Henley's Twentieth Century Formulas, Recipes and Processes (part 4 of 7)

Henley's Twentieth Century Formulas, Recipes and Processes (part 4 of 7)

(b) Pyrogallic acid 2 drachms Gallic acid 2 drachms Cologne water 2 ounces Distilled water 4 ounces

III.—Nitrate of silver 20 grains Sulphate of copper 2 grains Ammonia, quantity sufficient.

Dissolve the salts in 1⁠/⁠2 ounce of water and add ammonia until the precipitate which is formed is redissolved, Then make up to 1 ounce with water. Apply to the hair with a brush. This solution slowly gives a brown shade. For darker shades, apply a second solution, composed of:

IV.—Yellow sulphide ammonium 2 drachms Solution of ammonia 1 drachm Distilled water 1 ounce

Black Hair Dye without Silver.—

V.—Pyrogallic acid 3.5 parts Citric acid 0.3 parts Boro-glycerine 11 parts Water 100 parts

If the dye does not impart the desired intensity of color, the amount of pyrogallic acid may be increased. The wash is applied evenings, followed in the morning by a weak ammoniacal wash.

One Bottle Preparation.—

VI.—Nitrate of copper 360 grains Nitrate of silver 7 ounces Distilled water 60 ounces Water of ammonia, a sufficiency.

Dissolve the salts in the water and add the water of ammonia carefully until the precipitate is all redissolved. This solution, properly applied, is said to produce a very black color; a lighter shade is secured by diluting the solution. Copper sulphate may be used instead of the nitrate.

Brown Hair Dyes.—A large excess of ammonia tends to produce a brownish dye. Various shades of brown may be produced by increasing the amount of water in the silver solution. It should be remembered that the hair must, previously to treatment, be washed with warm water containing sodium carbonate, well rinsed with clear water, and dried.

I.—Silver nitrate 480 grains Copper nitrate 90 grains Distilled water 8 fluidounces Ammonia water, sufficient.

Dissolve the two salts in the distilled water and add the ammonia water until the liquid becomes a clear fluid.

In using apply to the hair carefully {391} with a tooth-brush, after thoroughly cleansing the hair, and expose the latter to the rays of the sun.

II.—Silver nitrate 30 parts Copper sulphate, crystals 20 parts Citric acid 20 parts Distilled water 950 parts Ammonia water, quantity sufficient to dissolve the precipitate first formed.

Various shades of brown may be produced by properly diluting the solution before it be applied.

Bismuth subnitrate 200 grains Water 2 fluidounces Nitric acid, sufficient to dissolve, or about 420 grains

Use heat to effect solution. Also:

Tartaric acid 150 grains Sodium bicarbonate 168 grains Water 32 fluidounces

When effervescence of the latter has ceased, mix the cold liquids by pouring the latter into the former with constant stirring. Allow the precipitate to subside; transfer it to a filter or strainer, and wash with water until free from the sodium nitrate formed.

Chestnut Hair Dye.—

Bismuth nitrate 230 grains Tartaric acid 75 grains Water 100 minims

Dissolve the acid in the water, and to the solution add the bismuth nitrate and stir until dissolved. Pour the resulting solution into 1 pint of water and collect the magma on a filter. Remove all traces of acid from the magma by repeated washings with water; then dissolve it in:

Ammonia water 2 fluidrachms

And add:

Glycerine 20 minims Sodium hyposulphite 75 grains Water, enough to make 4 fluidounces.

«HAIR RESTORERS AND TONICS:»

«Falling of the Hair.»—After the scalp has been thoroughly cleansed by the shampoo, the following formula is to be used:

Salicylic acid 1 part Precipitate of sulphur 2 1⁠/⁠2 parts Rose water 25 parts

The patient is directed to part the hair, and then to rub in a small portion of the ointment along the part, working it well into the scalp. Then another part is made parallel to the first, and more ointment rubbed in. Thus a series of first, longitudinal, and then transverse parts are made, until the whole scalp has been well anointed. Done in this way, it is not necessary to smear up the whole shaft of the hair, but only to reach the hair roots and the sebaceous glands, where the trouble is located. This process is thoroughly performed for six successive nights, and the seventh night another shampoo is taken. The eighth night the inunctions are commenced again, and this is continued for six weeks. In almost every case the production of dandruff is checked completely after six weeks’ treatment, and the hair, which may have been falling out rapidly before, begins to take firmer root. To be sure, many hairs which are on the point of falling when treatment is begun will fall anyway, and it may even seem for a time as if the treatment were increasing the hair-fall, on account of the mechanical dislodgment of such hairs, but this need never alarm one.

After six weeks of such treatment the shampoo may be taken less frequently.

Next to dandruff, perhaps, the most common cause of early loss of hair is heredity. In some families all of the male members, or all who resemble one particular ancestor, lose their hair early. Dark-haired families and races, as a rule, become bald earlier than those with light hair. At first thought it would seem as though nothing could be done to prevent premature baldness when heredity is the cause, but this is a mistake. Careful hygiene of the scalp will often counterbalance hereditary predisposition for a number of years, and even after the hair has actually begun to fall proper stimulation will, to a certain extent, and for a limited time, often restore to the hair its pristine thickness and strength. Any of the rubefacients may be prescribed for this purpose for daily use, such as croton oil, 1 1⁠/⁠2 per cent; tincture of cantharides, 15 per cent; oil of cinnamon, 40 per cent; tincture of capsicum, 15 per cent; oil of mustard, 1 per cent; or any one of a dozen others. Tincture of capsicum is one of the best, and for a routine prescription the following has served well:

Resorcin 5 parts Tincture capsicum 15 parts Castor oil 10 parts Alcohol 100 parts Oil of roses, sufficient.

{392}

It is to be recommended that the stimulant be changed from time to time, so as not to rely on any one to the exclusion of others. Jaborandi, oxygen gas, quinine, and other agents have enjoyed a great reputation as hair-producers for a time, and have then taken their proper position as aids, but not specifics, in restoring the hair.

It is well known that after many fevers, especially those accompanied by great depression, such as pneumonia, typhoid, puerperal, or scarlet fever, the hair is liable to fall out. This is brought about in a variety of ways: In scarlatina, the hair papilla shares in the general desquamation; in typhoid and the other fevers the baldness may be the result either of the excessive seborrhea, which often accompanies these diseases, or may be caused by the general lowering of nutrition of the body. Unless the hair-fall be accompanied by considerable dandruff (in which case the above-mentioned treatment should be vigorously employed), the ordinary hygiene of the scalp will result in a restoration of the hair in most cases, but the employment of moderate local stimulation, with the use of good general tonics, will hasten this end. It seems unwise to cut the hair of women short in these cases, because the baldness is practically never complete, and a certain proportion of the hairs will retain firm root. These may be augmented by a switch made of the hair which has fallen out, until the new hair shall have grown long enough to do up well. In this way all of that oftentimes most annoying short-hair period is avoided.

«For Falling Hair.»—

I.—Hydrochloric acid 75 parts Alcohol 2,250 parts

The lotion is to be applied to the scalp every evening at bedtime.

II.—Tincture of cinchona 1 part Tincture of rosemary 1 part Tincture of jaborandi 1 part Castor oil 2 parts Rum 10 parts

Mix.

«Jaborandi Scalp Waters for Increasing the Growth of Hair.»—First prepare a jaborandi tincture from jaborandi leaves, 200 parts; spirit, 95 per cent, 700 parts; and water, 300 parts. After digesting for a week, squeeze out the leaves and filter the liquid. The hair wash is now prepared as follows:

I.—Jaborandi tincture, 1,000 parts: spirit, 95 per cent, 700 parts; water, 300 parts; glycerine, 150 parts; scent essence, 100 parts; color with sugar color.

II.—Jaborandi tincture, 1,000 parts: spirit, 95 per cent, 1,500 parts; quinine tannate, 4 parts; Peru balsam, 20 parts; essence heliotrope, 50 parts. Dissolve the quinine and the Peru balsam in the spirit and then add the jaborandi tincture and the heliotrope essence. Filter after a week. Rub into the scalp twice a week before retiring.

«POMADES:»

I.—Cinchona Pomade.—

Ox marrow 100 drachms Lard 70 drachms Sweet almond oil 17 drachms Peru balsam 1 drachm Quinine sulphate 1 drachm Clover oil 2 drachms Rose essence 25 drops

II.—Cantharides Pomade.—

Ox marrow 300 drachms White wax 30 drachms Mace oil 1 drachm Clove oil 1 drachm Rose essence or geranium oil 25 drops Tincture of cantharides 8 drachms

Pinaud Eau de Quinine.—The composition of this nostrum is not known. Dr. Tsheppe failed to find in it any constituent of cinchona bark. The absence of quinine from the mixture probably would not hurt it, as the “tonic” effect of quinine on the hair is generally regarded as a myth.

On the other hand, it has been stated that this preparation contains:

Quinine sulphate 2 parts Tincture of krameria 4 parts Tincture of cantharides 2 parts Spirit of lavender 10 parts Glycerine 15 parts Alcohol 100 parts

«SHAMPOOS:»

A Hair Shampoo is usually a tincture of odorless soft soap. It is mostly perfumed with lavender and colored with green aniline. Prepared the same as tr. sapon. virid. (U. S. P.), using an inexpensive soft soap, that is a good foam producer. Directions: Wet the hair well in warm water and rub in a few teaspoonfuls of the following formulas. No. I is considered the best: {393}

I II III IV Parts used Cottonseed oil — 24 26 14 Linseed oil 20 — — — Malaga olive oil 20 — — — Caustic potash 9 1⁠/⁠2 8 6 3 Alcohol 5 4 1⁠/⁠2 5 2 Water 30 26 34 16 1⁠/⁠2

Warm the mixed oils on a large water bath, then the potash and water in another vessel, heating both to 158° F., and adding the latter hot solution to the hot oil while stirring briskly. Now add and thoroughly mix the alcohol. Stop stirring, keeping the heat at 158° F., until the mass becomes clear and a small quantity dissolves in boiling water without globules of oil separating. If stirred after the alcohol has been mixed the soap will be opaque. Set aside for a few days in a warm place before using to make liquid shampoo.

Liquid Shampoos.—

I.—Fluid extract of soap-bark 10 parts Glycerine 5 parts Cologne water 10 parts Alcohol 20 parts Rose water 30 parts

II.—Soft soap 24 parts Potassium carbonate 5 parts Alcohol 48 parts Water enough to make 400 parts

Shampoo Pastes.—

I.—White castile soap, in shavings 2 ounces Ammonia water 2 fluidounces Bay rum, or cologne water 1 fluidounce Glycerine 1 fluidounce Water 12 fluidounces

Dissolve the soap in the water by means of heat; when nearly cold stir in the other ingredients.

II.—Castile soap, white 4 ounces Potassium carbonate 1 ounce Water 6 fluidounces Glycerine 2 fluidounces Oil of lavender flowers 5 drops Oil of bergamot 10 drops

To the water add the soap, in shavings, and the potassium carbonate, and heat on a water bath until thoroughly softened; add the glycerine and oils. If necessary to reduce to proper consistency, more water may be added.

Egg Shampoo.—

Whites of 2 eggs Water 5 fluidounces Water of ammonia 3 fluidounces Cologne water 1⁠/⁠3 fluidounce Alcohol 4 fluidounces

Beat the egg whites to a froth, and add the other ingredients in the order in which they are named, with a thorough mixing after each addition.

Imitation Egg Shampoos.—Many of the egg shampoos are so called from their appearance. They usually contain no egg and are merely preparations of perfumed soft soap. Here are some formulas:

I.—White castile soap 4 ounces Powdered curd soap 2 ounces Potassium carbonate 1 ounce Honey 1 ounce

Make a homogeneous paste by heating with water.

II.—Melt 3 1⁠/⁠2 pounds of lard over a salt-water bath and run into it a lye formed by dissolving 8 ounces of caustic potassa in 1 1⁠/⁠2 pints of water. Stir well until saponification is effected and perfume as desired.

HAIR REMOVERS: See Depilatories.

HAMBURG BITTERS: See Wines and Liquors.

HAMMER HARDENING: See Steel.

HAND CREAMS: See Cosmetics.

HANDS, TO REMOVE STAINS FROM THE: See Cleaning Preparations.

HARE-LIP OPERATION, ANTISEPTIC PASTE FOR: See Antiseptics.

HARNESS DRESSINGS AND PREPARATIONS: See Leather Dressings.

HARNESS WAX: See Waxes.

HAT-CLEANING COMPOUNDS: See Cleaning Compounds.

HAT WATERPROOFING: See Waterproofing. {394}

«HATS:»

«Dyeing Straw Hats.»—The plan generally followed is that of coating the hats with a solution of varnish in which a suitable aniline dye has dissolved. The following preparations are in use:

I.—For dark varnishes prepare a basis consisting of orange shellac, 900 parts; sandarac, 225 parts; Manila copal, 225 parts; castor oil, 55 parts; and wood-spirit, 9,000 parts. To color, add to the foregoing amount alcohol-soluble, coal-tar dyes as follows: Black, 55 parts of soluble ivory-black (modified by blue or green). Olive-brown, 15 parts of brilliant-green, 55 parts of Bismarck brown R, 8 parts of spirit blue. Olive-green, 28 parts of brilliant-green, 28 parts of Bismarck-brown R. Walnut, 55 parts of Bismarck-brown R, 15 parts of nigrosin. Mahogany, 28 parts of Bismarck-brown R, which may be deepened by a little nigrosin.

II.—For light colors prepare a varnish as follows: Sandarac, 1,350 parts; elemi, 450 parts; rosin, 450 parts; castor oil, 110 parts; wood-spirit, 9,000 parts. For this amount use dyes as follows: Gold, 55 parts of chrysoidin, 55 parts of aniline-yellow. Light green, 55 parts of brilliant-green, 7 parts of aniline-yellow. Blue, 55 parts of spirit blue. Deep blue, 55 parts of spirit blue, 55 parts of indulin. Violet, 28 parts of methyl-violet, 3 B. Crimson, 55 parts of safranin. Chestnut, 55 parts of safranin, 15 parts of indulin.

III.—Shellac 4 ounces Sandarac 1 ounce Gum thus 1 ounce Methyl spirit 1 pint

In this dissolve aniline dyes of the requisite color, and apply. For white straw, white shellac must be used.

«To Extract Shellac from Fur Hats.»—

Use the common solvents, as carbon bisulphide, benzine, wood alcohol, turpentine, and so forth, reclaiming the spirit and shellac by a suitable still.

«HEADACHE REMEDIES:»

See also Pain Killers.

«Headache Cologne.»—As a mitigant of headache, cologne water of the farina type is refreshing.

Oil of neroli 6 drachms Oil of rosemary 3 drachms Oil of bergamot 3 drachms Oil of cedrat 7 drachms Oil of orange peel 7 drachms Deodorized alcohol 1 gallon

To secure a satisfactory product from the foregoing formula it is necessary to look carefully to the quality of the oils. Oil of cedrat is prone to change, and oil of orange peel, if exposed to the atmosphere for a short time, becomes worthless, and will spoil the other materials.

A delightful combination of the acetic odor with that of cologne water may be had by adding to a pint of the foregoing, 2 drachms of glacial acetic acid. The odor so produced may be more grateful to some invalids than the neroli and lemon bouquet.

Still another striking variation of the cologne odor, suitable for the use indicated, may be made by adding to a pint of cologne water an ounce of ammoniated alcohol.

«Liquid Headache Remedies.»—

Acetanilid 60 grains Alcohol 4 fluidrachms Ammonium carbonate 30 grains Water 2 fluidrachms Simple elixir to make 2 fluidounces

Dissolve the acetanilid in the alcohol, the ammonium carbonate in the water, mix each solution with a portion of the simple elixir, and mix the whole together.

HEAT-INDICATING PAINT: See Paint.

HEAT INSULATION: See Insulation.

HEAT, PRICKLY: See Household Formulas.

HEAT-RESISTANT LACQUERS: See Lacquers.

HEAVES: See Veterinary Formulas.

«HEDGE MUSTARD.»

Hedge mustard (erysimum) was at one time a popular remedy in France for hoarseness, and is still used in country districts, but is not often prescribed.

Liquid ammonia 10 drops Syrup of erysimum 1 1⁠/⁠2 ounces Infusion of lime flowers 3 ounces

To be taken at one dose.

«HERBARIUM SPECIMENS, MOUNTING.»

A matter of first importance, after drying the herbarium specimens, is to poison them, to prevent the attacks of insects. This is done by brushing them over on both sides, using a camel’s-hair pencil, with a solution of 2 grains of {395} corrosive sublimate to an ounce of methylated spirit. In tropical climates the solution is generally used of twice this strength. There are several methods of mounting them. Leaves with a waxy surface and coriaceous texture are best stitched through the middle after they have been fastened on with an adhesive mixture. Twigs of leguminous trees will often throw off their leaflets in drying. This may, in some measure, be prevented by dipping them in boiling water before drying, or if the leaves are not very rigid, by using strong pressure at first, without the use of hot water. If the specimens have to be frequently handled, the most satisfactory preparation is Lepage’s fish glue, but a mixture of glue and paste, with carbolic acid added, is used in some large herbaria. The disadvantage of using glue, gum, or paste is that it is necessary to have some of the leaves turned over so as to show the under surface of the leaf, and some of the flowers and seeds placed loose in envelopes on the same sheet for purposes of comparison or microscopic examination. Another plan is to use narrow slips of gummed stiff but thin paper, such as very thin parchment paper. These strips are either gummed over the stems, etc., and pinched in round the stem with forceps, or passed through slits made in the sheet and fastened at the back. If the specimens are mounted on cards and protected in glass frames, stitching in the principal parts with gray thread produces a very satisfactory appearance.

«Hectograph Pads and Inks»

The hectograph is a gelatin pad used for duplicating letters, etc., by transfer. The pad should have a tough elastic consistency, similar to that of a printer’s roller. The letter or sketch to be duplicated is written or traced on a sheet of heavy paper with an aniline ink (which has great tinctorial qualities). When dry this is laid, inked side down, on the pad and subjected to moderate and uniform pressure for a few minutes. It may then be removed, when a copy of the original will be found on the pad which has absorbed a large quantity of the ink. The blank sheets are laid one by one on the pad, subjected to moderate pressure over the whole surface with a wooden or rubber roller, or with the hand, and lifted off by taking hold of the corners and stripping them gently with an even movement. If this is done too quickly the composition may be torn. Each succeeding copy thus made will be a little fainter than its predecessor. From 40 to 60 legible copies may be made. When the operation is finished the surface of the pad should be gone over gently with a wet sponge and the remaining ink soaked out. The superfluous moisture is then carefully wiped off, when the pad will be ready for another operation.

The pad or hectograph is essentially a mixture of glue (gelatin) and glycerine. This mixture has the property of remaining soft yet firm for a long time and of absorbing and holding certain coloring matters in such a way as to give them up slowly or in layers, so to speak, on pressure.

Such a pad may be made by melting together 1 part of glue, 2 parts of water and 4 parts of glycerine (all by weight, of course), evaporating some of the water and tempering the mixture with more glue or glycerine if the season or climate require. The mass when of proper consistency, which can be ascertained by cooling a small portion, is poured into a shallow pan and allowed to set. Clean glue must be used or the mixture strained; and air bubbles should be removed by skimming the surface with a piece of card-board or similar appliance.

Variations of this formula have been proposed, some of which are appended:

I.—Glycerine 12 ounces Gelatin 2 ounces Water 7 1⁠/⁠2 ounces Sugar 2 ounces

II.—Water 10 ounces Dextrin 1 1⁠/⁠2 ounces Sugar 2 ounces Gelatin 15 ounces Glycerine 15 ounces Zinc oxide 1 1⁠/⁠2 ounces

III.—Gelatin 10 ounces Water 40 ounces Glycerine 120 ounces Barium sulphate 8 ounces

The Tokacs patent composition, besides the usual ingredients, such as gelatin, glycerine, sugar, and gum, contains soap, and can therefore be washed off much easier for new use. The smoothness of the surface is also increased, without showing more sticking capacity with the first impressions.

«Hectograph Inks» (see also Inks).—The writing to be copied by means of the hectograph is done on good paper with an aniline ink. Formulas for suitable ones are appended. It is said that more copies can be obtained from writing with the purple ink than with other kinds: {396}

Purple.—

I.—Methyl violet 2 parts Alcohol 2 parts Sugar 1 part Glycerine 4 parts Water 24 parts

Dissolve the violet in the alcohol mixed with the glycerine; dissolve the sugar in the water; mix both solutions.

II.—A good purple hectograph ink is made as follows: Dissolve 1 part methyl violet in 8 parts of water and add 1 part of glycerine. Gently warm the solution for an hour, and add, when cool, 1⁠/⁠4 part alcohol. Or take methyl violet, 1 part; water, 7 parts; and glycerine, 2 parts.

Black.—

Methyl violet 10 parts Nigrosin 20 parts Glycerine 30 parts Gum arabic 5 parts Alcohol 60 parts

Blue.—

Resorcin blue M 10 parts Dilute acetic acid 1 part Water 85 parts Glycerine 4 parts Alcohol 10 parts

Dissolve by heat.

Red.—

Fuchsin 10 parts Alcohol 10 parts Glycerine 10 parts Water 50 parts

Green.—

Aniline green, water soluble 15 parts Glycerine 10 parts Water 50 parts Alcohol 10 parts

«Repairing Hectographs.»—Instead of remelting the hectograph composition, which is not always successful, it is recommended to pour alcohol over the surface of the cleaned mass and to light it. After solidifying, the surface will be again ready for use.

HEMORRHOIDS: See Piles.

HERB VINEGAR: See Vinegar.

HIDES: See Leather.

HIDE BOUND: See Veterinary Formulas.

HIDE-CLEANING PROCESSES: See Cleaning Preparations and Methods.

HOARHOUND CANDY: See Confectionery.

HOARSENESS, CREAM BON-BONS FOR: See Confectionery.

HOARSENESS, REMEDY FOR: See Cough and Cold Mixtures and Turpentine.

«HONEY:»

«Honey Clarifier.»—For 3,000 parts of fresh honey, take 875 parts of water, 150 parts of washed, dried, and pulverized charcoal, 70 parts of powdered chalk, and the whites of 3 eggs beaten in 90 parts of water. Put the honey and the chalk in a vessel capable of containing 1⁠/⁠3 more than the mixture and boil for 3 minutes; then introduce the charcoal and stir up the whole. Add the whites of the eggs while continuing to stir, and boil again for 3 minutes. Take from the fire, and after allowing the liquid to cool for a quarter of an hour, filter, and to secure a perfectly clear liquid refilter on flannel.

«Detecting Dyed Honey.»—For the detection of artificial yellow dyestuff in honey, treat the aqueous yellow solution with hydrochloric acid, as well as with ammonia; also extract the dyestuff from the acid or ammoniacal solution by solvents, such as alcohol or ether, or conduct the Arata wool test in the following manner: Dissolve 10 parts of honey in 50 parts of water, mix with 10 parts of a 10 per cent potassium-bisulphate solution and boil the woolen thread in this liquid for 10 minutes.

HONEY WINE: See Mead.

HONING: See Whetstones.

HOOF SORES: See Veterinary Formulas.

HOP BITTER BEER: See Beverages.

HOP SYRUP: See Essences and Extracts.

«HORN:»

«Artificial Horn.»—To prepare artificial horn from compounds of nitro-cellulose and casein, by hardening them and removing their odor of camphor, the compounds are steeped in formaldehyde from several hours to as many days, {397} according to the thickness of the object treated. When the formaldehyde has penetrated through the mass and dissolved the camphor, the object is taken out of the liquid and dried. Both the camphor extracted and the formaldehyde used can be recovered by distillation, and used over again, thus cheapening the operation.

«Dehorners or Horn Destroyers.»—The following are recommended by the Board of Agriculture of Great Britain:

Clip the hair from the top of the horn when the calf is from 2 to 5 days old. Slightly moisten the end of a stick of caustic potash with water or saliva (or moisten the top of the horn bud) and rub the tip of each horn firmly with the potash for about a quarter of a minute, or until a slight impression has been made on the center of the horn. The horns should be treated in this way from 2 to 4 times at intervals of 5 minutes. If, during the interval of 5 minutes after one or more applications, a little blood appears in the center of the horn, it will then only be necessary to give another very slight rubbing with the potash.

The following directions should be carefully observed: The operation is best performed when the calf is under 5 days old, and should not be attempted after the ninth day. When not in use the caustic potash should be kept in a stoppered glass bottle in a dry place, as it rapidly deteriorates when exposed to the air. One man should hold the calf while an assistant uses the caustic. Roll a piece of tin foil or brown paper round the end of the stick of caustic potash, which is held by the fingers, so as not to injure the hand of the operator. Do not moisten the stick too much, or the caustic may spread to the skin around the horn and destroy the flesh. For the same reason keep the calf from getting wet for some days after the operation. Be careful to rub on the center of the horn and not around the side of it.

«Staining Horns.»—A brown stain is given to horns by covering them first with an aqueous solution of potassium ferrocyanide, drying them, and then treating with a hot dilute solution of copper sulphate. A black stain can be produced in the following manner:

After having finely sandpapered the horns, dissolve 50 to 60 grains of nitrate of silver in 1 ounce of distilled water. It will be colorless. Dip a small brush in, and paint the horns where they are to be black. When dry, put them where the sun can shine on them, and you will find that they will turn jet black, and may then be polished.

«To Soften Horn.»—Lay the horn for 10 days in a solution of water, 1 part; nitric acid, 3 parts; wood vinegar, 2 parts; tannin, 5 parts; tartar, 2 parts; and zinc vitriol, 2.5 parts.

HORN BLEACHES: See Bone and Ivory.

HORN, UNITING GLASS WITH: See Adhesives.

HORSES, THE TREATMENT OF THEIR DISEASES: See Veterinary Formulas.

«Household Formulas»

«How to Lay Galvanized Iron Roofing.»—The use of galvanized iron for general roofing work has increased greatly during the past few years. It has many features which commend it as a roofing material, but difficulties have been experienced by beginners as to the proper method of applying it to the roof. The weight of material used is rather heavy to permit of double seaming, but a method has been evolved that is satisfactory. Galvanized iron roofing can be put on at low cost, so as to be water-tight and free from buckling at the joints. The method does away with double seaming, and is considered more suitable than the latter for roofing purposes wherever it can be laid on a roof steeper than 1 to 12.

Galvanized iron of No. 28 and heavier gauges is used, the sheets being lap-seamed and soldered together in strips in the shop the proper length to apply to the roof. After the sheets are fastened together a 1 1⁠/⁠4-inch edge is turned up the entire length of one side of the sheet, as indicated in Fig. 1. This operation is done with tongs having gauge pins set at the proper point. The second {398} operation consists in turning a strip 1⁠/⁠4 inch wide toward the sheet, as shown in Fig. 2. This sheet is then laid on the roof, and a cleat about 8 inches long and 1 inch wide, made of galvanized iron, is nailed to the roof close to the sheet and bent over it, as shown in Fig. 3.

A second sheet having 1 1⁠/⁠2 inches turned up is now brought against the first sheet and bent over both sheet and cleat, as shown in Fig. 4. The cleat is then bent backward over the second sheet and cut off close to the roof, as in Fig. 5, after which the seams are drawn together by double seaming tools, as the occasion demands, and slightly hammered with a wooden mallet. The finished seam is shown in Fig. 6. It will be seen that the second sheet of galvanized iron, cut 1⁠/⁠4 inch longer than the first, laps over the former, making a sort of bead which prevents water from driving in. Cleats hold both sheets firmly to the roof and are nailed about 12 inches apart. Roofs of this character, when laid with No. 28 gauge iron, cost very little more than the cheaper grades of tin, and do not have to be painted.

«Applications for Prickly Heat.»—Many applications for this extremely annoying form of urticaria have been suggested and their efficacy strongly urged by the various correspondents of the medical press who propose them, but none of them seem to be generally efficacious. Thus, sodium bicarbonate in strong, aqueous solution, has long been a domestic remedy in general use, but it fails probably as often as it succeeds. A weak solution of copper sulphate has also been highly extolled, only to disappoint a very large proportion of those who resort to it. And so we might go on citing remedies which may sometimes give relief, but fail in the large proportion of cases. In this trouble, as in almost every other, the idiosyncrasies of the patient play a great part in the effects produced by any remedy. It is caused, primarily by congestion of the capillary vessels of the skin, and anything that tends to relieve this congestion will give relief, at least temporarily. Among the newer suggestions are the following:

Alcohol 333 parts Ether 333 parts Chloroform 333 parts Menthol 1 part

Mix. Directions: Apply occasionally with a sponge.

Among those things which at least assist one in bearing the affliction is frequent change of underwear. The undergarments worn during the day should never be worn at night. Scratching or rubbing should be avoided where possible. Avoid stimulating food and drinks, especially alcohol, and by all means keep the bowels in a soluble condition.

«Cleaning and Polishing Linoleum.»—Wash the linoleum with a mixture of equal parts of milk and water, wipe dry, and rub in the following mixture by means of a cloth rag: Yellow wax, 5 parts; turpentine oil, 11 parts; varnish, 5 parts. As a glazing agent, a solution of a little yellow wax in turpentine oil is also recommended. Other polishing agents are:

I.—Palm oil, 1 part; paraffine, 18; kerosene, 4.

II.—Yellow wax, 1 part; carnauba wax, 2; turpentine oil, 10; benzine, 5.

«Lavatory Deodorant.»—

Sodium bicarbonate 5 ounces Alum 5 1⁠/⁠2 ounces Potassium bromide 4 ounces Hydrochloric acid enough Water enough to make 4 pints.

To 3 parts of boiling water add the alum and then the bicarbonate. Introduce enough hydrochloric acid to dissolve the precipitate of aluminum hydrate which forms and then add the potassium bromide. Add enough water to bring the measure of the finished product up to 4 pints.

«Removal of Odors from Wooden Boxes, Chests, Drawers, etc.»—This is done by varnishing them with a solution of shellac, after the following manner: Make a solution of shellac, 1,000 parts; alcohol, 90 per cent to 95 per cent, 1,000 parts; boric acid, 50 parts; castor oil, 50 parts. The shellac is first dissolved in the alcohol and the acid and oil added afterwards. For the first coating use 1 part of the solution cut with from 1 to 2 parts of alcohol, according to the porosity of the wood—the more porous the less necessity for cutting. When the first coat is absorbed and dried in, repeat the application, if the wood is very porous, with the diluted shellac, but if of hard, dense wood, the final coating may be now put on, using the solution without addition of alcohol. If desired, the solution may be colored with any of the alcohol soluble aniline colors. The shellac solution, by the way, may be applied to the outside of chests, etc., and finished off after the fashion of “French polish.” {399} When used this way, a prior application of 2 coats of linseed oil is advisable.

«Stencil Marking Ink that will Wash Out.»—Triturate together 1 part of fine soot and 2 parts of Prussian blue, with a little glycerine; then add 3 parts of gum arabic and enough glycerine to form a thin paste.

«Washing Fluid.»—Take 1 pound sal soda, 1⁠/⁠2 pound good stone lime, and 5 quarts of water; boil a short time, let it settle, and pour off the clear fluid into a stone jug, and cork for use; soak the white clothes overnight in simple water, wring out and soap wristbands, collars, and dirty or stained places. Have the boiler half filled with water just beginning to boil, then put in 1 common teacupful of fluid, stir and put in your clothes, and boil for half an hour, then rub lightly through one suds only, and all is complete.

«Starch Luster.»—A portion of stearine, the size of an old-fashioned cent, added to starch, 1⁠/⁠2 pound, and boiled with it for 2 or 3 minutes, will add greatly to the beauty of linen, to which it may be applied.

«To Make Loose Nails in Walls Rigid.»—As soon as a nail driven in the wall becomes loose and the plastering begins to break, it can be made solid and firm by the following process: Saturate a bit of wadding with thick dextrin or glue; wrap as much of it around the nail as possible and reinsert the latter in the hole, pressing it home as strongly as possible. Remove the excess of glue or dextrin, wiping it cleanly off with a rag dipped in clean water; then let dry. The nail will then be firmly fastened in place. If the loose plastering be touched with the glue and replaced, it will adhere and remain firm.

«How to Keep Lamp Burners in Order.»—In the combustion of coal oil a carbonaceous residue is left, which attaches itself very firmly to the metal along the edge of the burner next the flame. This is especially true of round burners, where the heat of the flame is more intense than in flat ones, and the deposit of carbon, where not frequently removed, soon gets sufficiently heavy to interfere seriously with the movement of the wick up or down. The deposit may be scraped off with a knife blade, but a much more satisfactory process of getting rid of it is as follows: Dissolve sodium carbonate, 1 part, in 5 or 6 parts of water, and in this boil the burner for 5 minutes or so. When taken out the burner will look like a new one, and acts like one, provided that the apparatus for raising and lowering the wick has not previously been bent and twisted by attempting to force the wick past rough deposits.

«To Remove the Odor from Pasteboard.»—Draw the pasteboard through a 3 per cent solution of viscose in water. The pasteboard must be calendered after drying.

«To Remove Woody Odor.»—To get rid of that frequently disagreeable smell in old chests, drawers, etc., paint the surface over with the following mixture:

Acetic ether 100 parts Formaldehyde 6 parts Acid, carbolic 4 parts Tincture of eucalyptus leaves 60 parts

Mix. After applying the mixture expose the article to the open air in the sunlight.

«To Keep Flies Out of a House.»—Never allow a speck of food to remain uncovered in dining room or pantry any length of time after meals. Never leave remnants of food exposed that you intend for cat or hens. Feed at once or cover their food up a distance from the house. Let nothing decay near the house. Keep your dining room and pantry windows open a few inches most of the time. Darken your room and pantry when not in use. If there should be any flies they will go to the window when the room is darkened, where they are easily caught, killed, or brushed out.

«An Easy Way to Wash a Heavy Comfortable.»—Examine the comfortable, and if you find soiled spots soap them and scrub with a small brush. Hang the comfortable on a strong line and turn the hose on. When one side is washed turn and wash the other. The water forces its way through cotton and covering, making the comfortable as light and fluffy as when new. Squeeze the corners and ends as dry as possible.

«Preservation of Carpets.»—Lay sheets of brown paper under the carpet. This gives a soft feeling to the foot, and by diminishing the wear adds longer life to the carpet; at the same time it tends to keep away the air and renders the apartments warm.

«To Do Away with Wiping Dishes.»—Make a rack by putting a shelf over the kitchen sink, slanting it so that the water {400} will drain off into the sink. Put a lattice railing about 6 inches high at the front and ends of the shelf so that dishes can be set against it on their edges without falling out. Have 2 pans of hot water. Wash the dishes in one and rinse them in the other. Set them on edge in the rack and leave until dry.

«A Convenient Table.»—

Ten common-sized eggs weigh 1 pound.

Soft butter, the size of an egg, weighs 1 ounce.

One pint of coffee and of sugar weighs 12 ounces.

One quart of sifted flour (well heaped) weighs 1 pound.

One pint of best brown sugar weighs 12 ounces.

«How to Make a Cellar Waterproof.»—The old wall surface should be roughened and perfectly cleaned before plastering is commenced. It may be advisable to put the first coat on not thicker than 1⁠/⁠4 inch, and after this has set it may be cut and roughened by a pointing trowel. Then apply a second 1⁠/⁠4-inch coat and finish this to an even and smooth surface. Proportion of plaster: One-half part slaked lime, 1 part Portland cement, part fine, sharp sand, to be mixed well and applied instantly.

«Removing Old Wall Paper.»—Some paper hangers remove old paper from walls by first dampening it with water in which a little baking soda has been dissolved, the surface being then gone over with a “scraper” or other tool. However, the principle object of any method is to soften the old paste. This may be readily accomplished by first wetting a section of the old paper with cold or tepid water, using a brush, repeating the wetting until the paper and paste are soaked through, when the paper may easily be pulled off, or, if too tender, may be scraped with any instrument of a chisel form shoved between the paper and the wall. The wall should then be washed with clean water, this operation being materially assisted by wetting the wall ahead of the washing.

«Stained Ceilings.»—Take unslaked white lime, dilute with alcohol, and paint the spots with it. When the spots are dry—which will be soon, as the alcohol evaporates and the lime forms a sort of insulating layer—one can proceed painting with size color, and the spots will not show through again.

«To Overcome Odors in Freshly Papered Rooms.»—After the windows and doors of such rooms have been closed, bring in red-hot coal and strew on this several handfuls of juniper berries. About 12 hours later open all windows and doors, so as to admit fresh air, and it will be found that the bad smell has entirely disappeared.

«Treatment of Damp Walls.»—I.—A good and simple remedy to obviate this evil is caoutchouc glue, which is prepared from rubber hose. The walls to be laid dry are first to be thoroughly cleaned by brushing and rubbing off; then the caoutchouc size, which has been previously made liquid by heating, is applied with a broad brush in a uniform layer—about 8 to 12 inches higher than the wall appears damp—and finally paper is pasted over the glue when the latter is still sticky. The paper will at once adhere very firmly. Or else, apply the liquefied glue in a uniform layer upon paper (wall paper, caoutchouc paper, etc.). Upon this, size paint may be applied, or it may be covered with wall paper or plaster.

If the caoutchouc size is put on with the necessary care—i. e., if all damp spots are covered with it—the wall is laid dry for the future, and no peeling off of the paint or the wall paper needs to be apprehended. In cellars, protection from dampness can be had in a like manner, as the caoutchouc glue adheres equally well to all surfaces, whether stone, glass, metal, or wood.

II.—The walls must be well cleaned before painting. If the plaster should be worn and permeated with saltpeter in places it should be renewed and smoothed. These clean surfaces are coated twice with a water-glass solution, 1.1, using a brush and allowed to dry well. Then they are painted 3 times with the following mixture: Dissolve 100 parts, by weight, of mastic in 10 parts of absolute alcohol; pour 1,000 parts of water over 200 parts of isinglass; allow to soak for 6 hours; heat to solution and add 100 parts of alcohol (50 per cent). Into this mixture pour a hot solution of 50 parts of ammonia in 250 parts of alcohol (50 per cent), stir well, and subsequently add the mastic solution and stand aside warm, stirring diligently. After 5 minutes take away from the fire and painting may be commenced. Before a fresh application, however, the solution should be removed.

When this coating has dried completely it is covered with oil or varnish paint, preferably the latter. In the same manner the exudation of so-called saltpeter {401} in fresh masonry or on the exterior of façades, etc., may be prevented, size paint or lime paint being employed instead of the oil-varnish paint. New walls which are to be painted will give off no more saltpeter after 2 or 3 applications of the isinglass solution, so that the colors of the wall paper will not be injured either. Stains caused by smoke, soot, etc., on ceilings of rooms, kitchens, or corridors which are difficult to cover up with size paint, may also be completely isolated by applying the warm isinglass solution 2 or 3 times. The size paint is, of course, put on only after complete drying of the ceilings.

«To Protect Papered Walls from Vermin.»—It is not infrequent that when the wall paper becomes defective or loose in papered rooms, vermin, bed bugs, ants, etc., will breed behind it. In order to prevent this evil a little colocynth powder should be added to the paste used for hanging the paper, in the proportion of 50 or 60 parts for 3,000 parts.

«Care of Refrigerators.»—See that the sides or walls of all refrigerators are occasionally scoured with soap, or soap and slaked lime.

«Dust Preventers.»—Against the beneficial effects to be observed in the use of most preparations we must place the following bad effects: The great smoothness and slipperiness of the boards during the first few days after every application of the dressing, which forbids the use of the latter on steps, floors of gymnasia, dancing floors, etc. The fact that the oil or grease penetrates the soles of the boots or shoes, the hems of ladies’ dresses, and things accidentally falling to the floor are soiled and spotted. Besides these there is, especially during the first few days after application, the dirty dark coloration which the boards take on after protracted use of the oils. Finally, there is the considerable cost of any process, especially for smaller rooms and apartments. In schoolrooms and railroad waiting rooms and other places much frequented by children and others wearing shoes set with iron, the boards soon become smooth from wear, and for such places the process is not suited.

According to other sources of information, these evil tendencies of the application vanish altogether, or are reduced to a minimum, if (1) entirely fresh, or at least, not rancid oils be used; (2) if, after each oiling, a few days be allowed to elapse before using the chamber or hall, and finally (3), if resort is not had to costly foreign special preparations, but German goods, procurable at wholesale in any quantity, and at very low figures.

The last advice (to use low-priced preparations) seems sensible since according to recent experiments, none of the oils experimented upon possess any especial advantages over the others.

An overwhelming majority of the laboratories for examination have given a verdict in favor of oil as a dust-suppressing application for floors, and have expressed a desire to see it in universal use. The following is a suggestion put forth for the use of various preparations:

This dust-absorbing agent has for its object to take up the dust in sweeping floors, etc., and to prevent its development. The production is as follows: Mix in an intimate manner 12 parts, by weight, of mineral sperm oil with 88 parts, by weight, of Roman or Portland cement, adding a few drops of mirbane oil. Upon stirring a uniform paste forms at first, which then passes into a greasy, sandy mass. This mass is sprinkled upon the surface to be swept and cleaned of dust, next going over it with a broom or similar object in the customary manner, at which operation the dust will mix with the mass. The preparation can be used repeatedly.

HUNYADI WATER: See Water.

HYDROCHINON DEVELOPER: See Photography.

HYDROGEN, AMALGAMS AS A SOURCE OF NASCENT: See Amalgams.

HYDROGEN PEROXIDE AS A PRESERVATIVE: See Preserving.

«HYDROMETER AND ITS USE.»

Fill the tall cylinder or test glass with the spirit to be tested and see that it is of the proper temperature (60° F.). Should the thermometer indicate a higher temperature wrap the cylinder in cloths which have been dipped in cold water until the temperature falls to the required degree. If too low a temperature is indicated, reverse the process, using warm instead of cold applications. When 60° is reached note the specific gravity on the floating hydrometer. Have the cylinder filled to the top and look across the top of the liquid at the mark on the hydrometer. This is to preclude an {402} incorrect reading by possible refraction in the glass cylinder.

«HYGROMETERS AND HYGROSCOPES:»

«Paper Hygrometers.»—Paper hygrometers are made by saturating white blotting paper with the following liquid and then hanging up to dry:

Cobalt chloride 1 ounce Sodium chloride 1⁠/⁠2 ounce Calcium chloride 75 grains Acacia 1⁠/⁠4 ounce Water 3 ounces

The amount of moisture in the atmosphere is roughly indicated by the changing color of the papers, as follows:

Rose red rain Pale red very moist Bluish red moist Lavender blue nearly dry Blue very dry

«Colored Hygroscopes.»—These instruments are often composed of a flower or a figure, of light muslin or paper, immersed in one of the following solutions:

I.—Cobalt chloride 1 part Gelatin 10 parts Water 100 parts

The normal coloring is pink; this color changes into violet in medium humid weather and into blue in very dry weather.

II.—Cupric chloride 1 part Gelatin 10 parts Water 100 parts

The color is yellow in dry weather.

III.—Cobalt chloride 1 part Gelatin 20 parts Nickel oxide 75 parts Cupric chloride 25 parts Water 200 parts

The color is green in dry weather.

HYOSCYAMUS, ANTIDOTE TO: See Atropine.

«ICE:»

See also Refrigeration.

«Measuring the Weight of Ice.»—A close estimate of the weight of ice can be reached by multiplying together the length, breadth, and thickness of the block in inches, and dividing the product by 30. This will be very closely the weight in pounds. Thus, if a block is 10 x 10 x 9, the product is 900, and this divided by 30 gives 30 pounds as correct weight. A block 10 x 10 x 6 weighs 20 pounds. This simple method can be easily applied, and it may serve to remove unjust suspicions, or to detect short weight.

«To Keep Ice in Small Quantities.»—To keep ice from melting, attention is called to an old preserving method. The ice is cracked with a hammer between 2 layers of a strong cloth. Tie over a common unglazed flower-pot, holding about 2 to 4 quarts and placed upon a porcelain dish, a piece of white flannel in such a manner that it is turned down funnel-like into the interior of the pot without touching the bottom. Placed in this flannel funnel the cracked ice keeps for days.

«ICE FLOWERS.»

Make a 2 per cent solution of the best clear gelatin in distilled water, filter, and flood the filtrate over any surface which it is desired to ornament. Drain off slightly, and if the weather is sufficiently cold, put the plate, as nearly level as possible, out into the cold air to freeze. In freezing, water is abstracted from the colloidal portion, which latter then assumes an efflorescent form, little flowers, with exuberant, graceful curves of crystals, showing up as foliage, from all over the surface. To preserve in permanent form all that is necessary is to flood them with absolute alcohol. This treatment removes the ice, thus leaving a lasting framework of gelatin which may be preserved indefinitely. In order to do this, as soon as the gelatin has become quite dry it should be either varnished, flowed with an alcoholic solution of clear shellac, or the gelatin may be rendered insoluble by contact, for a few moments, with a solution of potassium bichromate, and subsequent exposure to sunlight.

IMOGEN DEVELOPER: See Photography.

INCENSE: See Fumigants.

INCRUSTATION, PREVENTION OF: See Boiler Compounds.

INDIGO: See Dyes.

INFANT FOODS: See Foods.

INFLUENZA IN CATTLE: See Veterinary Formulas. {403}

INK ERADICATORS: See Cleaning Preparations and Methods.

«IGNITING COMPOSITION.»

Eight parts of powdered manganese, 10 parts of amorphous phosphorus, and 5 parts of glue. The glue is soaked in water, dissolved in the heat, and the manganese and the phosphorus stirred in, so that a thinly liquid paste results, which is applied by means of a brush. Allow to dry well. This, being free from sulphur, can be applied on match-boxes.

«Inks»

«BLUEPRINT INKS.»

I.—For red-writing fluids for blueprints, take a piece of common washing soda the size of an ordinary bean, and dissolve it in 4 tablespoonfuls of ordinary red-writing ink, to make a red fluid. To keep it from spreading too much, use a fine pen to apply it with, and write fast so as not to allow too much of the fluid to get on the paper, for it will continue eating until it is dry.

II.—For red and white solutions for writing on blueprints, dissolve a crystal of oxalate of potash about the size of a pea in an ink-bottle full of water. This will give white lines on blueprints; other potash solutions are yellowish. If this shows a tendency to run, owing to too great strength, add more water and thicken slightly with mucilage. Mix this with red or any other colored ink about half and half, and writing may be done on the blueprints in colors corresponding to the inks used.

III.—Add to a small bottle of water enough washing soda to make a clear white line, then add enough gum arabic to it to prevent spreading and making ragged lines. To make red lines dip the pen in red ink and then add a little of the solution by means of the quill.

IV.—For white ink, grind zinc oxide fine on marble and incorporate with it a mucilage made with gum tragacanth. Thin a little for use. Add a little oil of cloves to prevent mold, and shake from time to time.

V.—A fluid which is as good as any for writing white on blueprints is made of equal parts of sal soda and water.

VI.—Mix equal parts of borax and water.

Both these fluids, V and VI, must be used with a fine-pointed pen; a pen with a blunt point will not work well.

«DRAWING INKS:»

«Blue Ruling Ink.»—Good vitriol, 4 ounces; indigo, 1 ounce. Pulverize the indigo, add it to the vitriol, and let it stand exposed to the air for 6 days, or until dissolved; then fill the pots with chalk, add fresh gall, 1⁠/⁠2 gill, boiling it before use.

«Black Ruling Ink.»—Take good black ink, and add gall as for blue. Do not cork it, as this prevents it from turning black.

«Carbon Ink.»—Dissolve real India ink in common black ink, or add a small quantity of lampblack previously heated to redness, and ground perfectly smooth, with a small portion of the ink.

«Carmine.»—The ordinary solution of carmine in ammonia water, after a short time in contact with steel, becomes blackish red, but an ink may be made that will retain its brilliant carmine color to the last by the following process, given by Dingler: Triturate 1 part of pure carmine with 15 parts of acetate of ammonia solution, with an equal quantity of distilled water in a porcelain mortar, and allow the whole to stand for some time. In this way, a portion of the alumina, which is combined with the carmine dye, is taken up by the acetic acid of the ammonia salt, and separates as a precipitate, while the pure pigment of the cochineal remains dissolved in the half-saturated ammonia. It is now filtered and a few drops of pure white sugar syrup added to thicken it. A solution of gum arabic cannot be used to thicken it, since the ink still contains some acetic acid, which would coagulate the bassorine, one of the constituents of the gum.

«Liquid Indelible Drawing Ink.»—Dissolve, by boiling, 2 parts of blond (golden yellow) shellac in 1.6 parts, by weight, of sal ammoniac, 16°, with 10 parts, by weight, of distilled water, and filter the solution through a woolen cloth. Now dissolve or grind 0.5 parts, by weight, of shellac solution with 0.01 part, by weight, of carbon black. Also dissolve .03 parts of nigrosin in 0.4 parts of distilled water and pour both solutions together. The mixture is allowed to settle for 2 days and the ready ink is drawn off from the sediment.

«GLASS, CELLULOID, AND METAL INKS:»

See also Etching.

Most inks for glass will also write on celluloid and the metals. The following {404} I and II are the most widely known recipes:

I.—In 500 parts of water dissolve 36 parts of sodium fluoride and 7 parts of sodium sulphate. In another vessel dissolve in the same amount of water 14 parts of zinc chloride and to the solution add 56 parts of concentrated hydrochloric acid. To use, mix equal volumes of the two solutions and add a little India ink; or, in the absence of this, rub up a little lampblack with it. It is scarcely necessary to say that the mixture should not be put in glass containers, unless they are well coated internally with paraffine, wax, gutta-percha, or some similar material. To avoid the inconvenience of keeping the solutions in separate bottles, mix them and preserve in a rubber bottle. A quill pen is best to use in writing with this preparation, but metallic pens may be used, if quite clean and new.

II.—In 150 parts of alcohol dissolve 20 parts of rosin, and add to this, drop by drop, stirring continuously, a solution of 35 parts of borax in 250 parts of water. This being accomplished, dissolve in the solution sufficient methylene blue to give it the desired tint.

«Ink for Writing on Glazed Cardboard.»—The following are especially recommended for use on celluloid:

I.—Dissolve 4 drachms of brown shellac in 4 ounces of alcohol. Dissolve 7 drachms of borax in 6 ounces of distilled water. Pour the first solution slowly into the second and carefully mix them, after which add 12 grains of aniline dye of the desired color. Violet, blue, green, red, yellow, orange, or black aniline dyes can be used.

Such inks may be used for writing on bottles, and the glass may be cleaned with water without the inscription being impaired.

II.—Ferric chloride 10 parts Tannin 15 parts Acetone 100 parts

Dissolve the ferric chloride in a portion of the acetone and the tannin in the residue, and mix the solutions.

III.—Dissolve a tar dyestuff of the desired color in anhydrous acetic acid.

«Indelible Inks for Glass or Metal.»—Schobel recommends the following inks for marking articles of glass, glass slips for microscopy, reagent flasks, etc., in black:

I.—Sodium silicate 1 to 2 parts Liquid India ink 1 part

For white:

II.—Sodium water glass 3 to 4 parts Chinese white 1 part

Instead of Chinese white, a sufficient amount of the so-called permanent white (barium sulphate) may be used. The containers for these inks should be kept air-tight. The writing in either case is not attacked by any reagent used in microscopical technique but may be readily scraped away with a knife. The slips or other articles should be as near chemically clean as possible, before attempting to write on them.

According to Schuh, a mixture of a shellac solution and whiting or precipitated chalk answers very well for marking glass. Any color may be mixed with the chalk. If the glass is thoroughly cleaned with alcohol or ether, either a quill pen or a camel’s-hair pencil (or a fresh, clean steel pen) may be used.

«Ink on Marble.»—Ink marks on marble may be removed with a paste made by dissolving an ounce of oxalic acid and half an ounce of butter of antimony in a pint of rain water, and adding sufficient flour to form a thin paste. Apply this to the stains with a brush; allow it to remain on 3 or 4 days and then wash it off. Make a second application, if necessary.

«Perpetual Ink.»—I.—Pitch, 3 pounds; melt over the fire, and add of lampblack, 3⁠/⁠4 pound; mix well.

II.—Trinidad asphaltum and oil of turpentine, equal parts. Used in a melted state to fill in the letters on tombstones, marbles, etc. Without actual violence, it will endure as long as the stone itself.

«Ink for Steel Tools.»—Have a rubber stamp made with white letters on a black ground. Make up an ink to use with this stamp, as follows:

Ordinary rosin, 1⁠/⁠2 pound; lard oil, 1 tablespoonful; lampblack, 2 tablespoonfuls; turpentine, 2 tablespoonfuls. Melt the rosin, and stir in the other ingredients in the order given. When the ink is cold it should look like ordinary printers’ ink. Spread a little of this ink over the pad and ink the rubber stamp as usual, and press it on the clean steel—saw blade, for instance. Have a rope of soft putty, and make a border of putty around the stamped design as close up to the lettering as possible, so that no portion of the steel inside the ring of putty is exposed but the lettering. Then pour into the putty ring the etching mixture, composed of 1 ounce of nitric acid, 1 ounce of {405} muriatic acid, and 12 ounces of water. Allow it to rest for only a minute, draw off the acid with a glass or rubber syringe, and soak up the last trace of acid with a moist sponge. Take off the putty, and wipe off the design with potash solution first, and then with turpentine, and the job is done.

