge and lukewarm water, and the plate is allowed to dry over night.

When the picture and the gelatin are perfectly dry, coat the back of the picture a few times with castor oil until it is perfectly transparent; carefully remove the oil without rubbing, and proceed with the painting, which is best accomplished with good, not over-thick oil colors. The coloring must be observed from the glass side, and for this reason the small details, such as eyes, lips, beard, and hair, should first be sketched in. When the first coat is dry the dress and the flesh tints are painted. The whole surface may be painted over, and it is not necessary to paint shadows, as these are already present in the picture, and consequently show the color through in varying strength.

When the coloring has dried, a second glass plate should be laid on for protection, pasting the two edges together with narrow strips of linen.

«Cider»

«To Make Cider.»—Pick the apples off the tree by hand. Every apple before going into the press should be carefully {181} wiped. As soon as a charge of apples is ground, remove the pomace and put in a cask with a false bottom and a strainer beneath it, and a vessel to catch the drainage from pomace. As fast as the juice runs from the press place it in clean, sweet, open tubs or casks with the heads out and provide with a faucet, put in about two inches above bottom. The juice should be closely watched and as soon as the least sign of fermentation appears (bubbles on top, etc.) it should be run off into casks prepared for this purpose and placed in a moderately cool room. The barrels should be entirely filled, or as near to the bunghole as possible. After fermentation is well under way the spume or foam should be scraped off with a spoon several times a day. When fermentation has ceased the cider is racked off into clean casks, filled to the bunghole, and the bung driven in tightly. It is now ready for use or for bottling.

«Champagne Cider.»—I.—To convert ordinary cider into champagne cider, proceed as follows: To 100 gallons of good cider add 3 gallons of strained honey (or 24 pounds of white sugar will answer), stir in well, tightly bung, and let alone for a week. Clarify the cider by adding a half gallon of skimmed milk, or 4 ounces of gelatin dissolved in sufficient hot water and add 4 gallons of proof spirit. Let stand 3 days longer, then syphon off, bottle, cork, and tie or wire down. Bunging the cask tightly is done in order to induce a slow fermentation, and thus retain in the cider as much carbonic acid as possible.

II.—Put 10 gallons of old and clean cider in a strong and iron-bound cask, pitched within (a sound beer cask is the very thing), and add and stir in well 40 ounces of simple syrup. Add 5 ounces of tartaric acid, let dissolve, then add 7 1⁠/⁠2 ounces sodium bicarbonate in powder. Have the bung ready and the moment the soda is added put it in and drive it home. The cider will be ready for use in a few hours.

«Cider Preservative.»—I.—The addition of 154 grains of bismuth subnitrate to 22 gallons of cider prevents, or materially retards, the hardening of the beverage on exposure to air; moreover, the bismuth salt renders alcoholic fermentation more complete.

II.—Calcium sulphite (sulphite of lime) is largely used to prevent fermentation in cider. About 1⁠/⁠8 to 1⁠/⁠4 of an ounce of the sulphite is required for 1 gallon of cider. It should first be dissolved in a small quantity of cider, then added to the bulk, and the whole agitated until thoroughly mixed. The barrel should then be bunged and allowed to stand for several days, until the action of the sulphite is exerted. It will preserve the sweetness of cider perfectly, but care should be taken not to add too much, as that would impart a slight sulphurous taste.

«Artificial Ciders.»—To 25 gallons of soft water add 2 pounds of tartaric acid, 25 or 30 pounds of sugar, and a pint of yeast; put in a warm place, and let ferment for 15 days, then add the flavoring matter to suit taste. The various fruit ethers are for sale at any wholesale drug house.

«Bottling Sweet Cider.»—Champagne quarts are generally used for bottling cider, as they are strong and will stand pressure, besides being a convenient size for consumers. In making cider champagne the liquor should be clarified and bottled in the sweet condition, that is to say, before the greater part of the sugar which it contains has been converted into alcohol by fermentation. The fermentation continues, to a certain extent, in the bottle, transforming more of the sugar into alcohol, and the carbonic acid, being unable to escape, is dissolved in the cider and produces the sparkling.

The greater the quantity of sugar contained in the liquor, when it is bottled, the more complete is its carbonation by the carbonic-acid gas, and consequently the more sparkling it is when poured out. But this is true only within certain limits, for if the production of sugar is too high the fermentation will be arrested.

To make the most sparkling cider the liquor is allowed to stand for three, four, five, or six weeks, during which fermentation proceeds. The time varies according to the nature of the apples, and also to the temperature; when it is very warm the first fermentation is usually completed in 7 days.

Before bottling, the liquid must be fined, and this is best done with catechu dissolved in cold cider, 2 ounces of catechu to the barrel of cider. This is well stirred and left to settle for a few days.

The cider at this stage is still sweet, and it is a point of considerable nicety not to carry the first fermentation too far. The bottle should not be quite filled, so as to allow more freedom for the carbonic-acid gas which forms.

When the bottles have been filled, {182} corked, and wired down, they should be placed in a good cellar, which should be dry, or else the cider will taste of the cork. The bottles should not be laid for four or five weeks, or breakage will ensue. When they are being laid they should be placed on laths of wood or on dry sand; they should never be allowed on cold or damp floors.

Should the cider be relatively poor in sugar, or if it has been fermented too far, about 1 ounce of powdered loaf sugar can be added to each bottle, or else a measure of sugar syrup before pouring in the cider.

«Imitation Cider.»—

I.—A formula for an imitation cider is as follows:

Rain water 100 gallons Honey, unstrained 6 gallons Catechu, powdered 3 ounces Alum, powdered 5 ounces Yeast (brewer’s preferably) 2 pints

Mix and put in a warm place to ferment. Let ferment for about 15 days; then add the following, stirring well in:

Bitter almonds, crushed 8 ounces Cloves 8 ounces

Let stand 24 hours, add two or three gallons of good whiskey, and rack off into clean casks. Bung tightly, let stand 48 hours, then bottle. If a higher color is desired use caramel sufficient to produce the correct tinge. If honey is not obtainable, use sugar-house molasses instead, but honey is preferable.

II.—The following, when properly prepared, makes a passable substitute for cider, and a very pleasant drink:

Catechu, powdered 3 parts Alum, powdered 5 parts Honey 640 parts Water 12,800 parts Yeast 32 parts

Dissolve the catechu, alum, and honey in the water, add the yeast, and put in some warm place to ferment. The container should be filled to the square opening, made by sawing out five or six inches of the center of a stave, and the spume skimmed off daily as it arises. In cooler weather from 2 weeks to 18 days will be required for thorough fermentation. In warmer weather from 12 to 13 days will be sufficient. When fermentation is complete add the following solution:

Oil of bitter almonds 1 part Oil of clover 1 part Caramel 32 parts Alcohol 192 parts

The alcohol may be replaced by twice its volume of good bourbon whiskey. A much cheaper, but correspondingly poor substitute for the above may be made as follows:

Twenty-five gallons of soft water, 2 pounds tartaric acid, 25 pounds of brown sugar, and 1 pint of yeast are allowed to stand in a warm place, in a clean cask with the bung out, for 24 hours. Then bung up the cask, after adding 3 gallons of whiskey, and let stand for 48 hours, after which the liquor is ready for use.

CIDER VINEGAR: See Vinegar.

«Cigars»

«Cigar Sizes and Colors.»—Cigars are named according to their color and shape. A dead-black cigar, for instance, is an “Oscuro,” a very dark-brown one is a “Colorado,” a medium brown is a “Colorado Claro,” and a yellowish light brown is a “Claro.” Most smokers know the names of the shades from “Claro” to “Colorado,” and that is as far as most of them need to know. As to the shapes, a “Napoleon” is the biggest of all cigars—being 7 inches long; a “Perfecto” swells in the middle and tapers down to a very small head at the lighting end; a “Panatela” is a thin, straight, up-and-down cigar without the graceful curve of the “Perfecto”; a “Conchas” is very short and fat, and a “Londres” is shaped like a “Perfecto” except that it does not taper to so small a head at the lighting end. A “Reina Victoria” is a “Londres” that comes packed in a ribbon-tied bundle of 50 pieces, instead of in the usual four layers of 13, 12, 13 and 12.

«How to Keep Cigars.»—Cigars kept in a case are influenced every time the case is opened. Whatever of taint there may be in the atmosphere rushes into the case, and is finally taken up by the cigars. Even though the cigars have the appearance of freshness, it is not the original freshness in which they were received from the factory. They have been dry, or comparatively so, and have absorbed more moisture than has been put in the case, and it matters not what that moisture may be, it can never restore the flavor that was lost during the drying-out process.

After all, it is a comparatively simple matter to take good care of cigars. All that is necessary is a comparatively air-tight, zinc-lined chest. This should be {183} behind the counter in a place where the temperature is even. When a customer calls for a cigar the dealer takes the box out of the chest, serves his customer, and then puts the box back again. The box being opened for a moment the cigars are not perceptibly affected. The cigars in the close, heavy chest are always safe from atmospheric influences, as the boxes are closed, and the chest is open but a moment, while the dealer is taking out a box from which to serve his customer.

Some of the best dealers have either a large chest or a cool vault in which they keep their stock, taking out from time to time whatever they need for use. Some have a number of small chests, in which they keep different brands, so as to avoid opening and closing one particular chest so often.

It may be said that it is only the higher priced cigars that need special care in handling, although the cheaper grades are not to be handled carelessly. The Havana cigars are more susceptible to change, for there is a delicacy of flavor to be preserved that is never present in the cheaper grades of cigars.

Every dealer must, of course, make a display in his show case, but he need not serve his patrons with these cigars. The shrinkage in value of the cigars in the case is merely a business proposition of profit and loss.

«Cigar Flavoring.»—I.—Macerate 2 ounces of cinnamon and 4 ounces of tonka beans, ground fine, in 1 quart of rum.

II.—Moisten ordinary cigars with a strong tincture of cascarilla, to which a little gum benzoin and storax may be added. Some persons add a small quantity of camphor or oil of cloves or cassia.

III.—Tincture of valerian 4 drachms Butyric aldehyde 4 drachms Nitrous ether 1 drachm Tincture vanilla 2 drachms Alcohol 5 ounces Water enough to make 16 ounces

IV.—Extract vanilla 4 ounces Alcohol 1⁠/⁠2 gallon Jamaica rum 1⁠/⁠2 gallon Tincture valerian 8 ounces Caraway seed 2 ounces English valerian root 2 ounces Bitter orange peel 2 ounces Tonka beans 4 drachms Myrrh 16 ounces

Soak the myrrh for 3 days in 6 quarts of water, add the alcohol, tincture valerian, and extract of vanilla, and after grinding the other ingredients to a coarse powder, put all together in a jug and macerate for 2 weeks, occasionally shaking; lastly, strain.

V.—Into a bottle filled with 1⁠/⁠2 pint of French brandy put 1 1⁠/⁠4 ounces of cascarilla bark and 1 1⁠/⁠4 ounces of vanilla previously ground with 1⁠/⁠2 pound of sugar; carefully close up the flask and distil in a warm place. After 3 days pour off the liquid, and add 1⁠/⁠4 pint of mastic extract. The finished cigars are moistened with this liquid, packed in boxes, and preserved from air by a well-closed lid. They are said to acquire a pleasant flavor and mild strength through this treatment.

«Cigar Spots.»—The speckled appearance of certain wrappers is due to the work of a species of fungus that attacks the growing tobacco. In a certain district of Sumatra, which produces an exceptionally fine tobacco for wrappers, the leaves of the plant are commonly speckled in this way. Several patents have been obtained for methods of spotting tobacco leaves artificially. A St. Louis firm uses a solution composed of:

Sodium carbonate 3 parts Calx chlorinata 1 part Hot water 8 parts

Dissolve the washing soda in the hot water, add the chlorinated lime, and heat the mixture to a boiling temperature for 3 minutes. When cool, decant into earthenware or stoneware jugs, cork tightly, and keep in a cool place. The corks of jugs not intended for immediate use should be covered with a piece of bladder or strong parchment paper, and tightly tied down to prevent the escape of gas, and consequent weakening of the bleaching power of the fluid. The prepared liquor is sprinkled on the tobacco, the latter being then exposed to light and air, when, it is said, the disagreeable odor produced soon disappears.

CINCHONA: See Wines and Liquors.

CINNAMON ESSENCE: See Essences and Extracts.

CINNAMON OIL AS AN ANTISEPTIC: See Antiseptics.

CITRATE OF MAGNESIUM: See Magnesium Citrate.

CLARET LEMONADE AND CLARET PUNCH: See Beverages, under Lemonades. {184}

CLARIFICATION OF GELATIN AND GLUE: See Gelatin.

«CLARIFYING.»

Clarification is the process by which any solid particles suspended in a liquid are either caused to coalesce together or to adhere to the medium used for clarifying, that they may be removed by filtration (which would previously have been impossible), so as to render the liquid clear.

One of the best agents for this purpose is albumen. When clarifying vegetable extracts, the albumen which is naturally present in most plants accomplishes this purpose easily, provided the vegetable matter is extracted in the cold, so as to get as much albumen as possible in solution.

Egg albumen may also be used. The effect of albumen may be increased by the addition of cellulose, in the form of a fine magma of filtering paper. This has the further advantage that the subsequent filtration is much facilitated.

Suspended particles of gum or pectin may be removed by cautious precipitation with tannin, of which only an exceedingly small amount is usually necessary. It combines with the gelatinous substances better with the aid of heat than in the cold. There must be no excess of tannin used.

Another method of clarifying liquids turbid from particles of gum, albumen, pectin, etc., is to add to them a definite quantity of alcohol. This causes the former substances to separate in more or less large flakes. The quantity of alcohol required varies greatly according to the nature of the liquid. It should be determined in each case by an experiment on a small scale.

Resinous or waxy substances, such as are occasionally met with in honey, etc., may be removed by the addition of bole, pulped filtering paper, and heating to boiling.

In each case the clarifying process may be hastened by making the separating particles specifically heavier; that is, by incorporating some heavier substance, such as talcum, etc., which may cause the flocculi to sink more rapidly, and to form a compact sediment.

Clarifying powder for alcoholic liquids:

Egg albumen, dry 40 parts Sugar of milk 40 parts Starch 20 parts

Reduce them to very fine powder, and mix thoroughly.

For clarifying liquors, wines, essences, etc., take for every quart of liquid 75 grains of the above mixture, shake repeatedly in the course of a few days, the mixture being kept in a warm room, then filter.

Powdered talcum renders the same service, and has the additional advantage of being entirely insoluble. However, the above mixture acts more energetically.

«CLAY:»

«Claying Mixture for Forges.»—Twenty parts fire clay; 20 parts cast-iron turnings; 1 part common salt; 1⁠/⁠2 part sal ammoniac; all by measure.

The materials should be thoroughly mixed dry and then wet down to the consistency of common mortar, constantly stirring the mass as the wetting proceeds. A rough mold shaped to fit the tuyère opening, a trowel, and a few minutes’ time are all that are needed to complete the successful claying of the forge. This mixture dries hard and when glazed by the fire will last.

«Plastic Modeling Clay.»—A permanently plastic clay can be obtained by first mixing it with glycerine, turpentine, or similar bodies, and then adding vaseline or petroleum residues rich in vaseline. The proportion of clay to the vaseline varies according to the desired consistency of the product, the admixture of vaseline varying from 10 to 50 per cent. It is obvious that the hardness of the material decreases with the amount of vaseline added, so that the one richest in vaseline will be the softest. By the use of various varieties of clay and the suitable choice of admixtures, the plasticity, as well as the color of the mass, may be varied.

«Cleaning Preparations and Methods»

(See also Soaps, Polishes, and Household Formulas).

«TO REMOVE STAINS FROM THE HANDS:»

«Removal of Aniline-Dye Stains from the Skin.»—Rub the stained skin with a pinch of slightly moistened red crystals of chromic trioxide until a distinct sensation of warmth announces the destruction of the dye stuff by oxidation and an incipient irritation of the skin. Then rinse with soap and water. A single application usually suffices to remove {185} the stain. It is hardly necessary to call attention to the poisonousness and strong caustic action of chromic trioxide; but only moderate caution is required to avoid evil effects.

«Pyrogallic-Acid Stains on the Fingers» (see also Photography).—Pyro stains may be prevented fairly well by rubbing in a little wool fat before beginning work. A very effective way of eliminating developer stains is to dip the finger tips occasionally during development into the clearing bath. It is best to use the clearing bath, with ample friction, before resorting to soap, as the latter seems to have a fixing effect upon the stain. Lemon peel is useful for removing pyro stains, and so are the ammonium persulphate reducer and the thiocarbamide clearer.

«To Clean Very Soiled Hands.»—In the morning wash in warm water, using a stiff brush, and apply glycerine. Repeat the application two or three times during the day, washing and brushing an hour or so afterwards, or apply a warm solution of soda or potash, and wash in warm water, using a stiff brush as before. Finally, rub the hands with pumice or infusorial earth. There are soaps made especially for this purpose, similar to those for use on woodwork, etc., in which infusorial earth or similar matter is incorporated.

«To Remove Nitric-Acid Stains.»—One plan to avoid stains is to use rubber finger stalls, or rubber gloves. Nitric-acid stains can be removed from the hands by painting the stains with a solution of permanganate of potash, and washing off the permanganate with a 5 per cent solution of hydrochloric (muriatic) acid. After this wash the hands with pure castile soap. Any soap that roughens the skin should be avoided at all times. Castile soap is the best to keep the skin in good condition.

«CLEANING GILDED ARTICLES:»

«To Clean Gilt Frames and Gilded Surfaces Generally.»—Dip a soft brush in alcohol to which a few drops of ammonia water has been added, and with it go over the surface. Do not rub—at least, not roughly, or harshly. In the course of five minutes the dirt will have become soft, and easy of removal. Then go over the surface again gently with the same or a similar brush dipped in rain water. Now lay the damp article in the sunlight to dry. If there is no sunlight, place it near a warm (but not hot) stove, and let dry completely. In order to avoid streaks, take care that the position of the article, during the drying, is not exactly vertical.

«To Clean Fire-Gilt Articles.»—Fire-gilt articles are cleaned, according to their condition, with water, diluted hydrochloric acid, ammonia, or potash solution. If hydrochloric acid is employed thorough dilution with water is especially necessary. The acidity should hardly be noticeable on the tongue.

To clean gilt articles, such as gold moldings, etc., when they have become tarnished or covered with flyspecks, etc., rub them slowly with an onion cut in half and dipped in rectified alcohol, and wash off lightly with a moist soft sponge after about 2 hours.

«Cleaning Gilded and Polychromed Work on Altars.»—To clean bright gold a fine little sponge is used which is moistened but lightly with tartaric acid and passed over the gilding. Next go over the gilt work with a small sponge saturated with alcohol to remove all dirt. For matt gilding, use only a white flannel dipped in lye, and carefully wipe off the dead gold with this, drying next with a fine linen rag. To clean polychromed work sponge with a lye of rain water, 1,000 parts, and calcined potash, 68 parts, and immediately wash off with a clean sponge and water, so that the lye does not attack the paint too much.

«SPOT AND STAIN REMOVERS:»

«To Remove Aniline Stains.»—

I.—Sodium nitrate 7 grains Diluted sulphuric acid 15 grains Water 1 ounce

Let the mixture stand a day or two before using. Apply to the spot with a sponge, and rinse the goods with plenty of water.

II.—An excellent medium for the removal of aniline stains, which are often very stubborn, has been found to be liquid opodeldoc. After its use the stains are said to disappear at once and entirely.

«Cleansing Fluids.»—A spot remover is made as follows:

I.—Saponine 7 parts Water 130 parts Alcohol 70 parts Benzine 1,788 parts Oil mirbane 5 parts

II.—Benzene (benzol) 89 parts Ascetic ether 10 parts Pear oil 1 part

This yields an effective grease eradicator, of an agreeable odor. {186}

III.—To Remove Stains of Sulphate of copper, or of salts of mercury, silver, or gold from the hands, etc., wash them first with a dilute solution either of ammonia, iodide, bromide, or cyanide of potassium, and then with plenty of water; if the stains are old ones they should first be rubbed with the strongest acetic acid and then treated as above.

«Removal of Picric-Acid Stains.»—I.—Recent stains of picric acid may be removed readily if the stain is covered with a layer of magnesium carbonate, the carbonate moistened with a little water to form a paste, and the paste then rubbed over the spot.

II.—Apply a solution of Boric acid 4 parts Sodium benzoate 1 part Water 100 parts

III.—Dr. Prieur, of Besançon, recommends lithium carbonate for the removal of picric-acid stains from the skin or from linen. The method of using it is simply to lay a small pinch on the stain, and moisten the latter with water. Fresh stains disappear almost instantly, and old ones in a minute or two.

«To Remove Finger Marks from Books, etc.»—I.—Pour benzol (not benzine or gasoline, but Merck’s “c. p.” crystallizable) on calcined magnesia until it becomes a crumbling mass, and apply this to the spot, rubbing it in lightly, with the tip of the finger. When the benzol evaporates, brush off. Any dirt that remains can be removed by using a piece of soft rubber.

II.—If the foregoing fails (which it sometimes, though rarely, does), try the following: Make a hot solution of sodium hydrate in distilled water, of strength of from 3 per cent to 5 per cent, according to the age, etc., of the stain. Have prepared some bits of heavy blotting paper somewhat larger than the spot to be removed; also, a blotting pad, or several pieces of heavy blotting paper. Lay the soiled page face downward on the blotting pad, then, saturating one of the bits of blotter with the hot sodium hydrate solution, put it on the stain and go over it with a hot smoothing iron. If one application does not remove all the grease or stain, repeat the operation. Then saturate another bit of blotting paper with a 4 per cent or 5 per cent solution of hydrochloric acid in distilled water, apply it to the place, and pass the iron over it to neutralize the strong alkali. This process will instantly restore any faded writing or printing, and make the paper bright and fresh again.

«Glycerine as a Detergent.»—For certain kinds of obstinate spots (such as coffee and chocolate, for instance) there is no better detergent than glycerine, especially for fabrics with delicate colors. Apply the glycerine to the spot, with a sponge or otherwise, let stand a minute or so, then wash off with water or alcohol. Hot glycerine is even more efficient than cold.

«CLEANING SKINS AND LEATHER»: See also Leather.

«To Clean Colored Leather.»—Pour carbon bisulphide on non-vulcanized gutta-percha, and allow it to stand about 24 hours. After shaking actively add more gutta-percha gradually until the solution becomes of gelatinous consistency. This mixture is applied in suitable quantity to oil-stained, colored leather and allowed to dry two or three hours. The subsequent operation consists merely in removing the coat of gutta-percha from the surface of the leather—that is, rubbing it with the fingers, and rolling it off the surface.

The color is not injured in the least by the sulphuret of carbon; only those leathers on which a dressing containing starch has been used look a little lighter in color, but the better class of leathers are not so dressed. The dry gutta-percha can be redissolved in sulphuret of carbon and used over again.

«To Clean Skins Used for Polishing Purposes.»—First beat them thoroughly to get rid of dust, then go over the surface on both sides with a piece of good white soap and lay them in warm water in which has been put a little soda. Let them lie here for 2 hours, then wash them in plenty of tepid water, rubbing them vigorously until perfectly clean. This bath should also be made alkaline with soda. The skins are finally rinsed in warm water, and dried quickly. Cold water must be avoided at all stages of the cleansing process, as it has a tendency to shrink and harden the skins.

The best way to clean a chamois skin is to wash and rinse it out in clean water immediately after use, but this practice is apt to be neglected so that the skin becomes saturated with dirt and grime. To clean it, first thoroughly soak in clean, soft water. Then, after soaping it and rolling it into a compact wad, beat with a small round stick—a buggy spoke, say—turning the wad over repeatedly, and keeping it well wet and soaped. This should suffice to loosen the dirt. Then rinse in clean water until the skin {187} is clean. As wringing by hand is apt to injure the chamois skin, it is advisable to use a small clothes wringer. Before using the skin again rinse it in clear water to which a little pulverized alum has been added.

«STRAW-HAT RENOVATION:»

«To Renovate Straw Hats.»—I.—Hats made of natural (uncolored) straw, which have become soiled by wear, may be cleaned by thoroughly sponging with a weak solution of tartaric acid in water, followed by water alone. The hat after being so treated should be fastened by the rim to a board by means of pins, so that it will keep its shape in drying.

II.—Sponge the straw with a solution of

By weight Sodium hyposulphite 10 parts Glycerine 5 parts Alcohol 10 parts Water 75 parts

Lay aside in a damp place for 24 hours and then apply

By weight Citric acid 2 parts Alcohol 10 parts Water 90 parts

Press with a moderately hot iron, after stiffening with weak gum water, if necessary.

III.—If the hat has become much darkened in tint by wear the fumes of burning sulphur may be employed. The material should be first cleaned by thoroughly sponging with an aqueous solution of potassium carbonate, followed by a similar application of water, and it is then suspended over the sulphur fumes. These are generated by placing in a metal or earthen dish, so mounted as to keep the heat from setting fire to anything beneath, some brimstone (roll sulphur), and sprinkling over it some live coals to start combustion. The operation is conducted in a deep box or barrel, the dish of burning sulphur being placed at the bottom, and the article to be bleached being suspended from a string stretched across the top. A cover not fitting so tightly as to exclude all air is placed over it, and the apparatus allowed to stand for a few hours.

Hats so treated will require to be stiffened by the application of a little gum water, and pressed on a block with a hot iron to bring them back into shape.

«Waterproof Stiffening for Straw Hats.»—If a waterproof stiffening is required use one of the varnishes for which formulas follow:

I.—Copal 450 parts Sandarac 75 parts Venice turpentine 40 parts Castor oil 5 parts Alcohol 800 parts

II.—Shellac 500 parts Sandarac 175 parts Venice turpentine 50 parts Castor oil 15 parts Alcohol 2,000 parts

III.—Shellac 750 parts Rosin 150 parts Venice turpentine 150 parts Castor oil 20 parts Alcohol 2,500 parts

«How to Clean a Panama Hat.»—Scrub with castile soap and warm water, a nail brush being used as an aid to get the dirt away. The hat is then placed in the hot sun to dry and in the course of two or three hours is ready for use. It will not only be as clean as when new, but it will retain its shape admirably. The cleaned hat will be a trifle stiff at first, but will soon grow supple under wear.

A little glycerine added to the rinsing water entirely prevents the stiffness and brittleness acquired by some hats in drying, while a little ammonia in the washing water materially assists in the scrubbing process. Ivory, or, in fact, any good white soap, will answer as well as castile for the purpose. It is well to rinse a second time, adding the glycerine to the water used the second time. Immerse the hat completely in the rinse water, moving it about to get rid of traces of the dirty water. When the hat has been thoroughly rinsed, press out the surplus water, using a Turkish bath towel for the purpose, and let it rest on the towel when drying.

«PAINT, VARNISH, AND ENAMEL REMOVERS:»

«To Remove Old Oil, Paint, or Varnish Coats.»—I.—Apply a mixture of about 5 parts of potassium silicate (water glass, 36 per cent), about 1 part of soda lye (40 per cent), and 1 part of ammonia. The composition dissolves the old varnish coat, as well as the paint, down to the bottom. The varnish coatings which are to be removed may be brushed off or left for days in a hardened state. Upon being thoroughly moistened with water the old varnish may be readily washed off, the lacquer as well as the oil paint coming off completely. The ammonia otherwise employed dissolves the varnish, but not the paint. {188}

II.—Apply a mixture of 1 part oil of turpentine and 2 parts of ammonia. This is effective, even if the coatings withstand the strongest lye. The two liquids are shaken in a bottle until they mix like milk. The mixture is applied to the coating with a little oakum; after a few minutes the old paint can be wiped off.

«To Clean Brushes and Vessels of Dry Paint» (see also Brushes and Paints).—The cleaning of the brushes and vessels in which the varnish or oil paint had dried is usually done by boiling with soda solution. This frequently spoils the brushes or cracks the vessels if of glass; besides, the process is rather slow and dirty. A much more suitable remedy is amyl acetate, which is a liquid with a pleasant odor of fruit drops, used mainly for dissolving and cementing celluloid. If amyl acetate is poured over a paint brush the varnish or hardened paint dissolves almost immediately and the brush is again rendered serviceable at once. If necessary, the process is repeated. For cleaning vessels shake the liquid about in them, which softens the paint so that it can be readily removed with paper. In this manner much labor can be saved. The amyl acetate can be easily removed from the brushes, etc., by alcohol or oil of turpentine.

«Varnish and Paint Remover.»—Dissolve 20 parts of caustic soda (98 per cent) in 100 parts of water, mix the solution with 20 parts of mineral oil, and stir in a kettle provided with a mechanical stirrer, until the emulsion is complete. Now add, with stirring, 20 parts of sawdust and pass the whole through a paint mill to obtain a uniform intermixture. Apply the paste moist.

«To Remove Varnish from Metal.»—To remove old varnish from metals, it suffices to dip the articles in equal parts of ammonia and alcohol (95 per cent).

«To Remove Water Stains from Varnished Furniture.»—Pour olive oil into a dish and scrape a little white wax into it. This mixture should be heated until the wax melts and rubbed sparingly on the stains. Finally, rub the surface with a linen rag until it is restored to brilliancy.

«To Remove Paint, Varnish, etc., from Wood.»—Varnish, paint, etc., no matter how old and hard, may be softened in a few minutes so that they can be easily scraped off, by applying the following mixture:

Water glass 5 parts Soda lye, 40° B. (27 per cent) 1 part Ammonia water 1 part

Mix.

«Removing Varnish, etc.»—A patent has been taken out in England for a liquid for removing varnish, lacquer, tar, and paint. The composition is made by mixing 4 ounces of benzol, 3 ounces of fusel oil, and 1 ounce of alcohol. It is stated by the inventor that this mixture, if applied to a painted or varnished surface, will make the surface quite clean in less than 10 minutes, and that a paint-soaked brush “as hard as iron” can be made as soft and pliable as new by simply soaking for an hour or so in the mixture.

«To Remove Enamel and Tin Solder.»—Pour enough of oil of vitriol (concentrated sulphuric acid) over powdered fluorspar in an earthen or lead vessel, so as just to cover the parts whereby hydrofluoric acid is generated. For use, dip the article suspended on a wire into the liquid until the enamel or the tin is eaten away or dissolved, which does not injure the articles in any way. If heated, the liquid acts more rapidly. The work should always be conducted in the open air, and care should be taken not to inhale the fumes, which are highly injurious to the health, and not to get any liquid on the skin, as hydrofluoric acid is one of the most dangerous poisons. Hydrofluoric acid must be kept in earthen or leaden vessels, as it destroys glass.

«Removing Paint and Varnish from Wood.»—The following compound is given as one which will clean paint or varnish from wood or stone without injuring the material:

Flour or wood pulp 385 parts Hydrochloric acid 450 parts Bleaching powder 160 parts Turpentine 5 parts

This mixture is applied to the surface and left on for some time. It is then brushed off, and brings the paint away with it. It keeps moist quite long enough to be easily removed after it has acted.

«Paste for Removing Old Paint or Varnish Coats.»—

I.—Sodium hydrate 5 parts Soluble soda glass 3 parts Flour paste 6 parts Water 4 parts

II.—Soap 10 parts Potassium hydrate 7 parts Potassium silicate 2 parts

{189}

«To Remove Old Enamel.»—Lay the articles horizontally in a vessel containing a concentrated solution of alum and boil them. The solution should be just sufficient to cover the pieces. In 20 or 25 minutes the old enamel will fall into dust, and the article can be polished with emery. If narrow and deep vessels are used the operation will require more time.

«INK ERADICATORS:»

«Two-Solution Ink Remover.»—

I.—(a) Citric acid 1 part Concentrated solution of borax 2 parts Distilled water 16 parts

Dissolve the acid in the water, add the borax solution, and mix by agitation.

(b) Chloride of lime 3 parts Water 16 parts Concentrated borax solution 2 part

Add the chloride of lime to the water, shake well and set aside for a week, then decant the clear liquid and to it add the borax solution.

For use, saturate the spot with solution (a), apply a blotter to take off the excess of liquid, then apply solution (b). When the stain has disappeared, apply the blotter and wet the spot with clean water; finally dry between two sheets of blotting paper.

II.—(a) Mix, in equal parts, potassium chloride, potassium hypochlorite, and oil of peppermint. (b) Sodium chloride, hydrochloric acid and water, in equal parts.

Wet the spot with (a), let dry, then brush it over lightly with (b), and rinse in clear water.

A good single mixture which will answer for most inks is made by mixing citric acid and alum in equal parts. If desired to vend in a liquid form add an equal part of water. In use, the powder is spread well over the spot and (if on cloth or woven fabrics) well rubbed in with the fingers. A few drops of water are then added, and also rubbed in. A final rinsing with water completes the process.

«Ink Erasers.»—I.—Inks made with nutgalls and copperas can be removed by using a moderately concentrated solution of oxalic acid, followed by use of pure water and frequent drying with clean blotting paper. Most other black inks are erased by use of a weak solution of chlorinated lime, followed by dilute acetic acid and water, with frequent drying with blotters. Malachite green ink is bleached by ammonia water; silver inks by potassium cyanide or sodium hyposulphite. Some aniline colors are easily removed by alcohol, and nearly all by chlorinated lime, followed by diluted acetic acid or vinegar. In all cases apply the substances with camel’s-hair brushes or feathers, and allow them to remain no longer than necessary, after which rinse well with water and dry with blotting paper.

II.—Citric acid 1 part Water, distilled 10 parts Concentrated solution of borax 2 parts

Dissolve the citric acid in the water and add the borax. Apply to the paper with a delicate camel’s-hair pencil, removing any excess of water with a blotter. A mixture of oxalic, citric, and tartaric acids, in equal parts, dissolved in just enough water to give a clean solution, acts energetically on most inks.

«Erasing Powder or Pounce.»—Alum, 1 part; amber, 1 part; sulphur, 1 part; saltpeter, 1 part. Mix well together and keep in a glass bottle. If a little of this powder is placed on an ink spot or fresh writing, rubbing very lightly with a clean linen rag, the spot or the writing will disappear at once.

«Removing Ink Stains.»—I.—The material requiring treatment should first be soaked in clean, warm water, the superfluous moisture removed, and the fabric spread over a clean cloth. Now allow a few minims of liquor ammoniæ fortis, specific gravity 0.891, to drop on the ink spot, then saturate a tiny tuft of absorbent cotton-wool with acidum phosphoricum dilutum, B. P., and apply repeatedly and with firm pressure over the stain; repeat the procedure two or three times, and finally rinse well in warm water, afterwards drying in the sun, when every trace of ink will have vanished. This method is equally reliable for old and fresh ink stains, is rapid in action, and will not injure the most delicate fabric.

II.—To remove ink spots the fabric is soaked in warm water, then it is squeezed out and spread upon a clean piece of linen. Now apply a few drops of liquid ammonia of a specific gravity of 0.891 to the spot, and dab it next with a wad of cotton which has been saturated with dilute phosphoric acid. After repeating the process several times and drying the piece in the sun, the ink spot will have disappeared without leaving the slightest trace. {190}

III.—Ink spots may be removed by the following mixture:

Oxalic acid 10 parts Stannic chloride 2 parts Acetic acid 5 parts Water to make 500 parts

Mix.

IV.—The customary method of cleansing ink spots is to use oxalic acid. Thick blotting paper is soaked in a concentrated solution and dried. It is then laid immediately on the blot, and in many instances will take the latter out without leaving a trace behind. In more stubborn cases the cloth is dipped in boiling water and rubbed with crystals of oxalic acid, after which it is soaked in a weak solution of chloride of lime—say 1 ounce to a quart of water. Under such circumstances the linen should be thoroughly rinsed in several waters afterwards. Oxalic acid is undesirable for certain fabrics because it removes the color.

V.—Here is a more harmless method: Equal parts of cream of tartar and citric acid, powdered fine, and mixed together. This forms the “salts of lemon” sold by druggists. Procure a hot dinner plate, lay the part stained in the plate, and moisten with hot water; next rub in the above powder with the bowl of a spoon until the stains disappear; then rinse in clean water and dry.

«To Remove Red (Aniline) Ink.»—Stains of red anilines, except eosine, are at once removed by moistening with alcohol of 94 per cent, acidulated with acetic acid. Eosine does not disappear so easily. The amount of acetic acid to be used is ascertained by adding it, drop by drop, to the alcohol, testing the mixture from time to time, until when dropped on the stain, the latter at once disappears.

«CLEANING OF WALLS, CEILINGS, AND WALL PAPER:»

See also Ropes.

«Strong Twine.»—An extraordinarily strong pack thread or cord, stronger even than the so-called “Zuckerschnur,” may be obtained by laying the thread of fibers in a strong solution of alum, and then carefully drying them.

«Preservation of Fishing Nets.»—The following recipe for the preservation of fishing nets is also applicable to ropes, etc., in contact with water. Some have been subjected to long test.

For 40 parts of cord, hemp, or cotton, 3 parts of kutch, 1 part of blue vitriol, 1⁠/⁠2 part of potassium chromate, and 2 1⁠/⁠2 parts of wood tar are required. The kutch is boiled with 150 parts of water until dissolved, and then the blue vitriol is added. Next, the net is entered and the tar added. The whole should be stirred well, and the cordage must boil 5 to 8 minutes. Now take out the netting, lay it in another vessel, cover up well, and leave alone for 12 hours. After that it is dried well, spread out in a clean place, and coated with linseed oil. Not before 6 hours have elapsed should it be folded together and put into the water. The treatment with linseed oil may be omitted.

CORDAGE LUBRICANT: See Lubricants.

CORDAGE WATERPROOFING: See Waterproofing.

CORDIALS: See Wines and Liquors.

«CORKS:»

«Impervious Corks.»—Corks which have been steeped in petrolatum are said to be an excellent substitute for glass stoppers. Acid in no way affects them and chemical fumes do not cause decay in them, neither do they become fixed by a blow or long disuse. {224}

«Non-Porous Corks.»—For benzine, turpentine, and varnish cans, immerse the corks in hot melted paraffine. Keep them under about 5 minutes; hold them down with a piece of wire screen cut to fit the dish in which you melt the paraffine. When taken out lay them on a screen till cool. Cheap corks can in this way be made gas- and air-tight, and can be cut and bored with ease.

«Substitute for Cork.»—Wood pulp or other ligneous material may be treated to imitate cork. For the success of the composition it is necessary that the constituents be mingled and treated under special conditions. The volumetric proportions in which these constituents combine with the best results are the following: Wood pulp, 3 parts; cornstalk pith, 1 part; gelatin, 1 part; glycerine, 1 part; water, 4 parts; 20 per cent formic-aldehyde solution, 1 part; but the proportions may be varied. After disintegrating the ligneous substances, and while these are in a moist and hot condition they are mingled with the solution of gelatin, glycerine, and water. The mass is stirred thoroughly so as to obtain a homogeneous mixture. The excess of moisture is removed. As a last operation the formic aldehyde is introduced, and the mass is left to coagulate in this solution. The formic aldehyde renders the product insoluble in nearly all liquids. So it is in this last operation that it is necessary to be careful in producing the composition properly. When the operation is terminated the substance is submitted to pressure during its coagulation, either by molding it at once into a desired form, or into a mass which is afterwards converted into the finished product.

CORKS, TO CLEAN: See Cleaning Preparations and Methods, under Miscellaneous Methods.

CORK TO METAL, FASTENING: See Adhesives, under Pastes.

CORK AS A PRESERVATIVE: See Preserving.

CORKS, WATERPROOFING: See Waterproofing.

«CORN CURES:»

I.—Salicylic-Acid Corn Cure.—Extract cannabis indica, 1 part, by measure; salicylic acid, 10 parts, by measure; oil of turpentine, 5 parts, by measure; acetic acid, glacial, 2 parts, by measure; cocaine, alkaloidal, 2 parts, by measure; collodion, elastic, sufficient to make 100 parts. Apply a thin coating every night, putting each layer directly on the preceding one. After a few applications, the mass drops off, bringing the indurated portion, and frequently the whole of the corn, off with it.

II.—Compound Salicylated Collodion Corn Cure.—Salicylic acid, 11 parts, by weight; extract of Indian hemp, 2 parts, by weight; alcohol, 10 parts, by weight; flexible collodion, U. S. P., a sufficient quantity to make 100 parts, by weight.

The extract is dissolved in the alcohol and the acid in about 50 parts, by weight, of collodion, the solutions mixed, and the liquid made up to the required amount. The Indian hemp is presumably intended to prevent pain; whether it serves this or any other useful purpose seems a matter of doubt. The acid is frequently used without this addition.

III.—Extract of cannabis indica, 90 grains; salicylic acid, 1 ounce; alcohol, 1 ounce; collodion enough to make 10 ounces. Soften the extract with the alcohol, then add the collodion, and lastly the acid.

IV.—Resorcin, 1 part, by weight; salicylic acid, 1 part, by weight; lactic acid, 1 part, by weight; collodion elasticum, 10 parts, by weight. Paint the corn daily for 5 or 6 days with the above solution and take a foot bath in very hot water. The corn will readily come off.

«Corn Plaster.»—Yellow wax, 24 parts, by weight; Venice turpentine, 3 parts, by weight; rosin, 2 parts, by weight; salicylic acid, 2 parts, by weight; balsam of Peru, 2 parts, by weight; lanolin, 4 parts, by weight.

«Corn Cure.»—Melt soap plaster, 85 parts, by weight, and yellow wax, 5 parts by weight, in a vapor bath, and stir finely ground salicylic acid, 10 parts, by weight, into it.

«Removal of Corns.»—The liquid used by chiropodists with pumice stone for the removal of corns and callosities is usually nothing more than a solution of potassa or concentrated lye, the pumice stone being dipped into the solution by the operator just before using.

«Treatment of Bunions.»—Wear right and left stockings and shoes, the inner edges of the sole of which are perfectly straight. The bunion is bathed night and morning in a 4 per cent solution of carbolic acid for a few minutes, followed by plain water. If, after several weeks, the bursa is still distended with fluid, it is aspirated. If the bunion is due to flatfoot, the arch of the foot must be restored by a plate. When the joints are enlarged because of gout or {225} rheumatism, the constitutional conditions must be treated. In other cases, osteotomy and tenotomy are required.

«The Treatment of Corns.»—Any corn may be speedily and permanently cured. The treatment is of three kinds—preventive, palliative, and curative.

I.—The preventive treatment lies in adopting such measures as will secure freedom from pressure and friction for the parts most liable to corns. To this end a well-fitting shoe is essential. The shoes should be of well-seasoned leather, soft and elastic, and should be cut to a proper model.