«Writing on Ivory, Glass, etc.»—Nitrate of silver, 3 parts; gum arabic, 20 parts; distilled water, 30 parts. Dissolve the gum arabic in two-thirds of the water, and the nitrate of silver in the other third. Mix and add the desired color.

«Writing on Zinc» (see also Horticultural Inks).—Take 1 part sulphate of copper (copper vitriol), 1 part chloride of potassium, both dissolved in 35 parts water. With this blue liquid, writing or drawing may be done with a common steel pen upon zinc which has been polished bright with emery paper. After the writing is done the plates are put in water and left in it for some time, then taken out and dried. The writing will remain intact as long as the zinc. If the writing or drawing should be brown, 1 part sulphate of iron (green vitriol) is added to the above solution. The chemicals are dissolved in warm water and the latter must be cold before it can be used.

«GOLD INK.»

I.—The best gold ink is made by rubbing up gold leaf as thoroughly as possible with a little honey. The honey is then washed away with water, and the finely powdered gold leaf left is mixed to the consistency of a writing ink with weak gum water. Everything depends upon the fineness of the gold powder, i. e., upon the diligence with which it has been worked with the honey. Precipitated gold is finer than can be got by any rubbing, but its color is wrong, being dark brown. The above gold ink should be used with a quill pen.

II.—An imitation gold or bronze ink is composed by grinding 1,000 parts of powdered bronze of handsome color with a varnish prepared by boiling together 500 parts of nut oil, 200 parts of garlic, 500 parts of cocoanut oil, 100 parts of Naples yellow, and as much of sienna.

«HORTICULTURAL INK.»

I.—Chlorate of platinum, 1⁠/⁠4 ounce; soft water, 1 pint. Dissolve and preserve it in glass. Used with a clean quill to write on zinc labels. It almost immediately turns black, and cannot be removed by washing. The addition of gum and lampblack, as recommended in certain books, is unnecessary, and even prejudicial to the quality of the ink.

II.—Verdigris and sal ammoniac, of each 1⁠/⁠2 ounce; levigated lampblack, 1⁠/⁠2 ounce; common vinegar, 1⁠/⁠4 pint; mix thoroughly. Used as the last, for either zinc, iron, or steel.

III.—Blue vitriol, 1 ounce; sal ammoniac, 1⁠/⁠2 ounce (both in powder); vinegar, 1⁠/⁠4 pint; dissolve. A little lampblack or vermilion may be added, but it is not necessary. Use No. I, for iron, tin, or steel plate.

«INDELIBLE INKS.»

These are also frequently called waterproof, incorrodible, or indestructible inks. They are employed for writing labels on bottles containing strong acids and alkaline solutions. They may be employed with stamps, types or stencil plates, by which greater neatness will be secured than can be obtained with either a brush or pen.

The following is a superior preparation for laundry use:

Aniline oil 85 parts Potassium chlorate 5 parts Distilled water 44 parts Hydrochloric acid, pure (specific gravity, 1.124) 68 parts Copper chloride, pure 6 parts

Mix the aniline oil, potassium chlorate, and 26 parts of the water and heat in a capacious vessel, on the water bath, at a temperature of from 175° to 195° F., until the chlorate is entirely dissolved, then add one-half of the hydrochloric and continue the heat until the mixture begins to take on a darker color. Dissolve the copper chloride in the residue of the water, add the remaining hydrochloric acid to the solution, and add the whole to the liquid on the water bath, and heat the mixture until it acquires a fine red-violet color. Pour into a flask with a well-fitting ground-glass stopper, close tightly and set aside for several days, or until it ceases to throw down a precipitate. When this is the case, pour off the clear liquid into smaller (one drachm or a drachm and a half) containers.

This ink must be used with a quill pen, and is especially good for linen or cotton fabrics, but does not answer so well for silk or woolen goods. When first used, it appears as a pale red, but on washing with soap or alkalies, or on exposure to {406} the air, becomes a deep, dead black. The following is a modification of the foregoing:

«Blue Indelible Ink.»—This ink has the reputation of resisting not only water and oil, but alcohol, oxalic acid, alkalies, the chlorides, etc. It is prepared as follows: Dissolve 4 parts of gum lac in 36 parts of boiling water carrying 2 parts of borax. Filter and set aside. Now dissolve 2 parts of gum arabic in 4 parts of water and add the solution to the filtrate. Finally, after the solution is quite cold, add 2 parts of powdered indigo and dissolve by agitation. Let stand for several hours, then decant, and put in small bottles.

«Red Indelible Inks.»—By proceeding according to the following formula, an intense purple-red color may be produced on fabrics, which is indelible in the customary sense of the word:

1.—Sodium carbonate 3 drachms Gum arabic 3 drachms Water 12 drachms

2.—Platinic chloride 1 drachm Distilled water 2 ounces

3.—Stannous chloride 1 drachm Distilled water 4 drachms

Moisten the place to be written upon with No. 1 and rub a warm iron over it until dry; then write with No. 2, and, when dry, moisten with No. 3. An intense and beautiful purple-red color is produced in this way. A very rich purple color—the purple of Cassius—may be produced by substituting a solution of gold chloride for the platinic chloride in the above formula.

«Crimson Indelible Ink.»—

The following formula makes an indelible crimson ink:

Silver nitrate 50 parts Sodium carbonate, crystal 75 parts Tartaric acid 16 parts Carmine 1 part Ammonia water, strongest 288 parts Sugar, white, crystallized 36 parts Gum arabic, powdered 60 parts Distilled water, quantity sufficient to make 400 parts

Dissolve the silver nitrate and the sodium carbonate separately, each in a portion of the distilled water, mix the solutions, collect the precipitate on a filter, wash, and put the washed precipitate, still moist, into a mortar. To this add the tartaric acid, and rub together until effervescence ceases. Now, dissolve the carmine in the ammonia water (which latter should be of specific gravity .882, or contain 34 per cent of ammonia), filter, and add the filtrate to the silver tartrate magma in the mortar. Add the sugar and gum arabic, rub up together, and add gradually, with constant agitation, sufficient distilled water to make 400 parts.

«Gold Indelible Ink.»—Make two solutions as follows:

1.—Chloride of gold and sodium 1 part Water 10 parts Gum 2 parts

2.—Oxalic acid 1 part Water 5 parts Gum 2 parts

The cloth or stuff to be written on should be moistened with liquid No. 2. Let dry, and then write upon the prepared place with liquid No. 1, using preferably a quill pen. Pass a hot iron over the mark, pressing heavily.

«INDIA, CHINA, OR JAPAN INK.»

Ink by these names is based on lampblack, and prepared in various ways. Many makes flow less easily from the pen than other inks, and are less durable than ink that writes paler and afterwards turns black. The ink is usually unfitted for steel pens, but applies well with a brush.

I.—Lampblack (finest) is ground to a paste with very weak liquor of potassa, and this paste is then diffused through water slightly alkalized with potassa, after which it is collected, washed with clean water, and dried; the dry powder is next levigated to a smooth, stiff paste, with a strong filtered decoction of carrageen or Irish moss, or of quince seed, a few drops of essence of musk, and about half as much essence of ambergris being added, by way of perfume, toward the end of the process; the mass is, lastly, molded into cakes, which are ornamented with Chinese characters and devices, as soon as they are dry and hard.

II.—A weak solution of fine gelatin is boiled at a high temperature in a digester for 2 hours, and then in an open vessel for 1 hour more. The liquid is next filtered and evaporated to a proper consistency, either in a steam- or {407} salt-water bath. It is, lastly, made into a paste, as before, with lampblack which has been previously heated to dull redness in a well-closed crucible. Neither of the above gelatinizes in cold weather, like the ordinary imitations.

«To Keep India Ink Liquid.»—If one has to work with the ink for some time, a small piece should be dissolved in warm water and the tenth part of glycerine added, which mixes intimately with the ink after shaking for a short time. India ink thus prepared will keep very well in a corked bottle, and if a black jelly should form in the cold, it is quickly dissolved by heating. The ink flows well from the pen and does not wipe.

«INK POWDERS AND LOZENGES.»

Any of these powders may, by the addition of mucilage of gum arabic, be made into lozenges or buttons—the “ink buttons” or “ink stones” in use abroad and much affected by travelers.

The following makes a good serviceable black ink, on macerating the powder in 100 times its weight of rain or distilled water for a few days:

I.—Powdered gallnuts 16 parts Gum arabic 8 parts Cloves 1 part Iron sulphate 10 parts

Put into an earthenware or glass vessel, cover with 100 parts of rain or distilled water, and set aside for 10 days or 2 weeks, giving an occasional shake the first 3 or 4 days. Decant and bottle for use.

The following is ready for use instantly on being dissolved in water:

II.—Aleppo gallnuts 84 parts Dutch Madder 6 parts

Powder, mix, moisten, and pack into the percolator. Extract with hot water, filter, and press out. To the filtrate add 4 parts of iron acetate (or pyroacetate) and 2 1⁠/⁠2 parts of tincture of indigo. Put into the water bath and evaporate to dryness and powder the dry residue.

«LITHOGRAPHIC INKS.»

These are for writing on lithographic stones or plates:

I.—Mastic (in tears), 8 ounces; shellac, 12 ounces; Venice turpentine, 1 ounce. Melt together, add wax, 1 pound; tallow, 6 ounces. When dissolved, add hard tallow soap (in shavings), 6 ounces; and when the whole is perfectly combined, add lampblack, 4 ounces. Mix well, cool a little, and then pour it into molds, or upon a slab, and when cold cut it into square pieces.

II. (Lasteyrie).—Dry tallow soap, mastic (in tears), and common soda (in fine powder), of each, 30 parts; shellac, 150 parts; lampblack, 12 parts. Mix as indicated in Formula I.

«MARKING OR LABELING INKS:»

«Black Marking Inks.»—

I.—Borax 60 parts Shellac 180 parts Boiling water 1,000 parts Lampblack, a sufficient quantity.

Dissolve the borax in the water, add the shellac to the solution and stir until dissolved. Rub up a little lampblack with sufficient of the liquid to form a paste, and add the rest of the solution a little at a time and with constant rubbing. Test, and if not black enough, repeat the operation. To get the best effect—a pure jet-black—the lampblack should be purified and freed from the calcium phosphate always present in the commercial article to the extent, frequently, of 85 to 87 per cent, by treating with hydrochloric acid and washing with water.

II.—An ink that nothing will bleach is made by mixing pyrogallic acid and sulphate of iron in equal parts. Particularly useful for marking labels on bottles containing acids. Varnish the label after the ink is dry so that moisture will not affect it.

«COLORED MARKING INKS:»

Eosine Red.—

Eosine B 1 drachm Solution of mercuric chloride 2 drachms Mucilage of acacia 2 drachms Rectified spirit 4 ounces Oil of lavender 1 drop Distilled water 8 ounces

Dissolve the eosine in the solution and 2 ounces of water, add the mucilage, and mix, then the oil dissolved in the spirit, and finally make up.

Orange.—

Aniline orange 1 drachm Sugar 2 drachms Distilled water to 4 ounces

Blue.—

I.—Resorcin blue 1 drachm Distilled water 6 drachms

Mix and agitate occasionally for 2 hours, then add: {408}

Hot distilled water 24 ounces Oxalic acid 10 grains Sugar 1⁠/⁠2 ounce

Shake well. This and other aniline inks can be perfumed by rubbing up a drop of attar of rose with the sugar before dissolving it in the hot water.

II.—A solid blue ink, or marking paste, to be used with a brush for stenciling, is made as follows: Shellac, 2 ounces; borax, 2 ounces; water, 25 ounces; gum arabic, 2 ounces; and ultramarine, sufficient. Boil the borax and shellac in some of the water till they are dissolved, and withdraw from the fire. When the solution has become cold, add the rest of the 25 ounces of water, and the ultramarine. When it is to be used with the stencil, it must be made thicker than when it is to be applied with a marking brush.

III.—In a suitable kettle mix well, stirring constantly, 50 parts of liquid logwood extract (80 per cent) with 3 parts of spirit previously mingled with 1 part of hydrochloric acid, maintaining a temperature of 68° F. Dissolve 5 parts of potassium chromate in 15 parts of boiling water; to this add 10 parts of hydrochloric acid, and pour this mixture, after raising the temperature to about 86° F., very slowly and with constant stirring into the kettle. Then heat the whole to 185° F. This mass, which has now assumed the nature of an extract, is stirred a little longer, and next 15 parts of dextrin mixed with 10 parts of fine white earth (white bole) are added. The whole is well stirred throughout. Transfer the mass from the kettle into a crusher, where it is thoroughly worked through.

«PRINTING INKS.»

Black printing inks owe their color to finely divided carbon made from lampblack, pine-wood, rosin oil, etc., according to the quality of the ink desired. The finest inks are made from flame-lampblack. There are, however, certain requirements made of all printing inks alike, and these are as follows: The ink must be a thick and homogeneous liquid, it must contain no solid matter but finely divided carbon, and every drop when examined microscopically must appear as a clear liquid containing black grains uniformly distributed.

The consistency of a printing ink must be such that it passes on to the printing rollers at the proper rate. It will be obvious that various consistencies are demanded according to the nature of the machine used by the printer. For a rotary machine which prints many thousands of copies an hour a much thinner ink will be necessary than that required for art printing or for slow presses. As regards color, ordinary printing ink should be a pure black. For economy’s sake, however, newspaper printers often use an ink so diluted that it does not look deep black, but a grayish black, especially in large type.

The question of the time that the ink takes to dry on the paper is a very important one, especially with ink used for printing newspapers which are folded and piled at one operation. If then the ink does not dry very quickly, the whole impression smudges and “sets off” so much that it becomes illegible in places. Although it is essential to have a quick drying ink for this purpose, it is dangerous to go too far, for a too quickly drying ink would make the paper stick to the forms and tear it. A last condition which must be fulfilled by a good printing ink is that it must be easy of removal from the type, which has to be used again.

No one composition will answer every purpose and a number of different inks are required. Makers of printing inks are obliged, therefore, to work from definite recipes so as to be able to turn out exactly the same ink again and again. They make newspaper ink for rotary presses, book-printing inks, half-tone inks, art inks, etc. As the recipes have been attained only by long, laborious, and costly experiments, it is obvious that the makers are not disposed to communicate them, and the recipes that are offered and published must be looked upon with caution, as many of them are of little or no value. In the recipes given below for printing inks, the only intention is to give hints of the general composition, and the practical man will easily discover what, if any, alterations have to be made in the recipe for his special purpose.

Many different materials for this manufacture are given in recipes, so many, in fact, that it is impossible to discover what use they are in the ink. The following is a list of the articles commonly in use for the manufacture of printing ink:

Boiled linseed oil, boiled without driers.

Rosin oil from the dry distillation of rosin.

Rosin itself, especially American pine rosin. {409}

Soap, usually rosin-soap, but occasionally ordinary soap.

Lampblack and various other pigments.

By the most time-honored method, linseed oil was very slowly heated over an open fire until it ignited. It was allowed to burn for a time and then extinguished by putting a lid on the pot. In this way a liquid was obtained of a dark brown or black color with particles of carbon, and with a consistency varying with the period of heating, being thicker, the longer the heating was continued. If necessary, the liquid was then thinned with unboiled, or only very slightly boiled, linseed oil. Lampblack in the proper quantity was added and the mixture was finally rubbed up on a stone in small quantities at a time to make it uniform.

«Boiling the Linseed Oil.»—This process, although it goes by the name of boiling, is not so in the proper sense of the word, but a heating having for its object an initial oxidation of the oil, so that it will dry better. Linseed oil is a type of the drying oils, those which when exposed in thin coats to the air absorb large quantities of oxygen and are thereby converted into tough, solid sheets having properties very similar to those of soft India rubber. The process goes on much faster with the aid of heat than at the ordinary temperature, and the rate at which the boiled oil will dry in the ink can be exactly regulated by heating it for a longer or shorter time. Prolonged heating gives an oil which will dry very quickly on exposure in thin coats to the air, the shorter the heating the more slowly will the ink afterwards made with the oil dry.

Linseed oil must always be boiled in vessels where it has plenty of room, as the oil soon swells up and it begins to decompose so energetically at a particular temperature that there is considerable risk of its boiling over and catching fire. Various contrivances have been thought out for boiling large quantities of the oil with safety, such as pans with an outlet pipe in the side, through which the oil escapes when it rises too high instead of over the edge of the pan, and fires built on a trolley running on rails, so that they can at once be moved from under the pan if there is any probability of the latter boiling over. The best apparatus for preparing thickened linseed oil is undoubtedly one in which the oil offers a very large surface to the air, and on that account requires to be moderately heated only. The oil soon becomes very thick under these conditions and if necessary can be diluted to any required consistency with unboiled oil.

In boiling linseed oil down to the proper thickness by the old method there are two points demanding special attention. One is the liability of the oil to boil over, and the other consists in the development of large quantities of vapor, mostly of acroleine, which have a most powerful and disagreeable smell, and an intense action upon the eyes. The attendant must be protected from these fumes, and the boiling must therefore be done where there is a strong draught to take the fumes as fast as they are produced. There are various contrivances to cope with boiling over.

«Savage’s Printing Ink.»—Pure balsam of copaiba, 9 ounces; lampblack, 3 ounces; indigo and Prussian blue, each 5 drachms; Indian red, 3⁠/⁠4 ounce; yellow soap, 3 ounces. Mix, and grind to the utmost smoothness.

«Toning Black Inks.»—Printers’ inks consisting solely of purified lampblack and vehicle give, of course, impressions which are pure black. It is, however, well known that a black which has to a practiced eye a tinge of blue in it looks much better than a pure black. To make such an ink many makers mix the lampblack with a blue pigment, which is added in very fine powder before the first grinding. Prussian blue is the pigment usually chosen and gives very attractive results. Prussian blue is, however, not a remarkable stable substance, and is very apt to turn brown from the formation of ferric oxide. Hence an ink made with Prussian blue, although it may look very fine at first, often assumes a dull brown hue in the course of time. Excellent substitutes for Prussian blue are to be found in the Induline blues. These are very fast dyes, and inks tinted with them do not change color. As pure indigo is now made artificially and sold at a reasonable price, this extremely fast dye can also be used for tinting inks made with purified lampblack.

«To Give Dark Inks a Bronze or Changeable Hue.»—Dissolve 1 1⁠/⁠2 pounds gum shellac in 1 gallon 65 per cent alcohol or cologne spirits for 24 hours. Then add 14 ounces aniline red. Let it stand a few hours longer, when it will be ready for use. Add this to good blue, black, or other dark ink, as needed in quantities to suit, when if carefully done {410} they will be found to have a rich bronze or changeable hue.

«Quick Dryer for Inks Used on Bookbinders’ Cases.»—Beeswax, 1 ounce; gum arabic (dissolved in sufficient acetic acid to make a thin mucilage), 1⁠/⁠4 ounce; brown japan, 1⁠/⁠4 ounce. Incorporate with 1 pound of good cut ink.

«INKS FOR STAMP PADS.»

The ink used on vulcanized rubber stamps should be such that when applied to a suitable pad it remains sufficiently fluid to adhere to the stamp. At the same time the fluidity should cease by the time the stamp is pressed upon an absorbing surface such as paper. Formerly these inks were made by rubbing up pigments in fat to a paste. Such inks can hardly be prevented, however, from making impressions surrounded by a greasy mark caused by the fat spreading in the pores of the paper. Now, most stamping inks are made without grease and a properly prepared stamping ink contains nothing but glycerine and coal-tar dye. As nearly all these dyes dissolve in hot glycerine the process of manufacture is simple enough. The dye, fuchsine, methyl violet, water blue, emerald green, etc., is put into a thin porcelain dish over which concentrated glycerine is poured, and the whole is heated to nearly 212° F. with constant stirring. It is important to use no more glycerine than is necessary to keep the dye dissolved when the ink is cold. If the mass turns gritty on cooling it must be heated up with more glycerine till solution is perfect.

In dealing with coal-tar dyes insoluble in glycerine, or nearly so, dissolve them first in the least possible quantity of strong, hot alcohol. Then add the glycerine and heat till the spirit is evaporated.

To see whether the ink is properly made spread some of it on a strip of cloth and try it with a rubber stamp. On paper, the separate letters must be quite sharp and distinct. If they run at the edges there is too much glycerine in the ink and more dye must be added to it. If, on the contrary, the impression is indistinct and weak, the ink is too thick and must be diluted by carefully adding glycerine.

Aniline colors are usually employed as the tinting agents. The following is a typical formula, the product being a black ink:

I.—Nigrosin 3 parts Water 15 parts Alcohol 15 parts Glycerine 70 parts

Dissolve the nigrosin in the alcohol, add the glycerine previously mixed with the water, and rub well together.

Nigrosin is a term applied to several compounds of the same series which differ in solubility. In the place of these compounds it is probable that a mixture would answer to produce black as suggested by Hans Wilder for making writing ink. His formula for the mixture is:

II.—Methyl violet 3 parts Bengal green 5 parts Bismarck green 4 parts

A quantity of this mixture should be taken equivalent to the amount of nigrosin directed. These colors are freely soluble in water, and yield a deep greenish-black solution.

The aniline compound known as brilliant green answers in place of Bengal green. As to the permanency of color of this or any aniline ink, no guarantee is offered. There are comparatively few coloring substances that can be considered permanent even in a qualified sense. Among these, charcoal takes a foremost place. Lampblack remains indefinitely unaltered. This, ground very finely with glycerine, would yield an ink which would perhaps prove serviceable in stamping; but it would be liable to rub off to a greater extent than soluble colors which penetrate the paper more or less. Perhaps castor oil would prove a better vehicle for insoluble coloring matters. Almost any aniline color may be substituted for nigrosin in the foregoing formula, and blue, green, red, purple, and other inks obtained. Insoluble pigments might also be made to answer as suggested for lampblack.

The following is said to be a cushion that will give color permanently. It consists of a box filled with an elastic composition, saturated with a suitable color. The cushion fulfils its purpose for years without being renewed, always contains sufficient moisture, which is drawn from the atmosphere, and continues to act as a color stamp cushion so long as a remnant of the mass or composition remains in the box or receptacle. This cushion or pad is too soft to be self-supporting, but should be held in a low, flat pan, and have a permanent cloth cover.

III.—The composition consists preferably of 1 part gelatin, 1 part water, 6 parts glycerine, and 6 parts coloring matter. A suitable black color can be {411} made from the following materials: One part gelatin glue, 3 parts lampblack, aniline black, or a suitable quantity of logwood extract, 10 parts of glycerine, 1 part absolute alcohol, 2 parts water, 1 part Venetian soap, 1⁠/⁠5 part salicylic acid. For red, blue, or violet: One part gelatin glue, 2 parts aniline of desired color, 1 part absolute alcohol, 10 parts glycerine, I part Venetian soap, and 1⁠/⁠5 part salicylic acid.

The following are additional recipes used for this purpose:

IV.—Mix and dissolve 2 to 4 drachms aniline violet, 15 ounces alcohol, 15 ounces glycerine. The solution is poured on the cushion and rubbed in with a brush. The general method of preparing the pad is to swell the gelatin with cold water, then boil and add the glycerine, etc.

V.—Mix well 16 pounds of hot linseed oil, 3 ounces of powdered indigo, or a like quantity of Berlin blue, and 8 pounds of lampblack. For ordinary sign-stamping an ink without the indigo might be used. By substituting ultramarine or Prussian blue for the lampblack, a blue “ink” or paint would result.

«Inks for Hand Stamps.»—As an excipient for oily inks, a mixture of castor oil and crude oleic acid, in parts varying according to the coloring material used, is admirable. The following are examples:

Black.—Oil soluble nigrosin and crude oleic acid in equal parts. Add 7 to 8 parts of castor oil.

Red.—Oil soluble aniline red, 2 parts; crude oleic acid, 3 parts; castor oil, from 30 to 60 parts, according to the intensity of color desired.

Red.—Dissolve 1⁠/⁠4 ounce of carmine in 2 ounces strong water of ammonia, and add 1 drachm of glycerine and 3⁠/⁠4 ounce dextrin.

Blue.—Rub 1 ounce Prussian blue with enough water to make a perfectly smooth paste; then add 1 ounce dextrin, incorporate it well, and finally add sufficient water to bring it to the proper consistency.

Blue.—Oil soluble aniline blue, 1 part; crude oleic acid, 2 parts; castor oil, 30 to 32 parts.

Violet.—Alcohol, 15 ounces; glycerine, 15 ounces; aniline violet, 2 to 4 drachms. Mix, dissolve, pour the solution on the cushion, and dab on with a brush.

«Color Stamps for Rough Paper.»—It has hitherto been impossible to get a satisfactory application for printing with rubber stamps on rough paper. Fatty vehicles are necessary for such paper, and they injure the India rubber. It is said, however, that if the rubber is first soaked in a solution of glue, and then in one of tannin, or bichromate of potash, it becomes impervious to the oils or fats. Gum arabic can be substituted for the glue.

«Indelible Hand-Stamp Ink.»—

I.—Copper sulphate 20 parts Aniline chlorate 20 parts

Rub up separately to a fine powder, then carefully mix, and add 10 parts of dextrin and incorporate. Add 5 parts of glycerine and rub up, adding water, a little at a time, until a homogeneous viscid mass is obtained. An aniline color is produced in the material, which boiling does not destroy.

II.—Sodium carbonate 22 parts Glycerine 85 parts Gum arabic, in powder 20 parts Silver nitrate 11 parts Ammonia water 20 parts Venetian turpentine 10 parts

Triturate the carbonate of sodium, gum arabic, and glycerine together. In a separate flask dissolve the silver nitrate in the ammonia water, mix the solution with the triturate, and heat to boiling, when the turpentine is to be added, with constant stirring. After stamping, expose to the sunlight or use a hot iron. The quantity of glycerine may be varied to suit circumstances.

«White Stamping Ink for Embroidery.»—

Zinc white 2 drachms Mucilage 1 drachm Water 6 drachms

Triturate the zinc white with a small quantity of water till quite smooth, then add the mucilage and the remainder of the water.

«STENCIL INKS.»

I.—Dissolve 1 ounce of gum arabic in 6 ounces water, and strain. This is the mucilage. For Black Color use drop black, powdered, and ground with the mucilage to extreme fineness; for Blue, ultramarine is used in the same manner; for Green, emerald green; for White, flake white; for Red, vermilion, lake, or carmine; for Yellow, chrome yellow. When ground too thick they are thinned {412} with a little water. Apply with a small brush.

II.—Triturate together 1 pint pine soot and 2 pints Prussian blue with a little glycerine, then add 3 pints gum arabic and sufficient glycerine to form a thin paste.

«Blue Stencil Inks.»—The basis of the stencil inks commonly used varies to some extent, some preferring a mixture of pigments with oils, and others a watery shellac basis. The basis:

I.—Shellac 2 ounces Borax 1 1⁠/⁠2 ounces Water 10 ounces

Boil together until 10 ounces of solution is obtained. The coloring:

Prussian blue 1 ounce China clay 1⁠/⁠2 ounce Powdered acacia 1⁠/⁠2 ounce

Mix thoroughly and gradually incorporate the shellac solution.

II.—Prussian blue 2 ounces Lampblack 1 ounce Gum arabic 3 ounces Glycerine, sufficient.

Triturate together the dry powders and then make into a suitable paste with glycerine.

«Indelible Stencil Inks.»—I.—Varnish such as is used for ordinary printing ink, 1 pound; black sulphuret of mercury, 1 pound; nitrate of silver, 1 ounce; sulphate of iron, 1 ounce; lampblack, 2 tablespoonfuls. Grind all well together; thin with spirits turpentine as desired.

II.—Sulphate of manganese, 2 parts; lampblack, 1 part; sugar, 4 parts; all in fine powder and triturated to a paste in a little water.

III.—Nitrate of silver, 1⁠/⁠4 ounce; water, 3⁠/⁠4 ounce. Dissolve, add as much of the strongest liquor of ammonia as will dissolve the precipitate formed on its first addition. Then add of mucilage, 1 1⁠/⁠2 drachms, and a little sap green, syrup of buckthorn, or finely powdered indigo, to color. This turns black on being held near the fire, or touched with a hot iron.

«SYMPATHETIC INKS:»

Table of Substances Used in Making Sympathetic Inks.—

For writing and for bringing out the writing:

Cobalt chloride, heat.

Cobalt acetate and a little saltpeter, heat.

Cobalt chloride and nickel chloride mixed, heat.

Nitric acid, heat.

Sulphuric acid, heat.

Sodium chloride, heat.

Saltpeter, heat.

Copper sulphate and ammonium chloride, heat.

Silver nitrate, sunlight.

Gold trichloride, sunlight.

Ferric sulphate, infusion of gallnuts or ferrocyanide of potassium.

Copper sulphate, ferrocyanide of potassium.

Lead vinegar, hydrogen sulphide.

Mercuric nitrate, hydrogen sulphide.

Starch water, tincture of iodine or iodine vapors.

Cobalt nitrate, oxalic acid.

Fowler’s solution, copper nitrate.

Soda lye or sodium carbonate, phenolphthaleine.

A sympathetic ink is one that is invisible when written, but which can be made visible by some treatment. Common milk can be used for writing, and exposure to strong heat will scorch and render the dried milk characters visible.

The following inks are developed by exposure to the action of reagents:

I.—Upon writing with a very clear solution of starch on paper that contains but little sizing, and submitting the dry characters to the vapor of iodine (or passing over them a weak solution of potassium iodide), the writing becomes blue, and disappears under the action of a solution of hyposulphite of soda (1 in 1,000).

II.—Characters written with a weak solution of the soluble chloride of platinum or iridium become black when the paper is submitted to mercurial vapor. This ink may be used for marking linen, as it is indelible.

III.—Sulphate of copper in very dilute solution will produce an invisible writing, which may be turned light blue by vapors of ammonia.

IV.—Soluble compounds of antimony will become red by hydrogen sulphide vapor.

V.—Soluble compounds of arsenic and of peroxide of tin will become yellow by the same vapor.

VI.—An acid solution of iron chloride is diluted until the writing is invisible when dry. This writing has the property of becoming red by sulphocyanide vapors (arising from the action of sulphuric acid on potassium sulphocyanide in a long-necked flask), and it disappears {413} by ammonia, and may alternately be made to appear and disappear by these two vapors.

VII.—Write with a solution of paraffine in benzol. When the solvent has evaporated, the paraffine is invisible, but becomes visible on being dusted with lampblack or powdered graphite or smoking over a candle flame.

VIII.—Dissolve 1 part of a lead salt, 0.1 part of uranium acetate, and the same quantity of bismuth citrate in 100 parts of water. Then add, drop by drop, a solution of sal ammoniac until the whole becomes transparent. Afterwards, mix with a few drops of gum arabic. To reveal the characters traced with this ink, expose them to the fumes of sulphuric acid, which turns them immediately to a dark brown. The characters fade away in a few minutes, but can be renewed by a slight washing with very dilute nitric acid.

«TYPEWRITER RIBBON INKS.»

I.—Take vaseline (petrolatum) of high boiling point, melt it on a water bath or slow fire, and incorporate by constant stirring as much lamp or powdered drop black as it will take up without becoming granular. If the vaseline remains in excess, the print is liable to have a greasy outline; if the color is in excess, the print will not be clear. Remove the mixture from the fire, and while it is cooling mix equal parts of petroleum, benzine, and rectified oil of turpentine, in which dissolve the fatty ink, introduced in small portions, by constant agitation. The volatile solvents should be in such quantity that the fluid ink is of the consistence of fresh oil paint. One secret of success lies in the proper application of the ink to the ribbon. Wind the ribbon on a piece of cardboard, spread on a table several layers of newspaper, then unwind the ribbon in such lengths as may be most convenient, and lay it flat on the paper. Apply the ink, after agitation, by means of a soft brush, and rub it well into the interstices of the ribbon with a toothbrush. Hardly any ink should remain visible on the surface. For colored inks use Prussian blue, red lead, etc., and especially the aniline colors.

II.—Aniline black 1⁠/⁠2 ounce Pure alcohol 15 ounces Concentrated glycerine 15 ounces

Dissolve the aniline black in the alcohol, and add the glycerine. Ink as before. The aniline inks containing glycerine are copying inks.

III.—Alcohol 2 ounces Aniline color 1⁠/⁠4 ounce Water 2 ounces Glycerine 4 ounces

Dissolve the aniline in the alcohol and add the water and glycerine.

IV.—Castor oil 2 ounces Cassia oil 1⁠/⁠2 ounce Carbolic acid 1⁠/⁠2 ounce

Warm them together and add 1 ounce of aniline color. Indelible typewriter inks may be made by using lampblack in place of the aniline, mixing it with soft petrolatum and dissolving the cooled mass in a mixture of equal parts of benzine and turpentine.

«COLORING AGENTS:»

Red.—

I.—Bordeaux red, O. S. 15 parts Aniline red, O. S. 15 parts Crude oleic acid 45 parts Castor oil enough to make 1,000 parts

Rub the colors up with the oleic acid, add the oil, warming the whole to 100° to 110° F. (not higher), under constant stirring. If the color is not sufficiently intense for your purposes, rub up a trifle more of it with oleic acid, and add it to the ink. By a little experimentation you can get an ink exactly to your desire in the matter.

Blue-Black.—

II.—Aniline black, O. S. 5 parts Oleic acid, crude 5 parts Castor oil, quantity sufficient to 100 parts.

Violet.—

III.—Aniline violet, O. S. 3 parts Crude oleic acid 5 parts Castor oil, quantity sufficient to 100 parts.

The penetration of the ink may be increased ad libitum by the addition of a few drops of absolute alcohol, or, better, of benzol.

«Reinking.»—For reinking ribbons use the following recipe for black: One ounce aniline black; 15 ounces pure grain alcohol; 15 ounces concentrated glycerine. Dissolve the aniline black in the alcohol and then add the glycerine. For blue use Prussian blue, and for red use red lead instead of the aniline black. This ink is also good for rubber stamp pads. {414}

«WRITING INKS.»

The common writing fluids depend mostly upon galls, logwood, or aniline for coloring. There are literally thousands of formulas. A few of the most reliable have been gathered together here:

I.—Aleppo galls (well bruised), 4 ounces; clean soft water, I quart; macerate in a clean corked bottle for 10 days or a fortnight or longer, with frequent agitation; then add of gum arabic (dissolved in a wineglassful of water), 1 1⁠/⁠2 ounces; lump sugar, 1⁠/⁠2 ounce. Mix well, and afterwards further add of sulphate of iron (green copperas crushed small), 1 1⁠/⁠2 ounces. Agitate occasionally for 2 or 3 days, when the ink may be decanted for use, but is better if the whole is left to digest together for 2 or 3 weeks. When time is an object, the whole of the ingredients may at once be put into a bottle, and the latter agitated daily until the ink is made; and boiling water instead of cold water may be employed. Product, 1 quart of excellent ink, writing pale at first, but soon turning intensely black.

II.—Aleppo galls (bruised), 12 pounds; soft water, 6 gallons. Boil in a copper vessel for 1 hour, adding more water to make up for the portion lost by evaporation; strain, and again boil the galls with water, 4 gallons, for 1⁠/⁠2 hour; strain off the liquor, and boil a third time with water, 2 1⁠/⁠2 gallons, and strain. Mix the several liquors, and while still hot add of green copperas (coarsely powdered), 4 1⁠/⁠2 pounds; gum arabic (bruised small), 4 pounds. Agitate until dissolved, and after defecation strain through a hair sieve, and keep in a bunged cask for use. Product, 12 gallons.

III.—Aleppo galls (bruised), 14 pounds; gum, 5 pounds. Put them in a small cask, and add boiling soft water, 15 gallons. Allow the whole to macerate, with frequent agitation, for a fortnight, then further add of green copperas, 5 pounds, dissolved in water, 7 pints. Again mix well, and agitate the whole once daily for 2 or 3 weeks. Product, 15 gallons.

«Brown Ink.»—I.—To make brown ink, use for coloring a strong decoction of catechu; the shade may be varied by the cautious addition of a little weak solution of bichromate of potash.

II.—A strong decoction of logwood, with a very little bichromate of potash.

«Blue Ink.»—To make blue ink, substitute for the black coloring sulphate of indigo and dilute it with water till it produces the required color.

«Anticorrosive or Asiatic Ink.»—I.—Galls, 4 pounds; logwood, 2 pounds; pomegranate peel, 2 pounds; soft water, 5 gallons. Boil as usual; then add to the strained, decanted cold liquor, 1 pound of gum arabic, lump sugar or sugar candy, 1⁠/⁠4 pound; dissolved in water, 3 pints. Product, 4 1⁠/⁠2 gallons. Writes pale, but flows well from the pen, and soon darkens.

II.—Bruised galls, 14 pounds; gum, 5 pounds. Put them in a small cask, and add of boiling water, 15 gallons. Allow the whole to macerate, with frequent agitation, for 2 weeks, then further add green copperas, 5 pounds, dissolved in 7 pints water. Again mix well, and agitate the whole daily for 2 or 3 weeks.

«Blue-Black Ink.»—Blue Aleppo galls (free from insect perforations), 4 1⁠/⁠2 ounces; bruised cloves, 1 drachm; cold water, 40 ounces; purified sulphate of iron, 1 1⁠/⁠2 ounces; pure sulphuric acid (by measure), 35 minims; sulphate of indigo (in the form of a paste), which should be neutral, or nearly so, 1 ounce. The weights used are avoirdupois, and the measures apothecaries’. Place the galls, then bruised with the cloves, in a 50-ounce bottle, pour upon them the water, and digest, often daily shaking for a fortnight. Then filter through paper in another 50-ounce bottle. Get out also the refuse galls, and wring out of it the remaining liquid through a strong, clean linen or cotton cloth, into the filter, in order that as little as possible may be lost. Next put in the iron, dissolve completely, and filter through paper. Then the acid, and agitate briskly. Lastly, the indigo, and thoroughly mix by shaking. Pass the whole through paper; just filter out of one bottle into another until the operation is finished.

NOTE.—No gum or sugar is proper and on no account must the acid be omitted. When intended for copying, 5 1⁠/⁠2 ounces of galls is the quantity. On the large scale this fine ink is made by percolation.

«Colored Inks.»—Inks of various colors may be made from a strong decoction of the ingredients used in dyeing, mixed with a little alum or other substance used as a mordant, and gum arabic. Any of the ordinary water-color cakes employed in drawing diffused through water may also be used for colored ink. {415}

«COPYING INK.»

This is usually prepared by adding a little sugar to ordinary black ink, which for this purpose should be very rich in color, and preferably made galls prepared by heat. Writing executed with this ink may be copied within the space of 5 or 6 hours, by passing it through a copying press in contact with thin, unsized paper, slightly damped, enclosed between 2 sheets of thick oiled or waxed paper, when a reversed transcript will be obtained, which will read in proper order when the back of the copy is turned upwards. In the absence of a press a copy may be taken, when the ink is good and the writing very recent, by rolling the sheets, duly arranged on a ruler, over the surface of a flat, smooth table, employing as much force as possible, and avoiding any slipping or crumbling of the paper. Another method is to pass a warm flatiron over the paper laid upon the writing. The following proportions are employed:

I.—Sugar candy or lump sugar, 1 ounce; or molasses or moist sugar, 1 1⁠/⁠4 ounces; rich black ink, 1 1⁠/⁠2 pints; dissolve.

II.—Malt wort, 1 pint; evaporate it to the consistence of a syrup, and then dissolve it in good black ink, 1 1⁠/⁠4 pints.

III.—Solazza juice, 2 ounces; mild ale, 1⁠/⁠2 pint; dissolve, strain, and triturate with lampblack (previously heated to dull redness in a covered vessel), 1⁠/⁠4 ounce; when the mixture is complete, add of strong black, 1 1⁠/⁠2 pints; mix well, and in 2 or 3 hours decant the clear.

After making the above mixtures, they must be tried with a common steel pen, and if they do not flow freely, some more unprepared ink should be added until they are found to do so.

«Alizarine Blue.»—In 20 parts of fuming sulphuric acid dissolve 5 parts of indigo, and to the solution add 100 parts of extract of aqueous myrobalous and 10.5 parts iron filings or turning shavings. Finally add:

Gum arabic 1.5 parts Sugar 7.5 parts Sulphuric acid, 66° B 10.5 parts Aniline blue 1.5 parts Carbolic acid 0.5 parts Mirobalan extract to make 1,000 parts.

This ink when first used has a bluish tint, afterwards becoming black.

«Alizarine Green.»—In 100 parts of aqueous extract of gall apples dissolve:

Iron sulphate 30 parts Copper sulphate 0.5 parts Sulphuric acid 2 parts Sugar 8 parts Wood vinegar, rectified 50 parts Indigo carmine 30 parts

«Copying Ink for Copying Without a Press.»—An ordinary thin-paper copying book may be used, and the copying done by transference. It is only necessary to place the page of writing in the letter book, just as one would use a leaf of blotting paper. The superfluous ink that would go into the blotting paper goes on to the leaf of the letter book, and showing through the thin paper gives on the other side of the leaf a perfect transcript of the letter. Any excess of ink on the page, either of the letter or of the copying paper, is removed by placing a sheet of blotting paper between them, and running one’s hand firmly over the whole in the ordinary manner. This ready transcription is accomplished by using ink which dries slowly. Obviously the ink must dry sufficiently slowly for the characters at the top of a page of writing to remain wet when the last line is being written, while it must dry sufficiently to preclude any chance of the copied page being smeared while subsequent pages are being covered. The drying must also be sufficiently rapid to prevent the characters “setting off,” as printers term it, from one page on to another after folding. The formula for the requisite ink is very simple:

Reduce by evaporation 10 volumes of any good ink to 6, then add 4 volumes of glycerine. Or manufacture some ink of nearly double strength, and add to any quantity of it nearly an equal volume of glycerine.

«Gold Ink.»—Mosaic gold, 2 parts; gum arabic, 1 part; rubbed up to a proper condition.

«Green Ink.»—A good, bright green, aniline ink may be made as follows:

Aniline green (soluble) 2 parts Glycerine 16 parts Alcohol 112 parts Mucilage of gum arabic 4 parts

Dissolve the aniline in the alcohol, and add the other ingredients. Most of the gum arabic precipitates, but according to the author of the formula (Nelson) it has the effect of rendering the ink slow-flowing enough to write with. Filter. {416}

«Hectograph Inks» (see also Hectograph).—I.—Black.—Methyl violet, 10 parts; nigrosin, 20 parts; glycerine, 30 parts; gum arabic, 5 parts; alcohol, 60 parts.

II.—Blue.—Resorcin blue M, 10 parts.

Dissolve by means of heat in a mixture of:

Dilute acetic acid 1 part Distilled water 85 parts Glycerine 4 parts Alcohol, 90 per cent 10 parts

III.—Green.—Aniline green, water solution, 15 parts; glycerine, 10 parts; Water, 50 parts; alcohol, 10 parts.

«Paste Ink to Write with Water.»—I.—Black.—Take 4 parts of bichromate of potash, pulverized, and mixed with 25 parts of acetic acid; 50 parts of liquid extract of logwood; 1⁠/⁠4 part of picric acid; 10 parts of pulverized sal sorrel; 10 parts of mucilage; and 1⁠/⁠4 part of citrate of iron, and mix well. The liquid extract of logwood is prepared by mixing 3 parts of an extract of common commercial quality with 2 parts of water.

II.—Red.—Take 1 part of red aniline mixed with 10 parts of acetic acid; 5 parts of citric acid, and 25 parts of mucilage, all well mixed. For use, mix 1 part of the paste with 16 parts of water.

III.—Blue.—Take 2 parts of aniline blue mixed with 10 parts of acetic acid; 5 parts of citric acid, and 40 parts of mucilage, all well mixed. For use, mix 1 part of the paste with 8 parts of water.

IV.—Violet.—Use the same ingredients in the same proportions as blue, with the difference that violet aniline is used instead of blue aniline.

V.—Green.—Take 1 part of aniline blue; 3 parts of picric acid, mixed with 10 parts of acetic acid; 3 parts of citric acid, and 80 parts of mucilage. For use, 1 part of this paste is mixed with 8 parts of water.

VI.—Copying.—Take 6 parts of pulverized bichromate of potash, mixed with 10 parts of acetic acid and 240 parts of liquid extract of logwood, and add a pulverized mixture of 35 parts of alum, 20 parts of sal sorrel, and 20 parts mucilage. Mix well. For use, 1 part of this paste is mixed with 4 parts of hot water.

«Purple Ink.»—I.—A strong decoction of logwood, to which a little alum or chloride of tin has been added.

II. (Normandy).—To 12 pounds of Campeachy wood add as many gallons of boiling water. Pour the solution through a funnel with a strainer made of coarse flannel, or 1 pound of hydrate, or acetate of deutoxide of copper finely powdered (having at the bottom of the funnel a piece of sponge); then add immediately 14 pounds of alum, and for every 340 gallons of liquid add 80 pounds of gum arabic or gum senegal. Let these remain for 3 or 4 days, and a beautiful purple color will be produced.

«Red Ink.»—Brazil wood, ground, 4 ounces; white wine vinegar, hot, 1 1⁠/⁠4 pints. Digest in a glass or a well-tinned copper or enamel saucepan, until the next day; then gently simmer for half an hour, adding toward the end gum arabic and alum, of each, 1⁠/⁠2 ounce.

«Inks for Shading Pen.»—The essential feature in the ink for use with a shading pen is simply the addition of a sufficient quantity of acacia or other mucilaginous substance to impart a proper degree of consistency to the ink. A mixture of 2 parts of mucilage of acacia with 8 of ink gives about the required consistency. The following formulas will probably be found useful:

I.—Water-soluble nigrosin 1 part Water 9 parts Mucilage acacia 1 part

II.—Paris violet 2 parts Water 6 parts Mucilage acacia 2 parts

III.—Methyl violet 1 part Distilled water 7 parts Mucilage acacia 2 parts

IV.—Bordeaux red 3 parts Alcohol 2 parts Water 20 parts Mucilage acacia 2 parts

V.—Rosaniline acetate 2 parts Alcohol 1 part Water 10 parts Mucilage acacia 2 parts

«Silver Ink.»—I.—Triturate in a mortar equal parts of silver foil and sulphate of potassa, until reduced to a fine powder; then wash the salt out, and mix the residue with a mucilage of equal parts of gum arabic water.

II.—Make as gold ink, but use silver leaf or silver bronze powder.

III.—Oxide of zinc 30 grains Mucilage 1 ounce Spirit of wine 40 drops Silver bronze 3 drachms

Rub together, until perfectly smooth, {417} the zinc and mucilage, then add the spirit of wine and silver bronze and make up the quantity to 2 ounces with water.

«Violet Ink.»—I.—For 2 gallons, heat 2 gills of alcohol on a water bath. Add to the alcohol 2 ounces of violet aniline, and stir till dissolved; then add the mixture to 2 gallons of boiling water; mix well, and it is ready for use. Smaller quantities in proportion.

II.—Another good violet ink is made by dissolving some violet aniline in water to which some alcohol has been added. It takes very little aniline to make a large quantity of the ink.

«White Ink» (for other White Inks see Blueprint Inks).—So-called white inks are, properly speaking, white paints, as a white solution cannot be made. A paint suitable for use as an “ink” may be made by grinding zinc oxide very fine on a slab with a little tragacanth mucilage, and then thinning to the required consistency to flow from the pen. The mixture requires shaking or stirring from time to time to keep the pigment from separating. The “ink” may be preserved by adding a little oil of cloves or other antiseptic to prevent decomposition of the mucilage.

White marks may sometimes be made on colored papers by the application of acids or alkalies. The result, of course, depends on the nature of the coloring matter in each instance, and any “ink” of this kind would be efficacious or otherwise, according to the coloring present in the paper.

«Yellow Ink.»—I.—Gamboge (in coarse powder), 1 ounce; hot water, 5 ounces. Dissolve, and when cold, add of spirit, 3⁠/⁠4 ounce.

II.—Boil French berries, 1⁠/⁠2 pound, and alum, 1 ounce, in rain water, 1 quart, for 1⁠/⁠2 an hour, or longer, then strain and dissolve in the hot liquor gum arabic, 1 ounce.

«Waterproof Ink» (see also Indelible Inks).—Any ordinary ink may be made waterproof by mixing with it a little ordinary glue. After waterproofing ink in this way it is possible to wash drawings with soap and water, if necessary, without the ink running at all.

«White Stamping Ink.»—

Zinc white 2 drachms White precipitate 5 grains Mucilage 1 drachm Water 6 drachms

Triturate the zinc white with a small quantity of water till quite smooth, then add the mucilage and the remainder of the water.

INK FOR THE LAUNDRY: See Laundry Preparations.

INK FOR LEATHER FINISHERS: See Leather.

INKS FOR TYPEWRITERS: See Typewriter Ribbons.

INK FOR WRITING ON GLASS: See Etching and Glass.

«INLAYING BY ELECTROLYSIS.»

See also Electro-etching, under Etching.

The process consists in engraving the design by means of the sand-blast and stencils on the surface of the article. The design or pattern is rendered conductive and upon this conductive surface a precipitate of gold, silver, platinum, etc., is applied, and fills up the hollows. Subsequently the surface is ground smooth.

«Insect Bites»

«REMEDIES FOR INSECT BITES.»

I.—Carbolic acid 15 grains Glycerine 2 drachms Rose water 4 ounces

II.—Salicylic acid 15 grains Collodion 2 1⁠/⁠2 drachms Spirit of ammonia 5 1⁠/⁠2 drachms

III.—Fluid extract rhus toxicodendron 1 drachm Water 8 ounces

IV.—Ipecac, in powder 1 drachm Alcohol 1 ounce Ether 1 ounce

V.—Betanaphthol 30 grains Camphor 30 grains Lanolin cold cream 1 ounce

VI.—Spirit of sal ammoniac, whose favorable action upon fresh insect bites is universally known, is often unavailable. A simple means to alleviate the pain and swelling due to such bites, when still fresh, is cigar ashes. Place a little ashes upon the part stung, add a drop of water—in case of need beer, wine, or coffee may be used instead—and rub the resulting paste thoroughly into the skin. It is preferable to use fresh ashes of tobacco, because the recent heat offers sufficient guarantee for absolute freedom from impurities. The action of the tobacco ashes is due to the presence of {418} potassium carbonate, which, like spirit of sal ammoniac, deadens the effect of the small quantities of acid (formic acid, etc.) which have been introduced into the small wound by the biting insect.

«Insecticides»

(See also Petroleum.)

«The Use of Hydrocyanic Acid Gas for Exterminating Household Insects.»—Recent successful applications of hydrocyanic acid gas for the extermination of insects infecting greenhouse plants have suggested the use of the same remedy for household pests. It is now an established fact that 1 1⁠/⁠2 grains of 98 per cent pure cyanide of potassium volatilized in a cubic foot of space, will, if allowed to remain for a period of not less than 3 hours, kill all roaches and similar insects.

It may be stated that a dwelling, office, warehouse, or any building may be economically cleared of all pests, provided that the local conditions will permit the use of this gas. It probably would be dangerous to fumigate a building where groceries, dried fruits, meats, or prepared food materials of any kind are stored. Air containing more than 25 per cent of the gas is inflammable; therefore it would be well to put out all fire in an inclosure before fumigating. Hydrocyanic acid, in all its forms, is one of the most violent poisons known, and no neglect should attend its use. There is probably no sure remedy for its effects after it has once entered the blood of any of the higher animals. When cyanide of potassium is being used it should never be allowed to come in contact with the skin, and even a slight odor of the gas should be avoided. Should the operator have any cut or break in the skin of the hands or face it should be carefully covered with court-plaster to prevent the gas coming in contact with the flesh, or a small particle of the solid compound getting into the cut might cause death by poisoning in a few minutes’ time.

Hydrocyanic acid gas should not be used in closely built apartments with single walls between, as more or less of the gas will penetrate a brick wall. An inexperienced person should never use cyanide of potassium for any purpose, and if it be found practicable to treat buildings in general for the extermination of insects, the work should be done only under the direction of competent officials. Experiments have shown that a smaller dose and a shorter period of exposure are required to kill mice than for roaches and household insects generally, and it readily follows that the larger animals and human beings would be more quickly overcome than mice, since a smaller supply of pure air would be required to sustain life in mice, and small openings are more numerous than large ones.