II.—The palliative treatment is generally carried out with chemical substances. The best method, is, briefly, as follows: A ring of glycerine jelly is painted around the circumference of the corn, to form a raised rampart. A piece of salicylic plaster mull is then cut to the size and shape of the central depression, and applied to the surface of the corn. This is then covered with a layer of glycerine jelly, and before it sets a pad of cotton wool is applied to the surface. This process is repeated as often as is necessary, until the horny layer separates and is cast off.

If the point of a sharp, thin-bladed knife be introduced at the groove which runs around the margin of the corn, and be made to penetrate toward its central axis, by the exercise of a little manual dexterity the horny part of the corn can be easily made to separate from the parts beneath.

III.—Any method of treatment to be curative must secure the removal of the entire corn, together with the underlying bursa. It is mainly in connection with the latter structure that complications, which alone make a corn a matter of serious import, are likely to arise. Freeland confidently advises the full and complete excision of corns, on the basis of his experience in upward of 60 cases.

Every precaution having been taken to render the operation aseptic, a spot is selected for the injection of the anæsthetic solution. The skin is rendered insensitive with ethyl chloride, and 5 minims of a 4 per cent solution of cocaine is injected into the subcutaneous tissue beneath the corn. After a wait of a few minutes the superficial parts of the site of the incision are rendered insensitive with ethyl chloride. Anæsthesia is now complete.

Two semielliptical incisions meeting at their extremities are made through the skin abound the circumference of the growth, care being taken that they penetrate well into the subcutaneous tissue. Seizing the parts included in the incision with a pair of dissecting forceps, a wedge-shaped piece of tissue—including the corn, a layer of skin and subcutaneous tissue, and the bursa if present—is dissected out. The oozing is pretty free, and it is sometimes necessary to torsion a small vessel; but the hemorrhage is never severe. The edges of the wound are brought together by one or two fine sutures; an antiseptic dressing is applied, and the wound is left to heal—primary union in a few days being the rule. The rapidity of the healing is often phenomenal. There is produced a scar tissue at the site of the corn, but this leads to no untoward results.

«Cosmetics»

«COLD CREAM.»

I.—Oil of almonds 425 parts Lanolin 185 parts White wax 62 parts Spermaceti 62 parts Borax 4.5 parts Rose water 300 part

Melt together the first four ingredients, then incorporate the solution of borax in the rose water.

II.—Tragacanth 125 parts Boric acid 100 parts Glycerine 140 parts Expressed oil of almonds 50 parts Glyconine 50 parts Oil of lavender 0.5 parts Water enough to make 1,000 parts

Mix the tragacanth and the boric acid with the glycerine; add the almond oil, lavender oil, and egg glycerite, which have been previously well incorporated, and, lastly, add the water in divided portions until a clear jelly of the desired consistency is obtained.

III.—Oil of almonds 26 ounces Castor oil (odorless) 6 ounces Lard (benzoated) 8 ounces White wax 8 ounces Rose water (in winter less, in summer more, than quantity named) 12 ounces Orange-flower water 8 ounces Oil of rose 15 minims Extract of jasmine 6 drachms Extract of cassia 4 drachms Borax 2 ounces Glycerine 4 ounces

{226}

Melt the oil of sweet almonds, wax, and lard together, and stir in the castor oil; make a solution of the borax in the glycerine and rose and orange-flower waters; add this solution, a little at a time, to the melted fat, stirring constantly to insure thorough incorporation; finally add the oil of rose dissolved in the extracts, and beat the ointment until cold.

IV.—Spermaceti (pure), 1⁠/⁠4 ounce; white wax (pure), 1⁠/⁠4 ounce; almond oil, 1⁠/⁠4 pound; butter of cocoa, 1⁠/⁠4 pound; lanolin, 2 ounces.

Melt and stir in 1 drachm of balsam of Peru. After settling, pour off the clear portion and add 2 fluidrachms of orange-flower water and stir briskly until it concretes.

«Camphorated Cold Cream.»—

Oil of sweet almonds 8 fluidounces White wax 1 ounce Spermaceti 1 ounce Camphor 1 ounce Rose water 5 fluidounces Borax (in fine powder) 4 drachms Oil of rose 10 drops

Melt the wax and spermaceti, add the oil of sweet almonds, in which the camphor has been dissolved with very gentle heat; then gradually add the rose water, in which the borax has previously been dissolved, beating or agitating constantly with a wooden spatula until cold. Lastly add the oil of rose.

«Petrolatum Cold Cream.»—

Petrolatum (white) 7 ounces Paraffine 1⁠/⁠2 ounce Lanolin 2 ounces Water 3 ounces Oil of rose 3 drops Alcohol 1 drachm

A small quantity of borax may be added, if desirable, and the perfume may be varied to suit the taste.

«LIP SALVES:»

«Pomades for the Lips.»—Lip pomatum which is said always to retain a handsome red color and never to grow rancid is prepared as follows:

I.—Paraffine 80.0 parts Vaseline 80.0 parts Anchusine 0.5 parts Bergamot oil 1.0 part Lemon peel 1.0 part

II.—Vaseline Pomade.—

Vaseline oil, white 1,000 parts Wax, white 300 part Geranium oil, African. 40 parts Lemon oil. 20 parts

III.—Rose Pomade.—

Almond oil 1,000 parts Wax, white 300 parts Alkannin 3 parts Geranium oil 20 parts

IV.—Yellow Pomade.—

Vaseline oil, white. 1,000 parts Wax, white 200 parts Spermaceti 200 parts Saffron surrogate. 10 parts Clove oil. 20 parts

V.—White Pomade.—

Vaseline oil, white 1,000 parts Wax, white. 300 parts Bitter almond oil, genuine. 10 parts Lemon oil 2 parts

VI.—Paraffine 49.0 parts Vaseline. 49.0 parts Oil of lemon. 0.75 parts Oil of violet 0.75 parts Carmine, quantity sufficient.

«Lipol.»—For treating sore, rough, or inflamed lips, apply the following night and morning, rubbing in well with the finger tips: Camphor, 1⁠/⁠2 ounce; menthol, 1⁠/⁠2 ounce; eucalyptol, 1 drachm; petrolatum (white), 1 pound; paraffine, 1⁠/⁠2 pound; alkanet root, 1⁠/⁠2 ounce; oil of bitter almonds, 15 drops; oil of cloves, 10 drops; oil of cassia, 5 drops. Digest the root in the melted paraffine and petrolatum, strain, add the other ingredients and pour into lip jars, hot.

«MANICURE PREPARATIONS:»

«Powdered Nail Polishes.»—

I.—Tin oxide 8 drachms Carmine 1⁠/⁠4 drachm Rose oil. 6 drops Neroli oil. 5 drops

II.—Cinnabar. 1 drachm Infusorial earth. 8 drachms

III.—Putty powder (fine). 4 drachms Carmine. 2 grains Oil of rose. 1 drop

IV.—White castile soap. 1 part Hot water 16 parts Zinc chloride solution, 10 per cent, quantity sufficient.

Dissolve the soap in the water and to the solution add the zinc-chloride solution until no further precipitation occurs. Let stand over night; pour off the supernatant fluid, wash the precipitate {227} well with water, and dry at the ordinary temperature. Carmine may be added if desired.

«Polishing Pastes for the Nails.»—

I.—Talcum. 5 drachms Stannous oxide. 3 drachms Powdered tragacanth 5 grains Glycerine 1 drachm Rose water, quantity sufficient. Solution of carmine sufficient to tint.

Make paste.

For softening the nails, curing hangnails, etc., an ointment is sometimes used consisting of white petrolatum, 8 parts; powdered castile soap, 1 part; and perfume to suit.

II.—Eosine 10 grains White wax 1⁠/⁠2 drachm Spermaceti 1⁠/⁠2 drachm Soft paraffine 1 ounce Alcohol, a sufficient quantity.

Dissolve the eosine in as little alcohol as will suffice, melt the other ingredients together, add the solution, and stir until cool.

«Nail-Cleaning Washes.»—

I.—Tartaric acid 1 drachm Tincture of myrrh 1 drachm Cologne water 2 drachms Water 3 ounces

Dissolve the acid in the water; mix the tincture of myrrh and cologne, and add to the acid solution.

Dip the nails in this solution, wipe, and polish with chamois skin.

II.—Oxalic acid 30 grains Rose water 1 ounce

«Nail Varnish.»—

Paraffine wax 60 grains Chloroform 2 ounces Oil of rose 3 drops

«POMADES:»

I.—Beef-Marrow Pomade.—

Vaseline oil, yellow 20,000 parts Ceresine, yellow 3,000 parts Beef marrow 2,000 parts Saffron substitute 15 parts Lemon oil 50 parts Bergamot oil 20 parts Clove oil 5 parts Lavender oil. 10 parts

II.—China Pomade.—

Vaseline oil, yellow 20,000 parts Ceresine, yellow 5,000 parts Brilliant, brown 12 parts Peru balsam 50 parts Lemon oil 5 parts Bergamot oil 5 parts Clove oil 5 parts Lavender oil 5 parts

III.—Crystalline Honey Pomade.—Nut oil, 125 drachms; spermaceti, 15 drachms; gamboge, 2 drachms; vervain oil, 10 drops; cinnamon oil, 20 drops; bergamot oil, 30 drops; rose oil, 3 drops. The spermaceti is melted in the nut oil on a water bath and digested with the gamboge for 20 minutes; it is next strained, scented, and poured into cans which are standing in water. The cooling must take place very slowly. Instead of gamboge, butter color may be used. Any desired scent mixture may be employed.

IV.—Herb Pomade.—

Vaseline oil, yellow 20,000 parts Ceresine, yellow 5,000 parts Chlorophyll 20 parts Lemon oil 50 parts Clove oil 20 parts Geranium oil, African 12 parts Curled mint oil. 4 parts

V.—Rose Pomade.—

Vaseline oil, white 20,000 parts Ceresine, white 5,000 parts Alkannin 15 parts Geranium oil, African 50 parts Palmarosa oil 30 parts Lemon oil 20 parts

VI.—Strawberry Pomade.—When the strawberry season is on, and berries are plenty and cheap, the following is timely:

Strawberries, ripe and fresh 4 parts Lard, sweet and fresh 25 parts Tallow, fresh 5 parts Alkanet tincture, quantity sufficient. Essential oil, quantity sufficient to perfume.

Melt lard and tallow together on the water bath at the temperature of boiling water. Have the strawberries arranged on a straining cloth. Add the alkanet tincture to the melted grease, stir in, and then pour the mixture over the berries. Stir the strained fats until the mass {228} begins to set, then add the perfume and stir in. A little artificial essence of strawberries may be added. The odor usually employed is rose, about 1 drop to every 2 pounds.

VII.—Stick Pomade.—

Tallow 500 parts Ceresine 150 parts Wax, yellow 50 parts Rosin, light 200 parts Paraffine oil (thick) 300 parts Oil of cassia. 5 parts Oil of bergamot 5 parts Oil of clove 2 parts

VIII.—Vaseline Pomade.—Melt 250 parts of freshly rendered lard and 25 parts of white wax at moderate heat and mix well with 200 parts of vaseline. Add 15 parts of bergamot oil, 3 parts of lavender oil, 2 parts of geranium oil, and 2 parts of lemon oil, mixing well.

IX.—Witch-Hazel Jelly.—

Oil of sweet almonds 256 parts Extract of witch-hazel fluid 10 parts Glycerine 32 parts oft soap 20 parts Tincture of musk, quantity sufficient to perfume.

Mix in a large mortar the glycerine and soft soap and stir until incorporated. Add and rub in the witch-hazel, and then add the oil, slowly, letting it fall in a very thin, small stream, under constant agitation; add the perfume, keeping up the agitation until complete incorporation is attained. Ten drops of musk to a quart of jelly is sufficient. Any other perfume may be used.

«Colors for Pomade.»—Pomade may be colored red by infusing alkanet in the grease; yellow may be obtained by using annotto in the same way; an oil-soluble chlorophyll will give a green color by admixture.

In coloring grease by means of alkanet or annotto it is best to tie the drug up in a piece of coarse cloth, place in a small portion of the grease, heat gently, squeezing well with a rod from time to time; and then adding this strongly colored grease to the remainder. This procedure obviates exposing the entire mass to heat, and neither decantation nor straining is needed.

«Brocq’s Pomade for Itching.»—

Acid phenic 1 part Acid salicylic 2 parts Acid tartaric 3 parts Glycerole of starch 60 to 100 parts

Mix and make a pomade.

«White Cosmetique.»—

Jasmine pomade 2 ounces Tuberose pomade 2 ounces White wax 2 ounces Refined suet 4 ounces Rose oil 15 minims

Melt the wax and suet over a water bath, then add the pomades, and finally the otto.

«Glycerine and Cucumber Jelly.»—

Gelatin 160 to 240 grains Boric acid 240 grains Glycerine 6 fluidounces Water 10 fluidounces

Perfume to suit. The perfume must be one that mixes without opalescence, otherwise it mars the beauty of the preparation. Orange-flower water or rose water could be substituted for the water if desired, or another perfume consisting of

Spirit of vanillin (15 grains per ounce) 2 fluidrachms Spirit of coumarin (15 grains per ounce) 2 fluidrachms Spirit of bitter almonds (1⁠/⁠8) 8 minims

to the quantities given above would prove agreeable.

«Cucumber Pomade.»—

Cucumber pomade 2 ounces Powdered white soap 1⁠/⁠2 ounce Powdered borax 2 drachms Cherry-laurel water 3 ounces Rectified spirit 3 ounces Distilled water to make 48 ounces

Rub the pomade with the soap and borax until intimately mixed, then add the distilled water (which may be warmed to blood heat), ounce by ounce, to form a smooth and uniform cream. When 40 ounces of water have been so incorporated, dissolve any essential oils desired as perfume in the spirit, and add the cherry-laurel water, making up to 48 ounces with plain water.

«ROUGES AND PAINTS:»

«Grease Paints.»—Theatrical face paints are sold in sticks, and there are many varieties of color. Yellows are obtained with ocher; browns with burnt umber; and blue is made with ultramarine. These colors should in each case be levigated finely along with their own weight {229} of equal parts of precipitated chalk and oxide of zinc and diluted with the same to the tint required, then made into sticks with mutton suet (or vaseline or paraffine, equal parts) well perfumed. By blending these colors, other tints may thus be obtained.

«White Grease Paints.»—

I.—Prepared chalk 4 av. ounces Zinc oxide 4 av. ounces Bismuth subnitrate 4 av. ounces Asbestos powder 4 av. ounces Sweet almond oil, about 2 1⁠/⁠2 fluidounces Camphor 40 grains Oil peppermint 3 fluidrachms Esobouquet extract 3 fluidrachms

Sufficient almond oil should be used to form a mass of proper consistence.

II.—Zinc oxide. 8 parts Bismuth subnitrate 8 parts Aluminum oxychloride 8 parts Almond oil, quantity sufficient, or 5–6 parts. Perfume, quantity sufficient.

Mix the zinc, bismuth, and aluminum oxychloride thoroughly; make into a paste with the oil. Any perfume may be added, but that generally used is composed of 1 drachm of essence of bouquet, 12 grains of camphor, and 12 minims of oil of peppermint for every 3 1⁠/⁠2 ounces of paste.

«Bright Red.»—

Zinc oxide 10 parts Bismuth subnitrate 10 parts Aluminum oxychloride 10 parts Almond oil, quantity sufficient.

Mix the zinc, bismuth, and aluminum salts, and to every 4 ounces of the mixture add 2 1⁠/⁠4 grains of eosine dissolved in a drachm of essence of bouquet, 12 minims oil of peppermint, and 12 grains of camphor. Make the whole into a paste with almond oil.

«Red.»—

Cacao butter 4 av. ounces White wax 4 av. ounces Olive oil 2 fluidounces Oil of rose 8 drops Oil of bergamot 3 drops Oil of neroli 2 drops Tincture musk 2 drops Carmine 90 grains Ammonia water 3 fluidrachms

«Deep, or Bordeaux, Red.»—

Zinc oxide 30 parts Bismuth subnitrate 30 parts Aluminum oxychloride 30 parts Carmine 1 part Ammonia water 5 parts Essence bouquet 3 parts Peppermint, camphor, etc., quantity sufficient.

Mix the zinc, bismuth, and aluminum salts. Dissolve the carmine in the ammonia and add solution to the mixture. Add 24 grains of camphor, and 24 minims of oil of peppermint dissolved in the essence bouquet, and make the whole into a paste with oil of sweet almonds.

«Vermilion.»—

Vermilion 18 parts Tincture of saffron 12 parts Orris root, powdered 30 parts Chalk, precipitated 120 parts Zinc oxide 120 parts Camphor 2 parts Essence bouquet 9 parts Oil of peppermint 2 parts Almond oil, quantity sufficient.

Mix as before.

«Pink.»—

Zinc carbonate 250 parts Bismuth subnitrate 250 parts Asbestos 250 parts Expressed oil of almonds 100 parts Camphor 55 parts Oil of peppermint 55 parts Perfume 25 parts Eosine 1 part

«Dark Red.»—Like the preceding, but colored with a solution of carmine.

«Rouge.»—

Zinc oxide. 2 1⁠/⁠2 ounces Bismuth subnitrate 2 1⁠/⁠2 ounces Aluminum plumbate 2 1⁠/⁠2 ounces Eosine 1 drachm Essence bouquet 2 drachms Camphor 6 drachms Oil of peppermint 20 minims Almond oil, quantity sufficient.

Dissolve the eosine in the essence bouquet, and mix with the camphor and peppermint; add the powder and make into a paste with almond oil.

«Black Grease Paints.»—

I.—Soot 2 av. ounces Sweet almond oil 2 fluidounces Cacao butter 6 av. ounces Perfume, sufficient.

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The soot should be derived from burning camphor and repeatedly washed with alcohol. It should be triturated to a smooth mixture with the oil; then add to the melted cacao butter; add the perfume, and form into sticks.

Brown or other colors may be obtained by adding appropriate pigments, such as finely levigated burned umber, sienna, ocher, jeweler’s rouge, etc., to the foregoing base instead of lampblack.

II.—Best lampblack 1 drachm Cacao butter 3 drachms Olive oil 3 drachms Oil of neroli 2 drops

Melt the cacao butter and oil, add the lampblack, and stir constantly as the mixture cools, adding the perfume toward the end.

III.—Lampblack 1 part Cacao butter 6 parts Oil neroli, sufficient.

Melt the cacao butter and the lampblack, and while cooling make an intimate mixture, adding the perfume toward the last.

IV.—Lampblack. 1 part Expressed oil of almonds 1 part Oil cocoanut 1 part Perfume, sufficient.

Beat the lampblack into a stiff paste with glycerine. Apply with a sponge; if necessary, mix a little water with it when using.

V.—Beat the finest lampblack into a stiff paste with glycerine and apply with a sponge; if necessary, add a little water to the mixture when using. Or you can make a grease paint as follows: Drop black, 2 drachms; almond oil, 2 drachms; cocoanut oil, 6 drachms; oil of lemon, 5 minims; oil of neroli, 1 minim. Mix.

«Fatty Face Powders.»—These have a small percentage of fat mixed with them in order to make the powder adhere to the skin.

Dissolve 1 drachm anhydrous lanolin in 2 drachms of ether in a mortar. Add 3 drachms of light magnesia. Mix well, dry, and then add the following: French chalk, 2 ounces; powdered starch, 1 1⁠/⁠2 ounces; boric acid, 1 drachm; perfume, a sufficient quantity. A good perfume is coumarin, 2 grains, and attar of rose, 2 minims.

«Nose Putty.»—I.—Mix 1 ounce wheat flour with 2 drachms of powdered tragacanth and tint with carmine. Take as much of the powder as necessary, knead into a stiff paste with a little water and apply to the nose, having previously painted it with spirit gum.

II.—White wax, 8 parts; rosin, white, 8 parts; mutton suet, 4 parts; color to suit. Melt together.

«Rose Powder.»—As a base take 200 parts of powdered iris root, add 600 parts of rose petals, 100 parts of sandalwood, 100 parts of patchouli, 3 parts of oil of geranium, and 2 parts of true rose oil.

«Rouge Tablets.»—There are two distinct classes of these tablets: those in which the coloring matter is carmine, and those in which the aniline colors are used. The best are those prepared with carmine, or ammonium carminate, to speak more correctly. The following is an excellent formula:

Ammonium carminate 10 parts Talc, in powder 25 parts Dextrin 8 parts Simple syrup, sufficient. Perfume, to taste, sufficient.

Mix the talc and dextrin and add the perfume, preferably in the shape of an essential oil (attar of rose, synthetic oil of jasmine, or violet, etc.), using 6 to 8 drops to every 4 ounces of other ingredients. Incorporate the ammonium carminate and add just enough simple syrup to make a mass easily rolled out. Cut into tablets of the desired size. The ammonium carminate is made by adding 1 part of carmine to 2 1⁠/⁠2 parts of strong ammonia water. Mix in a vial, cork tightly, and set aside until a solution is formed, shaking occasionally. The ammonium carminate is made by dissolving carmine in ammonia water to saturation.

«Rouge Palettes.»—To prepare rouge palettes rub up together:

Carmine 9 parts French chalk 50 parts Almond oil 12 parts

Add enough tragacanth mucilage to make the mass adhere and spread the whole evenly on the porcelain palette.

«Liquid Rouge.»—

I.—Carmine 4 parts Stronger ammonia water 4 parts Essence of rose 16 parts Rose water to make. 500 parts

Mix. A very delightful violet odor, if this is preferred, is obtained by using ionone in place of rose essence. A cheaper preparation may be made as follows: {231}

II.—Eosine 1 part Distilled water 20 parts Glycerine 5 parts Cologne water 75 parts Alcohol 100 parts

Mix.

Rub together with 10 parts of almond oil and add sufficient mucilage of tragacanth to make the mass adhere to the porcelain palette.

III.—Carmine 1 part Stronger ammonia water 1 part Attar of rose 4 parts Rose water 125 parts

Mix. Any other color may be used in place of rose, violet (ionone), for instance, or heliotrope. A cheaper preparation may be made by substituting eosine for the carmine, as follows:

IV.—Eosine 1 part Distilled water 20 parts Glycerine 5 parts Cologne water 75 parts Alcohol 100 parts

Mix.

«Peach Tint.»—

a.—Buffalo eosine 4 drachms Distilled water 16 fluidounces

Mix.

b.—Pure hydrochloric acid 2 1⁠/⁠2 drachms Distilled water 64 fluidounces

Mix.

Pour a into b, shake, and set aside for a few hours; then pour off the clear portion and collect the precipitate on a filter. Wash with the same amount of b and immediately throw the precipitate into a glass measure, stirring in with a glass rod sufficient of b to measure 16 ounces in all. Pass through a hair sieve to get out any filtering paper. To every 16 ounces add 8 ounces of glycerine.

«Theater Rouge.»—Base:

Cornstarch 4 drachms Powdered white talcum 6 drachms

Mix.

a.—Carminoline 10 grains Base 6 drachms Water 4 drachms

Dissolve the carminoline in the water, mix with the base and dry.

b.—Geranium red 10 grains Base 6 drachms Water 4 drachms

Mix as above and dry.

«SKIN FOODS.»

Wrinkles on the face yield to a wash consisting of 50 parts milk of almonds (made with rose water) and 4 parts aluminum sulphate. Use morning and night.

Rough skin is to be washed constantly in Vichy water. Besides this, rough places are to have the following application twice daily—either a few drops of:

I.—Rose water 100 parts Glycerine 25 parts Tannin 3⁠/⁠4 part

Mix. Or use:

II.—Orange-flower water 100 parts Glycerine 10 parts Borax 2 parts

Mix. Sig.: Apply twice daily.

«“Beauty Cream.”»—This formula gives the skin a beautiful, smooth, and fresh appearance, and, at the same time, serves to protect and preserve it:

Alum, powdered 10 grams Whites of 2 eggs Boric acid 3 grams Tincture of benzoin 40 drops Olive oil 40 drops Mucilage of acacia 5 drops Rice flour, quantity sufficient. Perfume, quantity sufficient.

Mix the alum and the white of eggs, without any addition of water whatever, in an earthen vessel, and dissolve the alum by the aid of very gentle heat (derived from a lamp, or gaslight, regulated to a very small flame), and constant, even, stirring. This must continue until the aqueous content of the albumen is completely driven off. Care must be taken to avoid coagulation of the albumen (which occurs very easily, as all know). Let the mass obtained in this manner get completely cold, then throw into a Wedgwood mortar, add the boric acid, tincture of benzoin, oil, mucilage (instead of which a solution of fine gelatin may be used), etc., and rub up together, thickening it with the addition of sufficient rice flour to give the desired consistence, and perfuming at will. Instead of olive oil any pure fat, or fatty oil, may be used, even vaseline or glycerine.

«Face Bleach or Beautifier.»—

Syrupy lactic acid 40 ounces Glycerine 80 ounces Distilled water 5 gallons

Mix. Gradually add

Tincture of benzoin 3 ounces

Color by adding {232}

Carmine No. 40 40 grains Glycerine 1 ounce Ammonia solution 1⁠/⁠2 ounce Water to 3 ounces

Heat this to drive off the ammonia, and mix all. Shake, set aside; then filter, and add

Solution of ionone 1 drachm

Add a few drachms of kaolin and filter until bright.

«BLACKHEAD REMEDIES.»

I.—Lactic acid 1 drachm Boric acid 1 drachm Ceresine 1 drachm Paraffine oil 6 drachms Hydrous wool fat 1 1⁠/⁠2 ounces Castor oil 6 drachms

II.—Unna advises hydrogen dioxide in the treatment of blackheads, his prescription being:

Hydrogen dioxide 20 to 40 parts Hydrous wool fat 10 parts Petrolatum 30 parts

III.—Thymol 1 part Boric acid 2 parts Tincture of witch-hazel 18 parts Rose water sufficient to make 200 parts

Mix. Apply to the face night and morning with a sponge, first washing the face with hot water and castile soap, and drying it with a coarse towel, using force enough to start the dried secretions. An excellent plan is to steam the face by holding it over a basin of hot water, keeping the head covered with a cloth.

IV.—Ichthyol 1 drachm Zinc oxide 2 drachms Starch 2 drachms Petrolatum 3 drachms

This paste should be applied at night. The face should first be thoroughly steamed or washed in water as hot as can be comfortably borne. All pustules should then be opened and blackheads emptied with as little violence as possible. After careful drying the paste should be thoroughly rubbed into the affected areas. In the morning, after removing the paste with a bland soap, bathe with cool water and dry with little friction.

«HAND CREAMS AND LOTIONS:»

«Chapped Skin.»—

I.—Glycerine 8 parts Bay rum 4 parts Ammonia water 4 parts Rose water 4 parts

Mix the bay rum and glycerine, add the ammonia water, and finally the rose water. It is especially efficacious after shaving.

II.—As glycerine is bad for the skin of many people, here is a recipe which will be found more generally satisfactory as it contains less glycerine: Bay rum, 3 ounces; glycerine, 1 ounce; carbolic acid, 1⁠/⁠2 drachm (30 drops). Wash the hands well and apply while hands are soft, preferably just before going to bed. Rub in thoroughly. This rarely fails to cure the worst “chaps” in two nights.

III.—A sure remedy for chapped hands consists in keeping them carefully dry and greasing them now and then with an anhydrous fat (not cold cream). The best substances for the purpose are unguentum cereum or oleum olivarum.

If the skin of the hands is already cracked the following preparation will heal it:

Finely ground zinc oxide, 5.0 parts; bismuth oxychloride, 2.0 parts; with fat oil, 12.0 parts; next add glycerine, 5.0 parts; lanolin, 30.0 parts; and scent with rose water, 10.0 parts.

IV.—Wax salve (olive oil 7 parts, and yellow wax 3 parts), or pure olive oil.

«Hand-Cleaning Paste.»—Cleaning pastes are composed of soap and grit, either with or without some free alkali. Any soap may be used, but a white soap is preferred. Castile soap does not make as firm a paste as soap made from animal fats, and the latter also lather better. For grit, anything may be used, from powdered pumice to fine sand.

A good paste may be made by dissolving soap in the least possible quantity of hot water, and as it cools and sets stirring in the grit. A good formula is:

White soap 2 1⁠/⁠2 pounds Fine sand 1 pound Water 5 1⁠/⁠2 pints

«Lotion for the Hands.»—

Boric acid 1 drachm Glycerine 6 drachms

Dissolve by heat and mix with

Lanolin 6 drachms Vaseline 1 ounce

Add any perfume desired. The borated glycerine should be cooled before mixing it with the lanolin.

«Cosmetic Jelly.»—

Tragacanth (white ribbon) 60 grains Rose water 14 ounces

Macerate for two days and strain forcibly through coarse muslin or cheese {233} cloth. Add glycerine and alcohol, of each 1 ounce. Perfume to suit. Use immediately after bathing, rubbing in well until dry.

«Perspiring Hands.»—I.—Take rectified eau de cologne, 50 parts (by weight); belladonna dye, 8 parts; glycerine, 3 parts; rub gently twice or three times a day with half a tablespoonful of this mixture. One may also employ chalk, carbonate of magnesia, rice starch, hot and cold baths of the hands (as hot and as cold as can be borne), during 6 minutes, followed by a solution of 4 parts of tannin in 32 of glycerine.

II.—Rub the hands several times per day with the following mixture:

By weight Rose water 125 parts Borax 10 parts Glycerine 8 parts

«Hand Bleach.»—Lanolin, 30 parts; glycerine, 20 parts; borax, 10 parts; eucalyptol, 2 parts; essential oil of almonds, 1 part. After rubbing the hands with this mixture, cover them with gloves during the night.

For the removal of developing stains, see Photography.

«MASSAGE CREAMS:»

«Massage Application.»—

White potash soap, shaved 20 parts Glycerine 30 parts Water 30 parts Alcohol (90 per cent) 10 parts

Dissolve the soap by heating it with the glycerine and water, mixed. Add the alcohol, and for every 30 ounces of the solution add 5 or 6 drops of the mistura oleoso balsamica, German Pharmacopœia. Filter while hot.

«Medicated Massage Balls.»—They are the balls of paraffine wax molded with a smooth or rough surface with menthol, camphor, oil of wintergreen, oil of peppermint, etc., added before shaping. Specially useful in headaches, neuralgias, and rheumatic affections, and many other afflictions of the skin and bones. The method of using them is to roll the ball over the affected part by the aid of the palm of the hand with pressure. Continue until relief is obtained or a sensation of warmth. The only external method for the treatment of all kinds of headaches is the menthol medicated massage ball. This may be made with smooth or corrugated surfaces. Keep wrapped in foil in cool places.

«Casein Massage Cream.»—The basis of the modern massage cream is casein. Casein is now produced very cheaply in the powdered form, and by treatment with glycerine and perfumes it is possible to turn out a satisfactory cream. The following formula is suggested:

Skimmed milk 1 gallon Water of ammonia 1 ounce Acetic acid 1 ounce Oil of rose geranium 1 drachm Oil of bitter almond 1 drachm Oil of anise 2 drachms Cold cream (see below), enough. Carmine enough to color.

Add the water of ammonia to the milk and let it stand 24 hours. Then add the acetic acid and let it stand another 24 hours. Then strain through cheese cloth and add the oils. Work this thoroughly in a Wedgwood mortar, adding enough carmine to color it a delicate pink. To the product thus obtained add an equal amount of cold cream made by the formula herewith given:

White wax 4 ounces Spermaceti 4 ounces White petrolatum 12 ounces Rose water 14 ounces Borax 80 grains

Melt the wax, spermaceti, and petrolatum together over a water bath; dissolve the borax in the rose water and add to the melted mass at one time. Agitate violently. Presumably the borax solution should be of the same temperature as the melted mass.

«Massage Skin Foods.»—

This preparation is used in massage for removing wrinkles:

I.—White wax 1⁠/⁠2 ounce Spermaceti 1⁠/⁠2 ounce Cocoanut oil 1 ounce Lanolin 1 ounce Oil of sweet almonds 2 ounces

Melt in a porcelain dish, remove from the fire, and add

Orange-flower water 1 ounce Tincture of benzoin 3 drops

Beat briskly until creamy.

II.—Snow-white cold cream 4 ounces Lanolin 4 ounces Oil of Theobroma 4 ounces White petrolatum oil 4 ounces Distilled water 4 ounces

In hot weather add

Spermaceti 1 1⁠/⁠2 drachms White wax 2 1⁠/⁠2 drachms

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In winter the two latter are left out and the proportion of cocoa butter is modified. Prepared and perfumed in proportion same as cold cream.

III.—White petrolatum 7 av. ounces Paraffine wax 1⁠/⁠2 ounce Lanolin 2 av. ounces Water 3 fluidounces Oil of rose 3 drops Vanillin 2 grains Alcohol 1 fluidrachm

Melt the paraffine, add the lanolin and petrolatum, and when these have melted pour the mixture into a warm mortar, and, with constant stirring, incorporate the water. When nearly cold add the oil and vanillin, dissolved in the alcohol.

Preparations of this kind should be rubbed into the skin vigorously, as friction assists the absorbed fat in developing the muscles, and also imparts softness and fullness to the skin.

«SKIN BLEACHES, BALMS, LOTIONS, ETC.:»

See also Cleaning Methods and Photography for removal of stains caused by photographic developers.

«Astringent Wash for Flabby Skin.»—This is used to correct coarse pores, and to remedy an oily or flabby skin. Apply with sponge night and morning:

Cucumber juice 1 1⁠/⁠2 ounces Tincture of benzoin 1⁠/⁠2 ounce Cologne 1 ounce Elder-flower water 5 ounces

Put the tincture of benzoin in an 8-ounce bottle, add the other ingredients, previously mixed, and shake slightly. There will be some precipitation of benzoin in this mixture, but it will settle out, or it may be strained out through cheese cloth.

«Bleaching Skin Salves.»—A skin-bleaching action, due to the presence of hydrogen peroxide, is possessed by the following mixtures:

I.—Lanolin 30 parts Bitter almond oil 10 parts

Mix and stir with this salve base a solution of

Borax 1 part Glycerine 15 parts Hydrogen peroxide 15 parts

For impure skin the following composition is recommended:

II.—White mercurial ointment 5 grams Zinc ointment 5 grams Lanolin 30 grams Bitter almond oil 10 grams

And gradually stir into this a solution of

Borax 2 grams Glycerine 30 grams Rose water 10 grams Concentrated nitric acid 5 drops

III.—Lanolin 30 grams Oil sweet almond 10 grams Borax 1 gram Glycerine 15 grams Solution hydrogen peroxide 15 grams

Mix the lanolin and oil, then incorporate the borax previously dissolved in the mixture of glycerine and peroxide solution.

IV.—Ointment ammoniac mercury 5 grams Ointment zinc oxide 5 grams Lanolin 30 grams Oil sweet almond 10 grams Borax 2 grams Glycerine 30 grams Rose water 10 grams Nitric acid, C. P. 5 drops

Prepare in a similar manner as the foregoing. Rose oil in either ointment makes a good perfume. Both ointments may, of course, be employed as a general skin bleach, which, in fact, is their real office—cosmetic creams.

«Emollient Skin Balm.»—

Quince seed 1 ounce Water 7 ounces Glycerine 1 1⁠/⁠2 ounces Alcohol 4 1⁠/⁠2 ounces Salicylic acid 6 grains Carbolic acid 10 grains Oil of bay 10 drops Oil of cloves 5 drops Oil of orange peel 10 drops Oil of wintergreen 8 drops Oil of rose 2 drops

Digest the quince seed in the water for 24 hours, and then press through a cloth; dissolve the salicylic acid in the alcohol; add the carbolic acid to the glycerine; put all together, shake well, and bottle.

«Skin Lotion.»—

Zinc sulphocarbolate 30 grains Alcohol (90 per cent) 4 fluidrachms Glycerine 2 fluidrachms Tincture of cochineal 1 fluidrachm Orange-flower water 1 1⁠/⁠2 fluidounces Rose water (triple) to make 6 fluidounces

{235}

«Skin Discoloration.»—Discoloration of the neck may be removed by the use of acids, the simplest of which is that in buttermilk, but if the action of this is too slow try 4 ounces of lactic acid, 2 of glycerine, and 1 of rose water. These will mix without heating. Apply several times daily with a soft linen rag; pour a small quantity into a saucer and dip the cloth into this. If the skin becomes sore use less of the remedy and allay the redness and smarting with a good cold cream. It is always an acid that removes freckles and discolorations, by burning them off. It is well to be slow in its use until you find how severe its action is. It is not wise to try for home making any of the prescriptions which include corrosive sublimate or any other deadly poison. Peroxide of hydrogen diluted with 5 times as much water, also will bleach discolorations. Do not try any of these bleaches on a skin freshly sunburned. For that, wash in hot water, or add to the hot water application enough witch-hazel to scent the water, and after that has dried into the skin it will be soon enough to try other applications.

«Detergent for Skin Stains.»—Moritz Weiss has introduced a detergent paste which will remove stains from the skin without attacking it, is non-poisonous, and can be used without hot water. Moisten the hands with a little cold water, apply a small quantity of the paste to the stained skin, rub the hands together for a few minutes, and rinse with cold water. The preparation is a mixture of soft soap and hard tallow, melted together over the fire and incorporated with a little emery powder, flint, glass, sand, quartz, pumice stone, etc., with a little essential oil to mask the smell of the soap. The mixture sets to a mass like putty, but does not dry hard. The approximate proportions of the ingredients are: Soft soap, 30 per cent; tallow, 15 per cent; emery powder, 55 per cent, and a few drops of essential oil.

If an extra detergent quality is desired, 4 ounces of sodium carbonate may be added, and the quantity of soap may be reduced. Paste thus made will attack grease, etc., more readily, but it is harder on the skin.

«Removing Inground Dirt.»—

Egg albumen 8 parts Boric acid 1 part Glycerine 32 parts Perfume to suit. Distilled water to make 50 parts

Dissolve the boric acid in a sufficient quantity of water; mix the albumen and glycerine and pass through a silk strainer. Finally, mix the two fluids and add the residue of water.

Every time the hands are washed, dry on a towel, and then moisten them lightly but thoroughly with the liquid, and dry on a soft towel without rubbing. At night, on retiring, apply the mixture and wipe slightly or just enough to take up superfluous liquid; or, better still, sleep in a pair of cotton gloves.

«TOILET CREAMS:»

«Almond Cold Creams.»—A liquid almond cream may be made by the appended formula. It has been known as milk of almond:

I.—Sweet almonds 5 ounces White castile soap 2 drachms White wax 2 drachms Spermaceti 2 drachms Oil of bitter almonds 10 minims Oil of bergamot 20 minims Alcohol 6 fluidounces Water, a sufficient quantity.

Beat the almonds in a smooth mortar until as much divided as their nature will admit; then gradually add water in very small quantities, continuing the beating until a smooth paste is obtained; add to this, gradually, one pint of water, stirring well all the time. Strain the resulting emulsion without pressure through a cotton cloth previously well washed to remove all foreign matter. If new, the cloth will contain starch, etc., which must be removed. Add, through the strainer, enough water to bring the measure of the strained liquid to 1 pint. While this operation is going on let the soap be shaved into thin ribbons, and melted, with enough water to cover it, over a very gentle fire or on a water bath. When fluid add the wax and spermaceti in large pieces, so as to allow them to melt slowly, and thereby better effect union with the soap. Stir occasionally. When all is melted place the soapy mixture in a mortar, run into it slowly the emulsion, blending the two all the while with the pestle. Care must be taken not to add the emulsion faster than it can be incorporated with the soap. Lastly add the alcohol in which the perfumes have been previously dissolved, in the same manner, using great care.

This preparation is troublesome to make and rather expensive, and it is perhaps no better for the purpose than glycerine. The mistake is often made of applying the latter too freely, its “stickiness” being unpleasant, and it is {236} best to dilute it largely with water. Such a lotion may be made by mixing

Glycerine 1 part Rose water 9 parts

Plain water may, of course, be used as the diluent, but a slightly perfumed preparation is generally considered more desirable. The perfume may easily be obtained by dissolving a very small proportion of handkerchief “extract” or some essential oil in the glycerine, and then mixing with plain water.

II.—White wax 1⁠/⁠4 ounce Spermaceti 2 1⁠/⁠2 ounces Oil of sweet almonds 2 1⁠/⁠2 ounces

Melt, remove from the fire, and add

Rose water 1 1⁠/⁠2 ounces

Beat until creamy: not until cold. When the cream begins to thicken add a few drops of oil of rose. Only the finest almond oil should be used. Be careful in weighing the wax and spermaceti. These precautions will insure a good product.

III.—White wax 4 ounces Spermaceti 3 ounces Sweet almond oil 6 fluidounces Glycerine 4 fluidounces Oil of rose geranium 1 fluidrachm Tincture of benzoin 4 fluidrachms

Melt the wax and spermaceti, add the oil of sweet almonds, then beat in the glycerine, tincture of benzoin, and oil of rose geranium. When all are incorporated to a smooth, creamy mass, pour into molds.

IV.—Sweet almonds, blanched 5 ounces Castile soap, white 120 grains White wax 120 grains Spermaceti 120 grains Oil of bitter almonds 10 drops Oil of bergamot 20 drops Alcohol 6 fluidounces Water, sufficient.

Make an emulsion of the almonds with water so as to obtain 16 fluidounces of product, straining through cotton which has previously been washed to remove starch. Dissolve the soap with the aid of heat in the necessary amount of water to form a liquid, add the wax and spermaceti, continue the heat until the latter is melted, transfer to a mortar, and incorporate the almond emulsion slowly with constant stirring until all has been added and a smooth cream has been formed. Finally, add the two volatile oils.

V.—Melt, at moderate heat,

By weight. White wax 100 parts Spermaceti 1,000 parts

Then stir in

By weight. Almond oil 500 parts Rose water 260 parts

And scent with

By weight. Bergamot oil 10 parts Geranium oil 5 parts Lemon oil 4 parts

By weight. VI.—Castor oil 500 parts White wax 100 parts Almond oil 150 parts

Melt at moderate heat and scent with

By weight. Geranium oil 6 parts Lemon oil 5 parts Bergamot oil 10 parts

By weight. VII.—Almond oil 400 parts Lanoline 200 parts White wax 60 parts Spermaceti 60 parts Rose water 300 parts

By weight. VIII.—White wax 6 parts Tallow, freshly tried out 4 parts Spermaceti 2 parts Oil of sweet almonds 6 parts

Melt together and while still hot add, with constant stirring, 1 part of sodium carbonate dissolved in 79 parts of hot water. Stir until cold. Perfume to the taste.