The materials employed and the method of procedure are as follows: After ascertaining the cubic content of the inclosure, provide a glass or stoneware (not metal) vessel of 2 to 4 gallons capacity for each 5,000 cubic feet of space to be fumigated. Distribute the jars according to the space, and run a smooth cord from each jar to a common point near an outside door where they may all be fastened; support the cord above the jar by means of the back of a chair or other convenient object in such a position that when the load of cyanide of potassium is attached it will hang directly over the center of the jar. Next weigh out upon a piece of soft paper about 17 ounces of 98 per cent pure cyanide of potassium, using a large pair of forceps for handling the lumps; wrap up and place in a paper bag and tie to the end of the cord over the jar. After the load for each jar has been similarly provided, it is well to test the working of the cords to see that they do not catch or bind. Then remove the jar a short distance from under the load of cyanide and place in it a little more than a quart of water, to which slowly add 1 1⁠/⁠2 pints of commercial sulphuric acid, stirring freely. The action of the acid will bring the temperature of the combination almost to the boiling point. Replace the jars beneath the bags of cyanide, spreading a large sheet of heavy paper on the floor to catch any acid that may possibly fly over the edge of the jar when the cyanide is dropped, or as a result of the violent chemical action which follows. Close all outside openings and open up the interior of the apartment as much as possible, in order that the full strength of the gas may reach the hiding places of the insects. See that all entrances are locked or guarded on the outside to prevent persons entering; then leave the building, releasing the cords as you go. The gas will all be given off in a few minutes, and should remain in the building at least 3 hours.

When the sulphuric acid comes in contact with the cyanide of potassium the result is the formation of sulphate of potash, which remains in the jar, and the hydrocyanic acid is liberated and {419} escapes into the air. The chemical action is so violent as to cause a sputtering, and frequently particles of the acid are thrown over the sides of the jar; this may be prevented by supporting a sheet of stiff paper over the jar by means of a hole in the center, through which the cord supporting the cyanide of potassium is passed, so that when the cord is released the paper will descend with the cyanide and remain at rest on the top of the jar, but will not prevent the easy descent of the cyanide into the acid. The weight of this paper will in no way interfere with the escape of the gas.

At the end of the time required for fumigation, the windows and doors should be opened from the outside and the gas allowed to escape before anyone enters the building. A general cleaning should follow, as the insects leave their hiding places and, dying on the floors, are easily swept up and burned. The sulphate of potash remaining in the jars is poisonous and should be immediately buried and the jars themselves filled with earth or ashes. No food that has remained during fumigation should be used, and thorough ventilation should be maintained for several hours. After one of these experiments it was noted that ice water which had remained in a closed cooler had taken up the gas, and had both the odor and taste of cyanide.

For dwellings one fumigation each year would be sufficient, but for storage houses it may be necessary to make an application every 3 or 4 months to keep them entirely free from insect pests. The cost of materials for one application is about 50 cents for each 5,000 cubic feet of space to be treated. The cyanide of potassium can be purchased at about 35 cents per pound, and the commercial sulphuric acid at about 4 cents per pound. The strength of the dose may be increased and the time of exposure somewhat shortened, but this increases the cost and does not do the work so thoroughly. In no case, however, should the dose remain less than 1 hour.

The application of this method of controlling household insects and pests generally is to be found in checking the advance of great numbers of some particular insect, or in eradicating them where they have become thoroughly established. This method will be found very advantageous in clearing old buildings and ships of cockroaches.

«APPLICATIONS FOR CATTLE, POULTRY, ETC.:»

See also Veterinary Formulas.

«Fly Protectives for Animals.»—

I.—Oil of cloves 3 parts Bay oil 5 parts Eucalyptus tincture 5 parts Alcohol 150 parts Water 200 parts

II.—Tar well diluted with grease of any kind is as effective an agent as any for keeping flies from cattle. The mixture indicated has the advantage of being cheap. Applying to the legs, neck, and ears will usually be sufficient.

«Cattle Dip for Ticks.»—Dr. Noorgard of the Bureau of Animal Industry finds the following dip useful, immersion lasting one minute:

Sulphur 86 pounds Extra dynamo oil 1,000 gallons

«Insecticides for Animals.»—

I.—Bay oil 500 parts by weight Naphthalene 100 parts by weight Camphor 60 parts by weight Animal oil 25 parts by weight

II.—Bay oil, pressed 400 parts by weight Naphthalene 100 parts by weight Crude carbolic acid 10 parts by weight

«For Dogs, Cats, etc.»—The following is an excellent powder for the removal of fleas from cats or dogs:

Naphthalene 4 av. ounces Starch 12 av. ounces

Reduce to fine powder. A few grains of lampblack added will impart a light gray color, and if desirable a few drops of oil of pennyroyal or eucalyptus will disguise the naphthalene odor.

Rub into the skin of the animal and let the powder remain for a day or two, when the same can be removed by combing or giving a bath, to which some infusion of quassia or quassia chips has been added. This treatment is equally efficient for lice and ticks.

«Poultry Lice Destroyer.»—I.—Twenty pounds sublimed sulphur; 8 pounds fuller’s earth; 2 pounds powdered naphthalene; 1⁠/⁠2 ounce liquid carbolic acid. Mix thoroughly and put up in half-pound tins or boxes. Sprinkle about the nest for use.

II.—Oil of eucalyptus smeared about the coop will cause the parasites to leave. To drive them out of the nests of sitting hens, place in the nest an egg that has been emptied, and into which has been inserted a bit of sponge imbibed in essence of eucalyptus. There may be used also a concentrated solution of extract of tobacco, to which phenol has been added. {420}

III.—Cover the floor or soil of the house with ground or powdered plaster, taken from old walls, etc.

«ANT DESTROYERS:»

A most efficacious means of getting rid of ants is spraying their resorts with petroleum. The common oil is worth more for this purpose than the refined. Two thorough sprayings usually suffice.

In armoires, dressing cases, etc., oil of turpentine should be employed. Pour it in a large plate, and let it evaporate freely. Tobacco juice is another effective agent, but both substances have the drawback of a very penetrating and disagreeable odor.

Boiling water is deadly to ants wherever it can be used (as in the garden, or yard around the house). So is carbon disulphide injected into the nests by aid of a good, big syringe. An emulsion of petroleum and water (oil, 1 part; water, 3 parts) poured on the earth has proven very efficacious, when plentifully used (say from 1 ounce to 3 ounces to the square yard). A similar mixture of calcium sulphide and water (calcium sulphide, 100 parts; water, 1,000 parts; and the white of 1 egg to every quart of water) poured into their holes is also effective.

A weak solution of corrosive sublimate is very deadly to ants. Not only does it kill them eventually, but it seems to craze them before death, so that ants of the same nest, after coming into contact with the poison, will attack each other with the greatest ferocity.

Where ants select a particular point for their incursions it is a good plan to surround it with a “fortification” of obnoxious substance. Sulphur has been used successfully in this way, and so has coal oil. The latter, however, is not a desirable agent, leaving a persistent stain and odor.

The use of carbon disulphide is recommended to destroy ants’ nests on lawns. A little of the disulphide is poured into the openings of the hills, stepping on each as it is treated to close it up. The volatile vapors of the disulphide will penetrate the chambers of the nest in every direction, and if sufficient has been used will kill not only the adult insects but the larvæ as well. A single treatment is generally sufficient.

«Formulas to Drive Ants Away.»—

I.—Water 1 quart Cape aloes 4 ounces

Boil together and add:

Camphor in small pieces 1 1⁠/⁠2 ounces

II.—Powdered cloves 1 ounce Insect powder 1 ounce

Scatter around where ants infest.

III.—Cape aloes 1⁠/⁠2 pound Water 4 pints

Boil together and add camphor gum, 3 ounces. Sprinkle around where the ants infest.

«BEDBUG DESTROYERS.»

A good bug killer is benzine, pure and simple, or mixed with a little oil of mirbane. It evaporates quickly and leaves no stain. The only trouble is the inflammability of its vapor.

The following is a popular preparation: To half a gallon of kerosene oil add a quart of spirit of turpentine and an ounce of oil of pennyroyal. This mixture is far less dangerous than benzine. The pennyroyal as well as the turpentine are not only poisonous but exceedingly distasteful to insects of all kinds. The kerosene while less quickly fatal to bugs than benzine is cheaper and safer, and when combined with the other ingredients becomes as efficient.

Where the wall paper and wood work of a room have become invaded, the usual remedy is burning sulphur. To be efficient the room must have every door, window, crevice, and crack closed. The floor should be wet in advance so as to moisten the air. A rubber tube should lead from the burning sulphur to a key-hole or auger-hole and through it, and by aid of a pair of bellows air should be blown to facilitate the combustion of the sulphur.

«Pastes.»—Some housewives are partial to corrosive sublimate for bedbugs; but it is effective only if the bug eats the poison. The corrosive sublimate cannot penetrate the waxy coat of the insect. But inasmuch as people insist on having this a few formulas are given.

I.—Common soap 1 av. ounce Ammonium chloride 3 av. ounces Corrosive sublimate 3 av. ounces Water enough to make 32 fluidounces.

Dissolve the salts in the water and add the soap.

This will make a paste that can be painted with a brush around in the cracks and crevices. Besides, it will make an excellent filling to keep the cracks of the wall and wainscoting free from bugs of all kinds. The formula could be modified so as to permit the use {421} of Paris green or London purple, if desired. A decoction of quassia could be used to dissolve the soap. The latter paste would, of course, not be poisonous, and in many instances it would be preferred. It is possible to make a cold infusion of white hellebore of 25 per cent strength, and in 1 quart of infusion dissolve 1 ounce of common soap. The advantage of the soap paste is simply to keep the poisonous substance thoroughly distributed throughout the mass at all times. The density of the paste can be varied to suit. Kerosene oil or turpentine could replace 6 ounces or 8 ounces of the water in making the paste, and either of these would make a valuable addition.

Another paste preparation which will meet with hearty recommendation is blue ointment. This ointment, mixed with turpentine or kerosene oil, can be used to good advantage; especially so as the turpentine is so penetrating that both it and the mercury have a chance to act more effectually. It can be said that turpentine will kill the bedbug if the two come in contact; and kerosene is not far behindhand in its deadly work.

II.—Blue ointment 1 ounce Turpentine 3 ounces

Stir well together.

«Liquid Bedbug Preparations.»—There is no doubt that the liquid form is the best to use; unlike a powder, or even a paste, it will follow down a crack into remote places where bugs hide, and will prevent their escape, and it will also kill the eggs and nits. The following substances are the most employed, and are probably the best: Kerosene, turpentine, benzine, carbolic acid, corrosive sublimate solution, oil pennyroyal, and strong solution of soap. Here are several good formulas that can be depended upon:

I.—Oil of pennyroyal 1 drachm Turpentine 8 ounces Kerosene oil, enough to make 1 gallon.

Put up in 8-ounce bottles as a bedbug exterminator.

II.—Oil of eucalyptus 1 drachm Eucalyptus leaves 1 ounce Benzine 2 ounces Turpentine 2 ounces Kerosene enough to make 16 ounces.

Mix the turpentine, benzine, and kerosene oil, and macerate the eucalyptus leaves in it for 24 hours; then strain and make up the measure to 1 pint, having first added the oil of eucalyptus.

«FLY-KILLERS.»

A fly poison that is harmless to man may be made from quassia wood as follows:

Quassia 1,000 parts Molasses 150 parts Alcohol 50 parts Water 5,750 parts

Macerate the quassia in 500 parts of water for 24 hours, boil for half an hour, set aside for 24 hours, then press out the liquid. Mix this with the molasses and evaporate to 200 parts. Add the alcohol and the remaining 750 parts of water, and without filtering, saturate absorbent paper with it.

This being set out on a plate with a little water attracts the flies, which are killed by partaking of the liquid.

«Sticky Preparations.»—

I.—Rosin 150 parts Linseed oil 50 parts Honey 18 parts

Melt the rosin and oil together and stir in the honey.

II.—Rapeseed oil 70 parts Rosin 30 parts

Mix and melt together.

III.—Rosin 60 parts Linseed oil 38 parts Yellow wax 2 parts

IV.—Rosin 10 parts Turpentine 5 parts Rapeseed oil 5 parts Honey 1 part

«Sprinkling Powders for Flies.»—

I.—Long peppers, powdered 5 parts Quassia wood, powdered 5 parts Sugar, powdered 10 parts

Mix, moisten the mixture with 4 parts of alcohol, dry, and again powder. Keep the powder in closely stoppered jars, taking out a sufficient quantity as desired.

II.—Orris root, powdered 4 parts Starch, powdered 15 parts Eucalyptol 1 part

Mix. Keep in a closely stoppered jar or box. Strew in places affected by flies.

«Fly Essences.»—

I.—Eucalyptol 10 parts Bergamot oil 3 parts Acetic ether 10 parts Cologne water 50 parts Alcohol, 90 per cent 100 parts

Mix. One part of this “essence” is {422} to be added to 10 parts of water and sprayed around the rooms frequently.

II.—Eucalyptol 10 parts Acetic ether 5 parts Cologne water 40 parts Tincture of insect powder (1:5) 50 parts

«REMEDIES AGAINST HUMAN PARASITES:»

By weight

I.—Yellow wax 85 parts Spermaceti 60 parts Sweet oil 500 parts

Melt and add:

Boiling distilled water 150 parts

After cooling add:

Clove oil 2 parts Thyme oil 3 parts Eucalyptus oil 4 parts

II.—Bay oil, pressed 100 parts Acetic ether 12 parts Clove oil 4 parts Eucalyptus oil 3 parts

«For Head Lice in Children.»—One of the best remedies is a vinegar of sabadilla. This is prepared as follows: Sabadilla seed, 5 parts; alcohol, 5 parts; acetic acid, 9 parts; and water, 36 parts. Macerate for 3 days, express and filter. The directions are: Moisten the scalp and hair thoroughly at bedtime, binding a cloth around the head, and let remain overnight. If there are any sore spots on the scalp, these should be well greased before applying the vinegar.

«To Exterminate Mites.»—Mix together 10 parts of naphthalene, 10 parts of phenic acid, 5 parts of camphor, 5 parts of lemon oil, 2 parts of thyme oil, 2 parts of oil of lavender, and 2 parts of the oil of juniper, in 500 parts of pure alcohol.

«Vermin Killer.»—

Sabadilla, powder 2 av. ounces Acetic acid 1⁠/⁠2 fluidounce Wood alcohol 2 fluidounces Water sufficient to make 16 fluid ounces.

Mix the acetic acid with 14 fluidounces of water and boil the sabadilla in this mixture for 5 to 10 minutes, and when nearly cold add the alcohol, let stand, and decant the clear solution and bottle.

Directions: Shake the bottle and apply to the affected parts night and morning.

«INSECTICIDES FOR PLANTS.»

Two formulas for insecticides with especial reference to vermin which attack plants:

I.—Kerosene 2 gallons Common soap 1⁠/⁠2 pound Water 1 gallon

Heat the solution of soap, add it boiling hot to the kerosene and churn until it forms a perfect emulsion. For use upon scale insects it is diluted with 9 parts of water; upon other ordinary insects with 15 parts of water, and upon soft insects, like plant lice, with from 20 to 25 parts of water.

For lice, etc., which attack the roots of vines and trees the following is recommended:

II.—Caustic soda 5 pounds Rosin 40 pounds Water, a sufficient quantity.

Dissolve the soda in 4 gallons of water, by the aid of heat, add the rosin and after it is dissolved and while boiling add, slowly, enough water to make 50 gallons. For use, 1 part of this mixture is diluted with 10 parts of water and about 5 gallons of the product poured into a depression near the root of the vine or tree.

«For Cochineal Insects.»—An emulsion for fumagine (malady of orange trees caused by the cochineal insect) and other diseases caused by insects is as follows:

Dissolve, hot, 4 parts of black soap in 15 parts of hot water. Let cool to 104° F., and pour in 10 parts of ordinary petroleum, shaking vigorously. Thus an emulsion of café au lait color is obtained, which may be preserved indefinitely. For employment, each part of the emulsion is diluted, according to circumstances, with from 10 to 20 parts of water.

«For Locusts.»—Much trouble is experienced in the Transvaal and Natal with locust pests, the remedies used being either a soap spray, containing 1 pound ordinary household soap in 5 gallons of water, or arsenite of soda, the latter being issued by the government for the purpose, and also used for the destruction of prickly pear, and as a basis of tick dips. A solution of 1 pound in 10 gallons of water is employed for full-grown insects, and of 1 pound in 20 gallons of water for newly hatched ones, 1 pound of sugar being added to each pound of arsenite dissolved. The solution sometimes causes sores on the skin, and the natives employed in its use are given grease to rub over themselves as a measure of protection. An advantage of the arsenite solution over soap is that much less liquid need be used.

A composition for the destruction of pear blight, which has been patented in {423} the United States, is as follows: Peppermint oil, 16 parts; ammonia water, 60 parts; calomel, 30 parts; and linseed oil, 1,000 parts.

«For Moths and Caterpillars.»—

I.—Venice turpentine 200 parts Rosin 1,000 parts Turpentine 140 parts Tar 80 parts Lard 500 parts Rape oil 240 parts Tallow 200 parts

II.—Rosin 50 parts Lard 40 parts Stearine oil 40 parts

«For Non-Masticating Insects.»—For protection against all non-masticating and many mandibulate insects, kerosene oil is much used. It is exhibited in the form of emulsion, which may be made as follows:

Kerosene 2 gallons Common soap 8 ounces Water 1 gallon

Dissolve the soap in the water by the aid of heat, bring to the boiling point, and add the kerosene in portions, agitating well after each addition. This is conveniently done by means of the pump to be used for spraying the mixture.

«For Scale Insects.»—For destroying scale insects dilute the cochineal emulsion (see above) with 9 times its volume of water; in the case of most others, except lice, dilute with 14 volumes, and for the latter with 20 to 25 volumes.

For the extermination of scale insects, resinous preparations are also employed, which kill by covering them with an impervious coating. Such a wash may be made as follows:

Rosin 3 1⁠/⁠2 pounds Caustic soda 1 pound Fish oil 8 ounces Water 20 gallons

Boil the rosin, soda, and oil with a small portion of the water, adding the remainder as solution is effected.

For the San José scale a stronger preparation is required, the proportion of water being decreased by half, but such a solution is applied only when the tree is dormant.

«Scale Insects on Orange Trees.»—Scale insect enemies of orange trees are directly controlled in two ways: (1) By spraying the infested trees with some liquid insecticide, and (2) by subjecting them to the fumes of hydrocyanic acid gas, commonly designated as “gassing.” The latter method is claimed to be the most effective means known of destroying scale insects. In practice the method consists in closing a tree at night with a tent and filling the latter with the poisonous fumes generated by treating refined potassium cyanide (98 per cent) with commercial sulphuric acid (66 per cent) and water. The treatment should continue from 30 to 40 minutes, the longer time being preferable. The work is done at night to avoid the scalding which follows day applications, at least in bright sunshine.

The oily washes are said to be the best for the use by the spraying method. “Kerosene emulsion” is a type of these washes. A formula published by the United States Department of Agriculture follows: Kerosene, 2 gallons; whale-oil soap, 1⁠/⁠2 pound; water, 1 gallon. The soap is dissolved in hot water, the kerosene added, and the whole thoroughly emulsified by means of a power pump until a rather heavy, creamy emulsion is produced. The quantity of soap may be increased if desired. The insecticide is applied by spraying the infected tree with an ordinary force pump with spraying nozzle.

«Coating Against the Plant Louse.»—(a)—Mix 75 parts of green soap, 50 parts of linseed oil, and 25 parts of carbolic acid. Afterwards mix the mass with 15,000 parts of water.

(b) Mix 4 parts of carbolic acid with 100 parts water glass.

«Louse Washes.»—

Unslaked lime 18 parts Sulphur 9 parts Salt 6.75 parts

Mix as follows: A fourth part of the lime is slaked and boiled for 2⁠/⁠3 of an hour with the sulphur in 22.6 parts of water. The remainder of the lime is then slaked and added with the salt to the hot mixture. The whole is burned for another half hour or an hour, and then diluted to 353 parts. The fluid is applied lukewarm when the plants are not in active growth.

«For Slugs on Roses.»—

Powdered pyrethrum 8 ounces Powdered colocynth 4 ounces Powdered hellebore 16 ounces

«Flea Powder.»—

Naphthalene 4 ounces Talcum 10 ounces Tobacco dust 2 ounces

{424}

«To Keep Flaxseed Free from Bugs.»—As a container use a tin can with a close-fitting top. At the bottom of the can place a small vial of chloroform with a loose-fitting cork stopper. Then pour the flaxseed, whole or ground, into the can, covering the vial. Enough of the chloroform will escape from the vial to kill such insects as infest the flaxseed.

«INSECT POWDERS.»

Pyrethrum, whale oil (in the form of soap), fish oil (in the form of soap), soft soap, paraffine, Prussic acid, Paris green, white lead, sulphur, carbon bisulphide, acorus calamus, camphor, Cayenne pepper, tobacco, snuff, asafetida, white hellebore, eucalyptol, quassia, borax, acetic ether are most important substances used as insecticides, alone, or in combination of two or more of them. The Prussic acid and Paris green are dangerous poisons and require to be used with extreme care:

Insect powder is used for all small insects and as a destroyer of roaches. The observations of some experimenters seem to show that the poisonous principle of these flowers is non-volatile, but the most favorable conditions under which to use them are in a room tightly closed and well warmed. There may be two poisonous principles, one of which is volatile. Disappointment sometimes arises in their use from getting powder either adulterated, or which has been exposed to the air and consequently lost some of its efficiency.

The dust resulting from the use of insect powder sometimes proves irritating to the mucous membranes of the one applying the powder. This is best avoided by the use of a spray atomizer.

Persistence in the use of any means is an important element in the work of destroying insects. A given poison may be employed and no visible result follow at first, when in reality many may have been destroyed, enough being left to deceive the observer as to numbers. They multiply very rapidly, too, it must be remembered, and vigorous work is required to combat this increase. Where they can easily migrate from one householder’s premises to those of another, as in city “flats,” it requires constant vigilance to keep them down, and entire extermination is scarcely to be expected.

The ordinary insect powder on the market is made from pyrethrum carneum, pyrethrum roseum, and pyrethrum cinerariæ-folium. The first two are generally ground together and are commercially called Persian insect powder; while the third is commonly called Dalmatian insect powder. These powders are sold in the stores under many names and in combination with other powders under proprietary names.

The powder is obtained by crushing the dried flowers of the pellitory (pyrethrum). The leaves, too, are often used. They are cultivated in the Caucasus, whence the specific name Caucasicum sometimes used. Pyrethrum belongs to the natural order compositæ, and is closely allied to the chrysanthemum. The active principle is not a volatile oil, as stated by some writers, but a rosin, which can be dissolved out from the dry flowers by means of ether. The leaves also contain this rosin but in smaller proportions than the flowers. Tincture of pyrethrum is made by infusing the dried flowers in five times their weight of rectified spirit of wine. Diluted with water it is used as a lotion.

Borax powder also makes a very good insectifuge. It appears to be particularly effective against the common or kitchen cockroach. Camphor is sometimes used, and the powdered dried root of acorus calamus, the sweet flag. A mixture of white lead with four times its weight of chalk is also highly recommended. The fish-oil soaps used in a powdered form are made from various recipes; of which the following is a typical example:

Powdered rosin 2 pounds Caustic soda 8 ounces Fish or whale oil 4 ounces

Boil together in a gallon of water for at least an hour, replacing some of the water if required.

The following insect-powder formulas are perfectly safe to use. In each instance insect powder relates to either one of the pyrethrum plants powdered, or to a mixture:

I.—Insect powder 8 ounces av. Powdered borax 8 ounces av. Oil of pennyroyal 2 fluidrachms

II.—Insect powder 8 ounces av. Borax 8 ounces av. Sulphur 4 ounces av. Oil of eucalyptus 2 fluidrachms

This formula is especially good for cockroaches:

III.—Insect powder 14 ounces av. Quassia in fine powder 6 ounces av. White hellebore, powdered 2 ounces av.

{425}

«Beetle Powder.»—

Cocoa powder 4 ounces Starch 8 ounces Borax 37 ounces

Mix thoroughly.

«Remedies Against Mosquitoes.»—A remedy to keep off mosquitoes, etc., is composed as follows: Cinnamon oil, 1 part; patchouli oil, 1 part; sandal oil, 4 parts; alcohol, 400 parts. This has a pleasant odor.

Oil of pennyroyal is commonly used to keep mosquitoes away. Some form of petroleum rubbed on the skin is even more efficient, but unpleasant to use, and if left on long enough will burn the skin.

A 40 per cent solution of formaldehyde for mosquito bites gives remarkably quick and good results. It should be applied to the bites as soon as possible with the cork of the bottle, and allowed to dry on. Diluted ammonia is also used to rub on the bites.

«Roach Exterminators.»—Borax, starch, and cocoa are said to be the principal ingredients of some of the roach foods on the market. A formula for a poison of this class is as follows:

Borax 37 ounces Starch 9 ounces Cocoa 4 ounces

«Moth Exterminators.»—Cold storage is the most effective means of avoiding the ravages of moths. Where this is impracticable, as in bureau drawers, camphor balls may be scattered about with satisfactory result. The following is also effective:

Spanish pepper 100 parts Turpentine oil 50 parts Camphor 25 parts Clove oil 10 parts Alcohol, 96 per cent 900 parts

Cut the Spanish pepper into little bits, and pour over them the alcohol and oil of turpentine. Let stand 2 or 3 days, then decant, and press out. To the liquid thus obtained add the camphor and clove oil, let stand a few days, then filter and fill into suitable bottles. To use, imbibe bits of bibulous paper in the liquid and put them in the folds of clothing to be protected.

«Protecting Stuffed Furniture from Moths.»—The stuffing, no matter whether consisting of tow, hair, or fiber, as well as the covering, should be coated with a 10 per cent solution of sulphur in carbon sulphide. The carbon sulphide dissolves the sulphur so as to cause a very fine division and to penetrate the fibers completely.

«Powder to Keep Moths Away.»—

Cloves 2 ounces Cinnamon 2 ounces Mace 2 ounces Black pepper 2 ounces Orris root 2 ounces

Powder coarsely and mix well together.

«Book-Worms.»—When these insects infest books they are most difficult to deal with, as the ordinary destructive agents injuriously affect the paper of the book. The books should be well beaten and exposed to the sun, and a rag moistened with formalin passed through the binding and the covers where possible. In other cases the bottom edge of the binding should be moistened with formalin before putting on the shelves, so that formaldehyde vapor can be diffused.

INSECT POWDERS: See Insecticides.

«INSECT TRAP.»

Into a china wash-basin, half filled with water, pour a glass of beer; cover the basin with a newspaper, in the center of which a small round hole is cut. Place it so that the edges of the paper lie on the floor and the hole is over the center of the basin. At night beetles and other insects, attracted by the smell of beer, climb the paper and fall through the hole into the liquid.

INSTRUMENT ALLOYS: See Alloys.

INSTRUMENT CLEANING: See Cleaning Preparations and Methods.

INSTRUMENT LACQUER: See Lacquers.

«Insulation»

«ELECTRIC INSULATION:»

«Insulating Varnishes.»—For earth cables and exposed strong current wires:

I.—Melt 2 parts of asphalt together with 0.4 parts of sulphur, add 5 parts of linseed-oil varnish, linseed oil or cottonseed oil, keep at 320° F. for 6 hours; next pour in oil of turpentine as required.

II.—Maintain 3 parts of elaterite with 2 parts of linseed-oil varnish at 392° F. for 5 to 6 hours; next melt 3 parts of asphalt, pour both substances together, and again maintain the temperature of {426} 392° F. for 3 to 4 hours, and then add 1 part of linseed-oil varnish and oil of turpentine as required.

III.—Insulating Varnish for Dynamos and Conduits with Low Tension.—Shellac, 4 parts; sandarac, 2 parts; linoleic acid, 2 parts; alcohol, 15 parts.

IV.—An insulating material which contains no caoutchouc is made by dissolving natural or coal-tar asphalt in wood oil, adding sulphur and vulcanizing at 572° F. The mixture of asphalt and wood oil may also be vulcanized with chloride of sulphur by the ordinary process used for caoutchouc. Before vulcanizing, a solution of rubber scraps in naphthalene is sometimes added and the naphthalene expelled by a current of steam. Substitutes for hard rubber are made of natural or artificial asphalt combined with heavy oil of tar and talc or infusorial earth.

Most of the insulating materials advertised under alluring names consist of asphalt combined with rosin, tar, and an inert powder such as clay or asbestos. Some contain graphite, which is a good conductor and therefore a very undesirable ingredient in an insulator.

«INSULATION AGAINST HEAT.»

An asbestos jacket is the usual insulator for boilers, steampipes, etc. The thicker the covering around the steampipe, the more heat is retained. A chief requirement for such protective mass is that it contains air in fine channels, so that there is no connection with the closed-in air. Most substances suitable for insulating are such that they can only with difficulty be used for a protective mass. The most ordinary way is to mix infusorial earth, kieselguhr, slag-wool, hair, ground cork, etc., with loam or clay, so that this plastic mass may be applied moist on the pipes. In using such substances care should be taken carefully to clean and heat the surfaces to be covered. The mass for the first coating is made into a paste by gradual addition of water and put on thick with a brush. After drying each time a further coating is applied. This is repeated until the desired thickness is reached. The last layer put on is rubbed smooth with the flat hand. Finally, strips of linen are wound around, which is coated with tar or oil paint as a protection against outside injuries. Cork stones consist of crushed cork with a mineral binding agent, and are sold pressed into various shapes.

«Leather Waste Insulation.»—Portions of leather, such as the fibers of sole leather of any size and form, are first rendered soft. The surface is then carded or the surface fibers scratched or raised in such a manner that when several pieces are pressed together their surface fibers adhere, and a compact, durable piece of leather is produced. The carding can be done by an ordinary batting machine, the action of which is so regulated that not only are the pieces of leather softened, but the fibers on their surfaces raised. The structure of the separate pieces of leather remains essentially unaltered. The raised fibers give the appearance of a furry substance to the leather. The batted pieces of leather are well mixed with paste or some suitable gum, either in or outside of the machine, and are then put into specially shaped troughs, where they are pressed together into layers of the required size and thickness. The separate pieces of leather adhere and are matted together. An agglutinant, if accessible, will contribute materially to the strength and durability of the product. The layers are dried, rolled, and are then ready for use. The pieces need not be packed together promiscuously. If larger portions of waste can be secured, the separate pieces can be arranged one upon another in rows. The larger pieces can also be used for the top and bottom of a leather pad, the middle portion of which consists of smaller pieces.

«INSULATION AGAINST MOISTURE, WEATHER, ETC.»

Experiments have shown that with the aid of red lead a very serviceable, resistive, and weatherproof insulation material may be produced from inferior fibers, to take the place, in many cases, of gutta-percha and other substances employed for insulating purposes, and particularly to effect the permanent insulation of aerial conductors exposed to the action of the weather. Hackethal used for the purpose any vegetable fiber which is wrapped around the conductors to be insulated. The fiber is then saturated with liquid red lead. The latter is accomplished in the proportion of 4 to 5 parts of red lead, by weight, to 1 part, by weight, of linseed oil, by the hot or cold process, by mere immersion or under pressure. All the three substances, fiber, oil, and red lead, possess in themselves a certain insulating capacity, but none of them is alone of utility for such purposes. Even the red lead mixed with linseed oil does not possess in the liquid state a high degree of insulating power. {427} Only when both substances, the ingredients of the linseed oil capable of absorbing oxygen and the lead oxide rich in oxygen, oxidize in the air, a new gummy product of great insulating capacity results.

INTENSIFIERS: See Photography.

«IODINE SOLVENT.»

Iodine is quickly dissolved in oils by first rubbing up the iodine with one-fourth of its weight of potassium iodide and a few drops of glycerine, then adding a little oil and rubbing up again. The addition of the resultant liquid to the rest of the oil and a sharp agitation finishes the process.

IODINE SOAP: See Soap.

«IODOFORM DEODORIZER.»

Rub the part with about a teaspoonful of wine vinegar, after a previous thorough washing with soap.

«Iron»

(See also Metals and Steel.)

«To Color Iron Blue.»—One hundred and forty parts of hyposulphite of soda are dissolved in 1,000 parts of water; 35 parts of acetate of lead are dissolved in 1,000 parts of water; the two solutions are mixed, boiled, and the iron is immersed therein. The metal takes a blue color, such as is obtained by heating.

«To Distinguish Iron from Steel.»—The piece of metal to be tested is washed and then plunged into a solution of bichromate of potash, with the addition of considerable sulphuric acid. In half a minute or a minute the metal can be taken out, washed, and wiped. Soft steels and cast iron assume under this treatment an ash-gray tint. Tempered steels become almost black, without any metallic reflection. Puddled and refined irons remain nearly white and always have metallic reflections on the part of their surface previously filed, the remainder of the surface presenting irregular blackish spots.

Another method is to apply a magnet. Steel responds much more quickly and actively to the magnetic influence than does iron.

«Powder for Hardening Iron and Steel.»—For wrought iron place in the charge 20 parts, by weight, of common salt; 2 parts, by weight, of potassium cyanide; 0.3 parts, by weight, of potassium bichromate; 0.15 parts, by weight, of broken glass; and 0.1 part, by weight, of potassium nitrate for case-hardening. For cooling and hardening cast iron: To 60 parts, by weight, of water add 2.5 parts, by weight, of vinegar; 3 parts, by weight, of common salt; and 0.25 parts, by weight, of hydrochloric acid.

«Preventing the Peeling of Coatings for Iron.»—To obviate the scaling of coatings on iron, if exposed to the attacks of the weather, it is advisable to wash the iron thoroughly and to paint it next with a layer of boiling linseed oil. If thus treated, the paint never cracks off. If the iron objects are small and can be heated, it is advantageous to heat them previously and to dip them into linseed oil. The boiling oil enters all the pores of the metal and drives out the moisture. The coating adheres so firmly that frost, rain, nor wind can injure it.

«To Soften Iron Castings.»—To soften hard iron castings, heat the object to a high temperature, cover it over with fine coal dust or some similar substance, and allow it to cool gradually. When the articles are of small size, a number of them are packed in a crucible with substances yielding carbon to iron at a glowing heat. The crucible is then tightly closed, and placed in a stove or on an open fire. It is gradually heated and kept at a red heat for several hours, and then allowed to cool slowly. Cast-iron turnings, carbonate of soda, and unrefined sugar are recommended as substances suitable for packing in the crucible with the castings. If unrefined sugar alone is added, the quantity must not be too small. By this process the iron may be rendered extremely soft.

«To Whiten Iron.»—Mix ammoniacal salt in powder with an equal volume of mercury. This is dissolved in cold water and mixed thoroughly. Immerse the metal, heated to redness, in this bath and it will come out possessing the whiteness and beauty of silver. Care should be taken not to overheat the article and thus burn it.

IRON, BITING OFF RED HOT: See Pyrotechnics.

IRON, CEMENTS FOR: See Adhesives.

IRON, TO CLEAN: See Cleaning Preparations and Methods.

IRON TO CLOTH, GLUING: See Adhesives. {428}

IRON, HOW TO ATTACH RUBBER TO: See Adhesives, under Rubber Cements.

IRON OXALATE DEVELOPER: See Photography.

IRON SOLDERS: See Solders.

IRONING WAX: See Laundry Preparations.

IRON VARNISHES: See Varnishes.

ITCH, BARBERS’: See Ointments.

«Ivory»

(See also Bones, Shell, and Horn.)

«TO COLOR IVORY:»

Red.—The article is placed for 24 hours in water, 1,000 parts of which carry 100 parts of vinegar (acetic acid, 6 per cent), and from 1 to 5 parts of aniline red. As soon as it acquires the desired color pour off the liquid, let the ivory dry, and polish with Vienna lime.

Black.—Wash the article first in potash or soda lye and then put into a neutral solution of silver nitrate. Drain off the liquid and lay in the direct sunshine.

Red-Purple.—Put the article in a weak solution of triple gold chloride and then into direct sunshine.

Red.—For a different shade of red (from the first given), place the article for a short time in water weakly acidified with nitric acid and then in a solution of cochineal in ammonia.

Yellow.—Leave for several hours in a solution of lead acetate, rinse and dry. When quite dry place in a solution of potassium chromate.

To Color Billiard Balls Red.—

Fiery Red.—Wash the article first in a solution of carbonate of soda, then plunge for a few seconds in a bath of equal parts of water and nitric acid. Remove, rinse in running water; then put in an alcoholic solution of fuchsine and let it remain until it is the required color.

Cherry Red.—Clean by washing in the sodium carbonate solution, rinse and lay in a 2 per cent solution of tin chloride, for a few moments, then boil in a solution of logwood. Finally lay in a solution of potassium carbonate until it assumes the desired color.

Pale Red.—Wash in soda solution, rinse and lay for 25 minutes in a 5 per cent solution of nitric acid, rinse, then lay for several minutes in a weak solution of tin chloride. Finally boil in the following solution: Carmine, 2 parts; sodium carbonate, 12 parts; water, 200 parts; acetic acid enough to saturate.

Brown.—Apply several coats of an ammoniacal solution of potassium permanganate. Similar results are obtained if the solution is diluted with vinegar, and the ivory article allowed to remain in the liquid for some time.

«Etching on Ivory» (see also Etching).—Although decorations on ivory articles, such as umbrella handles, cuff-buttons, fans, book-covers, boxes, etc., are generally engraved, the work is frequently done by etching. The patterns must be very delicate, and are executed in lines only. The simplest way is to cover the surface with a thin rosin varnish. Then transfer the pattern and scratch it out accurately with a pointed needle. Otherwise proceed same as in etching on metal and stone, making an edge of modeling wax around the surface to be etched and pouring on the acid, which consists, in this case, of sulphuric acid, 1 part, to which 5 to 6 parts of water are added. It acts very quickly. The lines turn a deep black. If brown lines are desired, dissolve 1 part of silver nitrate in 5 parts of water, etch for a short time, and expose the article for a few hours to the light, until the design turns brown. Very often etchings in ivory are gilded. For this purpose, fill the etched patterns accurately with siccatives, using a writing pen, dry, and dab on gold leaf. After a few hours remove the superfluous gold with wadding, and the design will be nicely gilded. Etched ivory articles present a very handsome appearance if they are first covered with a silvery gloss, the design being gilded afterwards. For the former purpose the etched object is laid in the above described solution of silver nitrate until it has acquired a dark yellow color. Then rinse it off in clean water and, while still moist, expose to direct sunlight. After 3 to 4 hours the surface becomes entirely black, but will take on a fine silvery luster if rubbed with soft leather.

«Flexible Ivory.»—To soften ivory and render it flexible put pure phosphoric acid (specific gravity, 1.13) into a wide-mouthed bottle or jar that can be covered, and steep the ivory in this until it partially loses its opacity; then wash the ivory in cold, soft water and dry, when the ivory will be found soft and flexible. {429} It regains its hardness in course of time when freely exposed to air, although its flexibility can be restored by immersing the ivory in hot water.

Another softening fluid is prepared by mixing 1 ounce of spirit of niter with 5 ounces of water and steeping the ivory in the fluid for 4 or 5 days.

«Hardened Ivory.»—To restore the hardness to ivory that has been softened by the above methods, wrap it in a sheet of white writing paper, cover it with dry decrepitated salt, and let it remain thus covered for 24 hours. The decrepitated salt is prepared by strewing common kitchen salt on a plate or dish and standing same before a fierce fire, when the salt loses its crystalline appearance and assumes a dense opaque whiteness.

«IMITATION IVORY:»

See also Casein and Plaster.

Manufacture of Compounds Imitating Ivory, Shell, etc.—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.

When 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 of water for 10 to 25 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 reservoir furnished 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 it should be 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 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, operated 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 parts of alcohol for 100 parts 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 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 195° to 215° 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, {430} and by using a large proportion of caseinate, products may be manufactured at an extremely low cost.

«IVORY AND BONE BLEACHES.»

If simply dirty, scrub with soap and tepid water, using an old tooth or nail brush for the purpose. Grease stains may be sometimes removed by applying a paste of chalk or whiting and benzol, covering the article so that the benzol may not dry too rapidly. Carbon disulphide (the purified article) may be used in place of benzol. When dry, rub off with a stiff brush. If not removed with the first application, repeat the process. Delicately carved articles that show a tendency to brittleness should be soaked for a short time in dilute phosphoric acid before any attempt to clean them is made. This renders the minuter portions almost ductile, and prevents their breaking under cleaning.

The large scratched brush should be treated as follows: If the scratches are deep, the surface may be carefully rubbed down to the depth of the scratch, using the finest emery cloth, until the depth is nearly reached, then substituting crocus cloth.

To restore the polish nothing is superior to the genuine German putz pomade, following by rubbing first with chamois and finishing off with soft old silk. The more “elbow grease” put into the rubbing the easier the task, as the heat generated by friction seems to lend a sort of ductility to the surface. To remove the yellow hue due to age, proceed as follows: Make a little tripod with wire, to hold the object a few inches above a little vessel containing lime chloride moistened with hydrochloric acid; put the object on the stand, cover the whole with a bell glass, and expose to direct sunlight. When bleached, remove and wash in a solution of sodium bicarbonate, rinse in clear water and dry.

Like mother-of-pearl, ivory is readily cleaned by dipping in a bath of oxygenized water or immersing for 15 minutes in spirits of turpentine, and subsequently exposing to the sun for 3 or 4 days. For a simple cleaning of smooth articles, wash them in hot water, in which there has been previously dissolved 100 parts (by weight) of bicarbonate of soda per 1,000 parts of water. To clean carved ivory make a paste of very fine, damp sawdust, and put on this the juice of 1 or 2 lemons, according to the article to be treated. Now apply a layer of this sawdust on the ivory, and when dry brush it off and rub the object with a chamois.

«IVORY TESTS.»

Many years ago an article was introduced in the industrial world which in contradistinction to the genuine animal ivory, has its origin in the vegetable kingdom, being derived from the nut of a palm-like shrub called phytelephasmacrocarpa, whose fruit reaches the size of an apple. This fruit has a very white, exceedingly hard kernel which can be worked like ivory. A hundred of these fruits only costing about $1, their use offers great advantages. Worked on the lathe this ivory can be passed off as the genuine article, it being so much like it that it is often sold at the same price. It can also be colored just like genuine ivory.

To distinguish the two varieties of ivory, the following method may be employed: Concentrated sulphuric acid applied to vegetable ivory will cause a pink coloring in about 10 or 12 minutes, which can be removed again by washing with water. Applied on genuine ivory, this acid does not affect it in any manner.

IVORY BLACK: See Bone Black.

IVORY CEMENT: See Adhesives.

IVORY GILDING: See Plating.

IVORY POLISHES: See Polishes.

JAPAN BLACK: See Paints.

JAPANNING AND JAPAN TINNING: See Varnishes.

JASMINE MILK: See Cosmetics.

JELLY (FRUIT) EXTRACT: See Essences and Extracts.

JEWELERS’ CEMENTS: See Adhesives.

JEWELERS’ CLEANING PROCESSES: See Cleaning Preparations and Methods.

«Jewelers’ Formulas»

(See also Gems, Gold, and Watchmakers’ Recipes.)

«Coloring Gold Jewelry.»—Following are several recipes for coloring: Saltpeter, 40 parts; alum, 30 parts; sea salt, 30 parts; or, liquid ammonia, 100 parts; sea salt, 3 parts; water, 100 parts. Heat without allowing to boil and plunge {431} the objects into it for 2 or 3 minutes, stirring constantly; rinse in alum water and then in clean water. Another recipe: Calcium bromide, 100 parts; bromine, 5 parts. Place the articles in this solution, with stirring, for 2 to 3 minutes; next wash in a solution of hyposulphite of sodium and rinse in clean water. Another: Verdigris, 30 parts; sea salt, 30 parts; blood stone, 30 parts; sal ammoniac, 30 parts; alum, 5 parts. Grind all and stir with strong vinegar; or, verdigris, 100 parts; hydrochlorate of ammonia, 100 parts; saltpeter, 65 parts; copper filings, 40 parts. Bray all and mix with strong vinegar.

«To Widen a Jewel Hole.»—Chuck the hole in a lathe with cement. Place a spirit lamp underneath to prevent the cement from hardening. Hold the pointed bit against the hole, while the lathe is running, until the hole is true, when the lamp should be removed. The broach to widen the hole should be made of copper, of the required size and shape, and the point, after being oiled, should be rolled in diamond dust until it is entirely covered. The diamond dust should then be beaten in with a burnisher, using very light blows so as not to bruise the broach. After the hole is widened as desired, it requires polishing with a broach made of ivory and used with oil and the finest diamond dust, loose, not driven into the broach.

«To Clean Jet Jewelry.»—Reduce bread crumbs into small particles, and introduce into all the curves and hollows of the jewelry, while rubbing with a flannel.

«Coloring Common Gold.»—In coloring gold below 18 carat, the following mixture may be used with success, and if carefully employed, even 12 carat gold may be colored by it: Take nitrate of potassa (saltpeter), 4 parts, by weight; alum, 2 parts; and common salt, 2 parts. Add sufficient warm water to mix the ingredients into a thin paste; place the mixture in a small pipkin or crucible and allow to boil. The article to be colored should be suspended by a wire and dipped into the mixture, where it should remain from 10 to 20 minutes. The article should then be removed and well rinsed in hot water, when it must be scratch brushed, again rinsed and returned to the coloring salts for a few minutes; it is then to be again rinsed in hot water, scratch brushed, and finally brushed with soap and hot water, rinsed in hot water, and placed in boxwood sawdust. The object being merely to remove the alloy, as soon as the article has acquired the proper color of fine gold it may be considered sufficiently acted upon by the above mixture. The coloring salts should not be used for gold of a lower standard than 12 carat, and, even for this quality of gold, some care must be taken when the articles are of a very slight make.

«Shades of Red, etc., on Matt Gold Bijouterie.»—For the production of the red and other shades on matt gold articles, the so-called gold varnishes are employed, which consist of shellac dissolved in alcohol and are colored with gum rosins. Thus a handsome golden yellow is obtained from shellac, 35 parts; seed-lac, 35 parts; dragon’s blood, 50 parts; gamboge, 50 parts; dissolved in 400 parts of alcohol; the clear solution is decanted and mixed with 75 parts of Venice turpentine. By changing the amounts of the coloring rosins, shades from bright gold yellow to copper color are obtained. The varnish is applied evenly and after drying is wiped off from the raised portions of the article by means of a pad of wadding dipped into alcohol, whereby a handsome patination effect is produced, since the lacquer remains in the cavities. Chased articles are simply rubbed with earth colors ground into a paste with turpentine oil, for which purpose burnt sienna, fine ochers of a golden color, golden yellow, and various shades of green are employed.

I.—Yellow wax 32 parts Red bole 3 parts Crystallized verdigris 2 parts Alum 2 parts

II.—Yellow wax 95 parts Red bole 64 parts Colcothar 2 parts Crystallized verdigris 32 parts Copper ashes 20 parts Zinc vitriol 32 parts Green vitriol 16 parts Borax 1 part

The wax is melted and the finely powdered chemicals are stirred in, in rotation. If the gilt bronze goods are to obtain a lustrous orange shade, apply a mixture of ferric oxide, alum, cooking salt, and vinegar in the heated articles by means of a brush, heating to about 266° F. until the shade commences to turn black and water sprinkled on will evaporate with a hissing sound, then cool in water, dip in a mixture of 1 part of nitric acid with 40 parts of water, rinse {432} thoroughly, dry, and polish. For the production of a pale-gold shade use a wax preparation consisting of:

III.—Yellow wax 19 parts Zinc vitriol 10 parts Burnt borax 3 parts

Green-gold color is produced by a mixture of:

IV.—Saltpeter 6 parts Green vitriol 2 parts Zinc vitriol 1 part Alum 1 part

«To Matt Gilt Articles.»—If it is desired to matt gilt articles partly or entirely, the portions which are to remain burnished are covered with a mixture of chalk, sugar, and mucilage, heating until this “stopping-off” covering shows a black color. On the places not covered apply a matting powder consisting of:

Saltpeter 40 parts Alum 25 parts Cooking salt 35 parts

Heat the objects to about 608° F., whereby the powder is melted and acquires the consistency of a thin paste. In case of too high a temperature decomposition will set in.

«To Find the Number of Carats.»—To find the number of carats of gold in an object, first weigh the gold and mix with seven times its weight in silver. This alloy is beaten into thin leaves, and nitric acid is added; this dissolves the silver and copper. The remainder (gold) is then fused and weighed; by comparing the first and last weights the number of carats of pure gold is found. To check repeat several times.

«Acid Test for Gold.»—The ordinary ready method of ascertaining whether a piece of jewelry is made of gold consists in touching it with a glass stopper wetted with nitric acid, which leaves gold untouched, but colors base alloys blue from the formation of nitrate of copper.

«Imitation Diamonds.»—I.—Minium, 75 parts (by weight); washed white sand, 50 parts; calcined potash, 18 parts; calcined borax, 6 parts; bioxide of arsenic, 1 part. The sand must be washed in hydrochloric acid and then several times in clean water. The specific gravity of this crystal glass is almost the same as that of the diamond.

II.—Washed white sand, 100 parts (by weight): minium, 35 parts; calcined potash, 25 parts; calcined borax, 20 parts; nitrate of potash (crystals), 10 parts; peroxide of manganese, 5 parts. The sand must be washed as above stated.

«Diamantine.»—This substance consists of crystallized boron, the basis of borax. By melting 100 parts of boracic acid and 80 parts of aluminum crystals is obtained the so-called bort, which even attacks diamond. The diamantine of commerce is not so hard.

«To Refine Board Sweepings.»—The residue resulting from a jobbing jeweler’s business, such as board sweepings and other residuum, which is continually accumulating and which invariably consists of all mixed qualities of standard, may have the precious metals recovered therefrom in a very simple manner, as follows: Collect the residue and burn it in an iron ladle or pan, until all grease or other organic matter is destroyed. When cool mix with 1⁠/⁠5 part soda-ash, and melt in a clay crucible. When the metal is thoroughly melted it will leave the flux and sink to the bottom of the crucible; at this stage the flux assumes the appearance of a thin fluid, and then is the time to withdraw the pot from the fire. The metal in the crucible—but not the flux—may now be poured into a vessel of water, stirring the water in a circular direction while the metal is being poured in, which causes it to form into small grains, and so prepares it for the next process. Dissolve the grains in a mixture of nitric acid and water in equal quantities. It takes about four times the quantity of liquid as metal to dissolve. The gold remains undissolved in this mixture, and may be recovered by filtering or decanting the liquid above it in the dissolving vessel; it is then dried, mixed with a little flux, and melted in the usual manner, whereupon pure gold will be obtained. To recover the silver, dilute the solution which has been withdrawn from the gold with six times its bulk of water, and add by degrees small quantities of finely powdered common salt, and this will throw down the silver into a white, curdy powder of chloride of silver. Continue to add salt until no cloudiness is observed in the solution, when the water above the sediment may be poured off; the sediment is next well washed with warm water several times, then dried and melted in the same manner as the gold, and you will have a lump of pure silver.

«Restoration of the Color of Turquoises.»—After a certain time turquoises lose a part of their fine color. It is easy to restore the color by immersing them in a solution of carbonate of soda. But it seems that the blue cannot be restored anew after this operation, if it again becomes dull. The above applies to {433} common turquoises, and not to those of the Orient, of which the color does not change.

«Colorings for Jewelers’ Work.»—I.—Take 40 parts of saltpeter; 30 parts of alum; 30 parts of sea salt; or 100 grams of liquid ammonia; 3 parts sea salt; and 100 parts water. This is heated without bringing it to a boil, and the articles dipped into it for from 2 to 3 minutes, stirring the liquid constantly; after this bath they are dipped in alum water and then thoroughly rinsed in clean water.

II.—One hundred parts of calcium bromide and 2 parts of bromium. The objects are allowed to remain in this solution (which must be also constantly stirred) for from 2 to 3 minutes, then washed in a solution of sodium hyposulphite, after which they must be rinsed in clean water.

III.—Thirty parts of verdigris; 30 parts of sea salt; 30 parts of hematite; 30 parts of sal ammoniac, and 5 parts of alum. This must be all ground up together and mixed with strong vinegar; or we may also use 100 parts of verdigris; 100 parts of hydrochlorate of ammonia; 65 parts of saltpeter, and 40 parts of copper filings, all of which are to be well mixed with strong vinegar.