IX.—Ointment of rose water 1 ounce Oil of sweet almonds. 1 fluidounce Glycerine 1 fluidounce Boric acid 100 grains Solution of soda 2 1⁠/⁠4 fluidounces Mucilage of quince seed. 4 fluidounces Water enough to make 40 fluidounces Oil of rose, oil of bitter almonds, of each sufficient to perfume.

Heat the ointment, oil, and solution of soda together, stirring constantly until an emulsion or saponaceous mixture is {237} formed. Then warm together the glycerine, acid, and mucilage and about 30 fluidounces of water; mix with the emulsion, stir until cold, and add the remainder of the water. Lastly, add the volatile oils.

The rose-water ointment used should be the “cold cream” of the United States Pharmacopœia.

X.—Spermaceti 2 ounces White wax 2 ounces Sweet almond oil 14 fluidounces Water, distilled 7 fluidounces Borax, powder 60 grains Coumarin 1⁠/⁠2 grain Oil of bergamot 24 drops Oil of rose 6 drops Oil of bitter almonds 8 drops Tincture of ambergris 5 drops

Melt the spermaceti and wax, add the sweet almond oil, incorporate the water in which the borax has previously been dissolved, and finally add the oils of bergamot, rose, and bitter almond.

XI.—Honey 2 av. ounces Castile soap, white powder 1 av. ounce Oil sweet almonds 26 fluidounces Oil bitter almonds 1 fluidrachm Oil bergamot 1⁠/⁠2 fluidrachm Oil cloves 15 drops Peru balsam 1 fluidrachm Liquor potassa. Solution carmine, of each sufficient.

Mix the honey with the soap in a mortar, and add enough liquor potassa (about 1 fluidrachm) to produce a nice cream. Mix the volatile oils and balsam with the sweet almond oil, mix this with the cream, and continue the trituration until thoroughly mixed. Finally add, if desired, enough carmine solution to impart a rose tint.

XII.—White wax 800 parts Spermaceti 800 parts Sweet almond oil 5,600 parts Distilled water 2,800 parts Borax 50 parts Bergamot oil 20 parts Attar of rose 5 parts Coumarin 0.1 part

Add for each pound of the cream 5 drops of etheric oil of bitter almonds, and 3 drops tincture of ambra. Proceed as in making cold cream.

The following also makes a fine cream:

XIII.—Spermaceti 3 parts White wax 2 parts Oil of almonds, fresh 12 parts Rose water, double 1 part Glycerine, pure 1 part

Melt on a water bath the spermaceti and wax, add the oil (which should be fresh), and pour the whole into a slightly warmed mortar, under constant and lively stirring, to prevent granulation. Continue the trituration until the mass has a white, creamy appearance, and is about the consistence of butter at ordinary temperature. Add, little by little, under constant stirring, the orange-flower water and glycerine mixed, and finally the perfume as before. Continue the stirring for 15 or 20 minutes, then immediately put into containers.

«Chappine Cream.»—

Quince seed 2 drachms Glycerine 1 1⁠/⁠2 ounces Water 1 1⁠/⁠2 ounces Lead acetate 10 grains Flavoring, sufficient.

Macerate the quince seed in water, strain, add the glycerine and lead acetate, previously dissolved in sufficient water; flavor with jockey club or orange essence.

«Cucumber Creams.»—

I.—White wax 3 ounces Spermaceti 3 ounces Benzoinated lard 8 ounces Cucumbers 3 ounces

Melt together the wax, spermaceti, and lard, and infuse in the liquid the cucumbers previously grated. Allow to cool, stirring well; let stand a day, remelt, strain and again stir the “cream” until cold.

II.—Benzoinated lard 5 ounces Suet 3 ounces Cucumber juice 10 ounces Proceed as in making cold cream.

«Glycerine Creams.»—

I.—Oil of sweet almonds 100 parts White wax 13 parts Glycerine, pure 25 parts Add a sufficient quantity of any suitable perfume.

Melt, on the water bath, the oil, wax, and glycerine together, remove and as the mass cools down add the perfume in sufficient quantity to make a creamy mass. {238}

II.—Quince seed 1 ounce Boric acid 16 grains Starch 1 ounce Glycerine 16 ounces Carbolic acid 30 minims Alcohol 12 ounces Oil of lavender 30 minims Oil of rose 10 drops Extract of white rose 1 ounce Water enough to make 64 ounces

Dissolve the boric acid in a quart of water and in this solution macerate the quince seed for 3 hours; then strain. Heat together the starch and the glycerine until the starch granules are broken, and mix with this the carbolic acid. Dissolve the oils and the extract of rose in the alcohol, and add to the quince-seed mucilage; then mix all together, strain, and add water enough to make the product weigh 64 ounces.

III.—Glycerine 1 ounce Borax 2 drachms Boracic acid 1 drachm Oil rose geranium 30 drops Oil bitter almond 15 drops Milk 1 gallon

Heat the milk until it curdles and allow it to stand 12 hours. Strain it through cheese cloth and allow it to stand again for 12 hours. Mix in the salts and glycerine and triturate in a mortar, finally adding the odors and coloring if wanted. The curdled milk must be entirely free from water to avoid separation. If the milk will not curdle fast enough the addition of 1 ounce of water ammonia to a gallon will hasten it. Take a gallon of milk, add 1 ounce ammonia water, heat (not boil), allow to stand 24 hours, and no trouble will be found in forming a good base for the cream.

IV.—This is offered as a substitute for cucumber cream for toilet uses. Melt 15 parts, by weight, of gelatin in hot water containing 15 parts, by weight, of boracic acid as well as 150 parts, by weight, of glycerine; the total amount of water used should not exceed 300 parts, by weight. It may be perfumed or not.

«Lanolin Creams.»—

I.—Anhydrous lanolin 650 parts Peach-kernel oil 200 parts Water 150 parts

Perfume with about 15 drops of ionone or 20 drops of synthetic ylang-ylang.

II.—Lanolin 40 parts Olive oil 15 parts Paraffine ointment 10 parts Aqua naphæ 10 parts Distilled water 15 parts Glycerine 5 parts Boric acid 4 parts Borax 4 parts Geranium oil, sufficient. Extract, triple, of ylang-ylang, quantity sufficient.

III.—Anhydrous lanolin 650 drachms Almond oil 200 drachms Water 150 drachms Oil of ylang-ylang 5 drops

Preparations which have been introduced years ago for the care of the skin and complexion are the glycerine gelées, which have the advantage over lanolin that they go further, but present the drawback of not being so quickly absorbed by the skin. These products are filled either into glasses or into tubes. The latter way is preferable and is more and more adopted, owing to the convenience of handling.

A good recipe for such a gelée is the following:

Moisten white tragacanth powder, 50 parts, with glycerine, 200 parts, and spirit of wine, 100 parts, and shake with a suitable amount of perfume; then quickly mix and shake with warm distilled water, 650 parts.

A transparent slime will form immediately which can be drawn off at once.

«Mucilage Creams.»—

I.—Starch 30 parts Carrageen mucilage 480 parts Boric acid 15 parts Glycerine 240 parts Cologne water 240 parts

Boil the starch in the carrageen mucilage, add the boric acid and the glycerine. Let cool, and add the cologne water.

II.—Linseed mucilage 240 parts Boric acid 2 parts Salicylic acid 1.3 parts Glycerine 60 parts Cologne water 120 parts Rose water 120 parts

Instead of the cologne water any extracts may be used. Lilac and ylang-ylang are recommended.

«Witch-Hazel Creams.»—

I.—Quince seed 90 grains Boric acid 8 grains Glycerine 4 fluidounces Alcohol 6 fluidounces Carbolic acid 6 drachms Cologne water 4 fluidounces Oil lavender flowers 40 drops {239} Glycerite starch 4 av. ounces Distilled witch-hazel extract enough to make 32 fluidounces.

Dissolve the boric acid in 16 ounces of the witch-hazel extract, macerate the quince seed in the solution for 3 hours, strain, add the glycerine, carbolic acid, and glycerite, and mix well. Mix the alcohol, cologne water, lavender oil, and mucilages, incorporate with the previous mixture, and add enough witch-hazel extract to bring to the measure of 32 fluidounces.

II.—Quince seed 4 ounces Hot water 16 ounces Glycerine 32 ounces Witch-hazel water 128 ounces Boric acid 6 ounces Rose extract 2 ounces Violet extract 1 ounce

Macerate the quince seed in the hot water; add the glycerine and witch-hazel, in which the boric acid has been previously dissolved; let the mixture stand for 2 days, stirring occasionally; strain and add the perfume.

«Skin Cream for Collapsible Tubes.»—

I.—White vaseline 6 ounces White wax 1 ounce Spermaceti 5 drachms Subchloride bismuth 6 drachms Attar of rose 6 minims Oil of bitter almonds 1 minim Rectified spirit 1⁠/⁠2 ounce

Melt the vaseline, wax, and spermaceti together, and while cooling incorporate the subchloride of bismuth (in warm mortar). Dissolve the oils in the alcohol, and add to the fatty mixture, stirring all until uniform and cold. In cold weather the quantities of wax and spermaceti may be reduced.

II.—Lanolin 1 ounce Almond oil 1 ounce Oleate of zinc (powder) 3 drachms Extract of white rose 1 1⁠/⁠2 drachms Glycerine 2 drachms Rose water 2 drachms

«Face Cream Without Grease.»—

Quince seed 10 parts Boiling water 1,000 parts Borax 5 parts Boric acid 5 parts Glycerine 100 parts Alcohol, 94 per cent 125 parts Attar of rose, quantity sufficient to perfume.

Macerate the quince seed in half of the boiling water, with frequent agitations, for 2 hours and 30 minutes, then strain off. In the residue of the boiling water dissolve the borax and boric acid, add the glycerine and the perfume, the latter dissolved in the alcohol. Now add, little by little, the colate of quince seed, under constant agitation, which should be kept up for 5 minutes after the last portion of the colate is added.

«TOILET MILKS:»

«Cucumber Milk.»—

Simple cerate 2 pounds Powdered borax 11 1⁠/⁠2 ounces Powdered castile soap 10 ounces Glycerine 26 ounces Alcohol 24 ounces Cucumber juice 32 ounces Water to 5 gallons Ionone 1 drachm Jasmine 1⁠/⁠2 drachm Neroli 1⁠/⁠2 drachm Rhodinol 15 minims

To the melted cerate in a hot water bath add the soap and stir well, keeping up the heat until perfectly mixed. Add 8 ounces of borax to 1 gallon of boiling water, and pour gradually into the hot melted soap and cerate; add the remainder of the borax and hot water, then the heated juice and glycerine, and lastly the alcohol. Shake well while cooling, set aside for 48 hours, and siphon off any water that may separate. Shake well, and repeat after standing again if necessary; then perfume.

«Cucumber Juice.»—It is well to make a large quantity, as it keeps indefinitely. Washed unpeeled cucumbers are grated and pressed; the juice is heated, skimmed and boiled for 5 minutes, then cooled and filtered. Add 1 part of alcohol to 2 parts of juice, let stand for 12 hours or more, and filter until clear.

«Glycerine Milk.»—

Glycerine 1,150 parts Starch, powdered 160 parts Distilled water 400 parts Tincture of benzoin 20 parts

Rub up 80 parts of the starch with the glycerine, then put the mixture on the steam bath and heat, under continuous stirring, until it forms a jellylike mass. Remove from the bath and stir in the remainder of the starch. Finally, add the water and tincture and stir till homogeneous.

«Lanolin Toilet Milk.»—

White castile soap, powdered 22 grains Lanolin 1 ounce Tincture benzoin 12 drachms Water, enough.

{240}

Dissolve the soap in 2 fluidounces of warm water, also mix the lanolin with 2 fluidounces of warm water; then incorporate the two with each other, finally adding the tincture. The latter may be replaced by 90 grains of powdered borax.

«Jasmine Milk.»—To 25 parts of water add gradually, with constant stirring, 1 part of zinc white, 2 quarts of grain spirit, and 0.15 to 0.25 part of glycerine; finally stir in 0.07 to 0.10 part of jasmine essence. Filter the mixture and fill into glass bottles. For use as a cosmetic, rub on the raspberry paste on retiring at night, and in the morning use the jasmine milk to remove the paste from the skin. The two work together in their effect.

«SUNBURN AND FRECKLE REMEDIES.»

I.—Apply over the affected skin a solution of corrosive sublimate, 1 in 500, or, if the patient can stand it, 1 in 300, morning and evening, and for the night apply emplastrum hydrargyri compositum to the spots. In the morning remove the plaster and all remnants of it by rubbing fresh butter or cold cream over the spots.

For redness of the skin apply each other day zinc oxide ointment or ointment of bismuth subnitrate.

II.—Besnier recommends removal of the mercurial ointment with green soap, and the use, at night, of an ointment composed of vaseline and Vigo’s plaster (emplastrum hydrargyri compositum), in equal parts. In the morning wash off with soap and warm water, and apply the following:

Vaseline, white 20 parts Bismuth carbonate 5 parts Kaolin 5 parts

Mix, and make an ointment.

III.—Leloir has found the following of service. Clean the affected part with green soap or with alcohol, and then apply several coats of the following:

Acid chrysophanic 15 parts Chloroform 100 parts

Mix. Apply with a camel’s-hair pencil.

When the application dries thoroughly, go over it with a layer of traumaticine. This application will loosen itself in several days, when the process should be repeated.

IV.—When the skin is only slightly discolored use a pomade of salicylic acid, or apply the following:

Acid chrysophanic, from 1 to 4 parts Acid salicylic 1 to 2 parts Collodion 40 parts

V.—When there is need for a more complicated treatment, the following is used:

(a) Corrosive sublimate 1 part Orange-flower water 7,500 parts Acid, hydrochloric, dilute 500 parts

(b) Bitter almonds 4,500 parts Glycerine 2,500 parts Orange-flower water 25,000 parts

Rub up to an emulsion in a porcelain capsule. Filter and add, drop by drop, and under constant stirring, 5 grams of tincture of benzoin. Finally mix the two solutions, adding the second to the first.

This preparation is applied with a sponge, on retiring, to the affected places, and allowed to dry on.

VI.—According to Brocq the following should be penciled over the affected spots:

Fresh pure milk 50 parts Glycerine 30 parts Acid, hydrochloric, concentrated 5 parts Ammonium chlorate 3 parts

VII.—Other external remedies that may be used are lactic acid diluted with 3 volumes of water, applied with a glass rod; dilute nitric acid, and, finally, peroxide of hydrogen, which last is a very powerful agent. Should it cause too much inflammation, the latter may be assuaged by using an ointment of zinc oxide or bismuth subnitrate—or one may use the following:

Kaolin 4 parts Vaseline 10 parts Glycerine 4 parts Magnesium carbonate 2 parts Zinc oxide 2 parts

«Freckle Remedies.»—

I.—Poppy oil 1 part Lead acetate 2 parts Tincture benzoin 1 part Tincture quillaia 5 parts Spirit nitrous ether 1 part Rose water 95 parts

Saponify the oil with the lead acetate; add the rose water, and follow with the tinctures.

II.—Chloral hydrate 2 drachms Carbolic acid 1 drachm {241} Tincture iodine 60 drops Glycerine 1 ounce

Mix and dissolve. Apply with a camel’s-hair pencil at night.

III.—Distilled vinegar 660 parts Lemons, cut in small pieces 135 parts Alcohol, 85 per cent 88 parts Lavender oil 23 parts Water 88 parts Citron oil 6 parts

This mixture is allowed to stand for 3 or 4 days in the sun and filtered. Coat, by means of a sponge before retiring, the places of the skin where the freckles are and allow to dry.

«Freckles and Liver Spots.»—Modern dermatological methods of treating freckles and liver spots are based partly on remedies that cause desquamation and those that depigmentate (or destroy or neutralize pigmentation). Both methods may be distinguished in respect to their effects and mode of using into the following: The active ingredients of the desquamative pastes are reductives which promote the formation of epithelium and hence expedite desquamation.

There are many such methods, and especially to be mentioned is that of Unna, who uses resorcin for the purpose. Lassar makes use of a paste of naphthol and sulphur.

«Sunburn Remedies.»—

I.—Zinc sulphocarbolate 1 part Glycerine. 20 parts Rose water 70 parts Alcohol, 90 per cent 8 parts Cologne water 1 part Spirit of camphor 1 part

II.—Borax 4 parts Potassium chlorate 2 parts Glycerine 10 parts Alcohol 4 parts Rose water to make 90 parts

III.—Citric acid 2 drachms Ferrous sulphate (cryst.) 18 grains Camphor 2 grains Elder-flower water 3 fluidounces

IV.—Potassium carbonate 3 parts Sodium chloride 2 parts Orange-flower water 15 parts Rose water 65 parts

V.—Boroglycerine, 50 per cent 1 part Ointment of rose water 9 parts

VI.—Sodium bicarbonate 1 part Ointment of rose water 7 parts

VII.—Bicarbonate of soda 2 drachms Powdered borax 1 drachm Compound tincture of lavender 1 1⁠/⁠2 drachms Glycerine 1 ounce Rose water 4 ounces

Dissolve the soda and borax in the glycerine and rose water, and add the tincture. Apply with a small piece of sponge 2 or 3 times a day. Then gently dry by dabbing with a soft towel.

VIII.—Quince seeds 2 drachms Distilled water 10 ounces Glycerine 2 ounces Alcohol, 94 per cent 1 ounce Rose water 2 ounces

Boil the seeds in the water for 10 minutes, then strain off the liquid, and when cold add to it the glycerine, alcohol, and rose water.

IX.—White soft soap 2 1⁠/⁠2 drachms Glycerine 1 1⁠/⁠2 drachms Almond oil 11 drachms

Well mix the glycerine and soap in a mortar, and very gradually add the oil, stirring constantly until perfectly mixed.

X.—Subnitrate of bismuth 1 1⁠/⁠2 drachms Powdered French chalk 30 grains Glycerine 2 drachms Rose water 1 1⁠/⁠2 ounces

Mix the powders, and rub down carefully with the glycerine; then add the rose water. Shake the bottle before use.

XI.—Glycerine cream 2 drachms Jordan almonds 4 drachms Rose water 5 ounces Essential oil of almonds 3 drops

Blanch the almonds, and then dry and beat them up into a perfectly smooth paste; then mix in the glycerine cream and essential oil. Gradually add the rose water, stirring well after each addition; then strain through muslin.

«Tan and Freckle Lotion.»—

Solution A:

Potassium iodide, iodine, glycerine, and infusion rose.

Dissolve the potassium iodide in a {242} small quantity of the infusion and a drachm of the glycerine; with this fluid moisten the iodine in a glass of water and rub it down, gradually adding more liquid, until complete solution has been obtained; then stir in the remainder of the ingredients, and bottle the mixture.

Solution B:

Sodium thiosulphate and rose water. With a small camel’s-hair pencil or piece of fine sponge apply a little of solution A to the tanned or freckled surface, until a slight or tolerably uniform brownish yellow skin has been produced. At the expiration of 15 or 20 minutes moisten a piece of cambric, lint, or soft rag with B and lay it upon the affected part, removing, squeezing away the liquid, soaking it afresh, and again applying until the iodine stain has disappeared. Repeat the process thrice daily, but diminish the frequency of application if tenderness be produced.

«A Cure for Tan.»—Bichloride of mercury, in coarse powder, 10 grains; distilled water, 1 pint. Agitate the two together until a complete solution is obtained. Add 1⁠/⁠2 ounce of glycerine. Apply with a small sponge as often as agreeable. This is not strong enough to blister and skin the face in average cases. It may be increased or reduced in strength by adding to or taking from the amount of bichloride of mercury. Do not forget that this last ingredient is a powerful poison and should be kept out of the reach of children and ignorant persons.

«Improved Carron Oil.»—Superior to the old and more suitable. A desirable preparation for burns, tan, freckle, sunburn, scalds, abrasions, or lung affections. Does not oxidize so quickly or dry up so rapidly and less liable to rancidity.

Linseed oil 2 ounces Limewater 2 ounces Paraffine, liquid 1 ounce

Mix the linseed oil and water, and add the paraffine. Shake well before using.

«LIVER SPOTS.»

I.—Corrosive sublimate 1 part White sugar 190 parts White of egg 34 parts Lemon juice 275 parts Water to make 2,500 parts

Mix the sublimate, sugar, and albumen intimately, then add the lemon juice and water. Dissolve, shake well, and after standing an hour, filter. Apply in the morning after the usual ablutions, and let dry on the face.

II.—Bichloride of mercury, in coarse powder, 8 grains; witch-hazel, 2 ounces; rose water, 2 ounces.

Agitate until a solution is obtained. Mop over the affected parts. Keep out of the way of ignorant persons and children.

«TOILET POWDERS:»

«Almond Powders for the Toilet.»—

I.—Almond meal 6,000 parts Bran meal 3,000 parts Soap powder 600 parts Bergamot oil 50 parts Lemon oil 15 parts Clove oil 15 parts Neroli oil 6 parts

II.—Almond meal 7,000 parts Bran meal 2,000 parts Violet root 900 parts Borax 350 parts Bitter almond oil 18 parts Palmarosa oil 36 parts Bergamot oil 10 parts

III.—Almond meal 3,000 parts Bran meal 3,000 parts Wheat flour 3,000 parts Sand 100 parts Lemon oil 40 parts Bitter almond oil 10 parts

«Bath Powder.»—

Borax 4 ounces Salicylic acid 1 drachm Extract of cassia 1 drachm Extract of jasmine 1 drachm Oil of lavender 20 minims

Rub the oil and extracts with the borax and salicylic acid until the alcohol has evaporated. Use a heaping teaspoonful to the body bath.