«22-Carat Solder.»—Soldering is a process which, by means of a more fusible compound, the connecting surfaces of metals are firmly secured to each other, but, for many practical purposes, it is advisable to have the fusing point of the metal and solder as near each other as possible, which, in the majority of cases, preserves a union more lasting, and the joint less distinguishable, in consequence of the similarity of the metal and solder in color, which age does not destroy, and this is not the case with solders the fusible points of which are very low. The metal to be soldered together must have an affinity for the solder, otherwise the union will be imperfect; and the solder should likewise act upon the metal, partly by this affinity or chemical attraction, and partly by cohesive force, to unite the connections soundly and firmly together. Solders should therefore be prepared suitable to the work in hand, if a good and lasting job is to be made. It should always be borne in mind that the higher the fusing point of the gold alloy—and this can be made to vary considerably, even with any specified quality—the harder solder must be used, for, in the case of a more fusible mixture of gold, the latter would melt before the solder and cause the work to be destroyed. A very good formula for the first, or ordinary, 22-carat alloy is this:

dwts. grs. Fine gold 1 0 Fine silver 0 3 Fine copper 0 2 ──────── 1 5

This mixture will answer all the many purposes of the jobber; for soldering high quality gold wares that come for repairs, particularly wedding rings, it will be found admirably suited. If an easier solder is wanted, and such is very often the case with jobbing jewelers, especially where several solderings have to be accomplished, it is as well to have at hand a solder which will not disturb the previous soldering places, for if this is not prevented a very simple job is made very difficult, and a lot of time and patience wholly wasted. To guard against a thing of this kind the following solder may be employed on the top of the previous one:

dwts. grs. Fine gold 1 0 Fine silver 0 3 Yellow brass 0 2 ──────── 1 5

This solder is of the same value as the previous one, but its melting point is lower, and it will be found useful for many purposes that can be turned to good account in a jobbing jeweler’s business.

«JEWELERS’ ALLOYS:»

See also Alloys and Solders.

«18-Carat Gold for Rings.»—Gold coin, 19 1⁠/⁠2 grains; pure copper, 3 grains; pure silver, 1 1⁠/⁠2 grains.

«Cheap Gold, 12 Carat.»—Gold coin, 25 grains; pure copper, 13 1⁠/⁠2 grains; pure silver, 7 1⁠/⁠3 grains.

«Very Cheap 4-Carat Gold.»—Copper, 18 parts; gold, 4 parts; silver, 2 parts.

«Imitations of Gold.»—I.—Platina, 4 pennyweights; pure copper, 2 1⁠/⁠4 pennyweights; sheet zinc, 1 pennyweight; block tin, 1 3⁠/⁠4 pennyweights; pure lead, 1 1⁠/⁠2 pennyweight. If this should be found too hard or brittle for practical use, remelting the composition with a little sal ammoniac will generally render it malleable as desired.

II.—Platina, 2 parts; silver, 1 part; copper, 3 parts. These compositions, when properly prepared, so nearly resemble pure gold that it is very difficult to {434} distinguish them therefrom. A little powdered charcoal, mixed with metals while melting, will be found of service.

«Best Oreide of Gold.»—Pure copper, 4 ounces; sheet zinc, 1 3⁠/⁠4 ounces; magnesia, 5⁠/⁠8 ounce; sal ammoniac, 11⁠/⁠32 ounce; quicklime, 9⁠/⁠32 ounce; cream tartar, 7⁠/⁠8 ounce. First melt the copper at as low a temperature as it will melt; then add the zinc, and afterwards the other articles in powder, in the order named. Use a charcoal fire to melt these metals.

«Bushing Alloy for Pivot Holes, etc.»—Gold coin, 3 pennyweights; silver, 1 pennyweight, 20 grains; copper, 3 pennyweights, 20 grains; palladium, 1 pennyweight. The best composition known for the purpose named.

«Gold Solder for 14- to 16-Carat Work.»—Gold coin, 1 pennyweight; pure silver, 9 grains; pure copper, 6 grains; brass, 3 grains.

«Darker Solder.»—Gold coin, 1 pennyweight; pure copper, 8 grains; pure silver, 5 grains; brass, 2 grains. Melt together in charcoal fire.

«Solder for Gold.»—Gold, 6 pennyweights; silver, 1 pennyweight; copper, 2 pennyweights.

«Soft Gold Solder.»—Gold, 4 parts; silver, 1 part; copper, 1 part.

«Solders for Silver» (for the use of jewelers).—Fine silver, 19 pennyweights; copper, 1 pennyweight; sheet brass, 10 pennyweights.

«White Solder for Silver.»—Silver, 1 ounce; tin, 1 ounce.

«Silver Solder for Plated Metal.»—Fine silver, 1 ounce; brass, 10 pennyweights.

«Solders for Gold.»—I.—Silver, 7 parts; copper, 1 part; with borax.

II.—Gold, 2 parts; silver, 1 part; copper, 1 part.

III.—Gold, 3 parts; silver, 3 parts; copper, 1 part; zinc, 1⁠/⁠2 part.

«For Silver.»—Silver, 2 parts; brass, 1 part; with borax; or, silver, 4 parts; brass, 3 parts; zinc, 1⁠/⁠18 part; with borax.

«Gold Solders» (see also Solders).—I.—Copper, 24.24 parts; silver, 27.57 parts; gold, 48.19 parts.

II.—Enamel Solder.—Copper, 25 parts; silver, 7.07 parts; gold, 67.93 parts.

III.—Copper, 26.55 parts; zinc, 6.25 parts; silver, 31.25 parts; gold, 36 parts.

IV.—Enamel Solder.—Silver, 19.57 parts; gold, 80.43 parts.

«Solder for 22-Carat Gold.»—Gold of 22 carats, 1 pennyweight; silver, 2 grains; copper, 1 grain.

«For 18-Carat Gold.»—Gold of 18 carats, 1 pennyweight; silver, 2 grains; copper, 1 grain.

«For Cheaper Gold.»—I.—Gold, 1 pennyweight; silver, 10 grains; copper, 8 grains.

II.—Fine gold, 1 pennyweight; silver, 1 pennyweight; copper, 1 pennyweight.

«Silver Solders» (see also Solders).—I. (Hard.)—Copper, 30 parts; zinc, 12.85 parts; silver, 57.15 parts.

II.—Copper, 23.33 parts; zinc, 10 parts; silver, 66.67 parts.

III.—Copper, 26.66 parts; zinc, 10 parts; silver, 63.34 parts.

IV. (Soft.)—Copper, 14.75 parts; zinc, 8.50 parts; silver, 77.05 parts.

V.—Copper, 22.34 parts; zinc, 10.48 parts; silver, 67.18 parts.

VI.—Tin, 63 parts; lead, 37 parts.

«FOR SILVERSMITHS:»

I.—Sterling Silver.—Fine silver, 11 ounces, 2 pennyweights; fine copper, 18 pennyweights.

II.—Equal to Sterling.—Fine silver, 1 ounce; fine copper, 1 pennyweight, 12 grains.

III.—Fine silver, 1 ounce; fine copper, 5 pennyweights.

IV.—Common Silver for Chains.—Fine silver, 6 pennyweights; fine copper, 4 pennyweights.

V.—Solder.—Fine silver, 16 pennyweights; fine copper, 12 grains; pin brass, 3 pennyweights, 12 grains.

VI.—Alloy for Plating.—Fine silver, 1 ounce; fine copper, 10 pennyweights.

VII.—Silver Solder.—Fine silver, 1 ounce; pin brass, 10 pennyweights; pure spelter, 2 pennyweights.

VIII.—Copper Solder for Plating.—Fine silver, 10 pennyweights; fine copper, 10 pennyweights.

IX.—Common Silver Solder.—Fine silver, 10 ounces; pin brass, 6 ounces, 12 pennyweights; spelter, 12 pennyweights.

X.—Silver Solder for Enameling.—Fine silver, 14 pennyweights; fine copper, 8 pennyweights.

XI.—For Filling Signet Rings.—Fine silver, 10 ounces; fine copper, 1 ounce, 16 pennyweights; fine pin brass, 6 ounces, 12 pennyweights; spelter, 12 pennyweights. {435}

XII.—Silver Solder for Gold Plating.—Fine silver, 1 ounce; fine copper, 5 pennyweights; pin brass, 5 pennyweights.

XIII.—Mercury Solder.—Fine silver, 1 ounce; pin brass, 10 pennyweights; bar tin, 2 pennyweights.

XIV.—Imitation Silver.—Fine silver, 1 ounce; nickel, 1 ounce, 11 grains; fine copper, 2 ounces, 9 grains.

XV.—Fine silver, 3 ounces; nickel, 1 ounce, 11 pennyweights; fine copper, 2 ounces, 9 grains; spelter, 10 pennyweights.

XVI.—Fine Silver Solder for Filigree Work.—Fine silver, 4 pennyweights, 6 grains; pin brass, 1 pennyweight.

Bismuth Solder.—Bismuth, 3 ounces; lead, 3 ounces, 18 pennyweights; tin, 5 ounces, 6 pennyweights.

«BRASS:»

I.—Yellow Brass for Turning.—(Common article.)—Copper, 20 pounds; zinc, 10 pounds; lead, 4 ounces.

II.—Copper, 32 pounds; zinc, 10 pounds; lead, 1 pound.

III.—Red Brass Free, for Turning.—Copper, 100 pounds; zinc, 50 pounds; lead, 10 pounds; antimony, 44 ounces.

IV.—Best Red Brass for Fine Castings.—Copper, 24 pounds; zinc, 5 pounds; bismuth, 1 ounce.

V.—Red Tombac.—Copper, 10 pounds; zinc, 1 pound.

VI.—Tombac.—Copper, 16 pounds; tin, 1 pound; zinc, 1 pound.

VII.—Brass for Heavy Castings.—Copper, 6 to 7 parts; tin, 1 part; zinc, 1 part.

VIII.—Malleable Brass.—Copper, 70.10 parts; zinc, 29.90 parts.

IX.—Superior Malleable Brass.—Copper, 60 parts; zinc, 40 parts.

X.—Brass.—Copper, 73 parts; zinc, 27 parts.

XI.—Copper, 65 parts; zinc, 35 parts.

XII.—Copper, 70 parts; zinc, 30 parts.

XIII.—German Brass.—Copper, 1 pound; zinc, 1 pound.

XIV.—Watchmakers’ Brass.—Copper, 1 part; zinc, 2 parts.

XV.—Brass for Wire.—Copper, 34 parts; calamine, 56 parts.

XVI.—Brass for Tubes.—Copper, 2 parts; zinc, 1 part.

XVII.—Brass for Heavy Work.—Copper, 100 parts; tin, 15 parts; zinc, 15 parts.

XVIII.—Copper, 112 parts; tin, 13 parts; zinc, 1 part.

XIX.—Tombac or Red Brass.—Copper, 8 parts; zinc, 1 part.

XX.—Brass.—Copper, 3 parts; melt, then add zinc, 1 part.

XXI.—Buttonmakers’ Fine Brass.—Brass, 8 parts; zinc, 5 parts.

XXII.—Buttonmakers’ Common Brass.—Button brass, 6 parts; tin, 1 part; lead, 1 part. Mix.

XXIII.—Mallet’s Brass.—Copper, 25.4 parts; zinc, 74.6 parts. Used to preserve iron from oxidizing.

XXIV.—Best Brass for Clocks.—Rose copper, 85 parts; zinc, 14 parts; lead, 1 part.

«GOLD ALLOYS:»

See also Gold Alloys, under Alloys.

Gold of 22 carats fine being so little used is intentionally omitted.

I.—Gold of 18 Carats, Yellow Tint.—Gold, 15 pennyweights; silver, 2 pennyweights, 18 grains; copper, 2 pennyweights, 6 grains.

II.—Gold of 18 Carats, Red Tint.—Gold, 15 pennyweights; silver, 1 pennyweight, 18 grains; copper, 3 pennyweights, 6 grains.

III.—Spring Gold of 16 Carats.—Gold, 1 ounce, 16 pennyweights; silver, 6 pennyweights; copper, 12 pennyweights. This when drawn or rolled very hard makes springs little inferior to steel.

IV.—Jewelers’ Fine Gold, Yellow Tint, 16 Carats Nearly.—Gold, 1 ounce; silver, 7 pennyweights; copper, 5 pennyweights.

V.—Gold of Red Tint, 16 Carats.—Gold, 1 ounce; silver, 2 pennyweights; copper, 8 pennyweights.

Sterling Gold Alloys.—I.—Fine gold, 18 pennyweights, 12 grains; fine silver, 1 pennyweight; fine copper, 12 grains.

II.—Dry Colored Gold Alloys, 17 Carat.—Fine gold, 15 pennyweights; fine silver, 1 pennyweight, 10 grains; fine copper, 4 pennyweights, 17 grains.

III.—18 Carat.—Fine gold, 1 ounce; fine silver, 4 pennyweights, 10 grains; fine copper, 2 pennyweights, 5 grains.

IV.—18 Carat.—Fine gold, 15 pennyweights; fine silver, 2 pennyweights, 4 grains; fine copper, 2 pennyweights, 19 grains.

V.—18 Carat.—Fine gold, 18 pennyweights; fine silver, 2 pennyweights, 18 {436} grains; fine copper, 3 pennyweights, 18 grains.

VI.—19 Carat.—Fine gold, 1 ounce; fine silver, 2 pennyweights, 6 grains; fine copper, 3 pennyweights, 12 grains.

VII.—20 Carat.—Fine gold, 1 ounce; fine silver, 2 pennyweights; fine copper, 2 pennyweights, 4 grains.

VIII.—22 Carat.—Fine gold, 18 pennyweights; fine silver, 12 grains; fine copper, 1 pennyweight, 3 grains.

IX.—Gold Solder for the Foregoing Alloys.—Take of the alloyed gold you are using, 1 pennyweight; fine silver, 6 grains.

X.—Alloy for Dry Colored Rings.—Fine gold, 1 ounce; fine silver, 4 pennyweights, 6 grains; fine copper, 4 pennyweights, 6 grains.

XI.—Solder.—Scrap gold, 2 ounces; fine silver, 3 pennyweights; fine copper, 3 pennyweights.

XII.—Dry Colored Scrap Reduced to 35s. Gold.—Colored scrap, 1 ounce, 9 pennyweights, 12 grains; fine silver, 2 pennyweights; fine copper, 17 pennyweights, 12 grains; spelter, 4 pennyweights.

«To Quickly Remove a Ring from a Swollen Finger.»—If the ring is of gold, pull the folds of the swollen muscles apart, so that it can be seen, then drop on it a little absolute alcohol and place the finger in a bowl of metallic mercury. In a very few minutes the ring will snap apart. If the ring is of brass, scrape the surface slightly, or put on a few drops of a solution of oxalic acid, or even strong vinegar, let remain in contact for a moment or two, then put into the mercury, and the result will be as before.

«Soldering a Jeweled Ring.»—In order to prevent the bursting of the jewels of a ring while the latter is being soldered, cut a juicy potato into halves and make a hollow in both portions in which the part of the ring having jewels may fit exactly. Wrap the jeweled portion in soft paper, place it in the hollow, and bind up the closed potato with binding wire. Now solder with easy-flowing gold solder, the potato being held in the hand. Another method is to fill a small crucible with wet sand, bury the jeweled portion in the sand, and solder in the usual way.

JEWELRY, TO CLEAN: See Cleaning Preparations and Methods.

«Kalsomine»

Sodium carbonate 8 parts Linseed oil 32 parts Hot water 8 parts White glue 12 parts Whiting 160 parts

Dissolve the sodium carbonate in the hot water, add the oil and saponify by heating and agitation. Cover the glue, broken into small pieces, with cold water and let soak overnight. In the morning pour the whole on a stout piece of stuff and let the residual water drain off, getting rid of as much as possible by slightly twisting the cloth. Throw the swelled glue into a capsule, put on the water bath, and heat gently until it is melted. Add the saponified oil and mix well; remove from the bath, and stir in the whiting, a little at a time, adding hot water as it becomes necessary. When the whiting is all stirred in, continue adding hot water, until a liquid is obtained that flows freely from the kalsomining brush.

The addition of a little soluble blue to the mixture increases the intensity of the white.

«Sizing Walls for Kalsomine.»—A size to coat over “hot walls” for the reception of the kalsomine is made by using shellac, 1 part; sal soda, 1⁠/⁠2 part. Put these ingredients in 1⁠/⁠2 gallon of water and dissolve by steady heat. Another size is made of glue size prepared in the usual way, and alum. To 1⁠/⁠2 pound of white glue add 3⁠/⁠4 pound of alum, dissolving the alum in hot water before adding it to the glue size.

KARATS, TO FIND NUMBER OF: See Jewelers’ Formulas.

KERAMICS: See Ceramics.

KERIT: See Rubber.

KEROCLEAN: See Cleaning Preparations and Methods.

«KEROSENE DEODORIZER:»

See also Benzine, Oils, and Petroleum.

Various processes have been recommended for masking the odor of kerosene such as the addition of various essential {437} oils, artificial oil of mirbane, etc., but none of them seems entirely satisfactory. The addition of amyl acetate in the proportion of 10 grams to the liter (1 per cent) has also been suggested, several experimenters reporting very successful results therefrom. Some years ago Beringer proposed a process for removing sulphur compounds from benzine, which would presumably be equally applicable to kerosene. This process is as follows:

Potassium permanganate 1 ounce Sulphuric acid 1⁠/⁠2 pint Water 3 1⁠/⁠2 pints

Mix the acid and water, and when the mixture has become cold pour it into a 2-gallon bottle. Add the permanganate and agitate until it is dissolved. Then add benzine, 1 gallon, and thoroughly agitate. Allow the liquids to remain in contact for 24 hours, frequently agitating the mixture. Separate the benzine and wash in a similar bottle with a mixture of

Potassium permanganate 1⁠/⁠4 ounce Caustic soda 1⁠/⁠2 ounce Water 2 pints

Agitate the mixture frequently during several hours; then separate the benzine and wash it thoroughly with water. On agitating the benzine with the acid permanganate solution an emulsion-like mixture is produced, which separates in a few seconds, the permanganate slowly subsiding and showing considerable reduction. In the above process it is quite probable that the time specified (24 hours) is greatly in excess of what is necessary, as the reduction takes place almost entirely in a very short time. It has also been suggested that if the process were adopted on a manufacturing scale, with mechanical agitation, the time could be reduced to an hour or two.

KEROSENE-CLEANING COMPOUNDS: See Cleaning Preparations, under Miscellaneous Methods.

KEROSENE EMULSIONS: See Petroleum.

KETCHUP (ADULTERATED), TESTS FOR: See Foods.

KHAKI COLORS: See Dyes.

KID: See Leather.

KISSINGEN SALTS: See Salts (Effervescent).

KISSINGEN WATER: See Waters.

KNIFE-SHARPENING PASTES: See Razor Pastes.

KNOCKENPLOMBE: See Adhesives.

KNOTS: See Paint.

KOLA CORDIAL: See Wines and Liquors.

«KOUMISS SUBSTITUTE:»

See also Beverages.

To prepare a substitute for koumiss from cow’s milk: Dissolve 1⁠/⁠2 ounce grape sugar in 3 fluid ounces water. Mix 18 grains well washed and pressed beer yeast with 2 fluid ounces of cow’s milk. Mix the two liquids in a champagne bottle, fill with milk, stopper securely, and keep for 3 to 4 days at a temperature not exceeding 50° F., shaking frequently. The preparation does not keep longer than 4 to 5 days.

KÜMMEL: See Wines and Liquors.

KWASS: See Beverages.

LABEL PASTES, GLUES, AND MUCILAGES: See Adhesives.

LABEL VARNISHES: See Varnishes.

LACE LEATHER: See Leather.

LACE, TO CLEAN GOLD AND SILVER: See Cleaning Preparations and Methods.

LACES, WASHING AND COLORING OF: See Laundry Preparations.

«Lacquers»

(See also Enamels, Glazes, Paints, Varnishes, and Waterproofing.)

«LAC AND THE ART OF LACQUERING.»

The art of lacquering includes various steps, which are divulged as little as possible. Without them nothing but a varnish of good quality would be realized. Thus in Tonkin, where the abundant {438} production is the object of an important trade with the Chinese, it is so used only for varnishing, while in China the same product from the same sources contributes to most artistic applications.

When the Annamites propose to lacquer an object, a box, for example, they first stop up the holes and crevices, covering all the imperfections with a coating of diluted lac, by means of a flat, close, short brush. Then they cover the whole with a thick coating of lac and white clay. This clay, oily to the touch, is found at the bottom of certain lakes in Tonkin; it is dried, pulverized, and sifted with a piece of fine silk before being embodied with the lac. This operation is designed to conceal the inequalities of the wood and produce a uniform surface which, when completely dry, is rendered smooth with pumice stone.

If the object has portions cut or sunk the clayey mixture is not applied, for it would make the details clammy, but in its place a single, uniform layer of pure lac.

In any case, after the pumicing, a third coating, now pure lac, is passed over the piece, which at this time has a mouse-gray color. This layer, known under the name of sou lot, colors the piece a brilliant black. As the lac possesses the remarkable property of not drying in dry air, the object is left in a damp place. When perfectly dried the piece is varnished, and the desired color imparted by a single operation. If the metallic applications are excepted, the lac is colored only black, brown, or red.

The following formulas are in use:

Black.—One part of turpentine is warmed for 20 minutes beyond the fusing point; then poured into 3 parts of lac; at the same time pheu deu (copperas) is added. The mixture is stirred for at least a day, sometimes more, by means of a large paddle.

Maroon.—This is prepared by a process similar to the preceding, replacing half of the copperas by an equal quantity of China vermilion.

Red.—The lac, previously stirred for 6 hours, is mixed with hot oil of trau, and the whole is stirred for a day, after which vermilion is added. The latter should be of good quality, so as to have it brilliant and unchangeable.

The operation of lacquering is then ended, but there are parts to be gilded. These are again covered with a mixture of lac and oil of trau. When this layer is dry the metallic leaves are applied, which are themselves protected by a coating, composed also of lac and oil of trau. All these lac and oil of trau mixtures are carefully filtered, which the natives effect by pressing the liquid on a double filtering surface formed of wadding and of a tissue on which it rests. It can only be applied after several months when the metallic leaf is of gold. In the case of silver or tin the protecting coat can be laid on in a few days. It favorably modifies the white tints of these two metals by communicating a golden color. The hue, at first reddish, gradually improves and acquires its full brilliancy in a few months.

Little information is procurable concerning the processes employed by the Chinese. The wood to be lacquered should be absolutely dry. It receives successive applications, of which the number is not less than 33 for perfect work. When the lac coating attains the thickness of 1⁠/⁠4 of an inch it is ready for the engravers. The Chinese, like the inhabitants of Tonkin, make use of oil of trau to mix with the lac, or oil of aleurites, and the greatest care is exercised in the drying of the different layers. The operation is conducted in dim-lighted rooms specially fitted up for the purpose; the moisture is maintained to a suitable extent by systematically watering the earth which covers the walls of this “cold stove.”

«Lacquer for Aluminum.»—Dissolve 100 parts of gum lac in 300 parts of ammonia, and heat the solution for about 1 hour moderately on the water bath. After cooling, the mixture is ready for use. The aluminum to be coated is cleaned in the customary manner. After it has been painted with the varnish, it is heated in the oven to about 572° F. The coating and heating may be repeated.

«Lacquer for Brass.»—

Annatto 1⁠/⁠4 ounce Saffron 1⁠/⁠4 ounce Turmeric 1 ounce Seed lac in coarse powder 3 ounces Alcohol 1 pint

Digest the annatto, saffron, and turmeric in the alcohol for several days, then strain into a bottle containing the seed lac; cork and shake until dissolved.

«Lacquer for Bronze.»—I.—The following process yields a protective varnish for bronze articles and other metallic objects in various shadings, the lacquer produced excelling in high luster and permanency: Fill 40 parts of best pale shellac; 12 parts of pulverized Florentine {439} lake; 30 parts gamboge; and 6 parts of dragon’s blood, likewise powdered, into a bottle and add 400 parts of spirit. Allow this mixture to form a solution preferably by heating the flask on the water bath, to nearly the boiling point of the water, and shaking now and then until all has dissolved. After the cooling pour off the liquid from the sediment, if any is present; this liquid constitutes a lacquer of dark-red color. In a second bottle dissolve in the same manner 24 parts of gamboge in 400 parts of spirit, which affords a lacquer of golden yellow color. According to the desired shade, the red lacquer is now mixed with the yellow one, thus producing any hue required from the deepest red to a golden tone. If necessary, thin with spirit of wine. The varnish is applied, as usual, on the somewhat warmed article, a certain temperature having to be adhered to, which can be ascertained by trials and is easily regulated by feeling.

II.—The following is equally suitable for boots and leather goods as for application on iron, stone, glass, paper, cloth, and other surfaces. The inexperienced should note before making this liquid that it does not give a yellowish bronze like gold paint, but a darkish iridescent one, and as it is a pleasing variation in aids to home decoration, it would doubtless sell well. Some pretty effects are obtained by using a little phloxine instead of part of the violet aniline, or phloxine alone will produce a rich reddish bronze, and a lustrous peacock green is obtained with brilliant aniline green crystals.

Quantities: Flexile methylated collodion, 1 gallon; pure violet aniline, 1 pound. Mix, stand away for a few days to allow the aniline to dissolve and stir frequently, taking care to bung down securely, as the collodion is a volatile liquid, then strain and bottle off. It is applied with a brush, dries rapidly, and does not rub off or peal.

«Celluloid Lacquer.»—Dissolve uncolored celluloid in a mixture of strong alcohol and ether. The celluloid first swells up in the solvent, and after vigorous shaking, the bottle is allowed to stand quietly for the undissolved portion to settle, when the clear, supernatant fluid is poured off. The latter may be immediately used; it yields a colorless glossy lacquer, or may be colored, as desired, with aniline colors.

«Colored Lacquer.»—Make a strong solution of any coloring matter which is soluble in methylated spirit, such as cochineal, saffron, the aniline dyes, etc. Filter through fine cambric, and to this filtered solution add brown shellac in flakes in the proportion of 4 to 5 ounces of shellac to each pint of methylated spirit. Shake once a day for about 8 days. If too thick it may be thinned by adding more colored spirit or plain spirit as required, and any lighter shade can be obtained by mixing with plain lacquer mixed in the above proportions. Lacquer works best in a warm, dry place, and the process is improved by slightly warming the articles, which must be absolutely free from grease, dirt, or moisture. The best results are obtained by applying many coats of thin, light-colored lacquer, each coat to be thoroughly dry before applying the next.

Apply with a soft camel’s-hair brush; it is better to use too small a brush than too large. When complete, warm the articles for a few seconds before a clear fire; the hotter the better; if too hot, however, the colors will fade. This makes the lacquer adhere firmly, especially to metallic surfaces. Aniline green works very well.

«Lacquer for Copper.»—A lacquer which to a certain degree resists heat and acid liquids, but not alkaline ones, is obtained by heating fine, thickly liquid amber varnish, whereby it is rendered sufficiently liquid to be applied with the brush. The copper article is coated with this and left to stand until the lacquer has dried perfectly. Next, the object is heated until the lacquer commences to smoke and turns brown. If the operation is repeated twice, a coating is finally obtained, which, as regards resisting qualities to acid bodies, excels even enamel, but which is strongly attacked even by weakly alkaline liquids.

«Ebony Lacquer.»—The ebony lacquer recommended by the well-known English authority, Mr. H. C. Standage, consists of 1⁠/⁠3 ounce aniline hydrochloride, 1⁠/⁠3 ounce alcohol, 1 part sulphate of copper, 100 parts of water. The aniline dye is dissolved in the alcohol and the copper sulphate in the water. The wood is first coated with the copper sulphate solution, and after this coating has been given plenty of time to dry the aniline salt tincture is applied. Shortly the copper salt absorbed by the wood will react on the aniline hydrochloride, developing a deep, rich black which acids or alkalies are powerless to destroy. Coat with shellac and give a French polish, thus bringing the ebony finish up to a durable and unsurpassed luster. {440}

«GOLD LACQUERS:»

I.—For Brassware.—A gold lacquer to improve the natural color of brassware is prepared from 16 parts gum lac, 4 parts dragon’s blood, and 1 part curcuma powder dissolved in 320 parts spirits of wine in the warmth and filtered well. The articles must be thoroughly cleaned by burning, grinding, or turning either dull or burnished, and then coated with a thin layer of the above mixture, applied with a soft hair brush or a pad of wadding. If the objects are colored the lacquer must be laid on by stippling. Should the color be too dark, it may be lightened by reduction with a little spirit until the correct shade is produced. The most suitable temperature for the metal during the work is about the warmth of the hand; if too hot or too cold, the lacquer may smear, and will then have to be taken off again with spirit or hot potash lye, the goods being dried in sawdust or recleaned as at first, before applying the lacquer again. Round articles may be fixed in the lathe and the lacquer laid on with a pad of wadding. In order to color brassware, a solution of 30 parts caustic soda; 10 parts cupric carbonate; 200 parts water (or 200 parts ammonia neutralized by acetic acid); 100 parts verdigris, and 60 parts sal ammoniac is employed, into which the warmed articles are dipped. After having dried they are coated with colorless shellac varnish.

II.—For Tin.—Transparent gold lacquer for tin (all colors) may be made as follows: Take 1⁠/⁠2 pint of alcohol, add 1 ounce gum shellac; 1⁠/⁠2 ounce turmeric; 1 1⁠/⁠4 ounce red sanders. Set the vessel in a warm place and shake frequently for half a day. Then strain off the liquor, rinse the bottle and return it, corking tightly for use. When this is used, it must be applied to the work freely and flowed on full, or if the work admits it, it may be dipped. One or more coats may be given as the color is required light or dark. For rose color substitute 1⁠/⁠4 ounce of finely ground lake in place of the turmeric. For blue, substitute Prussian blue. For purple, add a little of the blue to the turmeric.

For Bottle Caps, etc.—

I.—Gum gutta 10 parts Shellac 100 parts Turpentine 10 parts Alcohol 450 parts

II.—Gum gutta 40 parts Dragon’s blood 5 parts Alcoholic extract of sandalwood 5 parts Sandarac 75 parts Venice turpentine 25 parts Alcohol, 95 per cent 900 parts

Mix and dissolve by the aid of a gentle heat.

«Liquid Bottle Lac.»—Into a half-gallon bottle put 8 ounces of shellac, and pour over it 1 1⁠/⁠2 pints of alcohol of 94 per cent, and 2 1⁠/⁠2 ounces of sulphuric ether. Let stand, with occasional shaking, until the shellac is melted, and then add 4 ounces of thick turpentine and 1⁠/⁠2 ounce of boric acid. Shake until dissolved. To color, use the aniline colors soluble in alcohol—for red, eosine; blue, phenol blue; black, negrosin; green, aniline green; violet, methyl violet, etc. If it is desired to have the lac opaque, add 8 ounces of pulverized steatite, but remember to keep the lac constantly stirred while using, as otherwise the steatite falls to the bottom.

«Lithographic Lacquer.»—Dissolve 15 parts, by weight, of red lithol R or G in paste of 17 per cent, in 150 parts, by weight, of hot water. Boil for 2 minutes, shaking with 2.5 parts, by weight, of barium chloride. Dissolve in 25 parts, by weight, of water. Add to the mixture 100 parts, by weight, of aluminum hydrate of about 4 per cent. Cool, filter, and dry.

«Lacquer for Microscopes, Mathematical Instruments, etc.»—Pulverize 160 parts, by weight, turmeric root, cover it with 1,700 parts alcohol, digest in a warm place for 24 hours, and then filter. Dissolve 80 parts dragon’s blood, 80 parts sandarac, 80 parts gum elemi, 50 parts gum gutta, and 70 parts seed lac, put in a retort with 250 parts powdered glass, pour over them the colored alcohol first made, and hasten solution by warming in the sand or water bath. When completely dissolved, filter.

«To Fix Alcoholic Lacquers on Metallic Surfaces.»—Dissolve 0.5 parts of crystallized boracic acid in 100 parts of the respective spirit varnish whereby the latter after being applied forms so hard a coating upon a smooth tin surface that it cannot be scratched off even with the finger-nails. The aforementioned percentage of boracic acid should not be exceeded in preparing the solution; otherwise the varnish will lose in intensity of color.

«Lacquer for Oil Paintings.»—Dilute 100 parts of sulphate of baryta with 600 parts of water containing in solution 60 parts of red lithol R or G in paste of 17 {441} per cent. Boil the mixture for several minutes in a solution of 10 parts of barium chloride in 100 parts of water. After cooling, filter and dry.

«Lacquers for Papers.»—I.—With base of baryta: Dissolve 30 parts of red lithol R or G in paste of 17 per cent, in 300 parts of hot water. Add an emulsion obtained by mixing 10 parts of sulphate of alumina in 100 parts of water and 5 parts of calcined soda dissolved in 50 parts of water. Precipitate with a solution of 17.5 parts of barium chloride in 125 parts of water. Cool and filter.

II.—With base of lime: Dissolve 30 parts red lithol R or G in paste of 17 per cent, in 300 parts of hot water. Boil for a few minutes with an emulsion prepared by mixing 10 parts sulphate of alumina with 100 parts of water and 2.5 parts of slaked lime in 100 parts of water. Filter after cooling.

«Lacquer for Stoves and other Articles to Withstand Heat.»—This is not altered by heat, and does not give off disagreeable odors on heating: Thin 1 part of sodium water glass with 2 parts of water in order to make the vehicle. This is to be thickened with the following materials in order to get the desired color: White, barium sulphate or white lead; yellow, baryta chromate, ocher, or uranium yellow; green, chromium oxide or ultramarine green; brown, cadmium oxide, manganese oxide, or sienna brown; red, either iron or chrome red. The coloring materials must be free from lumps, and well ground in with the vehicle. Bronze powders may also be used either alone or mixed with other coloring stuffs, but care must be taken, in either instance, to secure a sufficient quantity. The colors should be made up as wanted, and no more than can conveniently be applied at the time should be prepared. An excellent way to use the bronze powders is to lay on the coloring matter, and then to dust on the powder before the glass sets. Lines or ornamentation of any sort may be put on by allowing the coating of enamel to dry, and then drawing the lines or any desired design with a fresh solution of the water glass colored to suit the taste, or dusted over with bronze.

«MISCELLANEOUS RECIPES:»

«Russian Polishing Lac.»—

I.—Sticklac 925 parts Sandarac 875 parts Larch turpentine 270 parts Alcohol, 96 per cent 3,500 parts

The sticklac is broken up and mixed with the sandarac, put into a suitable container with a wide mouth, the spirit poured over it and set aside. After standing for a week in a warm place, frequently stirring in the meantime (best with a glass rod) and fully dissolving, stir in the turpentine. Let stand 2 or 3 days longer, then filter through glass wool. The sandarac dissolves completely in the spirit, but the stick leaves a slight residue which may be added to the next lot of lac made up and thus be treated to a fresh portion of spirit. The larch turpentine should be of the best quality. This lac is used by woodcarvers and turners and is very much prized by them.

«Mastic Lac.»—

II.—Mastic, select 150 parts Sandarac 400 parts Camphor 15 parts Alcohol, 96 per cent 1,000 parts

Prepare as directed in the first recipe.

«Leather Polish Lac.»—

III.—Shellac 16 parts Venice turpentine 8 parts Sandarac 4 parts Lampblack, Swedish 2 parts Turpentine oil 4 parts Alcohol, 96 per cent 960 parts

The alcohol and turpentine oil are mixed and warmed under constant stirring in the sand or water bath. The shellac and sandarac are now stirred in, the stirring being maintained until both are dissolved. Finally add the turpentine and dissolve. Stir the lampblack with a little vinegar and then add and stir in. Instead of lampblack 125 to 150 parts of nigrosin may be used. This lac should be well shaken before application.

LACQUERED WARE, TO CLEAN: See Cleaning Preparations and Methods.

LAKES: See Dyes.

«LAMPBLACK:»

Production of Lampblack.—The last oil obtained in the distillation of coal tar, and freed from naphthalene as far as possible, viz., soot oil, is burned in a special furnace for the production of various grades of lampblack. In this furnace is an iron plate, which must always be kept glowing; upon this plate the soot oil trickles through a small tube fixed above it. It is decomposed and {442} the smoke (soot) rises into four chambers through small apertures. When the quantity of oil destined for decomposition has been used up, the furnace is allowed to stand undisturbed for a few days, and only after this time has elapsed are the chambers opened by windows provided for that purpose. In the fourth chamber is the very finest lampblack, which the lithographers use, and in the third the fine grade employed by manufacturers of printers’ ink, while the first and second contain the coarser soot, which, well sifted, is sold as flame lampblack.

From grade No. 1 the calcined lampblack for paper makers is also produced. For preparing this black capsules of iron plate with closing lid are filled, the stuff is stamped firmly into them and the cover smeared up with fine loam. The capsules are next placed in a well drawing stove and calcined, whereby the empyreumatic oils evaporate and the remaining lampblack becomes odorless. Allow the capsules to cool for a few days before opening them, as the soot dries very slowly, and easily ignites again as soon as air is admitted if the capsules are opened before. This is semi-calcined lampblack.

For the purpose of preparing completely calcined lampblack, the semi-calcined article is again jammed into fresh capsules, closing them up well and calcining thoroughly once more. After 2 days the capsules are opened containing the all-calcined lampblack in compact pieces.

For the manufacture of coal soot another furnace is employed. Asphalt or pitch is burned in it with exclusion of air as far as practicable. It is thrown in through the doors, and the smoke escapes through the chimney to the soot chambers, 1, 2, 3, 4, and 5, assorting itself there.

When the amount of asphalt pitch destined for combustion has burned up completely, the furnace is left alone for several days without opening it. After this time has elapsed the outside doors are slowly opened and some air is admitted. Later on they can be opened altogether after one is satisfied that the soot has cooled completely. Chamber 4 contains the finest soot black, destined for the manufacture of leather cloth and oil cloth. In the other chambers is fine and ordinary flame black, which is sifted and packed in suitable barrels. Calcined lampblack may also be produced from it, the operation being the same as for oil black.

LAMP BURNERS AND THEIR CARE: See Household Formulas.

«LAMPS:»

«Coloring Incandescent Lamps.»—Incandescent light globes are colored by dipping the bulbs into a thin solution of collodion previously colored to suit with anilines soluble in collodion. Dip and rotate quickly, bulb down, till dry.

For office desks, room lights, and in churches, it appears often desirable to modify the glaring yellowish rays of the incandescent light. A slight collodion film of a delicate bluish, greenish, or pink shade will do that.

For advertising purposes the bulbs are often colored in two or more colors. It is also easy with a little practice to paint words or pictures, etc., on the bulbs with colored collodion with a brush.

Another use of colored collodion in pharmacy is to color the show globes on their inside, thus avoiding freezing and the additional weight of the now used colored liquids. Pour a quantity of colored collodion into the clean, dry globe, close the mouth and quickly let the collodion cover all parts of the inside. Remove the balance of the collodion at once, and keep it to color electric bulbs for your trade.

LANOLINE CREAMS: See Cosmetics.

LANOLINE SOAP: See Soap.

LANTERN SLIDES: See Photography.

«LARD:»

«Detection of Cottonseed Oil in Lard.»—Make a 2 per cent solution of silver nitrate in distilled water, and acidify it by adding 1 per cent of nitrate acid, C. P. Into a test tube put a sample of the suspected lard and heat gently until it liquefies. Now add an equal quantity of the silver nitrate solution, agitate a little, and bring to a boil. Continue the boiling vigorously for about 8 minutes. If the lard remain clear and colorless, it may be accepted as pure. The presence of cottonseed oil or fat will make itself known by a coloration, varying from yellow, grayish green to brown, according to the amount present.

LATHE LUBRICANT: See Lubricants. {443}

LAUNDRY INKS: See Household Formulas.

«Laundry Preparations»

«BLUING COMPOUNDS:»

«Laundry Blue.»—The soluble blue of commerce, when properly made, dissolves freely in water, and solutions so made are put up as liquid laundry blue. The water employed in making the solution should be free from mineral substances, especially lime, or precipitation may occur. If rain water or distilled water and a good article of blue be used, a staple preparation ought apparently to result; but whether time alone affects the matter of solubility it is impossible to state. As it is essential that the solution should be a perfect one, it is best to filter it through several thicknesses of fine cotton cloth before bottling; or if made in large quantities this method may be modified by allowing it to stand some days to settle, when the top portion can be siphoned off for use, the bottom only requiring filtration.

This soluble blue is said to be potassium ferri-ferrocyanide, and is prepared by gradually adding to a boiling solution of potassium ferricyanide (red prussiate of potash) an equivalent quantity of hot solution of ferrous sulphate, boiling for 2 hours and washing the precipitate on a filter until the washings assume a dark-blue color; the moist precipitate can then at once be dissolved by the further addition of a sufficient quantity of water. About 64 parts of the iron salt are necessary to convert 100 parts of the potassium salt into the blue compound.

Leaf bluing for laundry use may be prepared by coating thick sized paper with soluble blue formed into a paste with a mixture of dextrin mucilage and glycerine. Dissolve a given quantity of dextrine in water enough to make a solution about as dense as ordinary syrup, add about as much glycerine as there was dextrine, rub the blue smooth with a sufficient quantity of this vehicle and coat the sheets with the paint. The amount of blue to be used will depend of course on the intended cost of the product, and the amount of glycerine will require adjustment so as to give a mixture which will not “smear” after the water has dried out and yet remain readily soluble.

Ultramarine is now very generally used as a laundry blue where the insoluble or “bag blue” is desired. It is mixed with glucose, or glucose and dextrine, and pressed into balls or cakes. When glucose alone is used, the product has a tendency, it is said, to become soft on keeping, which tendency may be counteracted by a proper proportion of dextrin. Bicarbonate of sodium is added as a “filler” to cheapen the product, the quantity used and the quality of the ultramarine employed being both regulated by the price at which the product is to sell.

The coal-tar or aniline blues are not offered to the general public as laundry blues, but laundry proprietors have them frequently brought under their notice, chiefly in the form of solutions, usually 1 to 1 1⁠/⁠2 per cent strong. These dyes are strong bluing materials, and, being in the form of solution, are not liable to speck the clothes. Naturally their properties depend upon the particular dye used; some are fast to acids and alkalies, others are fast to one but not to another; some will not stand ironing, while others again are not affected by the operation; generally they are not fast to light, but this is only of minor importance. The soluble, or cotton, blues are those most favored; these are made in a great variety of tints, varying from a reddish blue to a pure blue in hue, distinguished by such brands as 3R, 6B, etc. Occasionally the methyl violets are used, especially the blue tints. Blackley blue is very largely used for this purpose, being rather faster than the soluble blues. It may be mentioned that a 1 per cent solution of this dye is usually strong enough. Unless care is taken in dissolving these dyes they are apt to produce specks. The heat to which the pure blues are exposed in ironing the clothes causes some kinds to assume a purple tinge.

The cheapest aniline blue costs about three times as much as soluble blue, yet the tinctorial power of the aniline colors is so great that possibly they might be cheapened.

«Soluble Blue.»—I.—Dissolve 217 parts of prussiate of potash in 800 parts of hot water and bring the whole to 1,000 parts. Likewise dissolve 100 parts of ferric chloride in water and bring the solution also to 1,000 parts. To each of these solutions add 2,000 parts of cooking salt or Glauber’s salt solution saturated in the cold and mix well. The solutions thus prepared of prussiate of potash and ferric chloride are now mixed together with stirring. Allow to settle and remove by suction the clear liquid containing undecomposed ferrocyanide of {444} potassium and Glauber’s salt; this is kept and used for the next manufacture by boiling it down and allowing the salts to crystallize out. The percentage of ferrocyanide of potassium is estimated by analysis, and for the next production proportionally less is used, employing that obtained by concentration.

After siphoning off the solution the precipitate is washed with warm water, placed on a filter and washed out on the latter by pouring on cold water until the water running off commences to assume a strong blue color. The precipitate is then squeezed out and dried at a moderate heat (104° F.). The Paris blue thus obtained dissolves readily in water and can be extensively employed in a similar manner as indigo carmine.

II.—Make ordinary Prussian blue (that which has been purified by acids, chlorine, or the hypochlorites) into a thick paste with distilled or rain water, and add a saturated solution of oxalic acid sufficient to dissolve. If time be of no consequence, by leaving this solution exposed to the atmosphere, in the course of 60 days the blue will be entirely precipitated in soluble form. Wash with weak alcohol and dry at about 100° F. The resultant mass dissolves in pure water and remains in solution indefinitely. It gives a deep, brilliant blue, and is not injurious to the clothing or the hands of the washwoman.

The same result may be obtained by precipitating the soluble blue from its oxide solution by the addition of alcohol of 95 per cent, or with a concentrated solution of sodium sulphate. Pour off the mother liquid and wash with very dilute alcohol; or throw on a filter and wash with water until the latter begins to come off colored a deep blue.

«Liquid Laundry Blue.»—This may be prepared either with liquid Prussian blue or indigo carmine. Make a solution of gum dragon (gum tragacanth) by dissolving 1 to 2 ounces of the powdered gum in 1 gallon of cold water in which 1⁠/⁠2 ounce oxalic acid has been dissolved. The gum will take several days to dissolve, and will require frequent stirring and straining before use. To the strained portion add as much Prussian blue in fine powder as the liquid will dissolve without precipitating, and the compound is ready for use.

Instead of powdered Prussian blue, soluble Prussian blue may be used. This is made by dissolving solid Prussian blue in a solution of oxalic acid, but as the use of oxalic acid is to be deprecated for the use of laundresses, as it would set up blood poisoning should it get into any cuts in the flesh, it is best to prepare liquid blue by making a solution of yellow prussiate of potash (ferrocyanide of potassium) with water, and then by adding a sufficient quantity of chloride of iron to produce a blue, but not enough to be precipitated.

«Ball Blue.»—The ball sold for laundry use consists usually, if not always, of ultramarine. The balls are formed by compression, starch or some other excipient of like character being added to render the mass cohesive. Blocks of blue can, of course, be made by the same process. The manufacturers of ultramarine prepare balls and cubes of the pigment on a large scale, and it does not seem likely that there would be a sufficient margin of profit to justify the making of them in a small way from the powdered pigment. Careful experiments, however, would be necessary to determine this positively. Ultramarine is of many qualities, and it may be expected that the balls will vary also in the amount of “filling” according to the price at which they are to be sold.

Below is a “filled” formula:

Ultramarine 6 ounces Sodium carbonate 4 ounces Glucose 1 ounce Water, a sufficient quantity.

Make a thick paste, roll into sheets, and cut into tablets. The balls in bulk can be obtained only in large packages of the manufacturers, say barrels of 200 pounds; but put up in 1-pound boxes they can be bought in cases as small as 28 pounds.

«Laundry Blue Tablets.»—

Ultramarine 6 ounces Sodium carbonate 4 ounces Glucose 1 ounce Water, a sufficient quantity.

Make a thick paste, roll into sheets, and cut into tablets.

«Polishes or Glazes for Laundry Work.»—I.—To a mixture of 200 parts each of Japan wax and paraffine, add 100 parts of stearic acid, melt together, and cast in molds. If the heated smoothing iron be rubbed with this wax the iron will not merely get over the surface much more rapidly, but will leave a handsome polish.

«Laundry Gloss Dressing.»—

II.—Dissolve white wax, 5.0 parts, in ether, 20.5 parts, and add spirit, 75.0 parts. Shake before use.

Heat until melted, in a pot, 1,000 parts {445} of wax and 1,000 parts of stearine, as well as a few drops of an essential oil. To the hot liquid add with careful stirring 250 parts of ammonia lye of 10 per cent, whereby a thick, soft mass results immediately. Upon further heating same turns thin again, whereupon it is diluted with 20,000 parts of boiling water, mixed with 100 parts of starch and poured into molds.

«STARCHES.»

Most laundry starches now contain some polishing mixture for giving a high luster.

I.—Dissolve in a vessel of sufficient capacity, 42 parts of crystallized magnesium chloride in 30 parts of water. In another vessel stir 12 parts of starch in 20 parts of water to a smooth paste. Mix the two and heat under pressure until the starch is fluidified.

II.—Pour 250 parts, by weight, of water, over 5 parts, by weight, of powdered gum tragacanth until the powder swells uniformly; then add 750 parts, by weight, of boiling water, dissolve 50 parts, by weight, of borax in it, and stir 50 parts, by weight, of stearine and 50 parts, by weight, of talcum into the whole. Of this fluid add 250 parts to 1,000 parts of boiled starch, or else the ironing oil is applied by means of a sponge on the starched wash, which is then ironed.

By weight

III.—Starch 1,044 parts Borax 9 parts Common salt 1 part Gum arabic 8 parts Stearine 20 parts

«WASHING FLUIDS, BRICKS AND POWDERS:»

«Washing Fluids.»—Rub up 75 parts of milk of sulphur with 125 parts of glycerine in a mortar, next add 50 parts of camphorated spirit and 1 part of lavender oil, and finally stir in 250 parts of rose water and 1,000 parts of distilled water. The liquid must be stirred constantly when filling it into bottles, since the sulphur settles rapidly and would thus be unevenly distributed.

«Grosser’s Washing Brick.»—

Water 54 parts Sodium hydrate 38.21 parts Sodium biborate 6.61 parts Sodium silicate 1.70 parts

«Haenkel’s Bleaching Solution.»—

Water 36.15 parts Sodium hydrate 40.22 parts Sodium silicate 23.14 parts

«Luhn’s Washing Extract.»—

Water 34.50 parts Sodium hydrate 25.33 parts Soap 39.40 parts

«Washing Powders.»—

I.—Sodium carbonate, partly effloresced 2 parts Soda ash 1 part

II.—Sodium carbonate, partly effloresced 6 parts Soda ash 3 parts Yellow soap 1 part

III.—Sodium carbonate, partly effloresced 3 parts Soap bark 1 part

IV.—Sodium carbonate, partly effloresced 1 part Borax 1 part Yellow soap 1 part

V.—A good powder can be made from 100 parts of crystal soda, 25 parts of dark-yellow rosin-cured soap, and 5 parts of soft soap. The two latter are placed in a pan, along with one-half the soda (the curd soap being cut into small lumps), and slowly heated, with continual crutching, until they are thoroughly melted—without, however, beginning to boil. The fire is then drawn and the remaining soda crutched in until it, too, is melted, this being effected by the residual heat of the mass and the pan. The mass will be fairly thick by the time the soda is all absorbed. After leaving a little longer, with occasional stirring, the contents are spread out on several thin sheets of iron in a cool room, to be then turned over by the shovel at short intervals, in order to further cool and break down the mixture. The soap will then be in a friable condition, and can be rubbed through the sieve, the best results being obtained by passing through a coarse sieve first, and one of finer mesh afterwards. With these ingredients a fine yellow-colored powder will be obtained. White stock soap may also be used, and, if desired, colored with palm oil and the same colorings as are used for toilet soaps. The object of adding soft soap is to increase the solubility and softness of the powder, but the proportion used should not exceed one-third of the hard soap, or the powder will be smeary and handle moist. The quality of the foregoing product is good, the powder being stable and not liable to ball, even after prolonged storage; neither does it wet the paper in which it is packed, nor swell up, and therefore the packets retain their appearance. {446}

In making ammonia-turpentine soap powder the ammonia and oil of turpentine are crutched into the mass shortly before removing it from the pan, and if the powder is scented—for which purpose oil of mirbane is mostly used—the perfume is added at the same stage.

«To Whiten Flannels.»—Dissolve, by the aid of heat, 40 parts of white castile soap, shaved fine, in 1,200 parts of soft water, and to the solution, when cold, gradually add, under constant stirring, 1 part of the strongest water of ammonia. Soak the goods in this solution for 2 hours, then let them be washed as usual for fine flannels. A better process, in the hands of experts, is to soak the goods for an hour or so in a dilute solution of sodium hyposulphite, remove, add to the solution sufficient dilute hydrochloric acid to decompose the hyposulphite. Replace the goods, cover the tub closely, and let remain for 15 minutes longer. Then remove the running water, if convenient, and if not, wring out quickly, and rinse in clear water. One not an expert at such work must be very careful in the rinsing, as care must be taken to get out every trace of chemical. This is best done by a second rinsing.

«Ink for the Laundry.»—The following is said to make a fine, jet-black laundry ink:

a. Copper chloride, crystals 85 parts Sodium chlorate 106 parts Ammonium chloride 53 parts Water, distilled 600 parts

b. Glycerine 100 parts Mucilage gum arabic (gum, 1 part; water, 2 parts) 200 parts Aniline hydrochlorate 200 parts Distilled water 300 parts

Make solutions a and b and preserve in separate bottles. When wanted for use, mix 1 part of solution a with 4 parts of solution b.

«Laces, Curtains, etc.»—I.—To give lace curtains, etc., a cream color, take 1 part of chrysoidin and mix with 2 parts of dextrin and dissolve in 250 parts of water. The articles to be washed clean are plunged in this solution. About an ounce of chrysoidin is sufficient for 5 curtains.

II.—Washing curtains in coffee will give them an ecru color, but the simplest way to color curtains is with “Philadelphia yellow” (G. or R. of the Berlin Aktiengesellschaft’s scale).

LAUNDRY SOAP: See Soap.

LAVATORY DEODORANT: See Household Formulas.

LAXATIVES FOR CATTLE AND HORSES: See Veterinary Formulas.

«LEAD:»

See also Metals.

«Simple Test for Red Lead and Orange Lead.»—Take a little of the sample in a test tube, add pure, strong nitric acid and heat by a Bunsen burner until a white, solid residue is obtained. Then add water, when a clear, colorless solution will be obtained. A white residue would indicate adulteration with barytes, a red residue or a yellow solution with oxide of iron. The presence of iron may be ascertained by adding a few drops of a solution of potassium ferrocyanide (yellow prussiate of potash) to the solution, when a blue precipitate will be obtained if there be the least trace of iron present.

LEAD, TO TAKE BOILING, IN THE MOUTH: See Pyrotechnics.

LEAD ALLOYS: See Alloys.

LEAD PAPER: See Paper.

LEAD PLATE, TINNED: See Plating.

LEAKS, IN BOILERS, STOPPING: See Putties.

«LEAKS:»

«To Stop Leakage in Iron Hot-Water Pipes.»—Take some fine iron borings or filings and mix with them sufficient vinegar to form a sort of paste, though the mixture is not adhesive. With this mixture fill up the cracks where the leakage is found, having previously dried the pipe. It must be kept dry until the paste has become quite hard. If an iron pipe should burst, or there should be a hole broken into it by accident, a piece of iron may be securely fastened over it, by bedding it on in paste made of the borings and vinegar as above, but the pipe should not be disturbed until it has become perfectly dry.

«To Prevent Wooden Vessels from Leaking.» (See also Casks.)—Wooden {447} vessels, such as pails, barrels, etc., often become so dry that the joints do not meet, thus causing leakage. In order to obviate this evil stir together 60 parts hog’s lard, 40 parts salt, and 33 parts wax, and allow the mixture to dissolve slowly over a fire. Then add 40 parts charcoal to the liquid mass. The leaks in the vessels are dried off well and filled up with putty while still warm. When the latter has become dry, the barrels, etc., will be perfectly tight. If any putty is left, keep in a dry place and heat it to be used again.

«Leather»

(See also Shoes.)

«Artificial Leather.»—Pure Italian hemp is cut up fine; 1 part of this and 1⁠/⁠2 part of coarse, cleaned wool are carded together and formed into wadding. This wadding is packed in linen and felted by treatment with hot acid vapors. The resulting felt is washed out, dried, and impregnated with a substance whose composition varies according to the leather to be produced. Thus, good sole leather, for instance, is produced according to a Danish patent, in the following manner: Mix together 50 parts of boiled linseed oil; 20 parts of colophony; 25 parts of French turpentine; 10 parts of glycerine, and 10 parts of vegetable wax, and heat over a water bath with some ammonia water. When the mass has become homogeneous, add 25 parts of glue, soaked in water, as well as a casein solution, which latter is produced by dissolving 50 parts, by weight, of moist, freshly precipitated casein in a saturated solution of 16 parts of borax and adding 10 parts of potassium bichromate, the last two also by weight. Finally, mineral dyestuffs as well as antiseptic substances may be added to the mass. The whole mixture is now boiled until it becomes sticky and the felt is impregnated with it by immersion. The impregnated felt is dried for 24 hours at an ordinary temperature; next laid into a solution of aluminum acetate and finally dried completely, dyed, and pressed between hot rollers.

«Black Dye for Tanned Leather.»—This recipe takes the place of the ill-smelling iron blacking, and is not injurious to the leather. Gallnuts, pulverized, 150 parts; vitriol, green or black, 10 parts; rock candy, 60 parts; alum, 15 parts; vinegar, 250 parts; cooking salt, 20 parts. Dissolve with 4,000 parts of distilled water.

Boil this solution slowly and the blacking is done. When it has cooled and settled, pour through linen, thus obtaining a pure, good leather blacking.

«Bronze Leather.»—All sorts of skins—sheepskins, goatskins, coltskins, and light calfskins—are adapted for the preparation of bronze leather. In this preparation the advantage lies not only in the use of the faultless skins, but scarified skins and those of inferior quality may also be employed. The dressing of the previously tanned skin must be carried out with the greatest care, to prevent the appearance of spots and other faults. After tanning, the pelts are well washed, scraped, and dried. Then they are bleached. For coloring, it is customary to employ methyl violet which has previously been dissolved in hot water, taking 100 parts, by weight, of the aniline color to 8,000 parts, by weight, of water. If in the leather-dressing establishment a line of steam piping be convenient, it is advisable to boil up all the coloring dyes, rather than simply to dissolve them; for in this way complete solution is effected. Where steam is used no special appliance is required for boiling up the dyes, for this may take place without inconvenience in the separate dye vats. A length of steam hose and a brass nozzle with a valve is all that is needed. It may be as well to add here that the violet color for dyeing may be made cheaper than as above described. To 3,000 parts, by weight, of pretty strong logwood decoction add 50 parts, by weight, of alum and 100 parts, by weight, of methyl violet. This compound is almost as strong as the pure violet solution, and instead of 8,000 parts, by weight, we now have 30,000 parts, by weight, of color.

The color is applied and well worked in with a stiff brush, and the skins allowed to stand for a short time, sufficient to allow the dye to penetrate the pores, when it is fulled. As for the shade of the bronze, it may be made reddish, bluish, or brownish, according to taste.

For a reddish or brownish ground the skins are simply fulled in warm water, planished, fulled again, and then dyed. According to the color desired, the skins are treated with cotton blue and methyl violet R, whereupon the application of the bronze follows.

The bronze is dissolved in alcohol, and it is usual to take 200 parts, by weight, of bronze to 1,000 of alcohol. By means of this mixture the peculiar component parts of the bronze are dissolved. For a fundamental or thorough {448} solution a fortnight is required. All bronze mixtures are to be well shaken or agitated before using. Skins may be bronzed, however, without the use of the bronze colors, for it is well known that all the aniline dyes present a bronze appearance when highly concentrated, and this is particularly the case with the violet and red dyes. If, therefore, the violet be applied in very strong solutions, the effect will be much the same as when the regular bronze color is employed.

Bronze color on a brown ground is the most beautiful of all, and is used to the greatest advantage when it is desirable to cover up defects. Instead of warm clear water in such a case, use a decoction of logwood to which a small quantity of alum has been added, and thus, during the fulling, impart to the skins a proper basic tint, which may, by the application of a little violet or bronze color, be converted into a most brilliant bronze. By no means is it to be forgotten that too much coloring matter will never produce the desired results, for here, as with the other colors, too much will bring out a greenish tint, nor will the gloss turn out so beautiful and clear. Next rinse the skins well in clean water, and air them, after which they may be dried with artificial heat. Ordinary as well as damaged skins which are not suitable for chevreaux (kid) and which it is desirable to provide with a very high polish, in order the more readily to conceal the defects in the grain, and other imperfections, are, after the drying, coated with a mixture, compounded according to the following simple formula: Stir well 1 pint of ox blood and 1 pint of unboiled milk in 10 quarts of water, and with a soft sponge apply this to the surface of the skin. The blood has no damaging effect upon the color. Skins thus moistened must not be laid one upon another, but must be placed separately in a thoroughly well-warmed chamber to dry. When dry they are glossed, and may then be pressed into shagreen or pebbled. The thin light goatskins are worked into kid or chevreaux. Properly speaking, they are only imitation chevreaux (kid), for although they are truly goatskins, under the term chevreaux one understands only such skins as have been cured in alum and treated with albumen and flour.

After drying, these skins are drawn over the perching stick with the round knife, then glossed, stretched, glossed again, and finally vigorously brushed upon the flesh side with a stiff brush. The brushing should be done preferably by hand, for the brushing machines commonly pull the skins out of all shape. Brushing is intended only to give the flesh side more of a flaky appearance.

During the second glossing care must be taken that the pressure is light, for the object is merely to bring the skin back into its proper shape, lost in the stretching; the glossing proper should have been accomplished during the first operation.

«Cracked Leather.»—The badly cracked and fissured carriage surface greets the painter on every hand. The following is the recipe for filling up and facing over such a surface: Finest pumice stone, 6 parts; lampblack (in bulk), 1 part; common roughstuff filler, 3 parts. Mix to stiff paste in good coach japan, 5 parts; hard drying rubbing varnish, 1 part. Thin to a brushing consistency with turpentine, and apply 1 coat per day. Put on 2 coats of this filler and then 2 coats of ordinary roughstuff. Rub with lump pumice stone and water. This process does not equal burning off in getting permanently rid of the cracks, but when the price of painting forbids burning off, it serves as an effective substitute. Upon a job that is well cared for, and not subjected to too exacting service, this filler will secrete the cracks and fissures for from 3 to 5 months.

«DRESSINGS FOR LEATHER:»

«For Carriage Tops.»—I.—Here is an inexpensive and quickly prepared dressing for carriage tops or the like: Take 2 parts of common glue; soak and liquefy it over a fire. Three parts of castile soap are then dissolved over a moderate heat. Of water, 120 parts are added to dissolve the soap and glue, after which an intimate mixture of the ingredients is effected. Then 4 parts of spirit varnish are added; next, 2 parts of wheat starch, previously mixed in water, are thrown in. Lampblack in a sufficient quantity to give the mixture a good coloring power, without killing the gloss, is now added. This preparation may be used as above prepared, or it may be placed over a gentle fire and the liquid ingredients slowly evaporated. The evaporated mass is then liquefied with beer as shop needs demand.

II.—Shabby dark leather will look like new if rubbed over with either linseed oil or the well-beaten white of an egg mixed with a little black ink. Polish with soft dusters until quite dry and glossy.

«Polishes.»—I.—Dissolve sticklac, 25 {449} parts; shellac, 20 parts; and gum benzoin, 4 parts, all finely powdered, in a rolling cask containing 100 parts of 96 per cent alcohol; perfume with 1 part of oil of rosemary. Upon letting stand for several days, filter the solution, whereupon a good glossy polish for leather, etc., will be obtained.

II.—Dissolve 2 pounds of borax in 4 gallons of water and add 5 pounds of shellac to the boiling liquid in portions, till all is dissolved. Then boil half an hour, and finally stir in 5 pounds of sugar, 2 1⁠/⁠2 pounds of glycerine, and 1 1⁠/⁠2 pounds of soluble nigrosin. When cold add 4 pounds of 95 per cent methylated spirit.

III.—Ox blood, fresh, clean 1,000 parts Commercial glycerine 200 parts Oil of turpentine 300 parts Pine oil (rosin oil) 5,000 parts Ox gall 200 parts Formalin 15 parts

Mix in the order named, stirring in each ingredient. When mixed strain through linen.

«Kid Leather Dressings.»—Creams for greasing fine varieties of leather, such as kid, patent leather, etc., are produced as follows, according to tried recipes:

White Cream.—

Lard 75 parts Glycerine, technical 25 parts Mirbane oil, ad libitum.

Black Cream.—

Lard 100 parts Yellow vaseline 20 parts Glycerine, technical 10 parts Castor oil, technical 10 parts

Dye black with lampblack and perfume with oil of mirbane.

Colored Cream.—

Lard 100 parts Castor oil 20 parts Yellow wax 25 parts White vaseline 30 parts

Dye with any desired dyestuff, e. g., red with anchusine, green with chlorophyl. In summer it is well to add some wax to the first and second prescriptions.

These are for either Morocco or kid:

I.—Shellac 2 parts Benzoin 2 parts Yellow wax 5 parts Soap liniment 7 parts Alcohol 600 parts

Digest until solution is effected, then allow the liquid to stand in a cool place for 12 hours and strain. Apply with a bit of sponge or soft rag; spread thinly and evenly over the surface, without rubbing much. If dirty, the leather should first be washed with a little soft soap and warm water, wiped well, and allowed to dry thoroughly before the dressing is put on.

II.—Oil of turpentine 8 ounces Suet 2 pounds Soft soap 8 ounces Water 16 ounces Lampblack 4 ounces

«Patent Leather Dressings.»—

I.—Wax 22 parts Olive oil 60 parts Oil turpentine, best 20 parts Lavender oil 10 parts

With gentle heat, melt the wax in the oil, and as soon as melted remove from the fire. Add the turpentine oil, incorporate, and when nearly cold, add and incorporate the lavender oil.

II.—Wax 22 parts Olive oil 60 parts Oil of turpentine 30 parts

With gentle heat, melt the wax in the olive oil, and as soon as melted remove from the fire. When nearly cold stir in the turpentine.

«Red Russia Leather Varnish.»—

Shellac 1.20 parts Dammar rosin, powdered 0.15 parts Turpentine, Venice 0.60 parts

Dissolve with frequent shaking in 12 parts of alcohol (95 per cent), add 1.8 parts of powdered red sanders wood, let stand for 3 days and filter. The object of this varnish is to restore the original color to worn Russia leather boots, previously cleaned with benzine.

«Russet Leather Dressing.»—The following formulas are said to yield efficient preparations that are at once detersive and polishing, thus rendering the use of an extra cleaning liquid unnecessary.

I.—Soft soap 2 parts Linseed oil 3 parts Annatto solution (in oil) 8 parts Beeswax 3 parts Turpentine 8 parts Water 8 parts

Dissolve the soap in the water, and add the annatto; melt the wax in the oil and turpentine, and gradually stir in the soap solution, stirring until cold. {450}

II.—Palm oil 16 parts Common soap 48 parts Oleic acid 32 parts Glycerine 10 parts Tannic acid 1 part

Melt the soap and palm oil together at a gentle heat, and add the oleic acid; dissolve the tannic acid in the glycerine, add to the hot soap and oil mixture, and stir until perfectly cold.

«Shoe Leather Dressing.»—Over a water bath melt 50 parts, by weight, of oil of turpentine; 100 parts, by weight, of olive oil; 100 parts, by weight, of train oil; 40 parts, by weight, of carnauba wax; 15 parts, by weight, of asphaltum; and 2 parts, by weight, of oil of bitter almonds.

«DYEING LEATHER.»

In dyeing leather, aniline or coal-tar colors are generally used. These dyes, owing to their extremely rapid action on organic substances, such as leather, do not readily adapt themselves to the staining process, because a full brushful of dye liquor would give a much deeper coloration than a half-exhausted brush would give. Consequently, to alter and to color leather by the staining process results in a patchy coloration of the skin. In the dyeing operation a zinc shallow trough, 4 to 6 inches deep, is used, into which the dye liquor is put, and to produce the best results the contents of the trough are kept at a uniform temperature by means of a heating apparatus beneath the trough, such as a gas jet or two, which readily allows of a heat being regulated. The skins to be dyed are spread out flat in the dye trough, one at a time, each skin remaining in the dye liquor the time prescribed by the recipe. The best coloration of the skin is produced by using 3 dye troughs of the same dye liquor, each of different strength, the skin being put in the weakest liquor first, then passed into the second, and from there into the third dye liquor, where it is allowed to remain until its full depth of color is obtained. Very great skill is required in the employment of aniline dyes, as if the heat be too great, or the skins remain too long in the final bath, “bronzing” of the color occurs. The only remedy for this (and that not always effectual) is to sponge the skin with plenty of cold, clean water, directly it is taken out of the final dye bath. The dyed skins are dried and finished as before.

«Leather Brown.»—

Extract of fustic 5 ounces Extract of hypernic 1 ounce Extract of logwood 1⁠/⁠2 ounce Water 2 gallons

Boil all these ingredients for 15 minutes, and then dilute with water to make 10 gallons of dye liquor. Use the dye liquor at a temperature of 110° F.

Mordant.—Dissolve 3 ounces of white tartar and 4 ounces of alum in 10 gallons of water.

«Fast Brown.»—Prepare a dye liquor by dissolving 1 1⁠/⁠2 ounces fast brown in 1 gallon of water, and make a 10-gallon bulk of this. Use at a temperature of 110° F., and employ the same mordanting liquor as in last recipe.

«Bismarck Brown.»—

Extract of fustic 4 ounces Extract of hypernic 1 ounce Extract of logwood 1⁠/⁠2 ounce Water 2 gallons

Preparation.—Boil all together for 15 minutes.

Method of Dyeing.—First mordant the skins with a mordanting fluid made by dissolving 3 ounces tartar and 1⁠/⁠2 ounce borax in 10 gallons of water. Then put the skins into the above foundation bath at a temperature of 100° F. Take them out, and then put in 1 ounce of Bismarck brown, dissolved in boiling water. Put the skins in again until colored deep enough, then lift out, drip and dry.

«HARNESS PREPARATIONS:»

«Blacking for Harness.»—I.—In a water bath dissolve 90 parts of yellow wax in 900 parts of oil of turpentine; aside from this mix well together, all the ingredients being finely powdered, 10 parts of Prussian blue, 5 parts of indigo, 50 parts of bone black, and work this into a portion of the above-mentioned waxy solution. Now throw this into the original solution, which still remains in the water bath, and stir it vigorously until the mass becomes homogeneous, after which pour it into any convenient earthenware receptacle.

II.—Best glue, 4 ounces; good vinegar, 1 1⁠/⁠2 pints; best gum arabic, 2 ounces; good black ink, 1⁠/⁠2 pint; best isinglass, 2 drachms. Dissolve the gum in the ink, and melt the isinglass in another vessel in as much hot water as will cover it. Having first steeped the glue in the vinegar until soft, dissolve it completely by the aid of heat, stirring to prevent burning. The heat should not exceed 180° F. Add the gum and ink, and allow the mixture to rise again to the same temperature. Lastly mix the solution in isinglass, and remove from fire. When {451} used, a small portion must be heated until fluid, and then applied with a sponge and allowed to dry on.

«Dressings for Harness.»—

I.—Ox blood, fresh and well purified 100 parts Glycerine, technical 20 parts Turpentine oil 30 parts Pine oil 50 parts Ox gall 20 parts Formalin 1 1⁠/⁠2 parts

The raw materials are stirred together cold in the order named. Pour the mixture through thin linen. It imparts a wonderful mild, permanent gloss.

II.—A French harness dressing of good quality consists of oil of turpentine, 900 parts; yellow wax, 90 parts; Berlin blue, 10 parts; indigo, 5 parts; and bone black, 50 parts. Dissolve the yellow wax in the oil of turpentine with the aid of moderate heat in a water bath, mix the remaining substances, which should previously be well pulverized, and work them with a small portion of the wax solution. Finally, add the rest of the wax solution, and mix the whole well in the water bath. When a homogeneous liquid has resulted, pour it into earthen receptacles.

«Harness Oils.»—

I.—Neatsfoot oil 10 ounces Oil of turpentine 2 ounces Petrolatum 4 ounces Lampblack 1⁠/⁠2 ounce

Mix the lampblack with the turpentine and the neatsfoot oil, melt the petrolatum and mix by shaking together.

II.—Black aniline 35 grains Muriatic acid 50 minims Bone black 175 grains Lampblack 18 grains Yellow wax 2 1⁠/⁠2 av. ounces Oil of turpentine 22 fluidounces

III.—Oil of turpentine 8 fluidounces Yellow wax 2 av. ounces Prussian blue 1⁠/⁠2 av. ounce Lampblack 1⁠/⁠4 av. ounce

Melt the wax, add the turpentine, a portion first to the finely powdered Prussian blue and lampblack, and thin with neatsfoot oil.

«Harness Pastes.»—

I.—Ceresine, natural yellow 1.5 parts Yellow beeswax 1.5 parts Japan wax 1.5 parts

Melt on the water bath, and when half cooled stir in 8 parts of turpentine oil.

«Harness Grease.»—

By weight II.—Ceresine, natural yellow 2.5 parts Beeswax, yellow 0.8 parts French colophony, pale 0.4 parts

III.—French oil turpentine 2.0 parts Intimately mixed in the cold with American lampblack 1.5 parts

Put mixture I in a kettle and melt over a fire. Remove from the fire and stir in mixture II in small portions. Then pour through a fine sieve into a second vessel, and continue pouring from one kettle into the other until the mass is rather thickish. Next fill in cans.

Should the mixture have become too cold during the filling of the cans, the vessel containing the grease need only be placed in hot water, whereby the contents are rendered liquid again, so that pouring out is practicable. For perfuming, use cinnamon oil as required.

This harness grease is applied by means of a rag and brushed.

«Waterproof Harness Composition.»—

See also Waterproofing.

By weight Rosin spirit 27 1⁠/⁠4 parts Dark mineral oil 13 1⁠/⁠2 parts Paraffine scales 16.380 parts Lampblack 7.940 parts Dark rosin 5.450 parts Dark syrup 5.450 parts Naphthalene black 2.500 parts Berlin blue 0.680 parts Mirbane oil 0.170 parts

Melt the paraffine and the rosin, add the mineral oil and the rosin spirit, stir the syrup and the pigments into this, and lastly add the mirbane oil.

«PATENT AND ENAMELED LEATHER.»

Patent leather for boots and shoes is prepared from sealskins, enameled leather for harness from heavy bullock’s hides. The process of tanning is what is called “union tannage” (a mixture of oak and hemlock barks). These tanned skins are subjected to the process of soaking, unhairing, liming, etc., and are then subjected to the tanning process. When about one-third tanned a buffing is taken off (if the hides are heavy), and the hide is split into three layers. The top or grain side is reserved for enameling in fancy colors for use on tops of carriages; the middle layer is finished for splatter {452} boards and carriage trimmings, and some parts of harness; the underneath layer, or flesh side is used for shoe uppers and other purposes. The tanning of the splits is completed by subjecting them to a gambier liquor instead of a bark liquor.

When the splits are fully tanned they are laid on a table and scored, and then stretched in frames and dried, after which each one is covered on one side with the following compound, so as to close the pores of the leather that it may present a suitable surface for receiving the varnish: Into 14 parts of raw linseed oil put 1 part dry white lead and 1 part silver litharge, and boil, stirring constantly until the compound is thick enough to dry in 15 or 20 minutes (when spread on a sheet of iron or china) into a tough, elastic mass, like caoutchouc. This compound is laid on one side of the leather while it is still stretched in the frame. If for enameled leather (i. e., not the best patent), chalk or yellow ocher may be mixed in the above compound while boiling, or afterwards, but before spreading it on the leather.

The frames are then put into a rack in a drying closet, and the coated leather dried by steam heat at 80° to 160° F., the heat being raised gradually. After removal from the drying closet, the grounding coat previously laid on is pumiced, to smooth out the surface, and then given 2 or 3 coats of the enameling varnish, which consists of Prussian blue and lampblack boiled with linseed oil and diluted with turpentine, so as to enable it to flow evenly over the surface of the coated leather. When spread on with a brush, each coating of the enamel is dried before applying the next, and pumiced or rubbed with tripoli powder on a piece of flannel (the coat last laid on is not subjected to this rubbing), when the leather is ready for market.

To prepare the enameling composition, boil 1 part asphaltum with 20 parts raw linseed oil until thoroughly combined; then add 10 parts thick copal varnish, and when this mixture is homogeneous dilute with 20 parts spirit of turpentine.

Instead of the foregoing enameling varnish the following is used for superior articles:

Prussian blue 18 ounces Vegetable black 4 ounces Raw linseed oil 160 fluidounces

Boil together as previously directed, and dilute with turpentine as occasion requires. These enameling varnishes should be made and kept several weeks in the same room as the varnishing is carried on, so that they are always subjected to the same temperature.

«STAINS FOR PATENT LEATHER:»

«Black Stain.»—

Vinegar 1 gallon Ivory black 14 ounces Ground iron scales 6 pounds

Mix well and allow to stand a few days.

«Red Stain.»—Water, 1 quart; spirit of hartshorn, 1 quart; cochineal, 1⁠/⁠4 pound. Heat the water to near the boiling point, and then dissolve in it the cochineal, afterwards adding the spirit of hartshorn. Stir well to incorporate.

«Liquid Cochineal Stain.»—

Good French carmine 2 1⁠/⁠2 drachms Solution of potash 1⁠/⁠2 ounce Rectified spirit of wine 2 ounces Pure glycerine 4 ounces Distilled water to make 1 pint.

To the carmine in a 20-ounce bottle add 14 ounces of distilled water. Then gradually introduce solution of potash, shaking now and again until dissolved. Add glycerine and spirit of wine, making up to 20 ounces with distilled water, and filter.

«Blue Black.»—Ale droppings, 2 gallons; bruised galls, 1⁠/⁠2 pound; logwood extract, 1⁠/⁠4 pound; indigo extract, 2 ounces; sulphate of iron, 3 1⁠/⁠2 ounces. Heat together and strain.

«Finishers’ Ink.»—Soft water, 1 gallon; logwood extract, 1 1⁠/⁠4 ounces; green vitriol, 2 1⁠/⁠2 ounces; potassium bichromate, 1⁠/⁠2 ounce; gum arabic, 1⁠/⁠2 ounce.

Grind the gum and potassium bichromate to powder and then add all the coloring ingredients to the water and boil.

«To Restore Patent Leather Dash.»—Take raw linseed oil, 1 part; cider vinegar, 4 ounces; alcohol, 2 ounces; butter of antimony, 1 ounce; aqua ammonia, 1⁠/⁠2 ounce; spirits of camphor, 1⁠/⁠2 ounce; lavender, 1⁠/⁠2 ounce. Shake well together; apply with a soft brush.

«PRESERVATIVES FOR LEATHER.»

I.—Mutton suet 50 parts Sweet oil 50 parts Turpentine 1 part Melt together.

The application should be made on the dry leather warmed to the point where it will liquefy and absorb the fat.

II.—Equal parts of mutton fat and linseed oil, mixed with one-tenth their {453} weight of Venice turpentine, and melted together in an earthen pipkin, will produce a “dubbin” which is very efficacious in preserving leather when exposed to wet or snow, etc. The mixture should be applied when the leather is quite dry and warm.

III.—A solution of 1 ounce of solid paraffine in 1 pint light naphtha, to which 6 drops of sweet oil have been added, is put cold on the soles, until they will absorb no more. One dressing will do for the uppers. This process is claimed to vastly increase the tensile strength.

«Patent Leather Preserver.»—

Carnauba wax 1.0 part Turpentine oil 9.5 parts Aniline black, soluble in fat 0.06 parts

Melt the wax, stir in the turpentine oil and the dye and scent with a little mirbane oil or lavender oil. The paste is rubbed out on the patent leather by means of a soft rag, and when dry should be polished with a soft brush.

«REVIVERS AND REGENERATORS.»

By weight. I.—Methylic alcohol 22 1⁠/⁠2 parts Ground ruby shellac 2.250 parts Dark rosin 0.910 parts Gum rosin 0.115 parts Sandarac 0.115 parts Lampblack 0.115 parts Aniline black, spirit-soluble 0.115 parts

The gums are dissolved in spirit and next the aniline black soluble in spirit is added; the lampblack is ground with a little liquid to a paste, which is added to the whole, and filtering follows.

Kid Reviver.—

By weight. II.—Clear chloride of lime solution 3.5 parts Spirit of sal ammoniac 0.5 parts Scraped Marseilles soap 4.5 parts Water 6.0 parts

Mix chloride of lime solution and spirit of sal ammoniac and stir in the soap dissolved in water. Revive the gloves with the pulpy mass obtained, by means of a flannel rag.

«TANNING LEATHER.»

«Pickling Process.»—Eitner and Stiazny have made a systematic series of experiments with mixtures of salt and various acids for pickling skins preparatory to tanning. Experiments with hydrochloric acid, acetic and lactic acids showed that these offered no advantages over sulphuric acid for use in pickling, the pickled pelts and the leather produced from them being similar in appearance and quality. By varying the concentration of the pickle liquors, it was found that the amount of salt absorbed by the pelt from the pickle liquor was controlled by the concentration of the solution, 23 to 25 per cent of the total amount used being taken up by the pelt, and that the absorption capacity of the pelt for acid was limited.

The goods pickled with the largest amount of acid possessed a more leathery feel and after drying were fuller and stretched much better than those in which smaller amounts of acids were employed. Dried, pickled pieces, containing as much as 3 per cent of sulphuric acid, showed no deterioration or tendering of fiber. The pickled skins after chrome tanning still retained these characteristics. An analysis of the leather produced by tanning with sumac showed that no free acid was retained in the finished leather. An Australian pickled pelt was found to contain 19.2 per cent of salt and 2.8 per cent of sulphuric acid.

From a very large number of experiments the following conclusions were drawn: 1. That sulphuric acid is quite equal in efficiency to other acids for the purpose. 2. To a certain limit increasing softness is produced by increasing the quantity of acid used. 3. For naturally soft skins and when a leather not very soft is required the best results are obtained by using 22 pounds of salt, 2.2 pounds of sulphuric acid, and 25 gallons of water for 110 pounds of pelt in the drum. 4. For material which is naturally hard and when a soft leather is required, the amount of acid should be increased to 4.4 pounds, using similar amounts as those given above of pelt, salt, and water.

«French Hide Tanning Process.»—I.—The prepared pelts are submitted to a 3 to 4 hours’ immersion in a solution of rosin soap, containing 5 to 10 per cent of caustic soda. The goods are afterwards placed in a 6 to 12 per cent solution of a salt of chromium, iron, copper, or aluminum (preferably aluminum sulphate) for 3 to 4 hours.

II.—The hides are soaked in a solution of sodium carbonate of 10° Bé. for 3 to 6 hours. After washing with water they are allowed to remain for 5 hours in {454} a bath of caustic soda, the strength of which may vary from 2° to 30° Bé. From this they are transferred to a bath of hydrochloric acid (1° to 5° Bé.) in which they remain for 2 hours. Finally the hides are washed and the beam-work finished in the usual way. The tannage consists of a special bath of sodium or ammonium sulphoricinoleate (2 to 30 per cent) and sumac extract, or similar tanning material (2 to 50 per cent). The strength of this bath is gradually raised from 4° to 30° or 40° Bé.

«Tanning Hides for Robes.»—The hides should be very thoroughly soaked in order to soften them completely. For dry hides this will require a longer time than for salted. A heavy hide requires longer soaking than a skin. Thus it is impossible to fix a certain length of time. After soaking, the hide is fleshed clean, and is now ready to go into the tan liquor, which is made up as follows: One part alum; 1 part salt; 1⁠/⁠4 to 1⁠/⁠2 part japonica. These are dissolved in hot water in sufficient quantity to make a 35° liquor. The hide, according to the thickness, is left in the tan from 5 to 10 days. Skins are finished in about 2 or 3 days. The hide should be run in a drum for about 2 hours before going into tan, and again after that process. In tanning hides for robes, shaving them down is a main requisite for success, as it is impossible to get soft leather otherwise. After shaving put back into the tan liquor again for a day or two and hang up to dry. When good and hard, shave again and lay away in moist sawdust and give a heavy coat of oil. When dry, apply a solution of soft soap; roll up and lay away in moist sawdust again. Run the hides on a drum or wheel until thoroughly soft. The composition of the tan liquor may be changed considerably. If the brownish tinge of the japonica be objectionable, that article may be left out entirely. The japonica has the effect of making the robe more able to resist water, as the alum and salt alone are readily soaked out by rain.

«Lace Leather.»—Take cow hides averaging from 25 to 30 pounds each; 35 hides will make a convenient soak for a vat containing 1,000 gallons of water, or 25 hides to a soak of 700 gallons. Soak 2 days or more, as required. Change water every 24 hours. Split and flesh; resoak if necessary. When thoroughly soft put in limes. Handle and strengthen once a day, for 5 or 6 days. Unhair and wash. Bathe in hen manure, 90° F. Work out of drench, wash well, drain 4 of 5 hours. Then process, using 45 pounds vitriol and 600 pounds of soft water to 700 gallons of water. In renewing process for second or consecutive packs, use 15 pounds vitriol and 200 pounds salt, always keeping stock constantly in motion during time of processing. After processing, drain over night, then put in tan in agitated liquors, keeping the stock in motion during the whole time of tanning. Pack down overnight. Use 200 pounds dry leather to each mill in stuffing.

For stuffing, use 3 gallons curriers’ hard grease and 3 gallons American cod oil. Strike out from mill, on flesh. Set out on grain. Dry slowly. Trim and board, length and cross. The stock is then ready to cut. The time for soaking the hides may be reduced one-half by putting the stock into a rapidly revolving reel pit, with a good inflow of water, so that the dirty water washes over and runs off. After 10 hours in the soak, put the stock into a drum, and keep it tumbling 5 hours. This produces soft stock.

In liming, where the saving of the hair is no object, softer leather is obtainable by using 35 pounds sulphide of sodium with 60 pounds lime. Then, when the stock comes from the limes, the hair is dissolved and immediately washes off, and saves the labor of unhairing and caring for the hair, which in some cases does not pay.

«MISCELLANEOUS RECIPES:»

«Russian Leather.»—This leather owes its name to the country of its origin. The skins used for its production are goat, large sheep, calfskin, and cow or steer hide. The preliminary operations of soaking, unhairing, and fleshing are done in the usual manner, and then the hides are permitted to swell in a mixture of rye flour, oat flour, yeast, and salt. This compound is made into a paste with water, and is then thinned with sufficient water to steep a hundred hides in the mixture. The proportions of ingredients used for this mixture are 22 pounds rye flour, 10 pounds oat flour, a little salt, and sufficient yeast to set up fermentation.

The hides are steeped in this compound for 2 days, until swelled up, and then put into a solution of willow and poplar barks, in which they are allowed to remain 8 days, being frequently turned about. The tanning process is then completed by putting them into a tanning liquor composed of pine and willow barks, equal parts. They are steeped 8 days in this liquor, and then a {455} fresh liquor of the same ingredients and proportions is made up. The hides are hardened and split, and then steeped in the freshly made liquor for another 8 days, when they are sufficiently tanned.

The hides are then cut down the middle (from head to tail) into sides, and scoured, rinsed, and dried by dripping, and then passed on to the currier, who slightly dampens the dry sides and puts them in a heap or folds them together for a couple of days to temper, and then impregnates them with a compound consisting of 2⁠/⁠3 parts birch oil and 1⁠/⁠3 parts seal oil. This is applied on the flesh side for light leather, and on the grain side also for heavy leather. The leather is then “set out,” “whitened,” and well boarded and dried before dyeing.

A decoction of sandalwood, alone or mixed with cochineal, is used for producing the Russian red color, and this dye liquor is applied several times, allowing each application to dry before applying the following one. A brush is used, and the dye liquor is spread on the grain side. A solution of tin chloride is used in Russia as a mordant for the leather before laying on the dye. The dye liquor is prepared by boiling 18 ounces of sandalwood in 13 pints of water for 1 hour, and then filtering the liquid and dissolving in the filtering fluid 1 ounce of prepared tartar and soda, which is then given an hour’s boiling and set aside for a few days before use.

After dyeing, the leather is again impregnated with the mixture of birch and seal oils (applied to the grain side on a piece of flannel) and when the dyed leather has dried, a thin smear of gum-dragon mucilage is given to the dyed side to protect the color from fading, while the flesh side is smeared with bark-tan juice and the dyed leather then grained for market.

«Toughening Leather.»—Leather is toughened and also rendered impervious by impregnating with a solution of 1 part of caoutchouc or gutta-percha in 16 parts of benzene or other solvent, to which is added 10 parts of linseed oil. Wax and rosin may be added to thicken the solution.

«Painting on Leather.»—When the leather is finished in the tanneries it is at the same time provided with the necessary greasy particles to give it the required pliancy and prevent it from cracking. It is claimed that some tanners strive to obtain a greater weight thereby, thus increasing their profit, since a pound of fat is only one-eighth as dear as a pound of leather.

If such leather, so called kips, which are much used for carriage covers and knee caps, is to be prepared for painting purposes, it is above all necessary to close up the pores of the leather, so that the said fat particles cannot strike through. They would combine with the applied paint and prevent the latter from drying, as the grease consists mainly of fish oil. For this reason an elastic spirit leather varnish is employed, which protects the succeeding paint coat sufficiently from the fat.

For further treatment take a good coach varnish to which 1⁠/⁠4 of stand oil (linseed oil which has thickened by standing) has been added and allow the mixture to stand for a few days. With this varnish grind the desired colors, thinning them only with turpentine oil. Put on 2 coats. In this manner the most delicate colors may be applied to the leather, only it is needful to put on pale and delicate shades several times. In some countries the legs or tops of boots are painted yellow, red, green, or blue in this manner. Inferior leather, such as sheepskin and goat leather, which is treated with alum by the tanner, may likewise be provided with color in the manner stated. Subsequently it can be painted, gilded, or bronzed.

«Stains for Oak Leather.»—I.—Apply an intimate mixture of 4 ounces of umber (burnt or raw); 1⁠/⁠2 ounce of lampblack, and 17 fluidounces ox gall.

II.—The moistened leather is primed with a solution of 1 part, by weight, of copper acetate in 50 parts of water, slicked out and then painted with solution of yellow prussiate potash in feebly acid water.

LEATHER AS AN INSULATOR: See Insulation.

LEATHER CEMENTS: See Adhesives, under Cements.

LEATHER-CLEANING PROCESSES: See Cleaning Preparations and Methods.

LEATHER, GLUES FOR: See Adhesives.

LEATHER LAC: See Lacquers.

LEATHER LUBRICANTS: See Lubricants. {456}

LEATHER VARNISH: See Varnish.

LEATHER WATERPROOFING: See Waterproofing.

«LEMONS:»

See also Essences, Extracts, and Fruits.

«Preservation of Fresh Lemon Juice.»—The fresh juice is cleared by gently heating it with a little egg albumen, without stirring the mixture. This causes all solid matter to sink with the coagulated white, or to make its way to the surface. The juice is then filtered through a woolen cloth and put into bottles, filled as full as possible, and closed with a cork stopper, in such a way that the cork may be directly in contact with the liquid. Seal at once and keep in a cool place. The bottles should be asepticized with boiling water just before using.

LEMON EXTRACT (ADULTERATED), TESTS FOR: See Foods.

LEMON SHERBET POWDER: See Salts, Effervescent.

LEMONADES, LEMONADE POWDERS, AND LEMONADE DROPS: See Beverages.

LEMONADE POWDER: See Salts, Effervescent.

«LENSES AND THEIR CARE:»

«Unclean Lenses» (see also Cleaning Preparations and Methods).—If in either objective or eyepiece the lenses are not clean, the definition may be seriously impaired or destroyed. Uncleanliness may be due to finger marks upon the front lens of the objective, or upon the eyepiece lenses; dust which in time may settle upon the rear lens of the objective or on the eye lens; a film which forms upon one or the other lens, due occasionally to the fact that glass is hygroscopic, but generally to the exhalation from the interior finish of the mountings, and, in immersion objectives, because the front lens is not properly cleaned; or oil that has leaked on to its rear surface, or air bubbles that have formed in the oil between the cover glass and front lens.

Remedy.—Keep all lenses scrupulously clean. For cleaning, use well-washed linen (an old handkerchief) or Japanese lens paper.

Eyepieces.—To find impurities, revolve the eyepieces during the observation; breathe upon the lenses, and wipe gently with a circular motion and blow off any particles which may adhere.

Dry Objectives.—Clean the front lens as described. To examine the rear and interior lenses use a 2-inch magnifier, looking through the rear. Remove the dust from the rear lens with a camel’s-hair brush.

Oil Immersion Objectives.—Invariably clean the front lens after use with moistened linen or paper, and wipe dry.

In applying oil examine the front of the objective with a magnifier, and if there are any air bubbles, remove them with a pointed quill, or remove the oil entirely and apply a fresh quantity.

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

LETTER-HEAD SENSITIZERS: See Photography, under Paper-Sensitizing Processes.

«Lettering»

CEMENTS FOR ATTACHING LETTERS ON GLASS: See Adhesives, under Sign-Letter Cements.

«Gold Lettering.»—This is usually done by first drawing the lettering, then covering with an adhesive mixture, such as size, and finally applying gold bronze powder or real gold leaf. A good method for amateurs to follow in marking letters on glass is to apply first a coat of whiting, mixed simply with water, and then to mark out the letters on this surface, using a pointed stick or the like. After this has been done the letters may easily be painted or gilded on the reverse side of the glass. When done, wash off the whiting from the other side, and the work is complete.

«Bronze Lettering.»—The following is the best method for card work: Write with asphaltum thinned with turpentine until it flows easily, and, when nearly dry, dust bronze powder over the letters. When the letters are perfectly dry tap the card to take off the extra bronze, and it will leave the letters clean and sharp. The letters should be made with a camel’s-hair brush and not with the automatic pen, as oil paints do not work satisfactorily with these pens.

For bronzed letters made with the pen, use black letterine or any water color. {457} If a water color is used add considerable gum arabic. Each letter should be bronzed as it is made, as the water color dries much more quickly than the asphaltum.

Another method is to mix the bronze powder with bronze sizing to about the consistency of the asphaltum. Make the letter with a camel’s-hair brush, using the bronze paint as one would any oil paint.

This method requires much skill, as the gold paint spreads quickly and is apt to flood over the edge of the letter. For use on oilcloth this is the most practical method.

Bronzes may be purchased at any hardware store. They are made in copper, red, green, silver, gold, and copper shades.

«Lettering on Glass.»—White lettering on glass and mirrors produces a rich effect. Dry zinc, chemically pure, should be used. It can be obtained in any first-class paint store and is inexpensive. To every teaspoonful of zinc, 10 drops of mucilage should be added. The two should be worked up into a thick paste, water being gradually added until the mixture is about the consistency of thick cream. The paint should then be applied with a camel’s-hair brush.

Another useful paint for this purpose is Chemnitz white. If this distemper color is obtained in a jar, care should be exercised to keep water standing above the color to prevent drying. By using mucilage as a sizing these colors will adhere to the glass until it is washed off. Both mixtures are equally desirable for lettering on block card-board.

Any distemper color may be employed on glass without in any way injuring it. An attractive combination is—first to letter the sign with Turkey red, and then to outline the letters with a very narrow white stripe. The letter can be rendered still more attractive by shading one side in black.

«Signs on Show Cases.»—Most show cases have mirrors at the back, either in the form of sliding panels or spring doors. Lettering in distemper colors on these mirrors can easily be read through the fronts or tops of cases. If the mirror is on a sliding panel, it will be necessary to detach it from the case in order to letter it. When the mirror is on a spring door the sign can be lettered with less trouble.

By tracing letters in chalk on the outside of the glass, and then painting them on the inside, attractive signs can be produced on all show cases; but painting letters on the inside of a show case glass is more or less difficult, and it is not advisable to attempt it in very shallow cases.

«“Spatter” Work.»—Some lettering which appears very difficult to the uninitiated is, in fact, easily produced. The beautiful effect of lettering and ornamentation in the form of foliage or conventional scrolls in a speckled ground is simple and can be produced with little effort. Pressed leaves and letters or designs cut from newspapers or magazines may be tacked or pasted on cardboard or a mat with flour paste. As little paste as possible should be used—only enough to hold the design in place. When all the designs are in the positions desired, a toothbrush should be dipped in the ink or paint to be employed. A toothpick or other small piece of wood is drawn to and fro over the bristles, which are held toward the sign, the entire surface of which should be spattered or sprinkled with the color. When the color is dry the designs pasted on should be carefully removed and the paste which held them in place should be scraped off. This leaves the letters and other designs clean cut and white against the “spatter” background. The beginner should experiment first with a few simple designs. After he is able to produce attractive work with a few figures or letters he may confidently undertake more elaborate combinations.

«Lettering on Mirrors.»—From a bar of fresh common brown soap cut off a one-inch-wide strip across its end. Cut this into 2 or 3 strips. Take one strip and with a table-knife cut from two opposite sides a wedge-shaped point resembling that of a shading pen, but allow the edge to be fully 1⁠/⁠8 inch thick. Clean the mirror thoroughly and proceed to letter in exactly the same manner as with a shading pen.

«To Fill Engraved Letters on Metal Signs.»—Letters engraved on metal may be filled in with a mixture of asphaltum, brown japan, and lampblack, the mixture being so made as to be a putty-like mass. It should be well pressed down with a spatula. Any of the mass adhering to the plate about the edges of the letters is removed with turpentine, and when the cement is thoroughly dried the plate may be polished.

If white letters are desired, make a putty of dry white lead, with equal parts of coach japan and rubbing varnish. Fill the letters nearly level with the {458} surface, and when hard, apply a stout coat of flake white in japan thinned with turpentine. This will give a clean white finish that may be polished.

The white cement may be tinted to any desired shade, using coach colors ground in japan.

«Tinseled Letters, or Chinese Painting on Glass.»—This is done by painting the groundwork with any color, leaving the letter or figure naked. When dry, place tin foil or any of the various colored copper foils over the letters on the back of the glass, after crumpling them in the hand, and then partially straightening them out.

LICE KILLERS: See Insecticides.

LICHEN REMOVERS: See Cleaning Preparations and Methods, under Miscellaneous Methods and Household Formulas.

«LICORICE:»

«Stable Solutions of Licorice Juice.»—A percolator, with alternate layers of broken glass, which have been well washed, first with hydrochloric acid and plentifully rinsed with distilled water, is the first requisite. This is charged with pieces of crude licorice juice, from the size of a hazel nut to that of a walnut, which are weighted down with well-washed pebbles. The percolate is kept for 3 days in well corked flasks which have been rinsed out with alcohol beforehand. Decant and filter and evaporate down rapidly, under constant stirring, or in vacuo. The extract should be kept in vessels first washed with alcohol and closed with parchment paper, in a dry place—never in the cellar.

To dissolve this extract, use water, first boiled for 15 minutes. The solution should be kept in small flasks, first rinsed with alcohol and well corked. If to be kept for a long time, the flasks should be subjected for 3 consecutive days, a half hour each day, to a stream of steam, and the corks paraffined.

There is frequently met with in commerce a purified juice that remains clear in the mixtura solvens. It is usually obtained by supersaturation with pure ammonia, allowing to stand for 3 days, decanting, filtering the decanted liquor, and quick evaporation. Since solutions with water alone rapidly spoil, it is well to observe with them the precautions common for narcotic extracts.

«To Test Extract of Licorice.»—Mere solubility is no test for the purity of extract of licorice. It is, therefore, proposed to make the glycyrrhizin content and the nature of the ash the determining test. To determine the glycyrrhizin quantitatively proceed as follows: Macerate 1⁠/⁠10 ounce of the extract, in coarse powder, in 10 fluidounces distilled water for several hours, with more or less frequent agitation. When solution is complete, add 10 fluidounces alcohol of 90 per cent, filter and wash the filter with alcohol of 40 per cent until the latter comes off colorless. Drive off the alcohol, which was added merely to facilitate filtration, by evaporation in the water bath; let the residue cool down and precipitate the glycyrrhizin by addition of sulphuric acid. Filter the liquid and wash the precipitate on the filter with distilled water until the wash water comes off neutral. Dissolve the glycyrrhizin from the filter by the addition of ammonia water, drop by drop, collecting the filtered solution in a tared capsule. Evaporate in the water bath, dry the residual glycyrrhizin at 212° F., and weigh. Repeated examinations of known pure extracts have yielded a range of percentage of glycyrrhizin running from 8.06 per cent to 11.90 per cent. The ash should be acid in reaction and a total percentage of from 5.64 to 8.64 of the extract.

LIGHT, INACTINIC: See Photography.

LIGNALOE SOAP: See Soap.

LIMEADE: See Beverages, under Lemonades.

LIME AS A FERTILIZER: See Fertilizers.

«LIME, BIRD.»

Bird lime is a thick, soft, tough, and sticky mass of a greenish color, has an unpleasant smell and bitter taste, melts easily on heating, and hardens when exposed in thin layers to the air. It is difficult to dissolve in alcohol, but easily soluble in hot alcohol, oil of turpentine, fat oils, and also somewhat in vinegar. The best quality is prepared from the inner green bark of the holly (Ilex aquifolium), which is boiled, then put in barrels, and submitted for 14 days to slight fermentation until it becomes sticky. Another process of preparing it is to mix the boiled bark with juice of mistletoe berries and burying it in the ground until {459} fermented. The bark is then pulverized, boiled, and washed. Artificial bird lime is prepared by boiling and then igniting linseed oil, or boiling printing varnish until it is very tough and sticky. It is also prepared by dissolving cabinetmakers’ glue in water and adding a concentrated solution of chloride of zinc. The mixture is very sticky, does not dry on exposure to the air, and has the advantage that it can be easily washed off the feathers of the birds.

LIME JUICE: See Essences and Extracts.

LIME-JUICE CORDIAL: See Wines and Liquors.

LIME WAFERS: See Confectionery.

LINEN, TO DISTINGUISH COTTON FROM: See Cotton.

LINEN DRESSING: See Laundry Preparations.

«LINIMENTS:»

See also Ointments.

«For external use only.»—I.—The following penetrating oily liniment reduces all kinds of inflammatory processes:

Paraffine oil 4 ounces Capsicum powder 1⁠/⁠2 ounce

Digest on a sand bath and filter. To this may be added directly the following: Oil of wintergreen or peppermint, phenol, thymol, camphor or eucalyptol, etc.

II.—Camphor 2 ounces Menthol 1 ounce Oil of thyme 1 ounce Oil of sassafras 1 ounce Tincture of myrrh 1 ounce Tincture of capsicum 1 ounce Chloroform 1 ounce Alcohol 2 pints

LINIMENTS FOR HORSES: See Veterinary Formulas.

«LINOLEUM:»

See also Oilcloth.

«Composition for Linoleum, Oilcloth, etc.»—This is composed of whiting, dried linseed oil, and any ordinary dryer, such as litharge, to which ingredients a proportion of gum tragacanth is to be added, replacing a part of the oil and serving to impart flexibility to the fabric, and to the composition a pasty mass the property of drying more rapidly. In the production of linoleum, the whiting is replaced in whole or in part by pulverized cork. The proportions are approximately the following by weight: Whiting or powdered cork, 13 parts; gum tragacanth, 5 parts; dried linseed oil, 5 1⁠/⁠2 parts; siccative, 1⁠/⁠2 part.

«Dressings for Linoleum.»—A weak solution of beeswax in spirits of turpentine has been recommended for brightening the appearance of linoleum. Here are some other formulas:

I.—Palm oil 1 ounce Paraffine 18 ounces Kerosene 4 ounces

Melt the paraffine and oil, remove from the fire and incorporate the kerosene.

II.—Yellow wax 5 ounces Oil turpentine 11 ounces Amber varnish 5 ounces

Melt the wax, add the oil, and then the varnish. Apply with a rag.

«Treatment of Newly Laid Linoleum.»—The proper way to cleanse a linoleum flooring is first to sweep off the dust and then wipe up with a damp cloth. Several times a year the surface should be well rubbed with floor wax. Care must be had that the mass is well pulverized and free from grit. Granite linoleum and figured coverings are cleansed without the application of water. A floor covering which has been treated from the beginning with floor wax need only be wiped off daily with a dry cloth, either woolen or felt, and afterwards rubbed well with a cloth filled with the mass. It will improve its appearance, too, if it be washed several times a year with warm water and a neutral soap.

LINOLEUM, CLEANING AND POLISHING: See Household Formulas.

LINOLEUM ON IRON STAIRS OR CEMENT FLOORS, TO GLUE: See Adhesives, under Glues.

«LINSEED OIL:»

See also Oils.

«Bleaching of Linseed Oil and Poppyseed Oil.»—In order to bleach linseed oil and poppyseed oil for painting purposes, thoroughly shake 2.5 parts of it in a glass vessel with a solution of potassium permanganate, 50 parts, in 1,250 parts of water; let stand for 24 hours in a warm temperature, and then mix with 75 parts of pulverized sodium sulphite. Now shake until the latter has dissolved and add 100 parts of crude hydrochloric acid, 20°. Agitate frequently and wash, after the previously brown mass has become light colored, with water, in which a little {460} chalk has been finely distributed, until the water is neutral. Finally filter over calcined Glauber’s salt.

«Adulteration of Linseed Oil.»—This is common, and a simple and cheap method of testing is by nitric acid. Pour equal parts of the linseed oil and nitric acid into a flask, shake vigorously, and let it stand for 20 minutes. If the oil is pure, the upper stratum is of straw yellow color and the lower one colorless. If impure, the former is dark brown or black, the latter pale orange or dark yellow, according to the admixtures to the oil.

The addition of rosin oil to linseed oil or other paint oils can be readily detected by the increase in specific gravity, the low flash point, and the odor of rosin on heating; while the amount may be approximately ascertained from the amount of unsaponifiable oil left after boiling with caustic soda.

LIP SALVES AND LIPOL: See Cosmetics.

LIPOWITZ METAL: See Alloys.

LIQUEURS: See Wines and Liquors.

LIQUOR AMMONII ANISATUS: See Ammonia.

LIQUORS: See Wines and Liquors.

LITHOGRAPHERS’ LACQUER: See Lacquers.

LITHOGRAPHS: See Pictures and Engravings.

LIVER-SPOT REMEDIES: See Cosmetics.

LOCKSMITH’S VARNISH: See Varnishes.

LOCOMOTIVE LUBRICANTS: See Lubricants.