«Brunette or Rachelle.»—

Base 9 pounds Powdered Florentine orris 1 pound Perfume the same. Powdered yellow ocher (av.) 3 ounces 120 grains Carmine No. 40 60 grains

Rub down the carmine and ocher with alcohol in a mortar, and spread on glass to dry; then mix and sift.

«Violet Poudre de Riz.»—

I.—Cornstarch 7 pounds Rice flour 1 pound Powdered talc 1 pound Powdered orris root 1 pound Extract of cassia 3 ounces Extract of jasmine 1 ounce

{243}

II.—Cheaper.

Potato starch 8 pounds Powdered talc 1 pound Powdered orris 1 pound Extract of cassia 3 ounces

«Barber’s Powder.»—

Cornstarch 5 pounds Precipitated chalk 3 pounds Powdered talc 2 pounds Oil of neroli 1 drachm Oil of cedrat 1 drachm Oil of orange 2 drachms Extract of jasmine 1 ounce

«Rose Poudre de Riz.»—

I.—Cornstarch 9 pounds Powdered talc 1 pound Oil of rose 1 1⁠/⁠4 drachms Extract of jasmine 6 drachms

II.—Potato starch 9 pounds Powdered talc 1 pound Oil of rose 1⁠/⁠2 drachm Extract of jasmine 1⁠/⁠2 ounce

«Ideal Cosmetic Powder.»—The following combines the best qualities that a powder for the skin should have:

Zinc, white 50 parts Calcium carbonate, precipitated 300 parts Steatite, best white 50 parts Starch, wheat, or rice 100 parts Extract white rose, triple 3 parts Extract jasmine, triple 3 parts Extract orange flower, triple 3 parts Extract of cassia, triple 3 parts Tincture of myrrh 1 part

Powder the solids and mix thoroughly by repeated siftings.

«Flesh Face Powder.»—

Base 9 pounds Powdered Florentine orris 1 pound Carmine No. 40 250 grains Extract of jasmine 100 minims Oil of neroli 20 minims Vanillin 5 grains Artificial musk 30 grains White heliotropin 30 grains Coumarin 1 grain

Rub the carmine with a portion of the base and alcohol in a mortar, mixing the perfume the same way in another large mortar, and adding the orris. Mix and sift all until specks of carmine disappear on rubbing.

«White Face Powder.»—

Base 9 pounds Powdered Florentine orris 1 pound

Perfume the same. Mix and sift.

«Talcum Powders.»—Talc, when used as a toilet powder should be in a state of very fine division. Antiseptics are sometimes added in small proportion, but these are presumably of little or no value in the quantity allowable, and may prove irritating. For general use, at all events, the talcum alone is the best and the safest. As a perfume, rose oil may be employed, but on account of its cost, rose geranium oil is probably more frequently used. A satisfactory proportion is 1⁠/⁠2 drachm of the oil to a pound of the powder. In order that the perfume may be thoroughly disseminated throughout the powder, the oil should be triturated first with a small portion of it; this should then be further triturated with a larger portion, and, if the quantity operated on be large, the final mixing may be effected by sifting. Many odors besides that of rose would be suitable for a toilet powder. Ylang-ylang would doubtless prove very attractive, but expensive.

The following formulas for other varieties of the powder may prove useful:

Violet Talc.—

I.—Powdered talc 14 ounces Powdered orris root 2 ounces Extract of cassia 1⁠/⁠2 ounce Extract of jasmine 1⁠/⁠4 ounce

Rose Talc.—

II.—Powdered talc 5 pounds Oil of rose 1⁠/⁠2 drachm Extract of jasmine 4 ounces

Tea-Rose Talc.—

III.—Powdered talc 5 pounds Oil of rose 50 drops Oil of wintergreen 4 drops Extract of jasmine 2 ounces

Borated Apple Blossom.—

IV.—Powdered talc 22 pounds Magnesium carbonate 2 3⁠/⁠4 pounds Powdered boric acid 1 pound

Mix.

Carnation pink blossom (Schimmel’s) 2 ounces Extract of trefle 2 drachms

To 12 drachms of this mixture add:

Neroli 1 drachm Vanillin 1⁠/⁠2 drachm Alcohol to 3 ounces

Sufficient for 25 pounds. {244}

V.—Talcum 8 ounces Starch 8 ounces Oil of neroli 10 drops Oil of ylang-ylang 5 drops

VI.—Talcum 12 ounces Starch 4 ounces Orris root 2 ounces Oil of bergamot 12 drops

VII.—Talcum 14 ounces Starch 2 ounces Lanolin 1⁠/⁠2 ounce Oil of rose 10 drops Oil of neroli 5 drops

«TOILET VINEGARS:»

«Pumillo Toilet Vinegar.»—

Alcohol, 80 per cent 1,600 parts Vinegar, 10 per cent 840 parts Oil of pinu spumillo 44 parts Oil of lavender 4 parts Oil of lemon 2 parts Oil of bergamot 2 parts

Dissolve the oils in the alcohol, add the vinegar, let stand for a week and filter.

«Vinaigre Rouge.»—

Acetic acid 24 parts Alum 3 parts Peru balsam 1 part Carmine, No. 40 12 parts Ammonia water 6 parts Rose water, distilled 575 parts Alcohol 1,250 parts

Dissolve the balsam of Peru in the alcohol, and the alum in the rose water. Mix the two solutions, add the acetic acid, and let stand overnight. Dissolve the carmine in the ammonia water and add to mixture. Shake thoroughly, let stand for a few minutes, then decant.

«TOILET WATERS:»

«“Beauty Water.”»—

Fresh egg albumen 500 parts Alcohol 125 parts Lemon oil 2 parts Lavender oil 2 parts Oil of thyme 2 parts

Mix the ingredients well together. When first mixed the liquid becomes flocculent, but after standing for 2 or 3 days clears up—sometimes becomes perfectly clear, and may be decanted. It forms a light, amber-colored liquid that remains clear for months.

At night, before retiring, pour about a teaspoonful of the water in the palm of the hand, and rub it over the face and neck, letting it dry on. In the morning, about an hour before the bath, repeat the operation, also letting the liquid dry on the skin. The regular use of this preparation for 4 weeks will give the skin an extraordinary fineness, clearness, and freshness.

«Rottmanner’s Beauty Water.»—Koller says that this preparation consists of 1 part of camphor, 5 parts of milk of sulphur, and 50 parts of rose water.

«Birch Waters.»—Birch water, which has many cosmetic applications, especially as a hair wash, or an ingredient in hair washes, may be prepared as follows:

I.—Alcohol, 96 per cent 3,500 parts Water 700 parts Potash soap 200 parts Glycerine 150 parts Oil of birch buds 50 parts Essence of spring flowers 100 parts Chlorophyll, quantity sufficient to color.

Mix the water with 700 parts of the alcohol, and in the mixture dissolve the soap. Add the essence of spring flowers and birch oil to the remainder of the alcohol, mix well, and to the mixture add, little by little, and with constant agitation, the soap mixture. Finally, add the glycerine, mix thoroughly, and set aside for 8 days, filter and color the filtrate with chlorophyll, to which is added a little tincture of saffron. To use, add an equal volume of water to produce a lather.

II.—Alcohol, 96 per cent 2,000 parts Water 500 parts Tincture of cantharides 25 parts Salicylic acid 25 parts Glycerine 100 parts Oil of birch buds 40 parts Bergamot oil 30 parts Geranium oil 5 parts

Dissolve the oils in the alcohol, add the acid and tincture of cantharides; mix the water and glycerine and add, and, finally, color as before.

III.—Alcohol 30,000 parts Birch juice 3,000 parts Glycerine 1,000 parts Bergamot oil 90 parts Vanillin 10 parts Geranium oil 50 parts Water 14,000 parts

IV.—Alcohol 40,000 parts Oil of birch 150 parts Bergamot oil 100 parts Lemon oil 50 parts {245} Palmarosa oil 100 parts Glycerine 2,000 parts Borax 150 parts Water 20,000 parts

«Violet Ammonia Water.»—Most preparations of this character consist of either coarsely powdered ammonium carbonate, with or without the addition of ammonia water, or of a coarsely powdered mixture, which slowly evolves the odor of ammonia, the whole being perfumed by the addition of volatile oil, pomade essences, or handkerchief extract. The following are typical formulas:

I.—Moisten coarsely powdered ammonium carbonate, contained in a suitable bottle, with a mixture of concentrated tincture of orris root, 2 1⁠/⁠2 ounces; aromatic spirit of ammonia, 1 drachm; violet extract, 3 drachms.

II.—Fill suitable bottles with coarsely powdered ammonium carbonate and add to the salt as much of the following solution as it will absorb: Oil of orris, 5 minims; oil of lavender flowers, 10 minims; violet extract, 30 minims; stronger water of ammonia, 2 fluidounces.

III.—The following is a formula for a liquid preparation: Extract violet, 8 fluidrachms; extract cassia, 8 fluidrachms; spirit of rose, 4 fluidrachms; tincture of orris, 4 fluidrachms; cologne spirit, 1 pint; spirit of ammonia, 1 ounce. Spirit of ionone may be used instead of extract of violet.

«Violet Witch-Hazel.»—

Spirit of ionone 1⁠/⁠2 drachm Rose water 6 ounces Distilled extract of witch-hazel enough to make 16 ounces

«Cotton»

«BLEACHING OF COTTON:»

I.—Bleaching by Steaming.—The singed and washed cotton goods are passed through hydrochloric acid of 2° Bé. Leave them in heaps during 1 hour, wash, pass through sodium hypochlorite of 10° Bé. diluted with 10 times the volume of water. Let the pieces lie in heaps for 1 hour, wash, pass through caustic soda lye of 38° Bé. diluted with 8 times its volume of water, steam, put again through sodium chloride, wash, acidulate slightly with hydrochloric acid, wash and dry. Should the whiteness not be sufficient, repeat the operations.

II.—Bleaching with Calcium Sulphite.—The cotton goods are impregnated with 1 part, by weight, of water, 1 part of caustic lime, and 1⁠/⁠2 part of bisulphite of 40° Bé.; next steamed during 1–2 hours at a pressure of 1⁠/⁠2 atmosphere, washed, acidulated, washed and dried. The result is as white a fabric as by the old method with caustic lime, soda, and calcium chloride. The bisulphite may also be replaced by calcium hydrosulphite, and, instead of steaming, the fabric may be boiled for several hours with calcium sulphite.

III.—Bleaching of Vegetable Fibers with Hydrogen Peroxide.—Pass the pieces through a solution containing caustic soda, soap, hydrogen peroxide, and burnt magnesia. The pieces are piled in heaps on carriages; the latter are shoved into the well-known apparatus of Mather & Platt (kier), and the liquid is pumped on for 6 hours, at a pressure of 2⁠/⁠3 atmosphere. Next wash, acidulate, wash and dry. The bleaching may also be done on an ordinary reeling vat. For 5 pieces are needed about 1,000 parts, by weight, of water; 10 parts, by weight, of solid caustic soda; 1 part of burnt magnesia; 30 parts, by weight, of hydrogen peroxide. After 3–4 hours’ boiling, wash, acidulate, wash and dry. The bleaching may also be performed by passing through barium peroxide, then through sulphuric acid or hydrochloric acid, and next through soda lye. It is practicable also to commence with the latter and finally give a treatment with hydrogen peroxide.

The whiteness obtained by the above process is handsomer than that produced by the old method with hypochlorites, and the fabric is weakened to a less extent.

«TESTS FOR COTTON.»

I.—Cotton, when freed from extraneous matter by boiling with potash, and afterwards with hydrochloric acid, yields pure cellulose or absorbent cotton, which, according to the U. S. P., is soluble in copper ammonium sulphate solution. The B. P. is more specific and states that cotton is soluble in a concentrated solution of copper ammonium sulphate. The standard test solution (B. P.) is made by dissolving 10 parts of copper sulphate in 160 parts of distilled water, and cautiously adding solution of ammonia to the liquid until the precipitate first formed is nearly dissolved. The product is then filtered and the filtrate made up to 200 parts with distilled {246} water. The concentrated solution is prepared by using a smaller quantity of distilled water.

II.—Schweitzer’s reagent for textile fibers and cellulose is made by dissolving 10 parts of copper sulphate in 100 parts of water and adding a solution of 5 parts of potassium hydrate in 50 parts of water; then wash the precipitate and dissolve in 20 per cent ammonia until saturated. This solution dissolves cotton, linen, and silk, but not wool. The reagent is said to be especially useful in microscopy, as it rapidly dissolves cellulose, but has no action on lignin.

III.—Jandrier’s Test for Cotton in Woolen Fabrics.—Wash the sample of fabric and treat with sulphuric acid (20 Bé.) for half an hour on the water bath. To 100 to 200 parts of this solution add 1 part resorcin, and overlay on concentrated sulphuric acid free from nitrous products. The heat developed is sufficient to give a color at the contact point of the liquids, but intensity of color may be increased by slightly heating. If the product resulting from treating the cotton is made up 1 in 1,000, resorcin will give an orange color; alphanaphtol a purple; gallic acid a green gradually becoming violet down in the acid; hydroquinone or pyrogallol a brown; morphine or codeine, a lavender; thymol or menthol a pink. Cotton may be detected in colored goods, using boneblack to decolorize the solution, if necessary.

IV.—Overbeck’s test for cotton in woolen consists in soaking the fabric in an aqueous solution of alloxantine (1 in 10), and after drying expose to ammonia vapor and rinse in water. Woolen material is colored crimson, cotton remains blue.

V.—Liebermann’s Test.—Dye the fabric for half an hour in fuchsine solution rendered light yellow by caustic soda solution and then washed with water—silk is colored dark red; wool, light red; flax, pink; and cotton remains colorless.

To Distinguish Cotton from Linen.—Take a sample about an inch and a half square of the cloth to be tested and plunge it into a tepid alcoholic solution of cyanine. After the coloring matter has been absorbed by the fiber, rinse it in water and then plunge into dilute sulphuric acid. If it is of cotton the sample will be almost completely bleached, while linen preserves the blue color almost unchanged. If the sample be then plunged in ammonia, the blue will be strongly reinforced.

«Aromatic Cotton.»—Aromatic cotton is produced as follows: Mix camphor, 5 parts; pine-leaf oil, 5 parts; clove oil, 5 parts; spirit of wine (90 per cent), 80 parts; and distribute evenly on cotton, 500 parts, by means of an atomizer. The cotton is left pressed together in a tightly closed tin vessel for a few days.

«Cotton Degreasing.»—Cotton waste, in a greasy condition, is placed in an acid-proof apparatus, where it is simultaneously freed from grease, etc., and prepared for bleaching by the following process, which is performed without the waste being removed from the apparatus: (1) treatment with a solvent, such as benzine; (2) steaming, for the purpose of vaporizing and expelling from the cotton waste the solvent still remaining in it after as much as possible of this has been recovered by draining; (3) treatment with a mineral acid; (4) boiling with an alkali lye; (5) washing with water.

«COTTONSEED HULLS AS STOCK FOOD.»

Cottonseed hulls or other material containing fiber difficult of digestion are thoroughly mixed with about 5 per cent of their weight of hydrochloric acid (specific gravity, 1.16), and heated in a closed vessel, provided with a stirrer, to a temperature of 212° to 300° F. The amount of acid to be added depends on the material employed and on the duration of the heating. By heating for 30 minutes the above percentage of acid is required, but the quantity may be reduced if the heating is prolonged. After heating, the substance is ground and at the same time mixed with some basic substances such as sodium carbonate, chalk, cottonseed kernel meal, etc., to neutralize the acid. During the heating, the acid vapors coming from the mixture may be led into a second quantity of material contained in a separate vessel, air being drawn through both vessels to facilitate the removal of the acid vapors.

COTTONSEED OIL: See Oil.

COTTONSEED OIL IN FOOD, TESTS FOR: See Foods.

COTTONSEED OIL IN LARD, DETECTION OF: See Foods and Lard.

COUGH CANDY: See Confectionery.

COUGH MIXTURES FOR CATTLE: See Veterinary Formulas. {247}

COUGH MIXTURES AND REMEDIES: See Cold and Cough Mixtures.

«Court Plasters»

(See also Plasters.)

«Liquid Court Plaster.»—I.—If soluble guncotton is dissolved in acetone in the proportion of about 1 part, by weight, of the former to 35 or 40 parts, by volume, of the latter, and half a part each of castor oil and glycerine be added, a colorless, elastic, and flexible film will form on the skin wherever it is applied. Unlike ordinary collodion it will not be likely to dry and peel off. If tinted very slightly with alkanet and saffron it can be made to assume the color of the skin so that when applied it is scarcely observable. A mixture of warm solution of sodium silicate and casein, about 9 parts of the former to 1 part of the latter, gelatinizes and forms a sort of liquid court plaster.

II.—In order to make liquid court plaster flexible, collodion, U. S. P., is the best liquid that can possibly be recommended. It may be made by weighing successively into a tarred bottle:

Collodion 4 av. ounces Canada turpentine 95 grains Castor oil 57 grains

Before applying, the skin should be perfectly dry; each application or layer should be permitted to harden. Three or four coats are usually sufficient.

III.—Procure an ounce bottle and fill it three-fourths full of flexible collodion, and fill up with ether. Apply to cuts, bruises, etc., and it protects them and will not wash off. If the ether evaporates, leaving it too thick for use, have more ether put in to liquefy it. It is a good thing to have in the house and in the tool chest.

COW DISEASES AND THEIR REMEDIES: See Veterinary Formulas.

CRAYONS: See Pencils.

«CRAYONS FOR GRAINING AND MARBLING.»

Heat 4 parts of water and 1 part of white wax over a fire until the wax has completely dissolved. Stir in 1 part of purified potash. When an intimate combination has taken place, allow to cool and add a proportionate quantity of gum arabic. With this mixture the desired colors are ground thick enough so that they can be conveniently rolled into a pencil with chalk. The desired shades must be composed on the grinding slab as they are wanted, and must not be simply left in their natural tone. Use, for instance, umber, Vandyke brown, and white lead for oak; umber alone would be too dark for walnut use. All the earth colors can be conveniently worked up. It is best to prepare 2 or 3 crayons of each set, mixing the first a little lighter by the addition of white lead and leaving the others a little darker. The pencils should be kept in a dry place and are more suitable for graining and marbling than brushes, since they can be used with either oil or water.

CRAYONS FOR WRITING ON GLASS: See Etching, and Glass.

«Cream»

(See also Milk.)

«Whipped Cream.»—There are many ways to whip cream. The following is very highly indorsed: Keep the cream on ice until ready to whip. Take 2 earthen vessels about 6 inches in diameter. Into 1 bowl put 1 pint of rich sweet cream, 2 teaspoonfuls powdered sugar, and 5 drops of best vanilla extract. Add the white of 1 egg and beat with large egg beater or use whipping apparatus until 2 inches of froth has formed; skim off the froth into the other vessel and so proceed whipping and skimming until all the cream in the first vessel has been exhausted. The whipped cream will stand up all day and should be let stand in the vessel on ice.

Special machines have been constructed for whipping cream, but most dispensers prepare it with an ordinary egg beater. Genuine whipped cream is nothing other than pure cream into which air has been forced by the action of the different apparatus manufactured for the purpose; care must, however, be exercised in order that butter is not produced instead of whipped cream. To avoid this the temperature of the cream must be kept at a low degree and the whipping must not be too violent or prolonged; hence the following rules must be observed in order to produce the desired result: {248}

1. Secure pure cream and as fresh as possible.

2. Surround the bowl in which the cream is being whipped with cracked ice, and perform the operation in a cool place.

3. As rapidly as the whipped cream arises, skim it off and place it in another bowl, likewise surrounded with ice.

4. Do not whip the cream too long or too violently.

5. The downward motion of the beater should be more forcible than the upward, as the first has a tendency to force the air into the cream, while the second, on the contrary, tends to expel it.

6. A little powdered sugar should be added to the cream after it is whipped, in order to sweeten it.

7. Make whipped cream in small quantities and keep it on ice.

I.—Cummins’s Whipped Cream.—Place 12 ounces of rich cream on the ice for about 1 hour; then with a whipper beat to a consistency that will withstand its own weight.

II.—Eberle’s Whipped Cream.—Take a pint of fresh, sweet cream, which has been chilled by being placed on the ice, add to it a heaping tablespoonful of powdered sugar and 2 ounces of a solution of gelatin (a spoonful dissolved in 2 ounces of water), whip slowly for a minute or two until a heavy froth gathers on top. Skim off the dense froth, and put in container for counter use; continue this until you have frothed all that is possible.

III.—Foy’s Whipped Cream.—Use only pure cream; have it ice cold, and in a convenient dish for whipping with a wire whipper. A clear, easy, quick, and convenient way is to use a beater. Fill about one-half full of cream, and beat vigorously for 2 or 3 minutes; a little powdered sugar may be added before beating. The cream may be left in the beater, and placed on ice.

IV.—American Soda Fountain Company’s Whipped Cream.—Take 2 earthen bowls and 2 tin pans, each 6 or 8 inches greater in diameter than the bowls; place a bowl in each pan, surround it with broken ice, put the cream to be whipped in 1 bowl, and whip it with a whipped cream churn. The cream should be pure and rich, and neither sugar nor gelatin should be added to it. As the whipped cream rises and fills the bowl, remove the churn, and skim off the whipped cream into the other bowl.