LOCUST KILLER: See Insecticides.

LOUSE WASH: See Insecticides.

«Lubricants»

«Oil for Firearms.»—Either pure vaseline oil, white, 0.870, or else pure white-bone oil, proof to cold, is employed for this purpose, since these two oils are not only free from acid, but do not oxidize or resinify.

«Leather Lubricants.»—Russian tallow, 1 pound; beeswax, 6 ounces; black pitch, 4 ounces; common castor oil, 3 pounds; soft paraffine, 1⁠/⁠2 pound; oil of citronella, 1⁠/⁠2 ounce. Melt all together in a saucepan, except the citronella, which add on cooling. Stir occasionally.

«Machinery Oils.»—I.—The solid fat, called bakourine, a heavy lubricant which possesses extraordinary lubricating qualities has a neutral reaction and melts only at about 176° to 188° F. It is prepared as follows:

A mixture is made of 100 parts of Bienne petroleum or crude naphtha, with 25 parts of castor oil or some mineral oil, and subjected to the action of 60 or 70 parts of sulphuric acid of 66° Bé. The acid is poured in a small stream into the oil, while carefully stirring. The agitation is continued until a thick and blackish-brown mass is obtained free from non-incorporated petroleum. Very cold water of 2 or 3 times the weight of the mass is then added, and the whole is stirred until the mass turns white and becomes homogeneous. It is left at rest for 24 hours, after which the watery liquid, on the surface of which the fat is floating, must be poured off. After resting again from 3 to 4 days, the product is drawn off, carefully neutralized with caustic potash, and placed in barrels ready for shipping.

II.—Melt in a kettle holding 2 to 4 times as much as the volume of the mass which is to be boiled therein, 10 parts, by weight, of tallow in 20 parts of rape oil on a moderate fire; add 10 parts of freshly and well burnt lime, slaked in 30 or 40 parts of water; increase the fire somewhat, and boil with constant stirring until a thick froth forms and the mass sticks to the bottom of the kettle. Burning should be prevented by diligent stirring. Then add in portions of 10 parts each, gradually, 70 parts of rape oil and boil with a moderate fire, until the little lumps gradually forming have united to a whole uniform mass. With this operation it is of importance to be able to regulate the fire quickly. Samples are now continually taken, which are allowed to cool quickly on glass plates. The boiling down must not be carried so far that the samples harden on cooling; they must spin long, fine threads, when touched with the finger. When this point is reached add, with constant stirring, when the heat has abated sufficiently (which may be tested by pouring in a few drops of water), 25 to 30 parts of water. Now raise the fire, without {461} ceasing to stir, until the mass comes to a feeble, uniform boil. In order to be able to act quickly in case of a sudden boiling over, the fire must be such that it can be removed quickly, and a little cold water must always be kept on hand. Next, gradually add in small portions, so as not to disturb the boiling of the mass, 500 parts of paraffine oil (if very thick, 800 to 900 parts may be added), remove from the fire, allow the contents of the kettle to clarify, and skim off the warm grease from the sediment into a stirring apparatus. Agitate until the mass begins to thicken and cool; if the grease should still be too solid, stir in a little paraffine oil the second time. The odor of the paraffine oil may be disguised by the admixture of a little mirbane oil.

«For Cutting Tools.»—The proportion of ingredients of a lubricating mixture for cutting tools is 6 gallons of water, 3 1⁠/⁠2 pounds of soft soap, and 1⁠/⁠2 gallon of clean refuse oil. Heat the water and mix with the soap, preferably in a mechanical mixer; afterwards add the oil. A cast-iron circular tank to hold 12 gallons, fitted with a tap at the bottom and having three revolving arms fitted to a vertical shaft driven by bevels and a fast and loose pulley, answers all requirements for a mixer. This should be kept running all through the working day.

«For Highspeed Bearings.»—To prevent heating and sticking of bearings on heavy machine tools due to running continuously at high speeds, take about 1⁠/⁠8 of flake graphite, and the remainder kerosene oil. As soon as the bearing shows the slightest indication of heating or sticking, this mixture should be forcibly squirted through the oil hole until it flows out between the shaft and bearing, when a small quantity of thin machine oil may be applied.

«For Heavy Bearings.»—An excellent lubricant for heavy bearings can be made from either of the following recipes:

I.—Paraffine 6 pounds Palm oil 12 pounds Oleonaphtha 8 pounds

II.—Paraffine 8 pounds Palm oil 20 pounds Oleonaphtha 12 pounds

The oleonaphtha should have a density of 0.9. First dissolve the paraffine in the oleonaphtha at a temperature of about 158° F. Then gradually stir in the palm oil a little at a time. The proportions will show that No. II gives a less liquid product than No. I. Quicklime may be added if desired.

«For Lathe Centers.»—An excellent lubricant for lathe centers is made by using 1 part graphite and 4 parts tallow thoroughly mixed.

«Sewing Machine Oil.»—I.—Petroleum oils are better adapted for the lubrication of sewing machines than any of the animal oils. Sperm oil has for a long time been considered the standard oil for this purpose, but it is really not well adapted to the conditions to which a sewing machine is subjected. If the machine were operated constantly or regularly every day, probably sperm oil could not be improved on. The difficulty is, however, that a family sewing machine will frequently be allowed to stand untouched for weeks at a time and will then be expected to run as smoothly as though just oiled. Under this kind of treatment almost any oil other than petroleum oil will become gummy. What is known in the trade as a “neutral” oil, of high viscosity, would probably answer better for this purpose than anything else. A mixture of 1 part of petrolatum and 7 parts of paraffine oil has also been recommended.

II.—Pale oil of almonds 9 ounces Rectified benzoline 3 ounces Foreign oil of lavender 1 ounce

«PETROLEUM JELLIES AND SOLIDIFIED LUBRICANTS.»

Petroleum jelly, vaseline, and petrolatum are different names for the same thing.

The pure qualities are made from American stock thickened with hot air until the desired melting point is attained. Three colors are made: white, yellow, and black of various qualities. Cheaper qualities are made by using ceresine wax in conjunction with the genuine article and pale mineral oil. This is the German method and is approved of by their pharmacopœia. Machinery qualities are made with cylinder oils, pale mineral oils, and ceresine wax.

I.—Yellow ceresine wax 11 parts White ceresine wax 6 parts American mineral oil, 903⁠/⁠907 151 parts

Melt the waxes and stir in the oil. To make white, use all white ceresine wax. To color, use aniline dyes soluble in oil to any shade required.

II.—Ceresine wax 1 pound Bloomless mineral oil, Sq. 910 1 gallon {462}

Melt the wax and add the oil, varying according to the consistency required. To color black, add 28 pounds lampblack to 20 gallons oil. Any wax will do, according to quality of product desired.

«White Petroleum Jelly.»—

White tasteless oil 4 parts White ceresine wax 1 part

«Solidified Lubricants.»—

I.—Refined cotton oil 2 parts American mineral oil, 903⁠/⁠907 2 parts Oleate of alumina 1 part

Gently heat together.

II.—Petroleum jelly 120 parts Ceresine wax 5 parts Slaked lime 1⁠/⁠2 part Water 4 1⁠/⁠2 parts

Heat the wax and the petroleum jelly gently until liquid; then mix together the water and lime. Decant the former into packing receptacles, and add lime and water, stirring until it sets. For cheaper qualities use cream cylinder oil instead of petroleum jelly.

«WAGON AND AXLE GREASES:»

«For Axles of Heavy Vehicles.»—I.—Tallow (free from acid), 19 1⁠/⁠2 parts; palm oil, 14 parts; sal soda, 5 1⁠/⁠2 parts; water, 3 parts, by weight. Dissolve the soda in the water and separately melt the tallow, then stir in the palm oil. This may be gently warmed before adding, as it greatly facilitates its incorporation with the tallow, unless the latter be made boiling hot, when it readily melts the semi-solid palm oil. When these two greases are thoroughly incorporated, pour the mixture slowly into the cold lye (or soda solution), and stir well until the mass is homogeneous. This lubricant can be made less solid by decreasing the tallow or increasing the palm oil.

II.—Slaked lime (in powder), 8 parts, is slowly sifted into rosin oil, 10 parts. Stir it continuously to incorporate it thoroughly, and gently heat the mixture until of a syrupy consistency. Color with lampblack, or a solution of turmeric in a strong solution of sal soda. For blue grease, 275 parts of rosin oil are heated with 1 part of slaked lime and then allowed to cool. The supernatant oil is removed from the precipitated matter, and 5 or 6 parts of the foregoing rosin-oil soap are stirred in until all is a soft, unctuous mass.

«For Axles of Ordinary Vehicles.»—I.—Mix 80 parts of fat and 20 parts of very fine black lead; melt the fat in a varnished earthen vessel; add the black lead while constantly stirring until it is cold, for otherwise the black lead, on account of its density, would not remain in suspension in the melted fat. Axles lubricated with this mixture can make 80 miles without the necessity of renewing the grease.

II.—Mix equal parts of red American rosin, melted tallow, linseed oil, and caustic soda lye (of 1.5 density).

III.—Melt 20 parts of rosin oil in 50 parts of yellow palm oil, saponify this with 25 parts of caustic soda lye of 15° Bé., and add 25 parts of mineral oil or paraffine.

IV.—Mix residue of the distillation of petroleum, 60 to 80 parts; tallow, 10 parts; colophony, 10 parts; and caustic soda solution of 40° Bé., 15 parts.

«A Grease for Locomotive Axles.»—Saponify a mixture of 50 parts tallow, 28 parts palm oil, 2 parts sperm oil. Mix in soda lye made by dissolving 12 parts of soda in 137 parts of water.

«MISCELLANEOUS LUBRICANTS:»

«For Cotton Belts.»—Carefully melt over a slow fire in a closed iron or self-regulating boiler 250 parts of caoutchouc or gum elastic, cut up in small pieces; then add 200 parts of colophony; when the whole is well melted and mixed, incorporate, while carefully stirring, 200 parts of yellow wax. Then heat 850 parts of train oil, mixing with it 250 parts of talc, and unite the two preparations, constantly stirring, until completely cold.

«Chloriding Mineral Lubricating Oils.»—A process has been introduced for producing industrial vaselines and mineral oils for lubrication, based on the treatment of naphthas, petroleums, and similar hydrocarbides, by means of chlorine or mixtures of chlorides and hypochlorides, known under the name of decoloring chlorides. Mix and stir thoroughly 1,000 parts of naphtha of about 908 density; 55 parts of chloride of lime, and 500 parts of water. Decant and wash.

«Glass Stop Cock Lubricant.»—(See also Stoppers).

Pure rubber 14 parts Spermaceti 5 parts Petroleum 1 part

Melt the rubber in a covered vessel and then stir in the other ingredients. A little more petroleum will be required when the compound is for winter use. {463}

«Hard Metal Drilling Lubricant.»—For drilling in hard metal it is recommended to use carbolic acid instead of another fatty substance as a lubricant, since the latter, by decreasing the friction, diminishes the “biting” of the drill, whereas the carbolic acid has an etching action.

«Plaster Model Lubricant.»—Take linseed oil, 1,000 parts; calcined lead, 50 parts; litharge, 60 parts; umber, 30 parts; talc, 25 parts. Boil for 2 hours on a moderate fire; skim frequently and keep in well-closed flasks.

«Graphite Lubricating Compound.»—Graphite mixed with tallow gives a good lubricating compound that is free from any oxidizing if the tallow be rendered free from rancidity. The proportions are: Plumbago, 1 part; tallow, 4 parts. The plumbago being stirred into the melted tallow and incorporated by passing it through a mixing mill, add a few pounds per hundredweight of camphor in powder to the hot compound.

«Lubricants for Redrawing Shells.»—Zinc shells should be clean and free from all grit and should be immersed in boiling hot soap water. They must be redrawn while hot to get the best results. On some shells hot oil is used in preference to soap water.

For redrawing aluminum shells use a cheap grade of vaseline. It may not be amiss to add that the draw part of the redrawing die should not be made too long, so as to prevent too much friction, which causes the shells to split and shrivel up.

For redrawing copper shells use good thick soap water as a lubricant. The soap used should be of a kind that will produce plenty of “slip.” If none such is to be had, mix a quantity of lard oil with the soap water on hand and boil the two together. Sprinkling graphite over the shells just before redrawing sometimes helps out on a mean job.

«Rope Grease.»—For hemp ropes, fuse together 20 pounds of tallow and 30 pounds of linseed oil. Then add 20 pounds of paraffine, 30 pounds of vaseline, and 60 pounds of rosin. Finally mix with 10 pounds of graphite, first rubbed up with 50 pounds of boiled oil. For wire ropes fuse 100 pounds of suint with 20 pounds of dark colophony (rosin). Then stir in 30 pounds of rosin oil and 10 pounds of dark petroleum.

«Sheet Metal Lubricant.»—Mix 1 quart of whale oil, 1 pound of white lead, 1 pint of water, and 3 ounces of the finest graphite. This is applied to the metal with a brush before it enters the dies.

«Steam Cylinder Lubricant.»—To obtain a very viscous oil that does not decompose in the presence of steam even at a high temperature, it is necessary to expose neutral wool fats, that have been freed from wool-fatty acids, such as crude lanolin or wool wax, either quite alone or in combination with mineral oils, to a high heat. This is best accomplished in the presence of ordinary steam or superheated steam at a heat of 572° F., and a pressure of 50 atmospheres, corresponding with the conditions in the cylinder in which it is to be used. Instead of separating any slight quantities of acid that may arise, they may be dissolved out as neutral salts.

«Wooden Gears.»—An excellent lubricating agent for wooden gears consists of tallow, 30 parts (by weight); palm oil, 20 parts; fish oil, 10 parts; and graphite, 20 parts. The fats are melted at moderate heat, and the finely powdered and washed graphite mixed with them intimately by long-continued stirring. The teeth of wooden combs are kept in a perfectly serviceable condition for a much longer time if to the ordinary tallow or graphite grease one-tenth part of their weight of powdered glass is added.

«TESTS FOR LUBRICANTS.»

In testing lubricants in general, a great deal depends upon the class of work in which they are to be employed. In dealing with lubricating greases the specific gravity should always be determined. The viscosity is, of course, also a matter of the utmost importance. If possible the viscosity should be taken at the temperature at which the grease is to be subjected when used, but this cannot always be done; 300° F. will be found to be a very suitable temperature for the determination of the viscosity of heavy lubricants. Although one of the standard viscosimeters is the most satisfactory instrument with which to carry out the test, yet it is not a necessity. Provided the test be always conducted in exactly the same manner, and at a fixed temperature, using a standard sample for comparison, the form of apparatus used is not of great importance. Most dealers in scientific apparatus will provide a simple and cheap instrument, the results obtained with which will be found reliable. With the exercise of a little ingenuity any one can fit up a viscosimeter for himself at a very small outlay.

Acidity is another important point to {464} note in dealing with lubricating greases. Calculated as sulphuric acid, the free acid should not exceed .01 per cent, and free fatty acids should not be present to any extent. Cylinder oil should dissolve completely in petroleum benzine (specific gravity, .700), giving a clear solution. In dealing with machine oils the conditions are somewhat different. Fatty oils in mixture with mineral oils are very useful, as they give better lubrication and driving power, especially for heavy axles, for which these mixtures should always be used. The specific gravity should be from .900 to .915 and the freezing point should not be above 58° F. The flash point of heavy machine oils is not a matter of great importance. The viscosity of dynamo oils, taken in Engler’s apparatus, should be 15–16 at 68° F. and 3 1⁠/⁠2–4 at 122° F. In dealing with wagon oils and greases it should be remembered that the best kinds are those which are free from rosin and rosin products, and their flash point should be above 212° F.

«To Test Grease.»—To be assured of the purity of grease, its density is examined as compared with water; a piece of fat of the size of a pea is placed in a glass of water. If it remains on the surface or sinks very slowly the fat is pure; if it sinks rapidly to the bottom the fat is mixed with heavy matters and coom is the result.

LUBRICANTS FOR WATCHMAKERS: See Watchmakers’ Formulas.

LUPULINE BITTERS: See Wines and Liquors.

«LUSTER PASTE.»

This is used for plate glass, picture frames, and metal. Five parts of very finely washed and pulverized chalk; 5 parts of Vienna lime, powdered; 5 parts of bolus, powdered; 5 parts of wood ashes, powdered; 5 parts of English red, powdered; 5 parts of soap powder. Work all together in a kneading machine, to make a smooth, even paste, adding spirit. The consistency of the paste can be varied, by varying the amount of spirit, from a solid to a soft mass.

LUTES: See Adhesives.

MACHINE OIL: See Lubricants.

MACHINERY, TO CLEAN: See Cleaning Preparations and Methods.

MAGIC: See Pyrotechnics.

«MAGNESIUM CITRATE.»

Magnesium carbonate 10 ounces Citric acid 20 ounces Sugar 21 ounces Oil of lemon 1⁠/⁠2 drachm Water enough to make 240 ounces

Introduce the magnesium carbonate into a wide-mouthed 2-gallon bottle, drop the oil of lemon on it, stir with a wooden stick: then add the citric acid, the sugar, and water enough to come up to a mark on the bottle indicating 240 ounces. For this purpose use cold water, adding about half of the quantity first, and the remainder when the substances are mostly dissolved. By allowing the solution to stand for a half to a whole day, it will filter better and more quickly than when hot water is used.

MAGNESIUM ORGEAT POWDER: See Salts, Effervescent.

MAGNESIUM FLASH-LIGHT POWDERS: See Photography.

«MAGNETIC CURVES OF IRON FILINGS, THEIR FIXATION.»

One of the experiments made in every physical laboratory in teaching the elements of magnetism and electricity is the production of the magnetic curves by sprinkling iron filings over a glass plate, after the well-known method.

For fixing these curves so that they may be preserved indefinitely, a plate of glass is warmed on the smooth upper surface of a shallow iron chest containing water raised to a suitable temperature by means of a spirit-lamp. A piece of paraffine is placed on the glass, and in the course of 3 or 4 minutes spreads itself evenly in a thin layer over the surface. The glass plate is removed, the surplus paraffine running off. The image is formed with iron filings on the cooled paraffine, which does not adhere to the iron, so that if the image is unsatisfactory the filings may be removed and a new figure taken. To fix the curves, the plate of glass is again placed on the warming stove. Finally, the surface of the paraffine is covered with white paint, so that the curves appear black on a white ground. Very well-defined figures may thus be obtained. A similar though much simpler process consists in covering one surface of stiff white paper with a layer of paraffine, by warming {465} over an iron plate, spreading the filings over the cooled surface, and fixing them with a hot iron or a gas flame.

MAGNOLIA METAL: See Alloys.

MAHOGANY: See Wood.

MALTED FOOD: See Foods.

MALTED MILK: See Milk.

MALT, HOT: See Beverages.

MANGANESE ALLOYS: See Alloys.

MANGANESE STEEL: See Steel.

MANGE CURES: See Veterinary Formulas.

MANICURE PREPARATIONS: See Cosmetics.

«MANTLES.»

These are prepared after processes differing slightly from one another, but all based on the original formula of Welsbach—the impregnation of vegetable fibers with certain mineral oxides in solution, drying out, and arranging on platinum wire.

Lanthanum oxide 30 parts Yttrium oxide 20 parts Burnt magnesia 50 parts Acetic acid 50 parts Water, distilled 100 parts

The salts are dissolved in the water, and to the solution another 150 parts of distilled water are added and the whole filtered. The vegetable fiber (in its knitted or woven form) is impregnated with this solution dried, and arranged on platinum wire. In the formula the acetic acid may be replaced with dilute nitric acid. The latter seems to have some advantages over the former, among which is the fact that the residual ash where acetic acid is used has a tendency to ball up and make a vitreous residue, while that of the nitric acid remains in powdery form.

«Self-Igniting Mantles.»—A fabric of platinum wire and cotton thread is sewed or woven into the tissue of the incandescent body; next it is impregnated with a solution of thorium salts and dried. The thorium nitrate in glowing gives a very loose but nevertheless fireproof residue. A mixture of thorium nitrate with platinic chloride leaves after incandescence a fire-resisting sponge possessing to a great extent the property of igniting gas mixtures containing oxygen. Employ a mixture of 1 part of thorium nitrate to 2 1⁠/⁠2 parts of platinic chloride.

MANURES: See Fertilizers.

MANUSCRIPT COPYING: See Copying.

MAPLE: See Wood.

MARASCHINO: See Wines and Liquors.

MARBLE CEMENTS: See Adhesives.

MARBLE CLEANING: See Cleaning Preparations and Methods.

MARBLE COLORS: See Stone.

MARBLE ETCHING: See Etching.

MARBLE, IMITATION: See Plaster.

MARBLE, PAINTING ON: See Painting.

MARBLE POLISHING: See Polishes.

MARBLING CRAYONS: See Crayons.

MARGERINE: See Butter.

«MARKING FLUID:»

See also Inks and Etching.

For laying out work on structural iron or castings a better way than chalking the surface is to mix whiting with benzine or gasoline to the consistency of paint, and then apply it with a brush; in a few minutes the benzine or gasoline will evaporate, leaving a white surface ready for scribing lines.

MASSAGE APPLICATIONS: See Cosmetics.

MASSAGE SOAPS: See Soaps.

«Matches»

(See also Phosphorus.)

«Manufacture of Matches.»—Each factory uses its own methods and chemical mixtures, though, in a general way the latter do not vary greatly. It is {466} impossible here to give a full account of the different steps of manufacture, and of all the precautions necessary to turn out good, marketable matches. In the manufacture of the ordinary safety match, the wood is first comminuted and reduced to the final shape and then steeped in a solution of ammonium phosphate (2 per cent of this salt with 1 or 1 1⁠/⁠2 per cent of phosphoric acid), or in a solution of ammonium sulphate (2 1⁠/⁠2 per cent), then drained and dried. The object of this application is to prevent the match from continuing to glow after it has been burned out. Next the matches are dipped into a paraffine or stearine bath, and after that into the match bath proper, which is best done by machines constructed for the purpose. Here are a few formulas:

I.—Potassium chlorate 2,000 parts Lead binoxide 1,150 parts Red lead 2,500 parts Antimony trisulphide 1,250 parts Gum arabic 670 parts Paraffine 250 parts Potassium bichromate 1,318 parts

Directions: See No. II.

II.—Potassium chlorate 2,000 parts Lead binoxide 2,150 parts Red lead 2,500 parts Antimony trisulphide 1,250 parts Gum arabic 670 parts Paraffine 250 parts

Rub the paraffine and antimony trisulphide together, and then add the other ingredients. Enough water is added to bring the mass to a proper consistency when heated. Conduct heating operations on a water bath. The sticks are first dipped in a solution of paraffine in benzine and then are dried. For striking surfaces, mix red phosphorus, 9 parts; pulverized iron pyrites, 7 parts; pulverized glass, 3 parts; and gum arabic or glue, 1 part, with water, quantity sufficient. To make the matches water or damp proof, employ glue instead of gum arable in the above formula, and conduct the operations in a darkened room. For parlor matches dry the splints and immerse the ends in melted stearine. Then dip in the following mixture and dry:

Red phosphorus 3.0 parts Gum arabic or tragacanth 0.5 parts Water 3.0 parts Sand (finely ground) 2.0 parts Lead binoxide 2.0 parts

Perfume by dipping in a solution of benzoic acid.

III.—M. O. Lindner, of Paris, has patented a match which may be lighted by friction upon any surface whatever, and which possesses the advantages of being free from danger and of emitting no unpleasant odor. The mixture into which the splints are first dipped consists of

Chlorate of potash 6 parts Sulphide of antimony 2 parts Gum 1 1⁠/⁠2 parts Powdered clay 1 1⁠/⁠2 parts

The inflammable compound consists of

Chlorate of potash 2 to 3 parts Amorphous phosphorus 6 parts Gum 1 1⁠/⁠2 parts Aniline 1 1⁠/⁠2 parts

Red or amorphous is substituted for yellow phosphorus in the match heads. The composition of the igniting paste is given as follows:

By weight Soaked glue (1 to 5 of water) 37.0 parts Powdered glass 7.5 parts Whiting 7.5 parts Amorphous phosphorus (pure) 10.0 parts Paraffine wax 4.0 parts Chlorate of potash 27.0 parts Sugar or lampblack 7.0 parts

Silicate of soda may be substituted for the glue, bichromate of potash added for damp climates, and sulphur for large matches.

The different compositions for tipping the matches in use in different countries and factories all consist essentially of emulsions of phosphorus in a solution of glue or gum, with or without other matters for increasing the combustibility, for coloring, etc.

I.—English.—Fine glue, 2 parts, broken into small pieces, and soaked in water till quite soft, is added to water, 4 parts, and heated by means of a water bath until it is quite fluid, and at a temperature of 200° to 212° F. The vessel is then removed from the fire, and phosphorus, 1 1⁠/⁠2 to 2 parts, is gradually added, the mixture being agitated briskly and continually with a stirrer having wooden pegs or bristles projecting at its lower end. When a uniform emulsion is obtained, chlorate of potassa, 4 to 5 {467} parts; powdered glass, 3 to 4 parts; and red lead, smalt, or other coloring matter, a sufficient quantity (all in a state of very fine powder), are added, one at a time, to prevent accidents, and the stirring continued until the mixture is comparatively cool. The above proportions are those of the best quality of English composition. The matches tipped with it deflagrate with a snapping noise.

II.—German (Böttger).—Dissolve gum arabic, 16 parts, in the least possible quantity of water; add of phosphorus (in powder), 9 parts, and mix by trituration. Then add niter, 14 parts; vermilion or binoxide of manganese, 16 parts, and form the whole into a paste as directed above. Into this the matches are to be dipped, and then exposed to dry. As soon as they are quite dry they are to be dipped into very dilute copal varnish or lac varnish, and again exposed to dry, by which means they are rendered waterproof, or at least less likely to suffer from exposure in damp weather.

III. (Böttger.)—Glue, 6 parts, is soaked in a little cold water for 24 hours, after which it is liquefied by trituration in a heated mortar; phosphorus, 4 parts, is added, and rubbed down at a heat not exceeding 150° F.; niter (in fine powder), 10 parts, is next mixed in, and afterwards red ocher, 5 parts, and smalt, 2 parts, are further added, and the whole formed into a uniform paste, into which the matches are dipped, as before. This is cheaper than the previous one.

IV. (Diesel.)—Phosphorus, 17 parts; glue, 21 parts; red lead, 24 parts; niter, 38 parts. Proceed as above.

Matches tipped with II, III, or IV, inflame without fulmination when rubbed against a rough surface, and are hence termed noiseless matches by the makers.

«Safety Paste for Matches.»—The danger of explosion during the preparation of match composition may be minimized by addition to the paste of the following mixture: Finely powdered cork, 3 parts, by weight; oxide of iron, 15 parts; flour, 23 parts; and water, about 40 parts. In practice, 30 parts of gum arabic are dissolved in water, 40 parts, and to the solution are added powdered potassium chlorate, 57 parts, and when this is well distributed, amorphous phosphorus, 7 parts, and powdered glass, 15 parts, are stirred in. The above mixture is then immediately introduced, and when mixing is complete, the composition can be applied to wooden sticks which need not have been previously dried or paraffined. The head of the match is finally coated with tallow, which prevents atmospheric action and also spontaneous ignition.

Most chemists agree that the greatest improvement of note in the manufacture of matches is that of Landstrom, of Jonkoping, in Sweden. It consists in dividing the ingredient of the match mixture into two separate compositions, one being placed on the ends of the splints, as usual, and the other, which contains the phosphorus, being spread in a thin layer upon the end or lid of the box. The following are the compositions used: (a) For the splints: Chlorate of potassa, 6 parts; sulphuret of antimony, 2 to 3 parts; glue, 1 part. (b) For the friction surface: Amorphous phosphorus, 10 parts; sulphuret of antimony or peroxide of manganese, 8 parts; glue, 3 to 6 parts; spread thinly upon the surface, which has been previously made rough by a coating of glue and sand. By thus dividing the composition the danger of fire arising from ignition of the matches by accidental friction is avoided, as neither the portion on the splint nor that on the box can be ignited by rubbing against an unprepared surface. Again, by using the innocuous red or amorphous phosphorus, the danger of poisoning is entirely prevented.

MATCH MARKS ON PAINT, TO REMOVE: See Cleaning Preparations and Methods.

MATCH PHOSPHORUS, SUBSTITUTE FOR: See Phosphorus Substitute.

«Matrix Masses»

«Matrix for Medals, Coins, etc.»—I.—Sharp impressions of coins, medals, etc., are obtained, according to Böttger, with the following: Mix molten, thinly liquid sulphur with an equal quantity of infusorial earth, adding some graphite. If a sufficient quantity of this mass, made liquid over a flame, is quickly applied with a spatula or spoon on the coin, etc., an impression of great sharpness is obtained after cooling, which usually takes place promptly. Owing to the addition of graphite the articles do not become dull or unsightly.

II.—Bronze and silver medals should always be coated with a separating grease layer. The whole coin is greased slightly and then carefully wiped off again with a little wadding, but in such a manner {468} that a thin film of grease remains on the surface. Next, a ring of strong cardboard or thin pasteboard is placed around the edge, and the ends are sealed together. Now stir up a little gypsum in a small dish and put a teaspoonful of it on the surface of which the mold is to be taken, distributing it carefully with a badger’s-hair brush, entering the finest cavities, which operation will be assisted by blowing on it. When the object is covered with a thin layer of plaster of Paris, the plaster, which has meanwhile become somewhat stiffer, is poured on, so that the thickness of the mold will be about 1⁠/⁠20 of an inch. The removal of the cast can be effected only after a time, when the plaster has become warm, has cooled again, and has thoroughly hardened. If it be attempted to remove the cast from the metal too early and by the use of force, fine pieces are liable to break off and remain adhering to the model. In order to obtain a positive mold from the concave one, it is laid in water for a short time, so that it becomes saturated with the water it absorbs. The dripping, wet mold is again provided with an edge, and plaster of Paris is poured on. The latter readily flows out on the wet surface, and only in rare cases blisters will form. Naturally this casting method will furnish a surface of pure gypsum, which is not the case if the plaster is poured into a greased mold. In this case the surface of the cast contains a soapy layer, for the liquid plaster forms with oil a subsequently rather hard lime soap. The freshly cast plaster must likewise be taken off only when a quarter of an hour has elapsed, after it has become heated and has cooled again.

MATS FOR METALS: See Metals.

«MATZOON.»

Add 2 tablespoonfuls of bakers’ yeast to 1 pint of rich milk, which has been slightly warmed, stirring well together and setting aside in a warm room in a pitcher covered with a wet cloth for a time varying from 6 to 12 hours, according to the season or temperature of the room. Take from this, when curdled, 6 tablespoonfuls, add to another pint of milk, and again ferment as before, and continue for five successive fermentations in all, when the product will have become free from the taste of the yeast. As soon as the milk thickens, which is finally to be kept for use, it should be stirred again and then put into a refrigerator to prevent further fermentation. It should be smooth, of the consistence of thick cream, and of a slightly acid taste.

The milk should be prepared fresh every day, and the new supply is made by adding 6 tablespoonfuls of the previous day’s lot to a pint of milk and proceeding as before.

The curd is to be eaten with a spoon, not drunk, and preferably with some bread broken into it. It is also sometimes eaten with sugar, which is said not to impair its digestibility.

MAY WINE: See Wines and Liquors.

«MEAD.»

In its best form Mead is made as follows: 12 gallons of pure, soft water (clean rain water is, next to distilled water, best) are mixed with 30 gallons of expressed honey in a big caldron, 4 ounces of hops added, and the whole brought to a boil. The boiling is continued with diligent skimming, for at least an hour and a half. The fire is then drawn, and the liquid allowed to cool down slowly. When cold, it is drawn off into a clean barrel, which it should fill to the bung, with a little over. A pint of fresh wine yeast or ferment is added, and the barrel put in a moderately warm place, with the bung left out, to ferment for from 8 to 14 days, according to the weather (the warmer it is the shorter the period occupied in the primary or chief fermentation). Every day the foam escaping from the bung should be carefully skimmed off, and every 2 or 3 days there should be added a little honey and water to keep the barrel quite full, and in the meantime a pan or cup should be inverted over the hole, to keep out dust, insects, etc. When fermentation ceases, the procedure varies. Some merely drive in the bung securely and let the liquor stand for a few weeks, then bottle; but the best German makers proceed as follows, this being a far superior process: The liquor is removed from the barrel in which it fermented to another, clean, barrel, being strained through a haircloth sieve to prevent the admission of the old yeast. A second portion of yeast is added, and the liquid allowed to pass through the secondary fermentation, lasting usually as long as the first. The bung is driven into the barrel, the liquid allowed to stand a few days to settle thoroughly and then drawn off into bottles and stored in the usual way. Some add nutmeg, cinnamon, etc., prior to the last fermentation. {469}

MEASURES: See Weights and Measures.

MEASURES, TO CLEAN: See Cleaning Preparations and Methods.

MEAT EXTRACT CONTAINING ALBUMEN: See Foods.

MEAT PEPTONOIDS: See Peptonoids.

MEAT PRESERVATIVES: See Foods.

MEAT PRODUCTS (ADULTERATED): See Foods.

MEDAL IMPRESSIONS: See Matrix Mass.

MEDALS, CLEANING AND PRESERVING: See Cleaning Compounds.

MEDALLION METAL: See Alloys.

MEDICINE DOSES: See Doses.

«MEERSCHAUM:»

«To Color a Meerschaum Pipe.»—I.—Fill the pipe and smoke down about one-third, or to the height to which you wish to color. Leave the remainder of the tobacco in the pipe, and do not empty or disturb it for several weeks, or until the desired color is obtained. When smoking put fresh tobacco on the top and smoke to the same level. A new pipe should never be smoked outdoors in extremely cold weather.

II.—The pipe is boiled in a preparation of wax, 8 parts; olive oil, 2 parts; and nicotine, 1 part, for 10 or 15 minutes. The pipe absorbs this, and a thin coating of wax is held on the surface of the pipe, and made to take a high polish. Under the wax is retained the oil of tobacco, which is absorbed by the pipe; and its hue grows darker in proportion to the tobacco used. A meerschaum pipe at first should be smoked very slowly, and before a second bowlful is lighted the pipe should cool off. This is to keep the wax as far up on the bowl as possible; rapid smoking will overheat, driving the wax off and leaving the pipe dry and raw.

«To Repair Meerschaum Pipes.»—To cement meerschaum pipes, make a glue of finely powdered and sifted chalk and white of egg. Put a little of this glue on the parts to be repaired and hold them pressed together for a moment.

See also Adhesives under Cements.

«To Tell Genuine Meerschaum.»—For the purpose of distinguishing imitation meerschaum from the true article, rub with silver. If the silver leaves lead pencil-like marks on the mass, it is not genuine but artificial meerschaum. If no such lines are produced, the article is genuine.

MENTHOL COUGH DROPS: See Confectionery.

MENTHOL TOOTH POWDER: See Dentifrices.

MERCURY SALVES: See Ointments.

MERCURY STAINS, TO REMOVE: See Cleaning Preparations and Methods.

METACARBOL DEVELOPER: See Photography.

«Metals and Their Treatment»

METAL CEMENTS: See Adhesives and Lutes.

METAL CLEANING: See Cleaning Preparations and Methods.

METAL INLAYING: See Damaskeening.

METAL POLISHES: See Polishes.

METAL PROTECTIVES: See Rust Preventives.

METAL VARNISHES: See Varnishes.

METALS, HOW TO ATTACH TO RUBBER: See Adhesives, under Rubber Cements.

METALS, SECURING WOOD TO: See Adhesives.

«METALS, BRIGHTENING AND DEADENING, BY DIPPING:»

«Brightening Pickle.»—To brighten articles by dipping, the dipping liquid must not be too hot, otherwise the pickled surface turns dull; neither must it be prepared too thin, nor must wet articles be entered, else only tarnished surfaces will be obtained.

For a burnish-dip any aqua fortis over 33° Bé., i. e., possessing a specific gravity of 1.30, may be employed. It is advisable not to use highly concentrated aqua fortis, to reduce the danger of obtaining matt work. It is important that the quantity of oil of vitriol, which is added, {470} is correct. It is added because the action of the aqua fortis is very uncertain. Within a short time it becomes so heated in acting on the metals that it turns out only dull work, and pores or even holes are apt to be the result of the violent chemical action. If the aqua fortis is diluted with water the articles do not become bright, but tarnish. For this reason sulphuric acid should be used. This does not attack the metals; it only dilutes the aqua fortis and distributes the heat generated in pickling over a larger space. It is also much cheaper, and it absorbs water from the aqua fortis and, therefore, keeps it in a concentrated state and yet distributed over the space.

In the case of too much oil of vitriol the dilution becomes too great and the goods are tarnished; if too little is added, the mixture soon ceases to turn out bright articles, because of overheating. On this experience are based the formulas given below.

Dip the articles, which must be free from grease, into the pickle, after they have been either annealed and quenched in diluted sulphuric acid or washed out with benzine. Leave them in the dipping mixture until they become covered with a greenish froth. Then quickly immerse them in a vessel containing plenty of water, and wash them out well with running water. Before entering the dipped articles in the baths it is well to remove all traces of acid, by passing them through a weak soda or potassium cyanide solution and washing them out again. If the brightly dipped goods are to remain bright they must be coated with a thin spirit or zapon lacquer.

Following are two formulas for the pickle:

I.—Aqua fortis, 36° Bé., by weight 100 parts Oil of vitriol (sulphuric acid), 66° Bé., by weight 70 parts Cooking salt, by volume 1 1⁠/⁠2 parts Shining soot (lampblack), by volume 1 1⁠/⁠2 parts

II.—Aqua fortis, 40° Bé., by weight 100 parts Oil of vitriol, 66° Bé., by weight 100 parts Cooking salt, by volume 2 parts Shining soot, by volume 2 parts

«Matting or Deadening Pickle.»—When, instead of brilliancy, a matted appearance is desired for metals, the article is corroded either mechanically or chemically. In the first case it is pierced with fine holes near together, rubbed with emery powder or pumice stone and tamponned. In the other case the corrosion is effected in acid baths thus composed:

Nitric acid of 36° Bé., 200 parts, by volume; sulphuric acid of 56° Bé., 200 parts, by volume; sea salt, 1 part, by volume; zinc sulphate, 1 to 5 parts, by volume.

With this proportion of acids the articles can remain from 5 to 20 minutes in the mixture cold; the prominence of the matt depends on the length of time of the immersion. The pieces on being taken from the bath have an earthy appearance which is lightened by dipping them quickly in a brightening acid. If left too long the matted appearance is destroyed.

«Cotton Matt.»—This matt, thus called on account of its soft shade, is rarely employed except for articles of stamped brass, statuettes, or small objects. As much zinc is dissolved in the bath as it will take. The pieces are left in it from 15 to 30 minutes. On coming from the bath they are dull, and to brighten them somewhat they are generally dipped into acids as before described.

«Silver Matt.»—Articles of value for which gilding is desired are matted by covering them with a light coating of silver by the battery. It is known that this deposit is always matt, unless the bath contains too large a quantity of potassium cyanide. A brilliant silvering can be regularly obtained with electric baths only by adding carbon sulphide. Four drachms are put in an emery flask containing a quart of the bath fluid and allowed to rest for 24 hours, at the end of which a blackish precipitate is formed. After decanting, a quart is poured into the electric bath for each quart before every operation of silvering.

«Dangers of Dipping.»—The operation of dipping should be carried out only in a place where the escaping fumes of hyponitric acid and chlorine can pass off without molesting the workmen, e. g., under a well-drawing chimney, preferably in a vapor chamber. If such an arrangement is not present the operator should choose a draughty place and protect himself from the fumes by tying a wet sponge under his nose. The vapors are liable to produce very violent and dangerous inflammations of the respiratory organs, coming on in a surprisingly {471} quick manner after one has felt no previous injurious effect at all.

«COLORING METALS:»

See also Plating.

«Processes by Oxidation.»—By heat:—Coloration of Steel.—The steel, heated uniformly, is covered in the air with a pellicle of oxide and has successively the following colors: Straw yellow, blue (480° to 570° F.), violet, purple, water-green, disappearance of the color; lastly the steel reddens. For producing the blue readily, plunge the object into a bath of 25 parts of lead and 1 part of tin; its temperature is sufficient for bluing small pieces.

Bronzing of Steel.—I.—The piece to be bronzed is wet by the use of a sponge with a solution formed of iron perchloride, cupric sulphate, and a nitric acid. It is dried in a stove at 86° F., then kept for 20 minutes over boiling water. It is dried again at 86° F., and rubbed with a scratch brush.

This operation is repeated several times.

Bronzing of Steel.—II.—Rust and grease are removed from the objects with a paste of whiting and soda. They are immersed in a bath of dilute sulphuric acid, and rubbed with very fine pumice-stone powder. They are then exposed from 2 to 3 minutes to the vapor of a mixture of equal parts of concentrated chlorhydric and nitric acids.

The object is heated to 570° to 660° F. until the bronze color appears. When cooled, it is covered with paraffine or vaseline while rubbing, and heated a second time until the vaseline or paraffine commences to decompose. The operation is repeated. The shades obtained are beautiful, and the bronzing is not changeable. By subjecting the object to the vapors of the mixture of chlorhydric and nitric acids, shades of a light reddish brown are obtained. By adding to these two acids acetic acid, beautiful yellow bronze tints are procured. By varying the proportion of these three acids, all the colors from light reddish brown to deep brown, or from light yellow bronze to deep yellow bronze, are produced at will.

Bronzing.—III.—Under the name of Tuker bronze, a colored metal is found in trade which imitates ornamental bronze perfectly. It is obtained by deoxidizing or, if preferred, by burnishing cast iron. A thin layer of linseed oil or of linseed-oil varnish is spread on. It is heated at a temperature sufficient for producing in the open air the oxidation of the metal. The temperature is raised more or less, according as a simple yellow coloration or a deep brown is desired.

Lustrous Black.—In a quantity of oil of turpentine, sulphuric acid is poured drop by drop, stirring continually until a precipitate is no longer formed. Then the whole is poured into water, shaken, decanted, and the washing of the precipitate commenced again until blue litmus paper immersed in the water is no longer reddened. The precipitate will thus be completely freed from acid. After having drained it on a cloth, it is ready for use. It is spread on the iron and burned at the fire.

If the precipitate spreads with difficulty over the metal, a little turpentine can be added. It is afterwards rubbed with a linen rag, soaked with linseed oil, until the surface assumes a beautiful lustrous black. This covering is not liable to be detached.

Bluish Black.—Make a solution composed of nitric acid, 15 parts; cupric sulphate, 8 parts; alcohol, 20 parts; and water, 125 parts. Spread over the metal when well cleaned and grease removed. Dry and rub with linen rag.

Black.—Make a solution composed of cupric sulphate, 80 parts; alcohol, 40 parts; ferric chloride, 30 parts; nitric acid, 20 parts; ether, 20 parts; water, 400 to 500 parts, and pass over the object to be blackened.

Magnetic Oxide.—I.—A coating of magnetic oxide preserves from rust. To obtain it, heat the object in a furnace to a temperature sufficient to decompose steam. Then inject from 4 to 6 hours superheated steam at 1,100° F. The thickness of the layer of oxide formed varies with the duration of the operation. This process may replace zincking, enameling, or tinning.

II.—A deposit of magnetic oxide may be obtained by electrolysis. The iron object is placed at the anode in a bath of distilled water heated to 176° F. The cathode is a plate of copper, or the vessel itself if it is of iron or copper. By electrolysis a layer of magnetic oxide is formed.

In the same way other peroxides may be deposited. With an alkaline solution of litharge a brilliant black deposit of lead peroxide, very adherent, is obtained.

The employment of too strong a current must be avoided. It will produce a pulverulent deposit. To obtain a good coating, it is necessary after leaving the objects for a moment at the opposite {472} pole, to place them at the other pole until the outside is completely reduced, then bring them back to the first place.

«Processes by Sulphuration.»—Oxidized Brown Color.—The object is plunged into some melted sulphur mingled with lampblack, or into a liquid containing the flowers of sulphur mingled with lampblack. It is drained and dried. The bronzing obtained resists acids, and may acquire a beautiful polish which has the appearance of oxidized bronze, due perhaps to the formation of ferric sulphide, a sort of pyrites remarkable for its beautiful metallic reflections and its resistance to chemical agents.

Brilliant Black.—Boil 1 part of sulphur and 10 parts turpentine oil. A sulphurous oil is obtained of disagreeable odor. Spread this oil with the brush as lightly as possible, and heat the object in the flame of an alcohol lamp until the patina takes the tint desired. This process produces on iron and steel a brilliant black patina, which is extremely solid.

Blue.—Dissolve 500 drachms of hyposulphite of soda in 1 quart of water, and 35 grains of lead acetate in 1 quart of water. The two solutions mingled are heated to the boiling point. The iron is immersed, and assumes a blue coloration similar to that obtained by annealing.

«Deposit of a Metal or of a Non-Oxidizable Compound.»—Bronze Color.—Rub the iron smartly with chloride of antimony. A single operation is not sufficient. It is necessary to repeat it, heating the object slightly.

Black.—I.—Make a paste composed of equal parts of chloride of antimony and linseed oil. Spread on the object, previously heated, with a brush or rag; then pass over it a coating of wax and brush it. Finally varnish with gum lac.

II.—Prepare a solution of bismuth chloride, 10 parts; mercury chloride, 20 parts; cupric chloride, 10 parts; hydrochloric acid, 60 parts; alcohol, 50 parts; water, 500 parts. Add fuchsine in sufficient quantity to mask the color.

The mercury chloride is poured into the hydrochloric acid, and the bismuth chloride and cupric chloride added; then the alcohol. Employ this mixture with a brush or a rag for smearing the object. The object may also be immersed in the liquid if it is well cleaned and free from grease. It is dried and afterwards submitted to boiling water for half an hour. The operation is repeated until the wished-for tint is obtained; then the object is passed into the oil bath and taken to the fire without wiping. The object may also be placed for 10 minutes in boiling linseed oil.

Brown Tint.—A solution is made of chloride of mercury, 20 parts; cupric chloride, 10 parts; hydrochloric acid, 60 parts; alcohol, 50 parts; water, 500 parts. The object is plunged into this solution after being well cleaned. The solution may also be applied with a brush, giving two coats. It is afterwards put into hot water. The surface of the object is covered with a uniform layer of vegetable oil. It is placed in a furnace at a high temperature, but not sufficient for carbonizing the oil. The iron is covered with a thin layer of brown oxide, which adheres strongly to the metal, and which can be beautifully burnished, producing the appearance of bronze.

Brilliant Black.—The process begins by depositing on the object, perfectly clean and free from grease, a layer of metallic copper. For this purpose the following solutions are prepared: (a) Cupric sulphate, 1 part; water, 16 parts. Add ammonia until complete dissolution. (b) Chloride of tin, 1 part; water, 2 parts; and chlorhydric acid, 2 parts. The object is immersed in solution b, and afterwards in solution a. In this way there is deposited on the iron a very adherent coating of copper. The object, washed with water, is afterwards rubbed with sulphur, or immersed in a solution of ammonium sulphhydrate. A dull black coating of cupric sulphide is produced, which becomes a brilliant black by burnishing.

Blue Black.—The iron object is first heated according to the previous recipe, but the copper is converted into cupric sulphide, not by a sulphhydrate, but by a hyposulphite. It is sufficient to dip the coppered object into a solution of sodium hyposulphite, acidulated with chlorhydric acid, and raised to the temperature of 175° to 195° F.

Thus a blue-black coating is obtained, unchangeable in air and in water. After polishing, it has the color of blue steel. It adheres strongly enough to resist the action of the scratch brush.

Deposition of Molybdenum.—Iron is preserved from rust by covering it with a coating of molybdenum, as follows: Water, 1,000 parts; ammonium molybdate, 1 part; ammonium nitrate, 15 to 20 parts. Suspend the object at the negative pole of a battery. The current ought to have a strength of 2 to 5 amperes per cubic decimeter.

Deposit of Manganese Peroxide.—The {473} iron or steel is first covered with a coating of manganese peroxide by immersing as an anode in a bath containing about 0.05 per cent of chloride or sulphate of manganese and from 5 to 25 per cent of ammonium nitrate. The bath is electrolyzed cold, making use of a cathode of charcoal. Feeble currents (1 or 2 amperes) produce an adherent and unchangeable deposit.

Bronzing of Cannon.—Prepare a solution of ferric chloride of density 1.281, 14 parts; mercury chloride, 3 parts; fuming nitric acid, 3 parts; cupric sulphate, 3 parts; water, 80 parts. Give to the piece of ordnance 2 or 3 coatings of the solution, taking care always to scratch the preceding layer with a steel brush before spreading the second. Afterwards, the object is plunged in a solution of potassium sulphide in 900 parts of water. It is left in this for 10 days. It is removed by washing with soap and hot water. The object is rinsed, dried, and finally brushed with linseed-oil varnish.

Green Bronzing.—Dissolve 1 part of acetate of silver in 20 parts of essence of lavender; coat the surface of iron with this liquid by means of a brush and raise the temperature to 292° F. A brilliant green color is developed on the surface.

Coating on Steel Imitating Gilding.—The object is first covered by the galvanic method by means of a solution of cyanide of copper and potassium, then covered electrolytically with a thin deposit of zinc. It is dried and cleaned with a little washed chalk and finally immersed in boiling linseed oil. The surface of the piece after a few seconds, at a temperature of 310° F., appears as if there had been a real penetration of copper and zinc; that is to say, as though there were a formation of tombac.

Bronzing of Cast Iron.—The piece, when scraped, is coppered with the following bath: Cupric chloride, 10 parts; hydrochloric acid, 80 parts; nitric acid, 10 parts. It is rubbed with a rag and washed with pure water, and then rubbed with the following solution: Ammonium chlorhydrate, 4 parts; oxalic acid, 1 part; water, 30 parts.

Gilding of Iron and Steel.—Chloride of gold is dissolved either in oil of turpentine or in ether, and this solution is applied with the brush on the metallic surface, after being perfectly scraped. It is allowed to dry, and then heated more or less strongly for obtaining the necessary adherence. When it is dry the gilding is burnished.

«Process by Deposit of a Color or Varnish.»—Beautiful colorations, resistive to light, may be given to metals by the following method:

The metallic objects are immersed in a colorless varnish with pyroxyline, and dried in a current of hot air at 176° F. When the varnish is sufficiently dry, the objects are bathed for a few minutes in a 2 per cent alcoholic solution of alizarine or of a color of the same group. By washing with water the yellowish color covering the object on coming from the coloring bath passes to the golden red.

«Coloring Copper.»—To redden copper hang it from a few minutes to an hour, according to the shade wanted, in a 5 to 10 per cent solution of ferrocyanide of potassium in water. By adding a little hydrochloric acid to the solution the color given to the copper may be made to assume a purple shade. On removing the copper, dry it in the air or in fine sawdust, rinse, and polish with a brush or chamois leather, after drying it again.

«Coloring Brass.»—To redden brass, dip in solution of 5 ounces of sulphate of copper and 6 to 7 ounces of permanganate of potash in 500 ounces of water.

To blue copper or brass any one of the following recipes may be used:

I.—Dip the article in a solution of 2 ounces of liver of sulphur and 2 ounces of chlorate soda in 1,000 ounces of water.

II.—Dip the article in a solution of ferrocyanide of potassium very strongly acidulated with hydrochloric acid.

III.—Stir the article about constantly in a solution of liver of sulphur in 50 times its weight of water.

«Fusion Point of Metals.»—The point of fusion of common metals is as follows: Antimony, 808° F.; aluminum, 1,160° F.; bismuth, 517° F.; copper, 1,931° F.; gold, 1,913° F.; iron, 2,912° F.; lead, 850° F.; nickel, 2,642° F.; platinum, 3,225° F.; silver, 1,750° F.; tin, 551° F.; zinc, 812° F. Mercury, which is normally fluid, congeals at 38° below zero, F., this being its point of fusion.

«To Produce Fine Leaves of Metal.»—The metal plate is laid between parchment leaves and beaten out with hammers. Although films obtained in this manner reach a high degree of fineness, yet the mechanical production has its limit. If very fine films are desired the galvano-plastic precipitation is employed in the following manner:

A thin sheet of polished copper is entered in the bath and connected with the {474} electric conduit. The current precipitates gold on it. In order to loosen it, the gilt copper plate is placed in a solution of ferric chloride, which dissolves the copper and leaves the gold behind. In this manner gold leaf can be hammered out to almost incredible thinness.

«METAL FOIL.»

Tin foil is the most common foil used, being a combination of tin, lead, and copper, sometimes with properties of other metals.

I II III Per cent Per cent Per cent Tin 97.60 98.47 96.21 Copper 2.11 0.38 0.95 Lead 0.04 0.84 2.41 Iron 0.11 0.12 0.09 Nickel — — 0.30

I is a mirror foil; III is a tin foil.

Tin Foils for Capsules.—

I II Per cent Per cent Tin 20 22 Lead 80 77 Copper — 1

Tin Foils for Wrapping Cheese, etc.—

I II III Per cent Per cent Per cent Tin 97 90 92 Lead 2.5 7.8 7 Copper 0.5 0.2 1

Tin Foils, for Fine Wrapping, I and II; for Tea Boxes, III.—

I II III Per cent Per cent Per cent Tin 60 65 40 Lead 40 35 58.5 Copper — — 1.5

Imitation Gold Foils.—

Deep gold Pure gold Pale gold Per cent Per cent Per cent Copper 84.5 78 76 Zinc 15.5 22 14

Deep gold Deep gold Gold Per cent Per cent Per cent Copper 91 86 83 Zinc 9 14 17 dark pale reddish yellow yellow

Imitation Silver Foil.—Alloy of tin and zinc: harder than tin and softer than zinc: Zinc, 1 part; tin, 11 parts.

To Attach Gold Leaf Permanently.—Dissolve finely cut isinglass in a little water, with moderate heat, which must not be increased to a boil, and add as much nitric acid as has been used of the isinglass. The adhesive will not penetrate the cardboard or paper.

METH: See Mead.

METHEGLIN: See Mead.

METHYL SALICYLATE, TO DISTINGUISH FROM OIL OF WINTERGREEN: See Wintergreen.

METOL DEVELOPER: See Photography.

METRIC WEIGHTS: See Weights and Measures.

MICE POISON: See Rat Poison.

MICROPHOTOGRAPHS: See Photography.

«MILK:»

See also Foods.

«Determining Cream.»—An apparatus for determining cream in milk consists of a glass cylinder having a mark about half its height, and a second mark a little above the first. The milk is added up to the lower mark, and water up to the second. The amount of water thus added is about one-fourth the volume of the milk, and causes the cream to rise more quickly. The tube is graduated between the two marks in percentages of cream on the undiluted milk. A vertical blue strip in the side of the cylinder aids the reading of the meniscus.

«Formaldehyde in Milk, Detection of.»—To 10 parts of milk add 1 part of fuchsine sulphurous acid. Allow to stand 5 minutes, then add 2 parts of pure hydrochloric acid and shake. If formaldehyde is not present, the mixture remains yellowish white, while if present a blue-violet color is produced. This test will detect 1 grain of anhydrous formaldehyde in 1 quart of milk.

«Malted Milk.»—To malt milk, add the following:

Powdered malt 1 ounce Powdered oat meal 2 ounces Sugar of milk 4 ounces Roasted flour 1 pound

«Milk Extracts.»—These are made from skimmed milk freed from casein, sugar and albumen, and resemble meat extracts. The milk is slightly acidulated with phosphoric or hydrochloric acid, and evaporated in vacuo to the {475} consistency of thick syrup. During the crystallization of the sugar, the liquid is sterilized.

«Modification of Milk for Infants.»—For an ill child note the percentages of milk taken; decide, if indigestion is present, which ingredient of the milk, fat or proteid, or both, is at fault, and make formula accordingly.

After allowing the milk to stand 8 hours, remove the top 8 ounces from a quart jar of 4 per cent fat milk by means of a dipper, and count this as 12 per cent fat cream. Count the lowest 8 ounces of the quart fat-free milk. From these the following formula may be obtained, covering fairly well the different percentages required for the different periods of life.

First Week.

12 per cent cream. Fat-free milk. Fat 2.00 Cream 3 1⁠/⁠4 oz. Sugar 5.00 Milk 1 1⁠/⁠2 oz. Proteids 0.75 Milk sugar 2 meas.

Second Week.

Fat 2.50 Cream 4 1⁠/⁠4 oz. Sugar 6.00 Milk 1 1⁠/⁠4 oz. Proteids 1.00 Milk sugar 2 1⁠/⁠2 meas.

Third Week.

Fat 3.00 Cream 5 oz. Sugar 6.00 Milk 1 oz. Proteids 1.00 Milk sugar 2 1⁠/⁠2 meas.

Four to Six Weeks.

Fat 3.50 Cream 5 3⁠/⁠4 oz. Sugar 6.50 Milk 1 3⁠/⁠4 oz. Proteids 1.00 Milk sugar 2 1⁠/⁠2 meas.

Six to Eight Weeks.

Fat 3.50 Cream 5 3⁠/⁠4 oz. Sugar 6.50 Milk 3 1⁠/⁠4 oz. Proteids 1.50 Milk sugar 2 1⁠/⁠4 meas.

Two to Four Months.

Fat 4.00 Cream 6 3⁠/⁠4 oz. Sugar 7.00 Milk 2 1⁠/⁠4 oz. Proteids 1.50 Milk sugar 2 1⁠/⁠2 meas.

Four to Eight Months.

Fat 4.00 Cream 6 3⁠/⁠4 oz. Sugar 7.00 Milk 4 3⁠/⁠4 oz. Proteids 2.00 Milk sugar 2 1⁠/⁠4 meas.

Eight to Nine Months.

Fat 4.00 Cream 6 3⁠/⁠4 oz. Sugar 7.00 Milk 7 1⁠/⁠2 oz. Proteids 2.50 Milk sugar 2 meas.

Nine to Ten Months.

Fat 4.00 Cream 6 3⁠/⁠4 oz. Sugar 7.00 Milk 10 1⁠/⁠2 oz. Proteids 3.00 Milk sugar 1 1⁠/⁠2 meas.

Ten to Twelve Months.

Fat 4.00 Cream 6 3⁠/⁠4 oz. Sugar 5.00 Milk 11 3⁠/⁠4 oz. Proteids 3.50 Milk sugar 1⁠/⁠2 meas.

After Twelve Months. Unmodified cow’s milk.

«Preservation of Milk» (see also Foods).—I.—Shortly after the milk is strained add to it from 1 per cent to 2 per cent of a 12-volume solution of hydrogen peroxide, and set it aside for 10 to 12 hours. It thus acquires the property of keeping perfectly sweet and fresh for 3 or 4 days, and is far preferable to milk sterilized by heat. Two points are worthy of notice in the process. The addition of oxygenated water should be made as soon after it is taken from the cow, strained, etc., as possible; the peroxide appears to destroy instantly all anaërobic microbes (such as the bacillus of green diarrhea of childhood), but has no effect upon the bacillus of tuberculosis. This process is to be especially recommended in the heat of summer, and at all times in the milk of cattle known to be free of tuberculosis.

II.—Fresh milk in bottles has been treated with oxygen and carbonic acid under pressure of some atmospheres. By this method it is said to be possible to preserve milk fresh 50 to 60 days. The construction of the bottle is siphon-like.

«Milk Substitute.»—Diamalt is a thick syrupy mass of pleasant, strong, somewhat sourish odor and sweetish taste, which is offered as a substitute for milk. The preparation has been analyzed. Its specific gravity is 1.4826; the percentage of water fluctuates between 24 and 28 per cent; the amount of ash is 1.3 per cent. There are present: Lactic acid, 0.718 to 1.51; nitrogenous matter, 4.68 to 5.06 per cent; and constituents rich in nitrogen, about 68 per cent. The latter consist principally of maltose. Dissolved in water it forms a greenish-yellow mixture. Turbidness is caused by starch grains, yeast cells, bacteria, and a shapeless coagulum.

MILK AS A SUBSTITUTE FOR CELLULOID, BONE, AND IVORY: See Casein.

MILK, CUCUMBER: See Cosmetics.

MILK OF SOAP: See Cleaning Preparations and Methods, under Miscellaneous Methods.

MINARGENT: See Alloys. {476}

MINERAL WATERS: See Waters.

MINOFOR METAL: See Alloys.

MINT CORDIAL: See Wines and Liquors.

«Mirrors»

(See also Glass.)

«Mirror Silvering.»—Mirror silvering is sometimes a misnomer, inasmuch as the coating applied to glass in the manufacture of mirrors does not always contain silver. In formula I it is an amalgam of mercury and tin.

I.—A sheet of pure tin foil, slightly larger than the glass plate to be silvered, is spread evenly on a perfectly plane stone table having a raised edge, and is well cleaned from all dust and impurity. The foil must be free from the slightest flaw or crack. The tin is next covered uniformly to a depth of 1⁠/⁠8 of an inch with mercury, preference being given by some to that containing a small proportion of tin from a previous operation. The glass plate, freed from all dust or grease, and repolished if necessary, is then carefully slid over the mercury. This part of the work requires skill and experience to exclude all air bubbles, and even the best workmen are not successful every time. If there is a single bubble or scratch the operation must be repeated and the tin foil is lost; not a small expense for large sizes. When this step has been satisfactorily accomplished the remainder is easy. The glass plate is loaded with heavy weights to press out the excess of mercury which is collected and is used again. After 24 hours the mirror is lifted from the table and placed on edge against a wall, where it is left to drain well.

II.—Solution No. 1 is composed as follows: To 8 ounces of distilled water, brought to a boil, add 12 grains of silver nitrate and 12 grains of Rochelle salts. Let it come to a boil for 6 to 7 minutes; then cool and filter.

Solution No. 2 is made as follows: Take 8 ounces of distilled water, and into a small quantity poured into a tumbler put 19 grains of silver nitrate. Stir well until dissolved. Then add several drops of 26° ammonia until the solution becomes clear. Add 16 grains more of nitrate of silver, stirring well until dissolved. Add balance of distilled water and filter. The filtering must be done through a glass funnel, in which the filter paper is placed. The solution must be stirred with a glass rod. Keep the solutions in separate bottles marked No. 1 and No. 2.

Directions for Silvering: Clean the glass with ammonia and wipe with a wet chamois. Then take half and half of the two solutions in a graduating glass, stirring well with a glass rod. Pour the contents on the middle of the glass to be silvered. It will spread over the surface of itself if the glass is laid flat. Leave it until the solution precipitates.

«Silvering Globes.»—The insides of globes may be silvered, it is said, by the following methods:

I.—Take 1⁠/⁠3 ounce of clean lead, and melt it with an equal weight of pure tin; then immediately add 1⁠/⁠2 ounce of bismuth, and carefully skim off the dross; remove the alloy from the fire, and before it grows cold add 5 ounces of mercury, and stir the whole well together; then put the fluid amalgam into a clean glass, and it is fit for use. When this amalgam is used for silvering, it should be first strained through a linen rag; then gently pour some ounces of it into the globe intended to be silvered; the alloy should be poured into the globe by means of a paper or glass funnel reaching almost to the bottom of the globe, to prevent it splashing the sides; the globe should be turned every way very slowly, to fasten the silvering.

II.—Make an alloy of 3 ounces of lead, 2 ounces of tin, and 5 ounces of bismuth. Put a portion of this alloy into the globe and expose it to a gentle heat until the compound is melted; it melts at 197° F.; then by turning the globe slowly round, an equal coating may be laid on, which, when cold, hardens and firmly adheres.

«Resilvering Mirrors»—If mirrors coated with amalgam become damaged they may sometimes be successfully repaired by one of the following processes:

I.—Place the old mirror in a weak solution of nitric acid—say 5 per cent—which immediately removes the silver. Rinse it a little, and then clean very thoroughly with a pledget of cotton-wool and a mixture of whiting and ammonia. Rouge will answer in place of whiting, or, as a last extreme, finest levigated pumice, first applied to a waste glass to crush down any possible grit. This cleaning is of the utmost importance, as upon its thoroughness depends eventual success. Front, back, and edges must alike be left in a state above suspicion. The {477} plate is then again flowed with weak acid, rinsed under the tap, then flowed back and front with distilled water, and kept immersed in a glass-covered dish of distilled water until the solutions are ready.

The depositing vessel is the next consideration, and it should be realized that unless most of the silver in the solution finds its way on to the face of the mirror it were cheaper that the glass should be sent to the professional mirror-maker. The best plan is to use a glass dish allowing a 1⁠/⁠16 inch margin all round the mirror, inside. But such a glass dish is expensive, having to be made specially, there being no regular sizes near enough to 4 x 7 or 8 x 5 (usual mirror sizes). If too large, a dish must perforce be used, the sides or ends of which should be filled up with sealing wax. Four strips of glass are temporarily bound together with 2 or 3 turns of string, so as to form a hollow square. The side pieces are 1⁠/⁠8 inch longer outside, and the end pieces 1⁠/⁠8 inch wider than the mirror glass. This frame is placed in about the center of the dish, moistened with glycerine, and the molten wax flowed outside of it to a depth of about 3⁠/⁠4 of an inch or more. For economy’s sake, good “parcel wax” may be used, but best red sealing wax is safer. This wax frame may be used repeatedly, being cleaned prior to each silvering operation. It is the only special appliance necessary, and half an hour is a liberal time allowance for making it.

Use a stock solution of silver nitrate of the strength of 25 grains to 1 ounce of distilled water: Take 2 drachms of silver nitrate stock solution and convert it to ammonia nitrate, by adding ammonia drop by drop until the precipitate is redissolved. Add 3 1⁠/⁠2 ounces of distilled water.

In another measure take 80 drops (approximately 74 minims) of 40 per cent formalin. Pour the solution of ammonio nitrate of silver into the measure containing the formalin, then back into the original measure, and finally into the dish containing the glass to be silvered. This should be done rapidly, and the dish containing the mirror well rocked until the silvering is complete, which may be ascertained by the precipitation of a black, flocculent deposit, and the clearing of the solution. The actual process of silvering takes about 2 minutes.

Cleanliness throughout is of the greatest importance. The vessels in which the solutions are mixed should be well rinsed with a solution of bichromate of potash and sulphuric acid, then washed out three or four times under the tap, and finally with distilled water. For cleansing, dip the glass for a short time in a solution of bichromate of potash, to which a little sulphuric acid is added. The glass is afterwards well rinsed for a minute or two under the tap, flooded with distilled water, and dried with a clean linen cloth. A little absolute alcohol is then rubbed on with a soft linen handkerchief, which is immediately rolled into a pad and used for well polishing the surface. The cleaning with alcohol is repeated to avoid risk of failure.

After the mirror has been silvered, hold it under the tap and allow water to flow over it for about 3 minutes. Rinse it with distilled water, and stand it up on edge on blotting paper. When it is quite dry take a pad of very soft wash-leather, spread a small quantity of finest opticians’ rouge on a sheet of clean glass, and well coat the pad with rouge by polishing the sheet of glass. A minute quantity of rouge is sufficient. Afterwards polish the mirror by gently rubbing the surface with the pad, using a circular stroke.

It will be seen that with this process it is unnecessary to suspend the mirror in the silvering solution, as usually recommended. The mirror is laid in the dish, which is a distinct advantage, as the progress of the silvering may be watched until complete. The film also is much more robust than that obtained by the older methods.

II.—Clean the bare portion of the glass by rubbing it gently with fine cotton, taking care to remove any trace of dust and grease. If this cleaning be not done very carefully, defects will appear around the place repaired. With the point of a penknife cut upon the back of another looking glass around a portion of the silvering of the required form, but a little larger. Upon it place a small drop of mercury; a drop the size of a pin’s head will be sufficient for a surface equal to the size of the nail. The mercury spreads immediately, penetrates the amalgam to where it was cut off with the knife, and the required piece may be now lifted and removed to the place to be repaired. This is the most difficult part of the operation. Then press lightly the renewed portion with cotton; it hardens almost immediately, and the glass presents the same appearance.

«Clouding of Mouth Mirrors.»—By means of the finger, slightly moistened, apply a film of soap of any brand or kind to the mirror; then rub this off with a clean, dry cloth; the mirror will be as {478} bright and clear as ever. Breathing on it will not affect its clearness and the mirror does not suffer from the operation.

«Magic Mirrors.»—Among the many amusing and curious articles which the amateur mechanic can turn out, metallic mirrors having concealed designs on them, and which can be brought into view by breathing on the polished surface, are both funny and easy to produce. To produce steel mirrors either tough bronze or good cast mottled iron discs should be used, and the design should be on the bottom of the cast disc, as this is the soundest and densest part of the metal. The method of working is different with bronze and iron, and bronze will be dealt with first.

The cast disk of bronze should be turned up level on both sides, and the edges should be turned or shaped up, the metal being about half an inch thick. On the side which was at the bottom in casting, a line should be drawn to allow for working up the border or frame of the mirror, and on the rest of the smooth surface the design should be drawn, not having too much detail. It is best to mark the lines with a sharp scriber, to prevent their effacement during working. When the disk is marked out, it should be laid on a smoothly planed iron block, and the lines punched to a depth of about 1⁠/⁠4 inch, a punch with round edges being used. Then the disk should be turned down to just below the surface of the punched-in metal, and the border or edge formed, finishing smoothly, but without burnishing. The back can be turned down and, with the outer edge, burnished; but the inside of the edge and the face of the mirror should be polished with fine abrasive powder, and finished with fine rouge. When dry, the mirror will appear equally bright all over; but when breathed on the design will show, again disappearing as the moisture is removed. The metal punched in will be more dense than the rest of the surface, and will also be very slightly raised, this being imperceptible unless the polishing has been too long continued.

With iron mirrors a good mottled iron must be used, selecting hematite for preference; but in any case it must be chillable metal. Preferably it should be melted in a crucible, as this causes the least change in the metallic content, and as the metal can be made hot and fluid, it works well. The design must be worked out in iron of about 1⁠/⁠8 inch in thickness, and must be level, as it has to touch the molten metal in the bottom of the mold. If preferred, the design may be cast and ground flat, but this depends largely on the design. The chill pattern should be coated with plumbago, and in molding the disk pattern of about 1⁠/⁠4 inch in thickness should be laid on a board, and on this the design—chill—should be placed, and the mold should be rammed up from the back in the ordinary manner. The casting should be allowed to get cold in the mold, and should then be removed and dressed in the usual way. It should then be ground bright all over on emery wheels of successively finer grades, and the mirror surface should be buffed and polished until a steely mirror surface is produced. With a good mottled iron the chilled design will not show until the surface is breathed on or rubbed with a greasy rag, but will then show clearly.

MIRROR ALLOYS: See Alloys.

MIRRORS, FROSTED: See Glass.

MIRROR-LETTERING: See Lettering.

MIRROR POLISHES: See Polishes.

MIRRORS, TO CLEAN: See Cleaning Preparations and Methods.

MIRRORS, TO PREVENT DIMMING OF: See Glass.

MIRROR VARNISH: See Varnishes.

MITE KILLER: See Insecticides.

MIXING STICKS FOR PAINT: See Paint.

MODELING WAX: See Wax, Modeling.

MOISTURE: See Insulation.

«MOLDS:»

See also Casting and Matrix.

«Molding Sand.»—A high grade of molding sand should be fat, i. e., strongly mixed with clay. Naturally the molds of this sand should be employed only in a perfectly dry state. The fat molding sand is prepared artificially from quartz sand (fine sprinkling sand), fat clay, free {479} from lime and ferric oxide (red ocher). The molding sand is fixed by breaking up the loose pieces in which it is partly dug; next it is passed through a fine sieve and mixed up to one-third of its volume with charcoal dust, or, better still, with lampblack, which, owing to its looseness and fatness, does not detract so much from the binding qualities of the sand. The utility of the sand may be tested by pressing the finger into it, whereupon the fine lines of the skin should appear sharply defined; its binding power is ascertained by dropping a lump pressed together with the hand from a height, which is increased until it breaks.

MOLDS OF PLASTER: See Plaster.

«MOLES:»

See also Warts.

Lunar caustic is frequently used to remove warts and moles. It should be wrapped in tin foil or placed in a quill so that it will not touch the bare flesh. Moisten the raised surface and touch with the caustic night and morning. Successive layers of skin will dry up and peel off. When on a level with the surrounding flesh apply a healing ointment. Let the last crust formed drop without touching it. Unless carefully done this process may leave a white scar.

A simple remedy for warts consists in wetting and rubbing them several times a day in a strong solution of common washing soda. The electric treatment, however, is now the most popular.

«MORDANTS:»

See also Dyes.

«Mordant for Cement Surfaces.»—Take green vitriol and dissolve it in hot water. If the cement is rather fresh add 1 part of vinegar for each part of green vitriol. Best suited, however, is triple vinegar (vinegar containing 11⁠/⁠13 per cent of acetic acid), which is alone sufficient for well-dried places. For such surfaces that have been smoothed with a steel tool and have hardly any pores, take alcohol, 1 part, and green vitriol, 10 parts, and apply this twice until the iron has acquired a yellowish color. This mordant forms a neutral layer between cement and paint, and causes the latter to dry well.

«Mordant for Gold Size.»—A mordant for gold size gilding that has been thoroughly tested and found to be often preferable to the shellac-mixed article, is prepared from yolk of egg and glycerine, The yolk of an egg is twirled in a cup and up to 30 drops of glycerine are added to it. The more glycerine added, the longer the mordant will take to dry. Or else an equal portion of ordinary syrup is mixed with the yolk of egg. Same must be thinly liquid. If the mass becomes too tough it is warmed a little or thinned with a few drops of warm water. A single application is sufficient. Naturally, this style of gilding is only practicable indoors; it cannot withstand the influence of moisture.

«MORTAR, ASBESTOS.»

Asbestos mortar consists of a mixture of asbestos with 10 per cent of white lime. Canadian asbestos is generally used, which is composed of 80 per cent of asbestos and 20 per cent of serpentine. The asbestos is ground and the coarse powder used for the first rough cast, while the finer material is employed for the second top-plastering. This mortar is highly fire-resisting and waterproof, is only half as heavy as cement mortar, and tough enough to admit of nails being driven in without breaking it.

MOSQUITO REMEDIES: See Insecticides.

MOSS REMOVERS: See Cleaning Preparations and Methods, under Miscellaneous Methods.

MOTHS: See Turpentine.

MOTH PAPER: See Paper.

MOTH TRAPS AND MOTH KILLERS: See Household Formulas.

MOTHER-OF-PEARL: See Pearl.

MOTORS, ANTI-FREEZING SOLUTION FOR: See Freezing Preventives.

«MOUNTANTS:»

See also Adhesives and Photography.

«Mounting Drawings, Photos, etc., upon Fine Pasteboard.»—It frequently happens that the pasteboard will warp toward the face of the picture, even if left in a press till the gluing medium is perfectly dry. This fault can be {480} obviated by moistening the back of the pasteboard moderately with a sponge, and, while this is still wet, pasting the picture on with good, thin glue. If moistening the pasteboard is impracticable (with sensitive drawings, paintings, etc.), paste which has been pressed through a fine cloth is rubbed on, always in the same direction, and the picture is carefully and evenly pressed on. Then bend the pasteboard backward in a wide semicircle, and place it between two heavy objects on the table. After a few hours, when the paste is completely dry, put the picture down flat and load proportionately. Papers of large size, which cannot conveniently be placed between two objects, are wrapped up, and twine is stretched around, thus keeping them bent.

«Mounting Prints on Glass.»—Take 4 ounces of gelatin; soak 1⁠/⁠2 hour in cold water; then place in a glass jar, adding 16 ounces of water; put the jar in a large dish of warm water and dissolve the gelatin. When dissolved pour in a shallow tray; have the prints rolled on a roller, albumen side up; take the print by the corners and pass rapidly through the gelatin, using great care to avoid air bubbles. Squeeze carefully onto the glass. The better the quality of glass, the finer the effect.

MOUTH ANTISEPTICS: See Antiseptics.

MOUTH WASHES: See Dentifrices.

MOVING OBJECTS AND HOW TO PHOTOGRAPH THEM: See Photography.

MUCILAGE: See Adhesives.

«MUSIC BOXES.»

Care must be exercised in taking apart, for if the box is wound up and the fly is removed, the cylinder is ruined. The spring relaxes at a bound, causing the cylinder to turn with such rapidity that the pins cannot resist the teeth, whose force is intensified by the velocity of the cylinder. The pins originally bent forward are broken, or pressed backwards; as they are hardened, they cannot be bent forward again without breaking. This accident involves the cost of a new cylinder, the most expensive part of the apparatus. Besides, the comb almost always loses some teeth and the wheel-work also suffers in its turn.

To avoid such mishaps the careful operator will take the parts asunder in the following order:

1. Remove the comb.

2. Take the apparatus from the box and completely disarm the spring.

3. Remove the barrel.

4. Remove the escapement.

5. Remove the cylinder.

The barrel and the wheels are cleaned like those of a watch.

The cylinder should be handled carefully. The holes should be well cleaned. Oil should be put only on the pivots, especially none on the part of the arbor to which the cylinder is attached. It is the first piece to be replaced, care being taken to see that the arbor turns freely, but without play, between the bridges. When it is in position, put in the escapement, then the barrel, and finally the comb.

The comb, representing the musical part of a simple box, cannot receive too much care. Before replacing it examine the springs closely, and in supplying the ones that are lacking, take for the model of size and form those resembling them the most. If the parts have been put together properly, then, as soon as the comb is screwed in its place, these should be found in good working order: the levée (lift)—that is, that the pins do not lift the teeth too much or too little; the tombée (fall)—that is, that the chords, the bass, the medium, and the treble, fall together; and the visée (pointing)—that the pins catch at the center of the ends of the teeth.

MUSLIN, PAINTING ON: See Painting.

«MUSTACHE FIXING FLUID.»

Balsam of Tolu 1 part Rectified spirit 3 parts Jockey club 1 part

Dissolve the balsam in the liquids. Apply a few drops to the mustache with a brush, then twist into the desired shape.

«MUSTARD PAPER.»

I.—India rubber 1 part Benzol 49 parts Black mustard in powder, a sufficiency.

Dissolve the India rubber in the benzol, then stir in the mustard until the mixture is of a suitable consistence for spreading. It was further recommended to remove the fixed oil from the mustard by percolation with benzol. Mustard paper thus made is of good quality, very active, and keeps well. {481}

II.—Black and white mustard, in No. 60 powder, deprived of fixed oil 1 part Benzol solution of India rubber (1 in 40) 4 parts

Mix to a smooth mass, and spread the same over one side of a suitable paper by means of a plaster-spreading machine, or passing the paper over the mass contained in a suitable shallow vessel. Expose to warm air for a short time to dry. Preserve the dry paper in well-closed boxes. It may be useful to know that mustard paper, after spreading, should not be long exposed to light and air. By so doing not only does the mustard bleach but the rubber soon perishes. Moreover, mustard paper is hygroscopic, so that in a moist atmosphere it soon loses its virtue. It is, therefore, highly important that mustard paper should be rapidly dried in a warm atmosphere with free ventilation, then at once stored in well-closed packets. Thus prepared they keep well and remain active for many years.

MUSTARDS: See Condiments.

MYRRH ASTRINGENT: See Dentifrices.

«NAIL, INGROWING.»

Copious applications of dried powdered alum are sufficient to cure every case of ingrowing nail in about 5 days. The applications are not painful in the least, and the destruction of the pathologic tissue results in the formation of a hard, resistant, and non-sensitive bed for the nail, a perfect cure for the ingrowing tendency. Apply a fomentation of soap and water for 24 hours beforehand and then pour the alum into the space between the nail and its bed, tamponing with cotton to keep the alum in place, and repeating the application daily. The suppuration rapidly dries up, and pain and discomfort are relieved almost at once.

NAIL POLISHES: See Cosmetics.

NAPOLEON CORDIAL: See Wines and Liquors.

NAPHTHOL SOAP: See Soap.

«NEATSFOOT OIL.»

Crude neatsfoot oil 5,000 parts Alcohol, 90 per cent 2,500 parts Tannin 5 parts

Place in a clearing flask, agitate vigorously and allow to stand for 8 days in a warm room with daily repetition of the shaking. Then draw off the spirit of wine on top, rinse again with 1,000 parts of spirit of wine (90 per cent) and place the oil in a temperature of about 53 1⁠/⁠2° F. Allow to stand in this temperature for at least 6 weeks, protected from the light, and then filter.

NEEDLES, ANTI-RUST PAPER FOR: See Rust Preventives.

NEGATIVES, HOW TO USE SPOILED: See Photography.

NERVE PASTE: See also Dental Cements, under Cements.

Arsenious acid 4 parts Morphine sulphate 2 parts Clove oil 1 part Creosote, quantity sufficient to make a paste.

After the nerve is destroyed the following paste is to be put in the cavity:

Alum 1 part Thymol 1 part Zinc oxide 1 part Glycerine 1 part

NERVINE OINTMENT: See Ointments.

NESSELRODE PUDDING: See Ice Creams.

NETS: See Cordage.

«NICKEL-TESTING.»

Pure nickel will remain nearly white, while “patent nickel,” or nickel-copper will not retain its primitive brilliancy, but soon becomes slightly oxidized and grayish in color. The magnet furnishes a good means of testing. The unadulterated nickel is distinctly sensitive to magnetism, while that much alloyed is destitute of this property.

NICKEL ALLOYS: See Alloys.

NICKEL, TO REMOVE RUST FROM: See Cleaning Preparations and Methods.

NICKEL-PLATING: See Plating.

NICKEL STEEL: See Steel.

NICKELING, TEST FOR: See Plating. {482}

NIELLO: See Steel.

NITROGLYCERINE: See Explosives.

NOYAUX LIQUEUR: See Wines and Liquors.

NUT CANDY STICKS: See Confectionery.

NUTMEG CORDIAL: See Wines and Liquors.

NUTMEG ESSENCE: See Essences and Extracts.

OAK: See Wood.

ODONTER: See Dentifrices.

«Oils»

«Clock Oil.»—Put 2,000 parts, by weight, of virgin oil in a decanting vessel, add a solution of 40 parts of ether tannin in 400 parts of water and shake until completely emulsified. Let stand for 8 days, with frequent shaking; next, add 100 parts of talcum and, when this has also been well shaken, 1,600 parts of water. Allow to settle for 24 hours, and then run off the lower water layer, repeating the washing as long as the wash water still shows a coloration with ferric chloride. Pour the contents of the decanting vessel into an evaporating dish; then add 200 parts of thoroughly dried and finely ground cooking salt; let stand for 24 hours and filter through paper. The clock oil is now ready, and should be filled in brown glass bottles, holding 20 to 25 parts (about 1 ounce), which must be corked up well and kept at a cool temperature.

«COD-LIVER OIL:»

«Aromatic Cod-Liver Oil.»—

Coumarin 0.01 parts Saccharine 0.50 parts Vanillin 0.10 parts Alcohol, absolute 5.40 parts Oil of lemon 5.00 parts Oil of peppermint 1.00 part Oil of neroli 1.00 part Cod-liver oil to make 1,000 parts

«Deodorized Cod-Liver Oil.»—Mix 400 parts of cod-liver oil with 20 parts of ground coffee and 10 parts of bone black, warm the mixture in an open vessel to 140° F., let it stand 5 days, shaking occasionally, and strain through linen. The oil acquires the taste of coffee.

«Cod-Liver Oil Emulsions.»—

I.—Calcium hypophosphite 80 grains Sodium hypophosphite 120 grains Sodium chloride 60 grains Gum acacia, in powder 2 ounces Elixir of glucoside 20 minims Essential oil of almonds 15 minims Glycerine 2 fluidounces Cod-liver oil 8 fluidounces Distilled water, a sufficient quantity to produce 16 fluidounces.

II.—Mix 190 parts of powdered sugar with 5 parts of acacia and 500 parts of tragacanth in a mortar. Mix in a large bottle and shake thoroughly together 500 parts of cod-liver oil and 200 parts of a cold infusion of coffee. Gradually add a part of this mixture to the powder in the mortar and triturate until emulsified. To the remaining liquid mixture add 100 parts of rum, then gradually incorporate with the contents of the mortar by trituration.

«Extracting Oil from Cottonseed.»—Claim is made for a process of extraction, in an English patent, in which the seeds are placed in a rotable vessel mounted on a hollow shaft divided into compartments by means of a partition. The solvent is introduced at one end of this shaft and passes into the vessel, which is then made to rotate. After the extraction the bulk of the solvent and the extracted oil pass away through an exit pipe, and steam is then introduced through the same opening as the solvent, in order to cook the seeds and expel the residual solvent. The steam and the vapors pass through perforations in a scraper fixed to the shaft and thence through connected pipes into the other compartment of the shaft, the end of which is attached to a condenser.

«Silver Nitrate Test for Cottonseed Oil.»—Investigations of Charabout and March throw some light on the value of this test in presence of olive oil. The free-fat acids obtained from cottonseed oil by saponification were treated in accordance with the method of Milliau on a water bath with a 3 per cent solution of silver nitrate, and the brown precipitate thus formed subjected to a chemical examination. It was found to consist chiefly of a brown silver salt composed of a fat acid melting at 52° F., and {483} congealing at 120° to 122° F., and of sulphide of silver. Olive oil, which contains a sulphur compound of an analogous composition, is also capable of forming a more or less distinct precipitate of a dark colored silver sulphide with nitrate of silver. It is important to bear this fact in mind when examining olive oil for cottonseed oil.

«Floral Hair Oil.»—

White vaseline 5,000 parts Floricin, pure 800 parts Linalool rosé 60 parts Terpineol 50 parts Aubepine (hawthorne), liquid 12 parts

«Floral Hair Pomade.»—

White ceresine 250 parts Floricin, pure 1,600 parts Vanillin 3 parts Geranium oil 5 parts Isoeugenol 4 parts

«Floricin Brilliantine.»—

Floricin oil 2,100 parts White ceresine 250 parts Ylang-ylang oil 2 parts Kananga oil 5 parts Oil of rose, artificial 1 part Cheirantia 5 parts

«Solid Linseed Oil.»—Cements for the manufacture of linoleum and other similar substances are composed to a large extent of linseed oil, oxidized or polymerized until it has become solid. The old process of preparing this solid oil is tedious, costly, and invites danger from fire. It consists in running linseed oil over sheets of thin cloth hung from the top of a high building. The thin layer of oil upon the cloth dries, and then a second layer is obtained in the same way. This is continued until a thick skin of solid oil is formed on either side of the cloth. A new method of solidifying linseed oil is by means of alkalies. The drying oils, when heated with basic substances such as the alkalies, polymerize and become solid. Hertkorn makes use of the oxides of the alkaline earths, or their salts with weak acids, such as their soaps. When chalk or lime is added to the oil during the process of oxidation, either during the liquid or the plastic stage, it forms a calcium soap, and causes polymerization to set in in the partially oxidized oil. Similarly, if caustic soda or caustic potash be added, the action is not caused by them in the free state, but by the soaps which they form. Oxidized oil is more readily saponified than raw oil, and the greater the oxidation, the more readily does saponification take place. Lime soaps are not soluble in water, whereas soda and potash soaps are. Consequently a cement made with the latter, if exposed to the weather, will be acted upon by rain and moisture, owing to the soluble soap contained in it, while a cement made with lime will not be acted upon. It is suggested that the action of the bases on linseed oil is simply due to their neutralization of the free acid. The acidity of linseed oil increases as it becomes oxidized. When the basic matter is added part of the free acid is neutralized, and polymerization sets in. The presence of a large amount of free acid must therefore hinder polymerization. From 5 to 10 per cent of chalk or lime is considered to be the amount which gives the best result in practice.

«Decolorizing or Bleaching Linseed Oil.»—Linseed oil may be bleached by the aid of chemical bodies, the process of oxidizing or bleaching being best performed by means of peroxide of hydrogen. For this purpose, the linseed oil to be bleached is mixed with 5 per cent peroxide of hydrogen in a tin or glass bottle, and the mixture is shaken repeatedly. After a few days have elapsed the linseed oil is entirely bleached and clarified, so that it can be poured off from the peroxide of hydrogen, which has been reduced to oxide of hydrogen, i. e., water, by the process of oxidation. The use of another oxidizing medium, such as chloride of lime and hydrochloric acid or bichromate of calcium and sulphuric acid, etc., cannot be recommended to the layman, as the operation requires more care and is not without danger. If there is no hurry about the preparation of bleached linseed oil, sun bleaching seems to be the most recommendable method. For this only a glass bottle is required, or, better still, a flat glass dish, of any shape, which can be covered with a protruding piece of glass. For the admission of air, lay some sticks of wood over the dish and the glass on top. The thinner the layer of linseed oil, the quicker will be the oxidation process. It is, of course, necessary to place the vessel in such a manner that it is exposed to the rays of the sun for many hours daily.

«Linseed Oil for Varnish-Making.»—Heat in a copper vessel 50 gallons Baltic oil to 280° F., add 2 1⁠/⁠2 pounds calcined white vitriol, and stir well together. Keep the oil at the above temperature for half an hour, then draw the fire, and in 24 hours decant the clear oil. It should stand for at least 4 weeks. {484}

«Refining Linseed Oil.»—Put 236 gallons of oil into a copper boiler, pour in 6 pounds of oil of vitriol, and stir them together for 3 hours, then add 6 pounds fuller’s earth well mixed with 14 pounds hot lime, and stir for 3 hours. The oil must be put in a copper vessel with an equal quantity of water. Now boil for 3 hours, then extinguish the fire. When cold draw off the water. Let the mixture settle for a few weeks.

«MINERAL OIL:»

See also Petroleum.

«Production of Consistent Mineral Oils.»—

By weight

I.—Mineral oil 100 parts Linseed oil 25 parts Ground nut oil 25 parts Lime 10 parts

II.—Mineral oil 100 parts Rosin oil 100 parts Rape seed oil 50 parts Linseed oil 75 parts Lime 25 parts

«Mixing Castor Oil with Mineral Oils.»—Castor oil is heated for 6 hours in an autoclave at a temperature of 500° to 575° F., and under a pressure of 4 to 6 atmospheres. When cold the resulting product mixes in all proportions with mineral oils.

«BLEACHING OILS:»

«Linseed Oil or Poppy Oil.»—Agitate in a glass balloon 25,000 parts, by weight, of oil with a solution of 50 parts, by weight, potassium permanganate in 1,250 parts, by volume, of water. Let stand for 24 hours at a gentle warmth and add 75 parts, by weight, of powdered sodium sulphite. Agitate strongly and add 100 parts, by weight, of hydrochloric acid and again agitate. Let stand until decolorization takes place, then wash the oil with a sufficiency of water, carrying in suspension chalk, finely powdered, until the liquid no longer has an acid reaction. Finally filter off over anhydrous sodium sulphate.

«Boiled Oil.»—The following is especially adapted for zinc painting, but will also answer for any paint: Mix 1 part binoxide of manganese, in coarse powder, but not dusty, with 10 parts nut or linseed oil. Keep it gently heated and frequently stirred for about 30 hours, or until the oil begins to turn reddish.

«British Oil.»—

I.—Oil of turpentine 40 parts Barbadoes pitch 26 parts Oil of rosemary 1 part Oil of origanum 1 part

II.—Oil of turpentine 2 parts Rape oil 20 parts Spirit of tar 2 parts Alkanet root, quantity sufficient.

Macerate the alkanet root in the rape oil until the latter is colored deep red; then strain off and add the other ingredients.

«Decolorizing and Deodorizing Oils.»—I.—One may partially or completely deodorize and decolorize rank fish and other oils by sending a current of hot air or of steam through them, after having heated them from 175° to 200° F. To decolorize palm oil pass through it a current of steam under pressure corresponding to a temperature of 230° F., agitating the oil constantly. The vapor is then passed through leaden tuyeres of about 2 inches diameter, 10 hours being sufficient for deodorizing 4 tons of oil.

II.—Another method that may be applied to almost all kinds of fats and oils with excellent results is the following: Melt say 112 parts, by weight, of palm oil in a boiler. When the mass is entirely liquefied add to it a solution of calcium chloride, made by dissolving 7 parts, by weight, of lime chloride for every 84 parts, by weight, of oil in water, and mix intimately. After cooling, the mass hardens and is cut into small bits and exposed to the air for a few weeks. After this exposure the material is reassembled in a boiler of iron, jacketed on the inside with lead; a quantity of sulphuric acid diluted to 5 per cent, equal in amount to the lime chloride previously used, is added, and heat is applied until the oil melts and separates from the other substances. It is then left to cool off and solidify.

«Decomposition of Oils, Fats, etc.»—In many of the processes at present in use, whereby oils and fats are decomposed by steam at a high pressure, the time during which the oil or fat has to be exposed to high pressure and temperature has the effect of considerably darkening the resulting product. Hannig’s process claims to shorten the time required, by bringing the steam and oil into more intimate contact. The oil to be treated is projected in fine streams into the chamber containing steam at 8 to 10 atmospheres pressure. The streams of oil are projected with sufficient force to cause them to strike against the walls of the chamber, and they are thus broken up into minute globules which mix intimately with the steam. In this way the most satisfactory conditions for the decomposition of the oil are obtained. {485}

«Driffield Oils.»—

Barbadoes tar 1 ounce Linseed oil 16 ounces Oil turpentine 3 ounces Oil vitriol 1⁠/⁠2 ounce

Add the oil of vitriol to the other ingredients very gradually, with constant stirring.

«Drying Oils.»—To dry oils for varnishes, paintings, etc., the most economical means is to boil them with shot, to leave them for some time in contact with shot, or else to boil them with litharge. Another method consists in boiling the oils with equal parts of lead, tin, and sulphate of zinc in the ratio of 1⁠/⁠10 part (weight) of the united metals to 1 part of oil to be treated. These metals must be granulated, which is easily accomplished by melting them separately and putting them in cold water. They will be found at the bottom of the water in the shape of small balls. It is in this manner, by the way, that shot is produced.

«Dust-Laying Oil.»—A process has been patented for rendering mineral oils miscible in all proportions of water. The method consists of forming an intimate mixture of the oil with a soap which is soluble in water. The most simple method is as follows: The oil is placed in a tank provided with an agitator. The latter is set in motion and the fatty oil or free fatty acid from which the soap is to be formed is added, and mixed intimately with the mineral oil. When the mixture is seen to be thoroughly homogeneous, the alkali, in solution in water, is added little by little and the stirring continued until a thorough emulsion is obtained, of which the constituents do not separate, even after prolonged standing at ordinary temperatures. The agitation may be produced either by a mechanical apparatus or by forcing air in under pressure. As a rule, the operation can be carried out in the cold, but in certain cases the solution of the fatty body and its saponification requires the application of moderate heat. This may be obtained by using either a steam-jacketed pan, or by having the steam coil within the pan, or live steam may be blown through the mixture, serving at the same time both as a heating and stirring agent. Any fatty matter or fatty acid suitable for soap-making may be used, and the base may be any one capable of forming a soluble soap, most commonly the alkaline hydroxides, caustic soda, and caustic potash, as also ammonia. The raw materials are chosen according to the use to which the finished product is to be applied. A good formula, suitable for preparing an oily liquid for watering dusty roads, is as follows:

By weight

Heavy mineral oil 75 parts Commercial olein 2 parts Commercial ammonia 1.5 parts Water 21.5 parts

«Floor Oils.»—

I.—Neatsfoot oil 1 part Cottonseed oil 1 part Petroleum oil 1 part

II.—Beeswax 8 parts Water 56 parts Potassium carbonate 4 parts

Dissolve the potash in 12 parts of water; heat together the wax and the remaining water till the wax is liquefied; then mix the two and boil together until a perfect emulsion is effected. Color, if desired, with a solution of annatto.

«Ground-Laying Oil for Ceramics.»—Boil together until thoroughly incorporated 1 pint of linseed oil, 1 pint of dissolved gum mastic, 1⁠/⁠2 ounce of red lead, 1⁠/⁠2 ounce of rosin. In using mix with Venice turpentine.

«Oil Suitable for Use with Gold.»—Heat and incorporate linseed oil, 1 quart; rape oil, 1 pint; Canadian balsam, 3 pints; rectified spirits of tar, 1 quart.

«Wool Oil.»—These are usually produced by the distillation in retorts of Yorkshire grease and other greases. The distilled oil is tested for quality, and is brought down to 70 per cent or 50 per cent grades by the addition of a suitable quantity of mineral oil. The lower the quality of the grease used the lower is the grade of the resulting wool oil.

OIL, CASTOR: See Castor Oil.

OIL FOR FORMING A BEAD ON LIQUORS: See Wines and Liquors.

OILS FOR HARNESS: See Leather.

OILS (EDIBLE), TESTS FOR: See Foods.

OIL, HOW TO POUR OUT: See Castor Oil.

OIL, LUBRICATING: See Lubricants. {486}

OILS, PURIFICATION OF: See Fats.

OILCLOTH: See Linoleum.

OILCLOTH ADHESIVES: See Adhesives.

OILCLOTH VARNISHES: See Varnishes.

OILING FIBERS AND FABRICS: See Waterproofing.

OILSKINS: See Waterproofing.

OIL REMOVERS: See Cleaning Preparations and Methods.

OIL, SOLIDIFIED: See Lubricants.

«Ointments»

«Arnica Salve.»—

Solid extract of arnica 2 parts Rosin ointment 16 parts Petrolatum 4 parts Sultanas 16 parts Fine cut tobacco 1 part

Boil the raisins and the tobacco in 40 ounces of water until exhausted, express the liquid, and evaporate down to 8 ounces. Soften the arnica extract in a little hot water and mix in the liquid. Melt the rosin ointment and petrolatum together, and add the liquid to the melted mass and incorporate thoroughly.

«Barbers’ Itch.»—

Ichthyol 30 grains Salicylic acid 12 grains Mercury oleate (10 per cent) 3 drachms Lanolin 1 ounce

Mix. To be kept constantly applied to the affected parts.

«Brown Ointment.»—

Rosin 1 ounce Lead plaster 4 ounces Soap cerate 8 ounces Yellow beeswax 1 ounce Olive oil 7 1⁠/⁠2 fluidounces

«Chilblains.»—The following are for unbroken chilblains:

I.—Sulphurous acid 3 parts Glycerine 1 part Water 1 part

II.—Balsam Peru 1 part Alcohol 24 parts Hydrochloric acid 1 part Tincture benzoin compound 8 parts

Dissolve the balsam in the alcohol, and add the acid and tincture. Apply morning and evening.

«Domestic Ointments.»—

I.—Vaseline 80 parts Diachylon ointment 30 parts Carbolic acid 4 parts Camphor 5 parts

II.—Butter, fresh (unsalted) 750 parts Wax, yellow 125 parts Rosin, white 100 parts Nutmeg oil 15 parts Peru balsam 1 part

III.—Lead plaster, simple 6,090 parts Vaseline, yellow 1,000 parts Camphor 65 parts Carbolic acid 50 parts

Mix.

«Green Salve.»—

White pine turpentine 8 ounces Lard, fresh 8 ounces Honey 4 ounces Beeswax, yellow 4 ounces

Melt, stir well, and add

Verdigris, powdered 4 drachms

Apply locally.

This cannot be surpassed when used for deep wounds, as it prevents the formation of proud flesh and keeps up a healthy discharge.

«Salve for all Wounds.»—

Lard, fresh 16 ounces White lead, dry 3 ounces Red lead, dry 1 ounce Beeswax, yellow 3 ounces Black rosin 2 ounces

Mix, melt, and boil for 45 minutes, then add

Common turpentine 4 ounces

Boil for 3 minutes and cool.

Apply locally to cuts, burns, sores, ulcers, etc. It first draws, then heals.

«Irritating Plaster.»—

Tar, purified 16 ounces Burgundy pitch 1 ounce White pine turpentine 1 ounce Rosin, common 2 ounces

Melt and add

Mandrake root, powdered 1 drachm Bloodroot, powdered 1 ounce Poke root, powdered 1 ounce Indian turnip root, powdered 1 ounce

Apply to the skin in the form of a {487} plaster (spread on muslin) and renew it daily.

This salve will raise a sore which is to be wiped with a dry cloth to remove matter, etc. The sore must not be wetted. This is a powerful counter-irritant for removing internal pains, and in other cases where an irritating plaster is necessary.

«Mercury Salves.»—I.—Red Salve.—Red mercury oxide, 1 part; melted lard, 9 parts.

II.—White Salve.—Mercury precipitate, 1 part; melted lard, 9 parts.

Pink salve.

Ammoniated mercury 1 ounce Mercuric oxide, precipitated 2 1⁠/⁠2 ounces Red mercuric sulphide (vermilion) 60 grains Perfume 1⁠/⁠2 fluidounce Lard 1 1⁠/⁠2 pounds Prepared suet 1⁠/⁠2 pound

«Antiseptic Nervine Ointment.»—

Iodoform 2 parts Salol 4 parts Boric acid 5 parts Antipyrine 5 parts Vaseline 80 parts

«Photographers’ Ointment.»—The following protects the hands from photographic chemicals:

Best castile soap, in fine shavings 1 ounce Water 1 ounce Wax 1 ounce Ammonia 45 minims Lanolin 1 ounce

The soap is dissolved in the water heated for that purpose, the wax mixed in with much stirring, and, when all is in solution, the ammonia is added. When clear, the lanolin is put in, and then, if the mixture is very thick, water is added until the whole has the consistency of honey. Keep in a covered stoneware jar. The hands should be first washed with ordinary soap, and then, while the lather is still on them, a bit of the mixture about the size of a hazel nut is rubbed in until all is absorbed, and the hands are dry. At the close of the work, the film of wax is washed off in warm water and a little lanolin rubbed into the hands.

«Pain-Subduing Ointment.»—The following is an excellent formula:

Tincture of capsicum 5 parts Tincture of camphor 1 part Ammonia water 2 parts Alcohol 2 parts Soap liniment 2 parts

«Skin Ointment.»—I.—Add about 2 per cent of phenol to petrolatum, perfuming it with oil of bergamot and color a dull green. It has been suggested that a mixture of Prussian blue and yellow ocher would answer as the coloring agent.

II.—Phenol 40 grains Boric acid 2 drachms Oil of bergamot 90 minims Petrolatum 1 pound Color with chlorophyll.

OINTMENTS FOR VETERINARY PURPOSES: See Veterinary Formulas.

OLEIN SOAP: See Soap.

OLEOMARGARINE: See Butter.

OLIVE-OIL PASTE: See Butter Substitutes.

ONYX CEMENTS: See Adhesives.

ORANGEADE: See Beverages, under Lemonades.

ORANGE BITTERS AND CORDIAL: See Wines and Liquors.

ORANGE DROPS: See Confectionery.

ORANGE EXTRACT: See Essences and Extracts.

ORANGE FRAPPÉ: See Beverages, under Lemonades.

ORANGE PHOSPHATE: See Beverages.

ORGEAT PUNCH: See Beverages, under Lemonades.

ORTOL DEVELOPER: See Photography.

OXIDIZING: See Bronzing, Plating, Painting.

OXIDE, MAGNETIC: See Rust Preventives.

OXOLIN: See Rubber.

OZONATINE: See Air Purifying.

PACKAGE POP: See Beverages, under Ginger Ale.

PACKAGE WAX: See Waxes. {488}

«PACKINGS:»

«Packing for Stuffing Boxes.»—

Tallow 10 parts Barrel soap, non-filled 30 parts Cylinder oil 10 parts Talcum Venetian, finely powdered 20 parts Graphite, finely washed 6 parts Powdered asbestos 6 parts

Melt the tallow and barrel soap together, add the other materials in rotation, mix intimately in a mixing machine, and fill in 4-pound cans.

«Packing for Gasoline Pumps.»—For packing pumps on gasoline engines use asbestos wick-packing rubbed full of regular laundry soap; it will work without undue friction and will pack tightly. Common rubber packing is not as good, as the gasoline cuts it out.

PADS OF PAPER: See Paper Pads.

PAIN-SUBDUING OINTMENT: See Ointments.

«PAINTING PROCESSES:»

«Painting Ornaments or Letters on Cloth and Paper.»—Dissolve gum shellac in 95 per cent alcohol at the rate of 1 pound of shellac to 3 pints of alcohol, and mix with it any dry color desired. If it becomes too thick, thin with more alcohol. This works free, does not bleed out, imparts brilliancy to the color, and wears well. The preparation can be used also on paper.

«Painting on Marble.»—To paint marble in water colors, it must be first thoroughly cleaned and all grease completely removed. The slab is washed well, and then rubbed off with benzine by means of a rag or sponge. In order to be quite sure, add a little ox gall or aguoline to the colors. After marble has been painted with water colors it cannot be polished any more.

«Painting on Muslin.»—To paint on muslin requires considerable skill. Select a smooth wall or partition, upon which tack the muslin, drawing the fabric taut and firm. Then make a solution of starch and water, adding one-fourth starch to three-fourths water, and apply a glaze of this to the muslin. To guard against the striking in of the paint, and to hold it more securely in place and texture, mix the pigment with rubbing varnish to the consistency of a stiff paste, and then thin with turpentine to a free working condition. A double thick camel’s-hair brush, of a width to correspond properly with the size of the surface to be coated, is the best tool with which to coat fine muslin. A fitch-hair tool is probably best suited to the coarser muslin. Many painters, when about to letter on muslin, wet the material with water; but this method is not so reliable as sizing with starch and water. Wetting canvas or duck operates very successfully in holding the paint or color in check, but these materials should not be confounded with muslin, which is of an entirely different texture.