The philosophy of the process is that the churn drives air into the cream, and blows an infinity of tiny bubbles, which forms the whipped cream; therefore, in churning, raise the dasher gently and slowly, and bring it down quickly and forcibly. When the second bowl is full of whipped cream, pour off the liquid cream, which has settled to the bottom, into the first bowl, and whip it again. Keep the whipped cream on ice.

The addition of an even teaspoonful of salt to 1 quart of sweet cream, before whipping, will make it whip up very readily and stiff, and stand up much longer and better.

«CRESOL EMULSION.»

One of the best starting points for the preparation is the “creosote” obtained from blast furnaces, which is rich in cresols and contains comparatively little phenols. The proportions used are: Creosote, 30 parts; soft soap, 10 parts; and solution of soda (10 per cent), 30 parts. Boil the ingredients together for an hour, then place aside to settle. The dark fluid is afterwards drained from any oily portion floating upon the top.

CREAM, COLD: See Cosmetics.

CREAMS FOR THE FACE AND SKIN: See Cosmetics.

CREOSOTE SOAP: See Soap.

CROCKERY: See Ceramics.

CROCKERY CEMENTS: See Adhesives.

«CROCUS.»

The substance known as “crocus,” which is so exceedingly useful as a polishing medium for steel, etc., may be very generally obtained in the cinders produced from coal containing iron. It will be easily recognized by its rusty color, and should be collected and reduced to a powder for future use. Steel burnishers may be brought to a high state of polish with this substance by rubbing them upon a buff made of soldiers’ belt or hard wood. After this operation, the burnisher should be rubbed on a second buff charged with jewelers’ rouge.

CRYSTAL CEMENTS FOR REUNITING BROKEN PIECES: See Adhesives, under Cements. {249}

CRYSTALLIZATION, ORNAMENTAL: See Gardens, Chemical.

CUCUMBER ESSENCE: See Essences and Extracts.

CUCUMBER JELLY, JUICE, AND MILK: See Cosmetics.

CURAÇOA CORDIAL: See Wines and Liquors.

CURTAINS, COLORING OF: See Laundry Preparations.

CURRY POWDER: See Condiments.

«CUSTARD POWDER:»

Corn flour 7 pounds Arrowroot 8 pounds Oil of almond 20 drops Oil of nutmegs 10 drops Tincture of saffron to color.

Mix the tincture with a little of the mixed flours; then add the essential oils and make into a paste; dry this until it can be reduced to a powder, and then mix all the ingredients by sifting several times through a fine hair sieve.

CUTLERY CEMENTS: See Adhesives.

CYLINDER OIL: See Lubricants.

CYMBAL METAL: See Alloys.

«Damaskeening»

Damaskeening, practiced from most ancient times, consists in ornamentally inlaying one metal with another, followed usually by polishing. Generally gold or silver is employed for inlaying. The article to be decorated by damaskeening is usually of iron (steel) or copper; in Oriental (especially Japanese) work, also frequently of bronze, which has been blackened, or, at least, darkened, so that the damaskeening is effectively set off from the ground. If the design consists of lines, the grooves are dug out with the graver in such a manner that they are wider at the bottom, so as to hold the metal forced in. Next, the gold or silver pieces suitably formed are laid on top and hammered in so as to fill up the opening. Finally the surface is gone over again, so that the surface of the inlay is perfectly even with the rest. If the inlays, however, are not in the form of lines, but are composed of larger pieces of certain outlines, they are sometimes allowed to project beyond the surface of the metal decorated. At times there are inlays again in the raised portions of another metal; thus, Japanese bronze articles often contain figures of raised gold inlaid with silver.

Owing to the high value which damaskeening imparts to articles artistically decorated, many attempts have been made to obtain similar effects in a cheaper manner. One is electro-etching, described further on. Another process for the wholesale manufacture of objects closely resembling damaskeened work is the following: By means of a steel punch, on which the decorations to be produced project in relief, the designs are stamped by means of a drop hammer or a stamping press into gold plated or silver plated sheet metal on the side which is to show the damaskeening, finally grinding off the surface, so that the sunken portions are again level. Naturally, the stamped portion, as long as the depth of the stamping is at least equal to the thickness of the precious metal on top, will appear inlaid.

It is believed that much of the early damaskeening was done by welding together iron and either a steel or an impure or alloyed iron, and treating the surface with a corroding acid that affected the steel or alloy without changing the iron.

The variety or damaskeening known as koftgari or kuft-work, practiced in India, was produced by rough-etching a metallic surface and laying on gold-leaf, which was imbedded so that it adhered only to the etched parts of the design.

«Damaskeening by Electrolysis.»—Damaskeening of metallic plates may be done by electrolysis. A copper plate is covered with an isolating layer of feeble thickness, such as wax, and the desired design is scratched in it by the use of a pointed tool. The plate is suspended in a bath of sulphate of copper, connecting it with the positive pole of a battery, while a second copper plate is connected with the negative pole. The current etches grooves wherever the wax has been removed. When enough has {250} been eaten away, remove the plate from the bath, cleanse it with a little hydrochloric acid to remove any traces of oxide of copper which might appear on the lines of the design; then wash it in plenty of water and place it in a bath of silver or nickel, connecting it now with the negative pole, the positive pole being represented by a leaf of platinum. After a certain time the hollows are completely filled with a deposit of silver or nickel, and it only remains to polish the plate, which has the appearance of a piece damaskeened by hand.

«Damaskeening on Enamel Dials.»—Dip the dial into molten yellow wax, trace on the dial the designs desired, penetrating down to the enamel. Dip the dial in a fluorhydric acid a sufficient length of time that it may eat to the desired depth. Next, wash in several waters, remove the wax by means of turpentine, i. e., leave the piece covered with wax immersed in essence of turpentine. By filling up the hollows thus obtained with enamel very pretty effects are produced.

DANDRUFF CURE: See Hair Preparations.

«DECALCOMANIA PROCESSES:»

See also Chromos, Copying Processes, and Transfer Processes.

The decalcomania process of transferring pictures requires that the print (usually in colors) be made on a specially prepared paper. Prints made on decalcomania paper may be transferred in the reverse to china ware, wood, celluloid, metal, or any hard smooth surface, and being varnished after transfer (or burnt in, in the case of pottery) acquire a fair degree of permanence. The original print is destroyed by the transfer.

«Applying Decalcomania Pictures on Ceramic Products under a Glaze.»—A biscuit-baked object is first coated with a mixture of alcohol, shellac, varnish, and liquid glue. Then the prepared picture print is transferred on to this adhesive layer in the customary manner. The glaze, however, does not adhere to this coating and would, therefore, not cover the picture when fused on. To attain this, the layer bearing the transfer picture, as well as the latter, are simultaneously coated with a dextrin solution of about 10 per cent. When this dextrin coating is dry, the picture is glazed. The mixing proportions of the two solutions employed, as well as of the adhesive and the dextrin solutions, vary somewhat according to the physical conditions of the porcelain, its porosity, etc. The following may serve for an example: Dissolve 5 parts of shellac or equivalent gum in 25 parts of spirit and emulsify this liquid with 20 parts of varnish and 8 parts of liquid glue. After drying, the glaze is put on and the ware thus prepared is placed in the grate fire.

The process described is especially adapted for film pictures, i. e., for such as bear the picture on a cohering layer, usually consisting of collodion. It cannot be employed outright for gum pictures, i. e., for such pictures as are composed of different pressed surfaces, consisting mainly of gum or similar material. If this process is to be adapted to these pictures as well, the ware, which has been given the biscuit baking, is first provided with a crude glaze coating, whereupon the details of the process are carried out as described above with the exception that there is another glaze coating between the adhesive coat and the biscuit-baked ware. In this case the article is also immediately placed in the grate fire. It is immaterial which of the two kinds of metachromatypes (transfer pictures) is used, in every case the baking in the muffle, etc., is dropped. The transfer pictures may also be produced in all colors for the grate fire.

«Decalcomania Paper.»—Smooth unsized paper, not too thick, is coated with the following solutions:

I.—Gelatin, 10 parts, dissolved in 300 parts warm water. This solution is applied with a sponge. The paper should be dried flat.

II.—Starch, 50 parts; gum tragacanth, dissolved in 600 parts of water. (The gum tragacanth is soaked in 300 parts of water; in the other 300 parts the starch is boiled to a paste; the two are then poured together and boiled.) The dried paper is brushed with this paste uniformly, a fairly thick coat being applied. The paper is then allowed to dry again.

III.—One part blood albumen is soaked in 3 parts water for 24 hours. A small quantity of sal ammoniac is added.

The paper, after having been coated with these three solutions and dried, is run through the printing press, the pictures, however, being printed reversed so that it may appear in its true position when transferred. Any colored inks may be used. {251}

IV.—A transfer paper, known as “décalque rapide,” invented by J. B. Duramy, consists of a paper of the kind generally used for making pottery transfers, but coated with a mixture of gum and arrowroot solutions in the proportion of 2 1⁠/⁠2 parts of the latter to 100 of the former. The coating is applied in the ordinary manner, but the paper is only semi-glazed. Furthermore, to decorate pottery ware by means of this new transfer paper, there is no need to immerse the ware in a bath in order to get the paper to draw off, as it will come away when moistened with a damp sponge, after having been in position for less than 5 minutes, whereas the ordinary papers require a much longer time.

«Picture Transferrer.»—A very weak solution of soft soap and pearlashes is used to transfer recent prints, such as illustrations from papers, magazines, etc., to unglazed paper, on the decalcomania principle. Such a solution is:

I.—Soft soap 1⁠/⁠2 ounce Pearlash 2 drachms Distilled water 16 fluidounces

The print is laid upon a flat surface, such as a drawing board, and moistened with the liquid. The paper on which the reproduction is required is laid over this, and then a sheet of thicker paper placed on the top, and the whole rubbed evenly and hard with a blunt instrument, such as the bowl of a spoon, until the desired depth of color in the transferrer is obtained. Another and more artistic process is to cover the print with a transparent sheet of material coated with wax, to trace out the pictures with a point and to take rubbings of the same after powdering with plumbago.

II.—Hard soap 1 drachm Glycerine 30 grains Alcohol 4 fluidrachms Water 1 fluidounce

Dampen the printed matter with the solution by sponging, and proceed as with I.

DEHORNERS: See Horn.

DELTA METAL: See Alloys.

DEMON BOWLS OF FIRE: See Pyrotechnics.

DENTAL CEMENTS: See Cements.

«Dentifrices»

«TOOTH POWDERS:»

A perfect tooth powder that will clean the teeth and mouth with thoroughness need contain but few ingredients and is easily made. For the base there is nothing better than precipitated chalk; it possesses all the detergent and polishing properties necessary for the thorough cleansing of the teeth, and it is too soft to do any injury to soft or to defective or thinly enameled teeth. This cannot be said of pumice, cuttlebone, charcoal, kieselguhr, and similar abradants that are used in tooth powders. Their use is reprehensible in a tooth powder. The use of pumice or other active abradant is well enough occasionally, by persons afflicted with a growth of tartar on the teeth, but even then it is best applied by a competent dentist. Abrading powders have much to answer for in hastening the day of the toothless race.

Next in value comes soap. Powdered white castile soap is usually an ingredient of tooth powders. There is nothing so effective for removing sordes or thickened mucus from the gums or mouth. But used alone or in too large proportions, the taste is unpleasant. Orris possesses no cleansing properties, but is used for its flavor and because it is most effective for masking the taste of the soap. Sugar or saccharine may be used for sweetening, and for flavoring almost anything can be used. Flavors should, in the main, be used singly, though mixed flavors lack the clean taste of simple flavors.

The most popular tooth powder sold is the white, saponaceous, wintergreen-flavored powder, and here is a formula for this type:

I.—Precipitated chalk 1 pound White castile soap 1 ounce Florentine orris 2 ounces Sugar (or saccharine, 2 grains) 1 ounce Oil of wintergreen 1⁠/⁠4 ounce

The first four ingredients should be in the finest possible powder and well dried. Triturate the oil of wintergreen with part of the chalk, and mix this with the balance of the chalk. Sift each ingredient separately through a sieve (No. 80 or finer), and mix well together, afterwards sifting the mixture 5 or 6 times. The finer the sieve and the more the mixture is sifted, the finer and lighter the powder will be. {252}

This powder will cost about 15 cents a pound.

Pink, rose-flavored powder of the Caswell and Hazard, Hudnut, or McMahan type, once so popular in New York. It was made in two styles, with and without soap.

II.—Precipitated chalk 1 pound Florentine orris 2 ounces Sugar 1 1⁠/⁠2 ounces White castile soap 1 ounce No. 40 carmine 15 grains Oil of rose 12 drops Oil of cloves 4 drops

Dissolve the carmine in an ounce of water of ammonia and triturate this with part of the chalk until the chalk is uniformly dyed. Then spread it in a thin layer on a sheet of paper and allow the ammonia to evaporate. When there is no ammoniacal odor left, mix this dyed chalk with the rest of the chalk and sift the whole several times until thoroughly mixed. Then proceed to make up the powder as in the previous formula, first sifting each ingredient separately and then together, being careful thoroughly to triturate the oils of rose and cloves with the orris after it is sifted and before it is added to the other powders. The oil of cloves is used to back up the oil of rose. It strengthens and accentuates the rose odor. Be careful not to get a drop too much, or it will predominate over the rose.

«Violet Tooth Powder.»—

Precipitated chalk 1 pound Florentine orris 4 ounces Castile soap 1 ounce Sugar 1 1⁠/⁠2 ounces Extract of violet 1⁠/⁠4 ounce Evergreen coloring, R. & F., quantity sufficient.

Proceed as in the second formula, dyeing the chalk with the evergreen coloring to the desired shade before mixing.

III.—Precipitated chalk 16 pounds Powdered orris 4 pounds Powdered cuttlefish bone 2 pounds Ultramarine 9 1⁠/⁠2 ounces Geranium lake 340 grains Jasmine 110 minims Oil of neroli 110 minims Oil of bitter almonds 35 minims Vanillin 50 grains Artificial musk (Lautier’s) 60 grains Saccharine 140 grains

Rub up the perfumes with 2 ounces of alcohol, dissolve the saccharine in warm water, add all to the orris, and set aside to dry. Rub the colors up with water and some chalk, and when dry pass all through a mixer and sifter twice to bring out the color.

«Camphorated and Carbolated Powders.»—A camphorated tooth powder may be made by leaving out the oil of wintergreen in the first formula and adding 1 1⁠/⁠2 ounces of powdered camphor.

Carbolated tooth powder may likewise be made with the first formula by substituting 2 drachms of liquefied carbolic acid for the oil of wintergreen. But the tooth powder gradually loses the odor and taste of the acid. It is not of much utility anyway, as the castile soap in the powder is of far greater antiseptic power than the small amount of carbolic acid that can safely be combined in a tooth powder. Soap is one of the best antiseptics.

Alkaline salts, borax, sodium bicarbonate, etc., are superfluous in a powder already containing soap. The only useful purpose they might serve is to correct acidity of the mouth, and that end can be reached much better by rinsing the mouth with a solution of sodium bicarbonate. Acids have no place in tooth powders, the French Codex to the contrary notwithstanding.

«Peppermint as a Flavor.»—In France and all over Europe peppermint is the popular flavor, as wintergreen is in this country.

English apothecaries use sugar of milk and heavy calcined magnesia in many of their tooth powders. Neither has any particular virtue as a tooth cleanser, but both are harmless. Cane sugar is preferable to milk sugar as a sweetener, and saccharine is more efficient, though objected to by some; it should be used in the proportion of 2 to 5 grains to the pound of powder, and great care taken to have it thoroughly distributed throughout.

An antiseptic tooth powder, containing the antiseptic ingredients of listerine, is popular in some localities.

IV.—Precipitated chalk 1 pound Castile soap 5 drachms Borax 3 drachms Thymol 20 grains Menthol 20 grains Eucalyptol 20 grains Oil of wintergreen 20 grains Alcohol 1⁠/⁠2 ounce

Dissolve the thymol and oils in the alcohol, and triturate with the chalk, and proceed as in the first formula. {253}

One fault with this powder is the disagreeable taste of the thymol. This may be omitted and the oil of wintergreen increased to the improvement of the taste, but with some loss of antiseptic power.

«Antiseptic Powder.»—

V.—Boric acid 50 parts Salicylic acid 50 parts Dragon’s blood 20 parts Calcium carbonate 1,000 parts Essence spearmint 12 parts

Reduce the dragon’s blood and calcium carbonate to the finest powder, and mix the ingredients thoroughly. The powder should be used twice a day, or even oftener, in bad cases. It is especially recommended in cases where the enamel has become eroded from the effects of iron.

«Menthol Tooth Powder.»—Menthol leaves a cool and pleasant sensation in the mouth, and is excellent for fetid breath. It may be added to most formulas by taking an equal quantity of oil of wintergreen and dissolving in alcohol.

Menthol 1 part Salol 8 parts Soap, grated fine 20 parts Calcium carbonate 20 parts Magnesia carbonate 60 parts Essential oil of mint 2 parts

Powder finely and mix. If there is much tartar on the teeth it will be well to add to this formula from 10 to 20 parts of pumice, powdered very finely.

«Tooth Powders and Pastes.»—Although the direct object of these is to keep the teeth clean and white, they also prevent decay, if it is only by force of mere cleanliness, and in this way (and also by removing decomposing particles of food) tend to keep the breath sweet and wholesome. The necessary properties of a tooth powder are cleansing power unaccompanied by any abrading or chemical action on the teeth themselves, a certain amount of antiseptic power to enable it to deal with particles of stale food, and a complete absence of any disagreeable taste or smell. These conditions are easy to realize in practice, and there is a very large number of efficient and good powders, as well as not a few which are apt to injure the teeth if care is not taken to rinse out the mouth very thoroughly after using. These powders include some of the best cleansers, and have hence been admitted in the following recipes, mostly taken from English collections.

I.—Charcoal and sugar, equal weights. Mix and flavor with clove oil.

II.—Charcoal 156 parts Red kino 156 parts Sugar 6 parts

Flavor with peppermint oil

III.—Charcoal 270 parts Sulphate of quinine 1 part Magnesia 1 part

Scent to liking.

IV.—Charcoal 30 parts Cream of tartar 8 parts Yellow cinchona bark 4 parts Sugar 15 parts

Scent with oil of cloves.

V.—Sugar 120 parts Alum 10 parts Cream of tartar 20 parts Cochineal 3 parts

VI.—Cream of Tartar 1,000 parts Alum 190 parts Carbonate of magnesia 375 parts Sugar 375 parts Cochineal 75 parts Essence Ceylon cinnamon 90 parts Essence cloves 75 parts Essence English peppermint 45 parts

VII.—Sugar 200 parts Cream of tartar 400 parts Magnesia 400 parts Starch 400 parts Cinnamon 32 parts Mace 11 parts Sulphate of quinine 16 parts Carmine 17 parts

Scent with oil of peppermint and oil of rose.

VIII.—Bleaching powder 11 parts Red coral 12 parts

IX.—Red cinchona bark 12 parts Magnesia 50 parts Cochineal 9 parts Alum 6 parts Cream of tartar 100 parts {254} English peppermint oil 4 parts Cinnamon oil 2 parts

Grind the first five ingredients separately, then mix the alum with the cochineal, and then add to it the cream of tartar and the bark. In the meantime the magnesia is mixed with the essential oils, and finally the whole mass is mixed through a very fine silk sieve.

X.—Whitewood charcoal 250 parts Cinchona bark 125 parts Sugar 250 parts Peppermint oil 12 parts Cinnamon oil 8 parts

XI.—Precipitated chalk 750 parts Cream of tartar 250 parts Florence orris root 250 parts Sal ammoniac 60 parts Ambergris 4 parts Cinnamon 4 parts Coriander 4 parts Cloves 4 parts Rosewood 4 parts

XII.—Dragon’s blood 250 parts Cream of tartar 30 parts Florence orris root 30 parts Cinnamon 16 parts Cloves 8 parts

XIII.—Precipitated chalk 500 parts Dragon’s blood 250 parts Red sandalwood 125 parts Alum 125 parts Orris root 250 parts Cloves 15 parts Cinnamon 15 parts Vanilla 8 parts Rosewood 15 parts Carmine lake 250 parts Carmine 8 parts

XIV.—Cream of tartar 150 parts Alum 25 parts Cochineal 12 parts Cloves 25 parts Cinnamon 25 parts Rosewood 6 parts

Scent with essence of rose.

XV.—Coral 20 parts Sugar 20 parts Wood charcoal 6 parts Essence of vervain 1 part

XVI.—Precipitated chalk 500 parts Orris root 500 parts Carmine 1 part Sugar 1 part Essence of rose 4 parts Essence of neroli 4 parts

XVII.—Cinchona bark 50 parts Chalk 100 parts Myrrh 50 parts Orris root 100 parts Cinnamon 50 parts Carbonate of ammonia 100 parts Oil of cloves. 2 parts

XVIII.—Gum arabic 30 parts Cutch 80 parts Licorice juice 550 parts Cascarilla 20 parts Mastic 20 parts Orris root 20 parts Oil of cloves 5 parts Oil of peppermint 15 parts Extract of amber 5 parts Extract of musk 5 parts

XIX.—Chalk 200 parts Cuttlebone 100 parts Orris root 100 parts Bergamot oil 2 parts Lemon oil 4 parts Neroli oil 1 part Portugal oil 2 parts

XX.—Borax 50 parts Chalk 100 parts Myrrh 25 parts Orris root 22 parts Cinnamon 25 parts

XXI.—Wood charcoal 30 parts White honey 30 parts Vanilla sugar 30 parts Cinchona bark 16 parts

Flavor with oil of peppermint.

XXII.—Syrup of 33° B. 38 parts Cuttlebone 200 parts Carmine lake 30 parts English oil of peppermint 5 parts {255}

XXIII.—Red coral 50 parts Cinnamon 12 parts Cochineal 6 parts Alum 2 1⁠/⁠8 parts Honey 125 parts Water 6 parts

Triturate the cochineal and the alum with the water. Then, after allowing them to stand for 24 hours, put in the honey, the coral, and the cinnamon. When the effervescence has ceased, which happens in about 48 hours, flavor with essential oils to taste.

XXIV.—Well-skimmed honey 50 parts Syrup of peppermint 50 parts Orris root 12 parts Sal ammoniac 12 parts Cream of tartar 12 parts Tincture of cinnamon 3 parts Tincture of cloves 3 parts Tincture of vanilla 3 parts Oil of cloves 1 part

XXV.—Cream of tartar 120 parts Pumice 120 parts Alum 30 parts Cochineal 30 parts Bergamot oil 3 parts Clove 3 parts

Make to a thick paste with honey or sugar.

XXVI.—Honey 250 parts Precipitated chalk 250 parts Orris root 250 parts Tincture of opium 7 parts Tincture of myrrh 7 parts Oil of rose 2 parts Oil of cloves 2 parts Oil of nutmeg 2 parts

XXVII.—Florentine orris 6 parts Magnesium carbonate 2 parts Almond soap 12 parts Calcium carbonate 60 parts Thymol 1 part Alcohol, quantity sufficient.

Powder the solids and mix. Dissolve the thymol in as little alcohol as possible, and add perfume in a mixture in equal parts of oil of peppermint, oil of clove, oil of lemon, and oil of eucalyptus. About 1 minim of each to every ounce of powder will be sufficient.

XXVIII.—Myrrh, 10 parts; sodium chloride, 10 parts; soot, 5 parts; soap, 5 parts; lime carbonate, 500 parts.

XXIX.—Camphor, 5 parts; soap, 10 parts; saccharine, 0.25 parts; thymol, 0.5 parts; lime carbonate, 500 parts. Scent, as desired, with rose oil, sassafras oil, wintergreen oil, or peppermint oil.

XXX.—Powdered camphor, 6 parts; myrrh, 15 parts; powdered Peruvian bark, 6 parts; distilled water, 12 parts; alcohol of 80° F., 50 parts. Macerate the powders in the alcohol for a week and then filter.

XXXI.—Soap, 1; saccharine. 0.025; thymol, 0.05; lime carbonate, 50; sassafras essence, enough to perfume.

XXXII.—Camphor, 0.5; soap, 1; saccharine, 0.025; calcium carbonate, 50; oil of sassafras, or cassia, or of gaultheria, enough to perfume.

XXXIII.—Myrrh, 1; sodium chloride, 1; soap, 50; lime carbonate, 50; rose oil as required.

XXXIV.—Precipitated calcium carbonate, 60 parts; quinine sulphate, 2 parts; saponine, 0.1 part; saccharine, 0.1 part; carmine as required; oil of peppermint, sufficient.

XXXV.—Boracic acid, 100 parts; powdered starch, 50 parts; quinine hydrochlorate, 10 parts; saccharine, 1 part; vanillin (dissolved in alcohol), 1.5 parts.

«Neutral Tooth Powder.»—Potassium chlorate, 200 parts; starch, 200 parts; carmine lake, 40 parts; saccharine (in alcoholic solution), 1 part; vanillin (dissolved in alcohol), 1 part.

«Tooth Powder for Children.»—

Magnesia carbonate 10 parts Medicinal soap 10 parts Sepia powder 80 parts Peppermint oil, quantity sufficient to flavor.

«Flavorings for Dentifrice.»—

I.—Sassafras oil, true 1 drachm Pinus pumilio oil 20 minims Bitter orange oil 20 minims Wintergreen oil 2 minims Anise oil 4 minims Rose geranium oil 1 minim Alcohol 1 ounce

Use according to taste.

II.—Oil of peppermint, English 4 parts Oil of aniseed 6 parts {256} Oil of clove 1 part Oil of cinnamon 1 part Saffron 1 part Deodorized alcohol 350 parts Water 300 parts

Or, cassia, 4 parts, and vanilla, 1⁠/⁠2 part, may be substituted for the saffron.

«LIQUID DENTIFRICES AND TOOTH WASHES:»

«A French Dentifrice.»—I.—A preparation which has a reputation in France as a liquid dentifrice is composed of alcohol, 96 per cent, 1,000 parts; Mitcham peppermint oil, 30 parts; aniseed oil, 5 parts; oil of Acorus calamus, 0.5 parts. Finely powdered cochineal and cream of tartar, 5 parts each, are used to tint the solution. The mixed ingredients are set aside for 14 days before filtering.

Sozodont.—

II.—The liquid tooth preparation “Sozodont” is said to contain: Soap powder, 60 parts; glycerine, 60 parts; alcohol, 360 parts; water, 220 parts; oils of peppermint, of aniseed, of clover, and of cinnamon, 1 part each; oil of wintergreen, 1–200 part.

III.—Thymol 2 grains Benzoic acid 24 grains Tincture eucalyptus 2 drachms Alcohol quantity sufficient to make 2 ounces.

Mix. Sig.: A teaspoonful diluted with half a wineglassful of water.

IV.—Carbolic acid, pure 2 ounces Glycerine, 1,260° 1 ounce Oil wintergreen 6 drachms Oil cinnamon 3 drachms Powdered cochineal 1⁠/⁠2 drachm S. V. R 40 ounces Distilled water 40 ounces

Dissolve the acid in the glycerine with the aid of a gentle heat and the essential oils in the spirit; mix together, and add the water and cochineal; then let the preparation stand for a week and filter.

A mixture of caramel and cochineal coloring, N. F., gives an agreeable red color for saponaceous tooth washes. It is not permanent, however.

Variations of this formula follow:

V.—White castile soap 1 ounce Tincture of asarum 2 drachms Oil of peppermint 1⁠/⁠2 drachm Oil of wintergreen 1⁠/⁠2 drachm Oil of cloves 5 drops Oil of cassia 5 drops Glycerine 4 ounces Alcohol 14 ounces Water 14 ounces

VI.—White castile soap 1 1⁠/⁠2 ounces Oil of orange 10 minims Oil of cassia 5 minims Oil of wintergreen 15 minims Glycerine 3 ounces Alcohol 8 ounces Water enough to make 1 quart.

VII.—White castile soap 3 ounces Glycerine 5 ounces Water 20 ounces Alcohol 30 ounces Oil of peppermint 1 drachm Oil of wintergreen 1 drachm Oil of orange peel 1 drachm Oil of anise 1 drachm Oil of cassia 1 drachm

Beat up the soap with the glycerine; dissolve the oils in the alcohol and add to the soap and glycerine. Stir well until the soap is completely dissolved.

VIII.—White castile soap 1 ounce Orris root 4 ounces Rose leaves 4 ounces Oil of rose 1⁠/⁠2 drachm Oil of neroli 1⁠/⁠2 drachm Cochineal 1⁠/⁠2 ounce Diluted alcohol 2 quarts

If the wash is intended simply as an elixir for sweetening the breath, the following preparation, resembling the celebrated eau de botot, will be found very desirable:

IX.—Oil of peppermint 30 minims Oil of spearmint 15 minims Oil of cloves 5 minims Oil of red cedar wood 60 minims Tincture of myrrh 1 ounce Alcohol 1 pint

Care must be taken not to confound the oil of cedar tops with the oil of cedar wood. The former has an odor like turpentine; the latter has the fragrance of the red cedar wood.

For a cleansing wash, a solution of soap is to be recommended. It may be made after the following formula:

X.—White castile soap 1 ounce Alcohol 6 ounces Glycerine 4 ounces Hot water 6 ounces Oil of peppermint 15 minims Oil of wintergreen 20 minims Oil of cloves 5 minims Extract of vanilla 1⁠/⁠2 ounce

Dissolve the soap in the hot water and add the glycerine and extract of vanilla. Dissolve the oils in the alcohol, mix the solutions, and after 24 hours filter through paper. {257}

It is customary to color such preparations. An agreeable brown-yellow tint may be given by the addition of a small quantity of caramel. A red color may be given by cochineal. The color will fade, but will be found reasonably permanent when kept from strong light.

«TOOTH SOAPS AND PASTES:»

«Tooth Soaps.»—

I.—White castile soap 225 parts Precipitated chalk 225 parts Orris root 225 parts Oil of peppermint 7 parts Oil of cloves 4 parts Water, a sufficient quantity.

II.—Castile soap 100 drachms Precipitated chalk 100 drachms Powdered orris root 100 drachms White sugar 50 drachms Rose water 50 drachms Oil of cloves 100 drops Oil of peppermint 3 drachms

Dissolve the soap in water, add the rose water, then rub up with the sugar with which the oils have been previously triturated, the orris root and the precipitated chalk.

III.—Potassium chlorate, 20 drachms; powdered white soap, 10 drachms; precipitated chalk, 20 drachms; peppermint oil, 15 drops; clove oil, 5 drops; glycerine, sufficient to mass. Use with a soft brush.

«Saponaceous Tooth Pastes.»—

I.—Precipitated carbonate of lime 90 parts Soap powder 30 parts Ossa sepia, powdered 15 parts Tincture of cocaine 45 parts Oil of peppermint 6 parts Oil of ylang-ylang 0.3 parts Glycerine 30 parts Rose water to cause liquefaction. Carmine solution to color.

II.—Precipitated carbonate of lime 150 parts Soap powder 45 parts Arrowroot 45 parts Oil of eucalyptus 2 parts Oil of peppermint 1 part Oil of geranium 1 part Oil of cloves 0.25 parts Oil of aniseed 0.25 parts Glycerine 45 parts Chloroform water to cause liquefaction. Carmine solution to color.

Cherry Tooth Paste.—

III.—Clarified honey 100 drachms Precipitated chalk 100 drachms Powdered orris root 100 drachms Powdered rose leaves 60 drops Oil of cloves 55 drops Oil of mace 55 drops Oil of geranium 55 drops

Chinese Tooth Paste.—

IV.—Powdered pumice 100 drachms Starch 20 drachms Oil of peppermint 40 drops Carmine 1⁠/⁠4 drachm

Eucalyptus Paste.—Forty drachms precipitated chalk, 11 drachms soap powder, 11 drachms wheaten starch, 1⁠/⁠4 drachm carmine, 30 drops oil of peppermint, 30 drops oil of geranium, 60 drops eucalyptus oil, 2 drops oil of cloves, 12 drops oil of anise mixed together and incorporated to a paste, with a mixture of equal parts of glycerine and spirit.

Myrrh Tooth Paste.—

Precipitated chalk 8 ounces Orris 8 ounces White castile soap 2 ounces Borax 2 ounces Myrrh 1 ounce Glycerine, quantity sufficient.

Color and perfume to suit.

A thousand grams of levigated powdered oyster shells are rubbed up with 12 drachms of cochineal to a homogeneous powder. To this is added 1 drachm of potassium permanganate and 1 drachm boric acid and rubbed well up. Foam up 200 drachms castile soap and 5 drachms chemically pure glycerine and mix it with the foregoing mass, adding by teaspoonful 150 grams of boiling strained honey. The whole mass is again thoroughly rubbed up, adding while doing so 200 drops honey. Finally the mass should be put into a mortar and pounded for an hour and then kneaded with the hands for 2 hours.

Tooth Paste to be put in Collapsible Tubes.—

Calcium carbonate, levigated 100 parts Cuttlefish bone, in fine powder 25 parts Castile soap, old white, powdered 25 parts Tincture of carmine, ammoniated 4 parts Simple syrup 25 parts {258} Menthol 2 parts Alcohol 5 parts Attar of rose or other perfume, quantity sufficient. Rose water sufficient to make a paste.

Beat the soap with a little rose water, then warm until softened, add syrup and tincture of carmine. Dissolve the perfume and menthol in the alcohol and add to soap mixture. Add the solids and incorporate thoroughly. Finally, work to a proper consistency for filling into collapsible tubes, adding water, if necessary.

«MOUTH WASHES.»

I.—Quillaia bark 125 parts Glycerine 95 parts Alcohol 155 parts

Macerate for 4 days and add:

Acid. carbol. cryst 4 parts Ol. geranii 0.6 parts Ol. caryophyll 0.6 parts Ol. rosæ 0.6 parts Ol. cinnam 0.6 parts Tinct. ratanhæ 45 parts Aqua rosæ 900 parts

Macerate again for 4 days and filter.

Thymol 20 parts Peppermint oil 10 parts Clove oil 5 parts Sage oil 5 parts Marjoram oil 3 parts Sassafras oil 3 parts Wintergreen oil 0.5 parts Coumarin 0.5 parts Alcohol, dil. 1,000 parts

A teaspoonful in a glass of water.

II.—Tincture orris (1 in 4) 1 1⁠/⁠2 parts Lavender water 1⁠/⁠2 part Tinct. cinnamon (1 in 8) 1 part Tinct. yellow cinch bark 1 part Eau de cologne 2 parts

Orris and Rose.—

III.—Orris root 30 drachms Rose leaves 8 drachms Soap bark 8 drachms Cochineal 3 1⁠/⁠2 drachms Diluted alcohol 475 drachms Oil rose 30 drops Oil neroli 40 drops

Myrrh Astringent.—

IV.—Tincture myrrh 125 drachms Tincture benzoin 50 drachms Tincture cinchona 8 drachms Alcohol 225 drachms Oil of rose 30 drops

Borotonic.—

V.—Acid boric 20 parts Oil wintergreen 10 parts Glycerine 110 parts Alcohol 150 parts Distilled water enough to make 600 parts

Sweet Salicyl.—

VI.—Acid salicylic 4 parts Saccharine 1 part Sodium bicarbonate 1 part Alcohol 200 parts

Foaming Orange.—

VII.—Castile soap 29 drachms Oil orange 10 drops Oil cinnamon 5 drops Distilled water 30 drachms Alcohol 90 drachms

Australian Mint.—

VIII.—Thymol 0.25 parts Acid benzoic 3 parts Tincture eucalyptus 15 parts Alcohol 100 parts Oil peppermint 0.75 parts

Fragrant Dentine.—

IX.—Soap bark 125 parts Glycerine 95 parts Alcohol 155 parts Rose water 450 parts

Macerate for 4 days and add:

Carbolic acid, cryst 4 parts Oil geranium 0.6 parts Oil cloves 0.6 parts Oil rose 0.6 parts Oil cinnamon 0.6 parts Tincture rhatany 45 parts Rose water 450 parts

Allow to stand 4 days; then filter.

Aromantiseptic.—

X.—Thymol 20 parts Oil peppermint 10 parts Oil cloves 5 parts Oil sage 5 parts Oil marjoram 3 parts Oil sassafras 3 parts Oil wintergreen 0.5 parts Coumarin 0.5 parts Diluted alcohol 1,000 parts

The products of the foregoing formulas are used in the proportion of 1 teaspoonful in a half glassful of water.

Foaming.—

XI.—Soap bark, powder 2 ounces Cochineal powder 60 grains Glycerine 3 ounces {259} Alcohol 10 ounces Water sufficient to make 32 ounces

Mix the soap, cochineal, glycerine alcohol, and water together; let macerate for several days; filter and flavor; if same produces turbidity, shake up the mixture with magnesium carbonate, and filter through paper.

Odonter.—

XII.—Soap bark, powder 2 ounces Cudbear, powder 4 drachms Glycerine 4 ounces Alcohol 14 ounces Water sufficient to make 32 ounces

Mix, and let macerate with frequent agitation, for several days; filter; add flavor; if necessary filter again through magnesium carbonate or paper pulp.

Sweet Anise.—

XIII.—Soap bark 2 ounces Aniseed 4 drachms Cloves 4 drachms Cinnamon 4 drachms Cochineal 60 grains Vanilla 60 grains Oil of peppermint 1 drachm Alcohol 16 ounces Water sufficient to make 32 ounces

Reduce the drugs to coarse powder, dissolve the oil of peppermint in the alcohol, add equal parts of water, and macerate therein the powders for 5 to 6 days, with frequent agitation; place in percolator and percolate until 32 fluidounces have been obtained. Let stand for a week and filter through paper; if necessary to make it perfectly bright and clear, shake up with some magnesia, and again filter.

Saponaceous.—

XIV.—White castile soap 2 ounces Glycerine 2 ounces Alcohol 8 ounces Water 4 ounces Oil peppermint 20 drops Oil wintergreen 30 drops Solution of carmine N. F. sufficient to color.

Dissolve the soap in the alcohol and water, add the other ingredients, and filter.

XV.—Crystallized carbolic acid 4 parts Eucalyptol 1 part Salol 2 parts Menthol 0.25 parts Thymol 0.1 part Alcohol 100 parts

Dye with cochineal (1 1⁠/⁠2 per cent).

«Jackson’s Mouth Wash.»—Fresh lemon peel, 10 parts; fresh sweet orange peel, 10 parts; angelica root, 10 parts; guaiacum wood, 30 parts; balsam of Tolu, 12 parts; benzoin, 12 parts; Peruvian balsam, 4 parts; myrrh, 3 parts; alcohol (90 per cent), 500 parts.

«Tablets for Antiseptic Mouth Wash.»—Heliotropine, 0.01 part; saccharine, 0.01 part; salicylic acid, 0.01 part; menthol, 1 part; milk sugar, 5 parts. These tablets may be dyed green, red, or blue, with chlorophyll, eosine, and indigo carmine, respectively.

«Depilatories»

«Depilatory Cream.»—The depilatory cream largely used in New York hospitals for the removal of hair from the skin previous to operations:

I.—Barium sulphide 3 parts Starch 1 part Water, sufficient quantity.

The mixed powders are to be made into a paste with water, and applied in a moderately thick layer to the parts to be denuded of hair, the excess of the latter having been previously trimmed off with a pair of scissors. From time to time a small part of the surface should be examined, and when it is seen that the hair can be removed, the mass should be washed off. The barium sulphide should be quite fresh. It can be prepared by making barium sulphate and its own weight of charcoal into a paste with linseed oil, rolling the paste into the shape of a sausage, and placing it upon a bright fire to incinerate. When it has ceased to burn, and is a white hot mass, remove from the fire, cool, and powder.

The formula is given with some reserve, for preparations of this kind are usually unsafe unless used with great care. It should be removed promptly when the skin begins to burn.

II.—Barium sulphide 25 parts Soap 5 parts Talc 35 parts Starch 35 parts Benzaldehyde sufficient to make 120 parts

Powder the solids and mix. To use, to a part of this mixture add 3 parts of water, at the time of its application, and with a camel’s-hair pencil paint the mixture evenly over the spot to be freed of hair. Let remain in contact with the {260} skin for 5 minutes, then wash off with a sponge, and in the course of 5 minutes longer the hair will come off on slight friction with the sponge.

Strontium sulphide is an efficient depilatory. A convenient form of applying it is as follows:

III.—Strontium sulphide 2 parts Zinc oxide 3 parts Powdered starch 3 parts

Mix well and keep in the dry state until wanted for use, taking then a sufficient quantity, forming into a paste with warm water and applying to the surface to be deprived of hair. Allow to remain from 1 to 5 minutes, according to the nature of the hair and skin; it is not advisable to continue the application longer than the last named period. Remove in all cases at once when any caustic action is felt. After the removal of the paste, scrape the skin gently but firmly with a blunt-edged blade (a paper knife, for instance) until the loosened hair is removed. Then immediately wash the denuded surface well with warm water, and apply cold cream or some similar emollient as a dressing.

By weight IV.—Alcohol 12 parts Collodion 35 parts Iodine 0.75 parts Essence of turpentine 1.5 parts Castor oil 2 parts

Apply with a brush on the affected parts for 3 or 4 days in thick coats. When the collodion plaster thus formed is pulled off, the hairs adhere to its inner surface.

V.—Rosin sticks are intended for the removal of hairs and are made from colophony with an admixture of 10 per cent of yellow wax. The sticks are heated like a stick of sealing wax until soft or semi-liquid (142° F.), and lightly applied on the place from which the hair is to be removed, and the mass is allowed to cool. These rosin sticks are said to give good satisfaction.

DEPTHINGS, VERIFICATION OF: See Watchmakers’ Formulas.

DESILVERING: See Plating.

DETERGENTS: See Cleaning Preparations and Methods.

DEVELOPERS FOR PHOTOGRAPHIC PURPOSES: See Photography.

DEXTRIN PASTES AND MUCILAGES: See Adhesives.

DIAL CEMENTS: See Adhesives, under Jewelers’ Cements.

DIAL CLEANERS: See Cleaning Preparations and Methods.

DIAL REPAIRING: See Watchmakers’ Formulas.

DIAMALT: See Milk.

«DIAMOND TESTS:»

Henley's Twentieth Century Formulas, Recipes and Processes (part 2 of 7)

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Henley's Twentieth Century Formulas, Recipes and Processes (part 2 of 7)