PAINTING ON LEATHER: See Leather.

«PAINTINGS:»

«Protection for Oil Paintings.»—Oil paintings should under no circumstances be varnished over before the colors are surely and unmistakably dry, otherwise the fissuring and early decay of the surface may be anticipated. The contention of some people that oil paintings need the protection of a coat of varnish is based upon the claim that the picture, unvarnished, looks dead and lusterless in parts and glossy in still others, the value and real beauty of the color being thus unequally manifested. It is not to be inferred, however, that a heavy coating of varnish is required. When it is deemed advisable to varnish over an oil painting the varnish should be mastic, with perhaps 3 or 4 drops of refined linseed oil added to insure against cracking. A heavy body of varnish used over paintings must be strictly prohibited, inasmuch as the varnish, as it grows in age, naturally darkens in color, and in so doing carries with it a decided clouding and discoloration of the delicate pigments. A thinly applied coat of mastic varnish affords the required protection from all sorts and conditions of atmospheric impurities, besides fulfilling its mission in other directions.

Oil paintings, aquarelles, etc., may be also coated with a thin layer of Canada balsam, and placed smoothly on a pane of glass likewise coated with Canada balsam, so that both layers of balsam come together. Then the pictures are pressed down from the back, to remove all air bubbles.

«To Renovate Old Oil Paintings.»—When old oil paintings have become dark and cracked, proceed as follows: Pour alcohol in a dish and put the picture over it, face downward. The fumes of the alcohol dissolve the paint of the picture, the fissures close up again, and {489} the color assumes a freshness which is surprising. Great caution is absolutely necessary, and one must look at the painting very often, otherwise it may happen that the colors will run together or even run off in drops.

PAINTINGS, TO CLEAN: See Cleaning Preparations and Methods.

«Paints»

(See also Acid-Proofing, Ceramics, Enamels, Fireproofing, Glazing, Painting Processes, Pigments, Rust Preventives, Varnishes, and Waterproofing.)

«PAINT BASES:»

«Dry Bases for Paints.»—The following colors and minerals, mixed in the proportions given and then ground to fine powder, make excellent dry paints, and may be thinned with turpentine oil, and a small percentage of cheap varnish to consistency required.

Buff.—

Yellow ocher 44 pounds Whiting 6 pounds Oxide of zinc 5 pounds Plaster of Paris 1⁠/⁠2 pound

Brick Brown.—

Yellow ocher 26 pounds Calcined copperas 4 pounds Red hematite 1 1⁠/⁠4 pounds Best silica 7 pounds Whiting 18 pounds

Gray.—

Oxide of zinc 30 pounds White lead 6 pounds Whiting 12 pounds Bone black 1⁠/⁠4 pound Yellow ocher 2 pounds

Crimson.—

Indian red 25 pounds Crocus martis 7 pounds Oxide of zinc 6 pounds Whiting 6 pounds

Vandyke Brown.—

Yellow ocher 25 pounds Whiting 18 pounds Umber 4 pounds Oxide of zinc 7 pounds Purple oxide of iron 1 pound

Blood Red.—

Crocus martis 30 pounds Whiting 20 pounds Hematite 3 pounds Silica 6 pounds Venetian red 2 pounds

Drab.—

Yellow ocher 40 pounds Whiting 10 pounds Oxide of zinc 8 1⁠/⁠2 pounds Sulphate of barytes 1 pound

«Paint for Blackboards.»—

Shellac 1 pound Alcohol 1 gallon Lampblack (fine quality) 4 ounces Powdered emery 4 ounces Ultramarine blue 4 ounces

Dissolve the shellac in the alcohol. Place the lampblack, emery, and ultramarine blue on a cheese-cloth strainer, pour on part of the shellac solution, stirring constantly and gradually adding the solution until all of the powders have passed through the strainer.

«Dark-Green Paint for Blackboards.»—Mix 1 part Prussian blue and 1 part chrome green with equal parts of gilders’ size and alcohol to a thin cream consistency. Apply with a large, stiff brush and after an hour a second coat is given. After 24 to 48 hours smooth the surface with a felt cloth. This renders it rich and velvety. The shade must be a deep black green and the quantities of the colors have to be modified accordingly if necessary. Old blackboards should be previously thoroughly cleaned with soda.

«BRONZING SOLUTIONS FOR PAINTS.»

I.—The so-called “banana solution” (the name being derived from its odor) which is used in applying bronzes of various kinds, is usually a mixture of equal parts of amyl acetate, acetone, and benzine, with just enough pyroxyline dissolved therein to give it body. Powdered bronze is put into a bottle containing this mixture and the paint so formed applied with a brush. The thin covering of pyroxyline that is left after the evaporation of the liquid protects the bronze from the air and keeps it from being wiped off by the cleanly housemaid. Tarnished picture frames and tarnished chandeliers to which a gold bronze has been applied from such a solution will look fresh and new for a long time. Copper bronze as well as gold bronze and the various colored bronze powders can be used in the “banana solution” for making very pretty advertising signs for use in the drug store. Lettering and bordering work upon the signs can be done with it. Several very small, stiff painters’ brushes are needed for such work and they must {490} be either kept in the solution when not in use, or, better still, washed in benzine or acetone immediately after use and put away for future service. As the “banana solution” is volatile, it must be kept well corked.

II.—A good bronzing solution for paint tins, applied by dipping, is made by dissolving Syrian asphaltum in spirits of turpentine, etc., and thinning it down with these solvents to the proper bronze color and consistency. A little good boiled oil will increase the adherence.

«Paint Brushes.»—To soften a hard paint brush, stand the brush overnight in a pot of soft soap and clean in warm water. Afterwards clean in benzine. If the brush is wrapped with a string do not let the string touch the soap.

Paint brushes which have dried up as hard as stone can be cleaned in the following manner: Dissolve 1 part soda in 3 parts water; pour the solution in a cylinder glass, and suspend in it the brushes to be cleaned, so that they are about 2 inches from the bottom of the vessel. Let it remain undisturbed at a temperature of 140° to 158° F., 12 to 24 hours, after which the most indurated brushes will have become soft, so that they can be readily cleaned with soap. It is essential, however, to observe the temperature, as bristle brushes will be injured and spoiled if the heat is greater.

«Black.—A Permanent Black of Rich Luster for Metal Boxes.»—Dissolve chlorate of potassium and blue vitriol, equal parts, in 36 times as much water, and allow the solution to cool. The parts to be blacked may be either dipped in the solution, or the solution may be flowed on and allowed to remain until the metal becomes black, after which the fixtures should be rinsed in clean water and allowed to dry. Those parts of the surface which show imperfections in the black should be recoated.

«Dead White on Silver Work, etc.»—Bruise charcoal very finely and mix it with calcined borax in the proportion of 4 parts of charcoal to 1 of borax. Of this make a paste with water; apply this paste on the parts to be deadened; next expose the piece to the fire of well-lit coal until it acquires a cherry-red shade; allow to cool and then place it in water slightly acidulated with sulphuric acid. The bath must not be more than 5° Bé. Leave the piece in the bath about 2 hours, then rinse off several times.

«White Coating for Signs, etc.»—A white color for signs and articles exposed to the air is prepared as follows for the last coat: Thin so-called Dutch “stand” oil with oil of turpentine to working consistency, and grind in it equal parts of zinc white and white lead, not adding much siccative, as the white lead assists the drying considerably. If the paint is smoothed well with a badger brush, a very durable white color of great gloss is obtained. Linseed oil, or varnish which has thickened like “stand” oil by long open storing, will answer equally well.

«To Prevent Crawling of Paints.»—Probably the best method to pursue will be to take an ordinary flannel rag and carefully rub it over the work previous to varnishing, striping, or painting. This simple operation will obviate the possibility of crawling.

In some instances, however, crawling may be traced to a defective varnish. The latter, after drying evenly on a well-prepared paint surface will at times crawl, leaving small pitmarks. For this, the simple remedy consists in purchasing varnish from a reputable manufacturer.

«FIREPROOF PAINTS:»

See also Fireproofing.

Fireproofing paints of effective quality are prepared in different ways. Naturally no oily or greasy substances enter into their composition, the blending agent being simply water.

I.—One of the standing paints consists of 40 pounds of powdered asbestos, 10 pounds of aluminate of soda, 10 pounds of lime, and 30 pounds of silicate of soda, with the addition of any non-rosinous coloring matter desired. The whole is thoroughly mixed with enough water to produce a perfect blend and render an easy application. Two or more coats of this is the rule in applying it to any wood surface, inside or outside of building.

II.—Another formula involves the use of 40 pounds of finely ground glass, a like amount of ground porcelain, and similarly of China clay or the same quantity of powdered asbestos, and 20 pounds of quicklime. These materials are ground very fine and then mixed in 60 pounds of liquid silicate of soda with water, as in the preceding formula. Two or more coats, if necessary, are given.

Each of these paints is applied with a brush in the ordinary way, the drying being accomplished in a few hours, and, if coloring matter is desired, the above proportions are varied accordingly.

III.—A surface coated with 3 coats of water glass, these 3 coats being {491} subsequently coated with water glass containing enough whiting or ground chalk to make it a trifle thicker than ordinary paint, is practically non-inflammable, only yielding to fierce consuming flames after a somewhat protracted exposure.

IV.—Zinc white, 70 pounds; air-slaked lime, 39 pounds; white lead, 50 pounds; sulphate of zinc, 10 pounds; silicate of soda, 7 gallons. The zinc white and lime are mixed together, then ground in elastic oil, after which the silicate of soda is added, this addition being followed by the white lead and sulphate of zinc. This white paint can be colored to meet any desired shade and it may be classed as a good working paint and probably fireproof to the same extent that most of the pretentiously sounded pigments on the markets are.

«Fireproof and Waterproof Paints.»—The following recipes are claimed to resist both fire and water: A preparation for protecting wood against the action of fire and of moisture, and also for producing on the surface of wood and metal a coat, insulating with reference to electricity and preservative from corrosion, has been introduced in France by Louis Bethisy and Myrthil Rose. The bases or fundamental raw materials quite distinct from those hitherto employed for the same purpose, are 100 parts, by weight, of nitro-cellulose and 30 parts, by weight, of chloride of lime, dissolved in 50 per cent alcohol.

Preparation of the Bases.—The cellulose (of wood, paper, cotton, linen, ramie, or hemp) is put in contact with two-thirds part of sulphuric acid of 66° Bé. and one-third part of nitric acid of 42° Bé. for some 20 or 30 minutes, washed with plenty of water, and kept for 24 hours in a tank of water supplied with an energetic current.

The nitro-cellulose thus obtained is bleached for this purpose; a double hypochlorite of aluminum and magnesium is employed. This is obtained by grinding together 100 parts of chloride of lime, 60 parts of aluminum sulphate, 23 parts of magnesium sulphate, with 200 parts of water.

When the nitro-cellulose is bleached and rewashed, it is reduced to powder and dried as thoroughly as possible. It is then placed in a vat hermetically closed and put in contact with the indicated proportion of calcium chloride dissolved in alcohol. This solution of calcium chloride should be prepared at least 24 hours in advance and filtered.

Composition of the Coating.—This has the following constituents: Bases (nitro-cellulose and solution of calcium chloride), 1 part; amyl acetate (solvent of the bases), 5 parts, by weight; sulphuric ether of 65°, 1.650 parts, by weight; alcohol, 0.850 parts, by weight; one of these powders, alum, talc, asbestos, or mica, 0.100 parts. Other solvents may be employed instead of amyl acetate; for example, acetone, acetic acid, ether alcohol, or methylic alcohol. The ether alcohol furnishes a product drying very quickly. If a very pliant coating is desired, the amyl acetate is employed preferably, with addition of vaseline oil, 0.20 parts, and lavender oil, 0.010 parts.

Method of Operating.—The sulphuric acid is mixed with the alcohol, and left for an hour in contact, shaking from time to time. Afterwards the amyl acetate is added, and left in contact for another hour under similar agitation. In case of the employment of vaseline oil and lavender oil, these two are mingled in ether alcohol. The base is introduced and left in contact for 24 hours, with frequent agitation. The fluidity of the product is augmented by increasing the quantity of the solvent.

Properties.—Wood covered with this coating is fireproof, non-hygrometric, and refractory to the electric current. It also resists the action of acids and alkalies. Metals covered with it are sheltered from oxidation, and effectually insulated on their surface from the electric current. The coating is liquid in form, and applied like collodions, either by the brush or by immersion or other suitable method.

«Paint Deadening.»—In order to obtain an even dullness of large walls, proceed as follows: After all the dirt has been carefully swept off, oil with 2 parts linseed oil and 1 part turpentine and rub down the smooth places in the wet oil with pumice stone. When the oil coating is dry, mix the ground paint, consisting of whiting, 2 parts; and white lead, 1 part; both finely ground and diluted as above. Do not apply the grounding too thin, because the chalk in itself possesses little covering power. It is not the mission of the chalk, however, to adulterate the material, but to afford a hard foundation for the subsequent coats. For the third coating take white lead, 1 part; and zinc white, 1 part; thin as above and blend with a soft hair pencil. For the final application use only zinc white, ground stiff in oil with any desired mixing color and thinned with turpentine and rain water. Mix the {492} water and the turpentine with the color at the same time, and this coat may be dabbed instead of blended. By the addition of water the paint becomes dull more slowly and is a little more difficult to lay on; but it does not show a trace of gloss after a few days and never turns yellow, even in places less exposed to the air, and besides excels by great permanency.

Another way is to add white wax instead of water to the last coating. This wax paint also gives a handsome dullness but is more difficult of treatment. A nice matt coating is also obtained by addition of Venetian soap, dissolved in water instead of the wax. This is very desirable for church decorations where exceptionally large surfaces are to be deadened.

«PAINT DRYERS:»

I.—Ordinary barytes 25 pounds Whiting 4 pounds Litharge 2 pounds Sulphate of zinc 2 pounds Sugar of lead 2 pounds Boiled linseed oil 5 pounds Plaster of Paris 1⁠/⁠2 pound

II.—Whiting 16 pounds Barytes 16 pounds White lead 3 pounds Boiled linseed oil 3⁠/⁠4 gallon

«PAINTS FOR GOLD AND GILDING:»

«Gold Paints.»—The formulas of the various gold paints on the market are carefully guarded trade secrets. Essentially they consist of a bronze powder mixed with a varnish. The best bronze powder for the purpose is what is known in the trade as “French flake,” a deep gold bronze. This bronze, as seen under the microscope, consists of tiny flakes or spangles of the bronze metal. As each minute flake forms a facet for the reflection of color, the paint made with it is much more brilliant than that prepared from finely powdered bronze.

For making gold paint like the so-called “washable gold enamel” that is sold by the manufacturers at the present time, it is necessary to mix a celluloid varnish with the French flake bronze powder. This varnish is made by dissolving transparent celluloid in amyl acetate in the proportion of about 5 per cent of celluloid.

Transparent celluloid, finely shredded 1 ounce Acetone, sufficient quantity. Amyl acetate to make 20 ounces.

Digest the celluloid in the acetone until dissolved and add the amyl acetate. From 1 to 4 ounces of flake bronze is to be mixed with this quantity of varnish. For silver paint or “aluminum enamel,” flake aluminum bronze powder should be used in place of the gold. The celluloid varnish incloses the bronze particles in an impervious coating, air-tight and water-tight. As it contains nothing that will act upon the bronze, the latter retains its luster for a long period, until the varnished surface becomes worn or abraded and the bronze thus exposed to atmospheric action.

All of the “gold” or, more properly, gilt furniture that is sold so cheaply by the furniture and department stores is gilded with a paint of this kind, and for that reason such furniture can be offered at a moderate price. The finish is surprisingly durable, and in color and luster is a very close imitation of real gold-leaf work. This paint is also used on picture frames of cheap and medium grades, taking the place of gold leaf or the lacquered silver leaf formerly used on articles of the better grades; it is also substituted for “Dutch metal,” or imitation gold leaf, on the cheapest class of work.

A cheaper gold paint is made by using an inexpensive varnish composed of gutta percha, gum dammar, or some other varnish gum, dissolved in benzole, or in a mixture of benzole and benzine. The paints made with a celluloid-amyl-acetate varnish give off a strong banana-like odor when applied, and may be readily recognized by this characteristic.

The impalpably powdered bronzes are called “lining” bronzes. They are chiefly used for striping or lining by carriage painters; in bronzing gas fixtures and metal work; in fresco and other interior decoration, and in printing; the use of a very fine powder in inks or paints admits of the drawing or printing of very delicate lines.

Lining bronze is also used on picture frames or other plastic ornamental work. Mixed with a thin weak glue sizing it is applied over “burnishing clay,” and when dry is polished with agate burnishers. The object thus treated, after receiving a finishing coat of a thin transparent varnish, imitates very closely in appearance a piece of finely cast antique bronze. To add still more to this effect the burnishing clay is colored the greenish black that is seen in the deep parts of real antique bronzes, and the bronze powder, mixed with size, is applied only to the most prominent parts or “high lights” of the ornament. {493}

Since the discovery of the celluloid-amyl-acetate varnish, or bronze liquid, and its preservative properties on bronze powders, manufacturers have discontinued the use of liquids containing oils, turpentine, or gums, since their constituents corrode the bronze metal, causing the paint finally to turn black.

«Gilding in Size.»—The old painters and gilders used to prepare the gold size themselves, but nowadays it is usually bought ready made, barring the white of egg additional. The best and most reliable, and especially suited for fine work, is undoubtedly the red French gold size. It is cleaned, as far as possible, of all impurities, and powdered. For 246 grains take 1 white of egg; put it into a glass, taking care to exclude the yolk entirely—otherwise the burnish will show black spots. Beat the white of egg to a froth with a long, well-cleaned bristle brush; add the froth to the size and grind finely together, which is soon done. When grinding, a little water and red size, if necessary, may be added (use only water for thinning). After being ground, the size is forced through a very fine hair sieve into a perfectly clean vessel, and covered up well, for immediate or subsequent use.

The raw stuff of the red size is bolus, which is dug in France and Armenia in excellent quality. Besides the red size there are yellow, white (pipe clay), blue, and gray (alumina), which are used for certain purposes, to enumerate which here would lead too far.

For burnish gold, always take yellow size for ground work. Dip a finely ground bristle brush in the gold size prepared for use; fill a well-cleaned glass (holding 1 pint) half full of water, and add the size contained in the brush, also about 4 to 5 spoonfuls of pure alcohol. It is advisable not to take too much size; the liquid, when applied, must hardly have a yellow tint. When this is dry soon after, commence applying the size, for which a hair pencil is used. The essentials are to paint evenly and not too thickly, so that the tone remains uniform. Apply three coats of size.

When the size is laid on correctly and has become dry, brush the whole with a special brush, or rub with a flannel rag, so as to obtain the highest possible luster. The size must not stand too long; otherwise no gloss can be developed. After brushing, coat the work with weak glue water and wrap it up in tissue paper if the gilding is not to be done at once.

The strictest cleanliness is essential, as the red gold size is very sensitive. The parts where the size has been applied must not be touched with the hand, else grease spots will ensue, which will make a flawless gloss in gilding impossible. The least relaxation of the necessary attention may spoil the whole job, so that everything has to be ground off again.

The necessary tools for the application of gold leaf are: Hair pencils of various sizes, tip, cushion, and gilding knife, as with oil-gilding. Take pure alcohol or grain brandy, and dilute with two-thirds water. When ready to apply the gold leaf, dip a hair pencil of suitable size into the fluid, but do not have it full enough that the alcohol will run on the size ground. Moisten a portion of the ground surface as large as the gold leaf, which is laid on immediately after. Proceed in the same manner, first moistening, then applying the ready-cut gold leaf. The latter must not be pressed on, but merely laid down lightly, one leaf a little over the edge of the previous one, without using up too much gold. Technical practice in gold-leaf gilding is presupposed; through this alone can any skill be acquired, reading being of no avail.

The leaf of gold being applied, all dust must be swept off by means of a light, fine hair pencil (but never against the overlapping edges), and the burnishing is commenced. For this purpose there are special agate tools of the shape of a horn. Flint stone, blood stone, and wolf’s teeth are sometimes, but gradually more seldom, employed. Burnish till a full, fine luster appears; but very carefully avoid dents and lines, not to speak of scratches, which would be very hard to mend.

«Gold Enamel Paints.»—

I.—Pure turps 6 pints Copal varnish 1 pint Good gold bronze 6 1⁠/⁠2 pounds Calcis hydrate (dry-slaked lime) 1⁠/⁠2 ounce

Mix the varnish and turps at a gentle heat, then slake well with the lime, and settle for a few days, then pour off the clean portion and mix with the powder.

II.—White hard varnish 1 gallon Methylated spirit 3⁠/⁠4 gallon Gold bronze 12 pounds Finely powdered mica 3 ounces

Mix the varnish and the spirit, reduce the mica to an impalpable powder, mix with the gold, then add to the liquid. Many bronze powders contain a goodly {494} proportion of mica, as it imparts brilliancy. Powdered mother-of-pearl is used also.

«GRAINING WITH PAINT:»

See also Wood.

«Oak Graining.»—Prepare a paint of two-thirds of white lead and one-third of golden ocher with the requisite amount of boiled linseed oil and a little drier, and cover the floor twice with this mixture, which possesses great covering power. When the last coating is dry, paint the floor with a thinly liquid paint consisting of varnish and sienna, applying the same in the longitudinal direction of the boards. Treat a strip about 20 inches wide at a time, and draw at once a broad paint brush or, in the absence of such, an ordinary brush or goose feather along the planks through the wet paint, whereupon the floor will acquire a nicely grained appearance. The paint requires several days to dry. A subsequent coating of varnish will cause the graining to stand out still more prominently.

«Birch.»—Imitations of birch are usefully employed for furniture. The ground should be a light, clean buff, made from white lead, stained with either yellow ocher or raw sienna in oil. In graining, brush over the surface with a thin wash of warm brown, making the panel of 2 or 3 broad color shades. Then take a large mottler and mottle the darker parts into the light, working slantwise, as for maple, but leaving a broad and stiff mark. While this is still wet soften the panel and then slightly mottle across the previous work to break it up. When thoroughly dry, carefully wet the work over with clean water and clean mottler, and put in darker overgrain with a thin oak overgrainer or overgrainer in tubes.

«Maple.»—Sixty pounds white lead; 1 ounce deep vermilion; 1 ounce lemon chrome.

«Ash.»—Sixty pounds white lead; 1 ounce deep vermilion; 1 ounce lemon chrome.

«Medium Oak.»—Sixty pounds white lead; 2 pounds French ocher; 1 ounce burnt umber.

«Light Oak.»—Sixty pounds white lead; 1 ounce lemon chrome; 1⁠/⁠2 pound French ocher.

«Dark Oak.»—Sixty pounds white lead; 10 pounds burnt umber; 1 1⁠/⁠2 pounds medium Venetian red.

«Satin Wood.»—Sixty pounds white lead; 1 ounce deep vermilion; 1 1⁠/⁠2 pounds lemon chrome.

«Pollard Oak.»—Seventy-five pounds white lead; 20 pounds French ocher; 3 pounds burnt umber; 2 1⁠/⁠2 pounds medium Venetian red.

«Pitch Pine.»—Sixty pounds white lead; 1⁠/⁠4 pound French ocher; 1⁠/⁠2 pound medium Venetian red.

«Knotted Oak.»—Sixty pounds white lead; 9 pounds French ocher; 3 1⁠/⁠2 pounds burnt umber.

«Italian Walnut.»—Sixty pounds white lead; 6 pounds French ocher; 1 1⁠/⁠2 pounds burnt umber; 1 1⁠/⁠4 pounds medium Venetian red.

«Rosewood.»—Nine and one-half pounds burnt umber; 40 pounds medium Venetian red; 10 pounds orange chrome.

«Dark Mahogany.»—Nine and one-half pounds burnt umber; 40 pounds medium Venetian red; 10 pounds orange chrome.

«Light Mahogany.»—Sixty pounds white lead; 3 pounds burnt umber; 10 pounds medium Venetian red.

«American Walnut.»—Thirty pounds white lead; 9 pounds French ocher; 4 pounds burnt umber; 1 pound medium Venetian red.

«LUMINOUS PAINTS.»

The illuminating power of the phosphorescent masses obtained by heating strontium thiosulphate or barium thiosulphate is considerably increased by the addition, before heating, of small quantities of the nitrates of uranium, bismuth, or thorium. Added to calcium thiosulphate, these nitrates do not heighten the luminosity or phosphorescence. The product from strontium thiosulphate is more luminous than that of the barium compound. Among the best luminous paints are the following:

I.—Lennord’s.—One hundred parts, by weight, of strontium carbonate; 100 parts, by weight, of sulphur; 0.5 parts, by weight, of potassium chloride; 0.5 parts, by weight, of sodium chloride; 0.4 parts, by weight, of manganese chloride. The materials are heated for three-quarters of an hour to one hour, to about 2,372° F. The product gives a violet light.

II.—Mourel’s.—One hundred parts, by weight, of strontium carbonate; 30 parts, by weight, of sulphur; 2 parts, by weight, of sodium carbonate; 0.5 parts, by weight, of sodium chloride; 0.2 parts, by weight, of manganese sulphate. The method of treatment is the same as in the first, the phosphorescence deep yellow. {495}

III.—Vanino’s.—Sixty parts, by weight, of strontium thiosulphate; 12 parts, by weight, of a 0.5 per cent acidified alcoholic solution of bismuth nitrate; 6 parts, by weight, of a 0.5 per cent alcoholic solution of uranium nitrate. The materials are mixed, dried, brought gradually to a temperature of 2,372° F., and heated for about an hour. The phosphorescence is emerald green.

IV.—Balmain’s.—Twenty parts, by weight, of calcium oxide (burnt lime), free from iron; 6 parts, by weight, of sulphur; 2 parts, by weight, of starch; 1 part, by weight, of a 0.5 per cent solution of bismuth nitrate; 0.15 parts, by weight, of potassium chloride; 0.15 parts, by weight, of sodium chloride. The materials are mixed, dried, and heated to 1,300° C. (2,372° F.). The product gives a violet light.

To make these phosphorescent substances effective, they are exposed for a time to direct sunlight; or a mercury lamp may be used. Powerful incandescent gas light also does well, but requires more time.

«PAINTS FOR METAL SURFACES:»

«Blackening Ornaments of Iron.»—I.—To give iron ornaments a black-brown to black color, proceed in the following manner: The articles are treated with corrosives, cleaned of all adhering grease, and placed in a 10 per cent solution of potassium bichromate, dried in the air, and finally held over an open, well-glowing, non-sooting fire for 2 minutes. The first coloring is usually black brown, but if this process is repeated several times, a pure black shade is obtained. Special attention has to be paid to removing all grease, otherwise the greasy spots will not be touched by the liquid, and the coloring produced will become irregular. Benzine is employed for that purpose and the articles must not be touched with the fingers afterwards.

II.—This process protects the iron from rust for a long time. The treatment consists in coating the objects very uniformly with a thin layer of linseed-oil varnish, and burning it off over a charcoal fire. During the deflagration the draught must be stopped. The varnish will first go up in smoke with a strong formation of soot, and finally burn up entirely. The process is repeated, i. e., after one coating is burned off a new one is applied, until the parts exhibit a uniformly handsome, deep-black color. Next, wipe off the covering with a dry rag and heat again, but only moderately. Finally, the articles are taken from the fire and rubbed with a rag well saturated with linseed-oil varnish. The black turns completely dull, and forms a real durable covering for the objects.

«Black for Polished Iron Pieces.»—Apply successive layers of a very concentrated solution of nitrate of manganese dissolved in alcohol over a gentle fire and the water bath. The surfaces to be blackened should be previously heated. By repeating the layers all the tints between brownish black and bluish black may be obtained.

«Glossy Black for Bicycles, etc.»—

Amber 8 ounces Linseed oil 4 ounces Asphaltum 1 1⁠/⁠2 ounces Rosin 1 1⁠/⁠2 ounces Oil turpentine 8 ounces

Heat the linseed oil to boiling point, add the amber, asphaltum, and rosin, and when all melted remove from the fire and gradually add the turpentine.

«Japan Black.»—The following is a good japan black for metal surfaces: Take 12 ounces of amber and 2 ounces of asphaltum. Fuse by heat, and add 1⁠/⁠2 pint boiled oil and 2 ounces of rosin. When cooling add 16 ounces of oil of turpentine.

«Brass and Bronze Protective Paint.»—As a protective covering, especially for brass and bronze objects, a colorless celluloid solution is recommended, such as is found in trade under the name of “Zapon” (q. v.).

«Paint for Copper.»—Dissolve 1 ounce of alum in 1 quart of warm soft water. When cold add flour to make it about the consistency of cream, then add 1⁠/⁠2 thimble of rosin and 1⁠/⁠2 ounce of sugar of lead.

«Priming Iron.»—The following, if carefully carried out, gives the best satisfaction: The first step consists in thoroughly cleaning the surface of the iron, removing all adhesions in the way of dirt, rust, etc., before the question of priming is considered. As paint in this instance is applied more with a view of protecting the iron from atmospheric influences, rather than for a decorative effect, careful attention should be devoted for securing a base or surface which is calculated to produce a thorough and permanent application. A great deal depends upon the nature of the metal to be painted. Common cast iron, for instance, possessing a rough exterior, {496} with ordinary precautions can be more readily painted with the prospect of a permanent adhesion of the paint, than a planed steel or wrought-iron surface. With the latter it has been demonstrated that a hard and elastic paint is needed, while with regard to cast iron, other paints containing iron oxides are more suitable. For good drying and covering properties, as well as elasticity, a good boiled oil to which has been added an adequate proportion of red lead will be found to form an excellent paint for smooth metal surfaces. The primary object is to protect the surface of the iron from moisture for the purpose of avoiding rust. The priming must therefore be carried out so that it will stick, after which subsequent coats may be added if desired.

It is advisable that articles made of iron should first be coated with linseed-oil varnish. It dries slowly, hardens, and enables the operator afterwards to exercise an effective control over the condition of his material. Iron must be absolutely dry and free from rust when it is to be painted. It is best to apply next a coating of hot linseed oil; when dry this should be followed by a priming of pure red lead in good linseed oil, and the iron should then be painted as desired, using ground oil paints and leaving an interval of a week between each coating. Cementing should be done after the red lead priming, but the last coat must not be given until the whole is thoroughly dry. Bright oil paints and an upper coating with plenty of oil resist the effects of heat better than thin coatings; moreover, rust can be detected in its early stages with the former. Coatings of tar and asphalt (asphalt dissolved in turpentine) are practicable for underground pipes, but are not adapted for pipes exposed to the air, as they are quickly spoiled. Asphalt varnish, used for coating coal scuttles, fire screens, etc., consists of asphalt dissolved in linseed-oil varnish. Iron stoves and stovepipes are best coated with graphite.

«Galvanized Iron.»—For galvanized iron there has been recommended a wash consisting simply of dilute hydrochloric acid, which produces chloride of zinc, that in combination with the oxygen of the air is said to produce a film upon which oil color takes as good a hold as it would upon ordinary sheet iron.

Another method which has been tested and found effective is to make a solution as follows: One ounce of chloride of copper; 1 ounce nitrate of copper; 1 ounce sal ammoniac, dissolved in 2 quarts of soft water, to which is added 1 ounce of crude or commercial hydrochloric acid. This solution should be made in an earthenware dish or pot, or in glass or stoneware, as tin will precipitate the copper salts and make the solution imperfect. To large surfaces this solution is applied with a broad brush, when the surface assumes a deep black color, which in drying out in from 12 to 24 hours becomes a gray white, upon which the properly prepared primer will take a permanent grip. On the film so produced a much thinner paint will cover very much better than a stouter paint would on the untreated galvanized or ordinary iron surface. A single trial will convince the craftsman that this treatment is a method that will give lasting results, provided he tries the same priming paint on the treated and untreated surface.

«To Paint Wrought Iron with Graphite.»—In order to make wrought iron look like new mix fine graphite with equal parts of varnish and turpentine oil, adding a little siccative. Paint the iron parts with this twice, allowing to dry each time. Especially the second coating must be perfectly dry before further treatment. The latter consists in preparing graphite with spirit and applying it very thinly over the first coat. After the drying or evaporation of the spirit the graphite last applied is brushed vigorously, whereby a handsome, durable gloss is produced.

«Paint for Iron Bodies Exposed to Heat.»—Dilute 1 part soda water glass with 2 parts water and mix intimately with the following pigments:

White.—White lead or sulphate of barium.

Yellow.—Chromate of barium, ocher, or uranium yellow.

Green.—Chromic oxide or ultramarine green.

Blue.—Ultramarine.

Brown.—Oxide of cadmium, oxide of manganese or terra di sienna.

Red.—English red or chrome red.

Bronze powder in a suitable quantity may be added to the mixture, but not more paint should be prepared than can be used up in a few hours. The bronze powder may also be strewn on the fresh paint, or applied with a dry brush, to enhance the gloss. This paint is not affected by heat, and is inodorous.

«Protective Coating for Bright Iron Articles.»—Zinc white, 30 parts; {497} lampblack, 2 parts; tallow, 7 parts; vaseline, 1 part; olive oil, 3 parts; varnish, 1 part. Boil together 1⁠/⁠4 hour and add 1⁠/⁠2 part of benzine and 1⁠/⁠4 part of turpentine, stirring the mass carefully and boiling for some time. The finished paste-like substance can be readily removed with a rag without the use of solvents.

«Rust Paints.»—I.—A new rust paint is produced by the following process: Mix 100 parts dry iron sulphate and 87 parts sodium chlorate and heat to 1,500° to 1,800° F. The chlorine set free seems to have a very favorable action on the color of the simultaneously forming iron oxide. In order to avoid, however, too far-reaching an effect of the chlorine gas, about 18 pounds of a substance which absorbs the same mechanically, such as kaolin, ground pumice stone, ocher, etc., are added to the mixture.

II.—A material known under the names of lardite, steatite, agalmatolite, pagodite, is excellently adapted as a substitute for the ordinary metallic protective agent of the pigments and has the property of protecting iron from rust in an effective manner. In China, lardite is used for protecting edifices of sandstone, which crumbles under the action of the atmosphere. Likewise a thin layer of powdered steatite, applied in the form of paint, has been found valuable there as a protector against the decay of obelisks, statues, etc. Lardite, besides, possesses the quality of being exceedingly fine-grained, which renders this material valuable for use in ship painting. Ground steatite is one of the finest materials which can be produced, and no other so quickly and firmly adheres to the fibers of iron and steel. Furthermore, steatite is lighter than metallic covering agents, and covers, mixed in paint, a larger surface than zinc white, red lead, or iron oxide. Steatite as it occurs in Switzerland is used there and in the Tyrol for stoves, since it is fireproof.

«Steel.»—An excellent coating for steel, imitating the blue color of natural steel, is composed of white shellac, 5 parts; borax, 1 part; alcohol, 5 parts; water, 4 parts; and a sufficient quantity of methylene blue. The borax is dissolved in water, the shellac in alcohol. The aqueous solution of the borax is heated to a boil and the alcoholic solution of the shellac is added with constant stirring. Next add the blue color, continuing to stir. Before this coating is applied to the steel, e. g., the spokes of a bicycle, the latter are first rubbed off with fine emery paper. The coat is put on with a soft rag. The quantity of pigment to be added is very small. By varying the quantity a paler or darker coloring of the steel can be produced.

«PAINTS FOR ROOFS AND ROOF PAPER:»

«Carbolineum.»—This German preparation is made in three colors.

I.—Pale.—Melt together in an iron kettle, over a naked fire, 30 parts of American rosin F and 150 parts of pale paraffine oil and stir in 10 parts of single rectified rosin oil.

II.—Dark.—Melt 100 parts of anthracene oil and 20 parts of American rosin F on a slow fire. Next stir in 2 parts of Para rubber solution (or solution of caoutchouc waste) and keep on boiling until all is dissolved. When this is done there should be still added 5 parts of crude concentrated carbolic acid and 5 parts of zinc chloride lye, 50° Bé., stirring until cool. The last-named admixture is not absolutely necessary, but highly advisable, owing to its extraordinary preservative and bactericidal properties.

III.—Colored.—For red, melt 100 parts of coal-tar oil, then stir in 50 parts of pale paraffine oil, and finally 75 parts of bole or iron minium, and pass through the paint mill. Although the addition of iron minium is very desirable, it is considerably more expensive. For gray, proceed as above, with the exception that metallic gray is used in place of the bole. For green, metallic green is employed. The colors are identical with those used in the manufacture of roof varnish. To increase the antiseptic properties of the colored carbolineum, any desired additions of phenol or zinc chloride solutions may be made, but the chief requirement in the case of colored carbolineum is good covering power of the coating.

«Paints for Roofs Covered with Tar Paper, for Roofing Paper, etc.»—

I.—Distilled coal tar 70 parts Heavy mineral oil (lubricating oil) 10 parts American rosin 20 parts

II.—Distilled coal tar 50 parts Trinidad asphalt 15 parts Mineral oil, containing paraffine 10 parts Dry clay, finely ground 25 parts

«Imitation Oil Paint.»—Schulz’s German patent paint is cheap, and claimed to be {498} durable, weatherproof, and glossy, like oil paint. The application consists of a ground coat, upon which the surface coat proper is applied after the former is dry. For the preparation of the grounding dissolve 1,000 parts, by weight, of Marseilles soap in 10,000 parts of boiling water and stir. In a separate vessel dissolve 2,000 parts of glue in 10,000 parts of boiling water, adding 17,500 parts of spirit of sal ammoniac. These two solutions are poured together and well stirred. Then dissolve 400 parts of chrome alum in 5,000 parts of water, and pour into the above mixture. To this mixture add 10,000 parts of pipe clay, stirring the whole well and tinting with earth colors, ocher, Vandyke brown, etc. The solid ingredients must be dissolved in boiling hot water, and sifted so as to obtain a finely divided ground color. This priming is applied in a warm state. The coating proper is put on the ground coat after it is dry, in about one-half to one hour. For this coat dissolve 2,000 parts of crystallized alum in 10,000 parts of boiling water and add to this liquid a solution of 2,000 parts of glue in 10,000 parts of water; in a special vessel prepare soapsuds of 1,000 parts of Marseilles soap in 12,000 parts of boiling water; dissolve 120 parts of chrome alum in 1,500 parts of boiling water, and mix the three solutions together with diligent stirring. This paint or liquid should also be put on hot, and assures a durable exterior paint.

«PAINTS, STAINS, ETC., FOR SHIPS.»

«Anti-Fouling Composition.»—Make an agglutinant by heating together

By weight White lead, ground in oil 2 parts Red lead, dry 1 part Raw linseed oil 14 parts

While hot stir in yellow ocher, kaolin, baked clay in powder, or any inert body, such as silica, barytes, gypsum, etc., to form a stiff dough, and, without allowing this compound to become cold (the vessel should not be removed from the source of heat), dilute with more or less manganese linoleate to the required consistency.

«Marine Paint to Resist Sea Water.»—First prepare the water-resisting agglutinant by heating together

Dry white lead, carbonate only 1 part Litharge 1 part Linseed oil (fluid measure) 14 parts

Heat these and stir until of the consistency of thick glue, and for every 36 parts, by weight, of this compound add 3 parts, by weight, of turpentine, and 1 part, by weight, of mastic varnish (mastic rosin dissolved in turpentine); reheat the whole, and for every 32 parts, by weight, stir in and mix the following:

Baked and powdered clay 4 parts Portland cement 16 parts Zinc white 1 part Red lead 1 part

After well mixing, dilute with more or less turpentine (not exceeding 25 per cent of the whole), or linoleate of manganese, the latter being preferable, as it has greater binding power. For colored paints use red oxide of iron or green oxide of chrome, but do not use chrome green or lead, as they will not stand the action of the sea water.

«Compositions for Ships’ Bottoms.»—

Green.

Pale rosin 25 pounds Prepared mineral green 8 pounds D. L. zinc 13 pounds Boiled oil 2 pounds Mineral naphtha 1 gallon Petroleum spirit 1 1⁠/⁠2 gallons

Prepared Mineral Green.

Dry levigated mineral green 28 pounds Turpentine 7 pounds Turpentine varnish 7 pounds Refined linseed oil 7 pounds

Copper Color.

Pale rosin 25 pounds Light Italian ocher 15 pounds D. L. zinc 5 pounds Turkey red paint 1⁠/⁠2 pound Petroleum spirit 1 1⁠/⁠2 pounds Mineral naphtha 1 pound

Pink.

Pale rosin 25 pounds D. L. zinc 16 pounds Deep vermilion 7 pounds Mineral naphtha 1 gallon Petroleum spirit 1 1⁠/⁠2 gallons

«PAINTS FOR WALLS OF CEMENT, PLASTER, HARD FINISH, ETC.»

«Coating for Bathrooms.»—As a rule cement plastering, as well as oil paint, suffices for the protection of walls and ceilings in bathrooms, but attention must be called to the destructive action of medicinal admixtures. For such rooms as well as for laboratories, an {499} application of Swedish wood tar, made into a flowing consistency with a little oil of turpentine and put on hot, has been found very excellent. It is of advantage previously to warm the wall slightly. To the second coat add some wax. A very durable coating is obtained, which looks so pleasing that it is only necessary to draw some stripes with a darker paint so as to divide the surface into fields.

«Cement, to Paint Over Fresh.»—The wall should be washed with dilute sulphuric acid several days before painting. This will change the surplus caustic lime to sulphate of lime or gypsum. The acid should be about one-half chamber acid and one-half water. This should be repeated before painting, and a coat of raw linseed oil flowed on freely should be given for the first coat. While this cannot be always guaranteed as effectual for making the paint hold, it is the best method our correspondent has heard of for the purpose, and is worth trying when it is absolutely necessary to paint over fresh cement.

«Damp Walls, Coating for.»—Thirty parts of tin are dissolved in 40 parts of hydrochloric acid, and 30 parts of sal ammoniac are added. A powder composed of freestone, 50 parts; zinc oxide, 20 parts; pounded glass, 15 parts; powdered marble, 10 parts; and calcined magnesia, 5 parts, is prepared, and made into a paste with the liquid above mentioned. Coloring matter may be added. The composition may be used as a damp-proof coating for walls, or for repairing stonework, or for molding statues or ornaments.

«Facade Paint.»—For this zinc oxide is especially adapted, prepared with size or casein. Any desired earth colors may also be added. The surfaces are coated 3 times with this mass. After the third application is dry, put on a single coating of zinc chloride solution of 30° Bé. to which 3 per cent borax is added.

This coating is very solid, can be washed, and is not injured by hydrogen sulphide.

«Hard-Finished Walls.»—The treatment for hard-finished walls which are to be painted in flat colors is to prime with a thin coat of lead and oil well brushed into the wall. Next put on a thin coat of glue size; next a coat mixed with 1⁠/⁠3 oil and 2⁠/⁠3 turpentine; next a coat of flat paint mixed with turpentine. If you use any dry pigment mix it stiff in oil and thin with turps. If in either case the paint dries too fast, and is liable to show laps, put a little glycerine in, to retard the drying.

«PAINTS, WATERPROOF AND WEATHERPROOF:»

See also Fireproof Paint.

The following are claimed to be both waterproof and weatherproof:

I.—In 50 parts, by weight, of spirit of 96 per cent, dissolve 16 parts, by weight, of shellac, orange, finely powdered; 3 parts, by weight, of silver lake, finely powdered; and 0.6 parts, by weight, of gamboge, finely powdered. This paint may be employed without admixture of any siccative, and is excellently adapted for painting objects which are exposed to the inclemencies of the weather, as it is perfectly weatherproof.

II.—Mix glue water with zinc oxide (zinc white) and paint the respective object with this mixture. When this is dry (after about 2 hours) it is followed up with a coating of glue water and zinc chloride in a highly diluted state. Zinc oxide enters into a chemical combination with zinc chloride, which acquires the hardness of glass and a mirror-like bright surface. Any desired colors can be prepared with the glue water (size) and are practically imperishable. This zinc coating is very durable, dries quickly, and is 50 per cent cheaper than oil paint.

«Water- and Acid-Resisting Paint.»—Caoutchouc is melted with colophony at a low temperature, after the caoutchouc has been dried in a drying closet (stove) at 158° to 176° F., until no more considerable increase in weight is perceptible, while the colophony has completely lost its moisture by repeated melting. The raw products thus prepared will readily melt upon slight heating. To the melted colophony and caoutchouc add in a hot liquid state zinc white or any similar pigment. Thin with a varnish consisting of 50 parts of perfectly anhydrous colophony, 40 parts of absolute alcohol, and 40 parts of benzine. The whole syrupy mass is worked through in a paint mill to obtain a uniform product, at which operation more or less colophony varnish is added according to the desired consistency.

«Water- and Air-Proof Paint.»—An air-proof and waterproof paint, the subject of a recent French patent, is a compound of 30 parts, by weight, acetone; 100 parts acetic ether; 50 parts sulphuric ether; 100 parts camphor; 50 parts gum lac; 200 parts cotton; 100 parts paper {500} (dissolved in sulphuric acid); 100 parts mastic in drops. These proportions may fluctuate according to need. The paper is reduced well and dissolved without heat with sufficient sulphuric ether; the cotton is dissolved in the acetone and the whole is mixed together with the other ingredients and stirred well. The application is performed as with any other varnish. The coating is said not to crack or shrink and to be particularly useful as a protection against moisture for all stuffs.

«PAINTS FOR WOOD:»

See also Wood.

«Floor Coating.»—A new paint for floors, especially those of soft wood: Mix together 2.2 pounds joiners’ glue; a little over 1 ounce powdered bichromate of potash; 3 1⁠/⁠2 ounces aniline brown; and 10 1⁠/⁠2 quarts water in a tin vessel. After 6 hours have elapsed (when the glue is completely soaked), heat gradually to the boiling point. The coating becomes perfectly water-tight after 2 or 3 days; it is not opaque, as the earthy body is lacking. The glue causes the wood fibers to be firmly united. It becomes insoluble by the addition of bichromate of potash, under the influence of light. Without this admixture a simple glue coat has formerly not been found satisfactory, as it dissolves if cleaned with water.

«Durable House Paint.»—I.—New houses should be primed once with pure linseed oil, then painted with a thin paint from white lead and chalk, and thus gradually covered. The last coat is prepared of well-boiled varnish, white lead, and chalk. The chalk has the mission to moderate the saponification of the linseed oil by the white lead. Mixing colors such as ocher and black, which take up plenty of oil, materially assist in producing a durable covering.

II.—Prime with zinc white and let this be succeeded by a coating with zinc chloride in glue water (size). The zinc oxide forms with the zinc chloride an oxy-chloride of great hardness and glossy surface. By admixture of pigments any desired shade may be produced. The zinc coating is indestructible, dries quickly, does not peel, is free from the smell of fresh oil paint, and more than 5 per cent cheaper.

«Ivory Coating for Smooth, Light Wood.»—In order to cover the articles, which may be flat or round, with this coating, they must first be polished quite smooth and clean; then they are coated with thin, hot, white glue. When the coat is thoroughly dry, the glue is rubbed off again with fine glass paper. The mass is prepared as follows: Take 3 pounds (more or less, according to the number of articles) of the purest and best collodion; grind upon a clean grinding stone twice the quantity that can be taken up with the point of a knife of Krems white, with enough good pale linseed oil as is necessary to grind the white smooth and fine. Take a clean bottle, into which one-half of the collodion is poured; to this add the ground white, which can be removed clean from the stone by means of a good spatula and put in the bottle. Add about 100 drops of linseed oil, and shake the mass till it looks like milk.

Now painting with this milky substance may be commenced, using a fine hair pencil of excellent quality. The pencil is not dipped in the large bottle; but a glass is kept at hand with an opening of about 1 inch, so as to be able to immerse the pencil quickly. The substance is not flowing like the alcohol lacquers, for which reason it may be put on thick, for the ether, chiefly constituting the mass, evaporates at once and leaves but a very thin film which becomes noticeable only after about 10 such applications have been made. Shake the bottle well each time before filling the small glass, as the heavy Krems white is very apt to sink to the bottom of the bottle. If it is observed that the substance becomes too thick, which may easily occur on account of the evaporation, a part of the remaining ether is added, to which in turn 30 to 40 drops of oil are added, shaking it till the oil appears to be completely dissolved.

The operator must put on the mass in quick succession and rather thick. After about 10 coats have been applied the work is allowed to rest several hours; then 3 or 4 coats of pure collodion, to which likewise several drops of oil have been added, are given. Another pause of several hours having been allowed to intervene, application of the mass is once more begun.

When it is noticed that a layer of the thickness of paper has formed, the articles, after drying thoroughly, should be softly rubbed off with very fine glass paper, after which they require to be wiped off well with a clean linen rag, so that no dust remains. Then coating is continued till the work seems serviceable.

A few applications of pure collodion should be made, and when this has become perfectly hard, after a few hours, it can be rubbed down with a rag, {501} tripoli, and oil, and polished by hand, like horn or ivory. This work can be done only in a room which is entirely free from dust. The greatest cleanliness must be observed.

«MISCELLANEOUS RECIPES, PAINTS, ETC.:»

«Bathtub Paint.»—Take white keg lead, tint to any desired color and then add, say, 1⁠/⁠8 boiled oil (pure linseed) to 7⁠/⁠8 hard drying durable body varnish. Clean the surface of the tub thoroughly before applying the paint. Benzine or lime wash are good cleaning agents. Coat up until a satisfactorily strong, pure color is reached. This will give good gloss and will also wear durably.

«Coating for Name Plates.»—A durable coating for name plates in nurseries is produced as follows: Take a woolen rag, saturate it with joiners’ polish, lay it into a linen one, and rub the wooden surface with this for some time. Rub down with sandpaper and it can be written on almost like paper. When all is dry, coat with dammar lacquer for better protection. If the wood is to receive a color it is placed in the woolen rag before rubbing down, in this case chrome yellow.

«To Keep Flies from Fresh Paint.»—For the purpose of keeping flies and other insects away from freshly painted surfaces mix a little bay oil (laurel oil) with the oil paint, or place a receptacle containing same in the vicinity of the painted objects. The pungent odor keeps off the flies.

«Heat-Indicating Paint.»—A heat-indicating paint composed of a double iodide of copper and mercury was first discovered years ago by a German physicist. At ordinary temperatures the paint is red, but when heated to 206° F. it turns black. Paper painted with this composition and warmed at a stove exhibits the change in a few seconds. A yellow double iodide of silver and mercury is even more sensitive to heat, changing from yellow to dark red.

«To Keep Liquid Paint in Workable Condition.»—To prevent liquid paint which, for convenience sake, is kept in small quantities and flat receptacles, from evaporating and drying, give the vessels such a shape that they can be placed one on top of the other without danger of falling over, and provide the under side with a porous mass—felt or very porous clay, etc.—which, if moistened, will retain the water for a long time. Thus, in placing the dishes one on top of the other, a moist atmosphere is created around them, which will inhibit evaporation and drying of the paint. A similar idea consists in producing covers with a tight outside and porous inside, for the purpose of covering up, during intermission in the work, clay models and like objects which it is desired to keep soft. In order to avoid the formation of fungous growth on the constantly wet bottom, it may be saturated with non-volatile disinfectants, or with volatile ones if their vapors are calculated to act upon the objects kept underneath the cover. If the cover is used to cover up oil paints, it is moistened on the inside with volatile oil, such as oil of turpentine, oil of lavender, or with alcohol.

«Peeling of Paints.»—For the prevention of peeling of new coatings on old oil paintings or lakes, the latter should be rubbed with roughly ground pumice stone, wet by means of felt rags, and to the first new coat there should be added fine spirit in the proportion of about 1⁠/⁠10 of the thinning necessary for stirring (turpentine, oil, etc.). This paint dries well and has given good results, even in the most difficult cases. The subsequent coatings are put on with the customary paint. Fat oil glazes for graining are likewise mixed with spirit, whereby the cracking of the varnish coating is usually entirely obviated.

«Polychroming of Figures.»—This paint consists of white wax, 1 part, and powdered mastic, 1 part, melted together upon the water bath and mixed with rectified turpentine. The colors to be used are first ground stiffly in turpentine on the grinding slab, and worked into consistency with the above solution.

«Priming Coat for Water Spots.»—A very simple way to remove rain spots, or such caused by water soaking through ceilings, has been employed with good results. Take unslaked white lime, dilute with alcohol, and paint the spots with it. When the spots are dry—which ensues quickly, as the alcohol evaporates and the lime forms a sort of insulating layer—one can proceed painting with size color, and the spots will not show through again.

PAINT FOR PROTECTING CEMENT AGAINST ACID: See Acid-Proofing.

PAINT, GREASE: See Cosmetics. {502}

PAINT REMOVERS: See Cleaning Compounds.

PALLADIUM ALLOYS: See Alloys.

PALLADIUMIZING: See Plating.

«PALMS, THEIR CARE.»

Instead of washing the leaves of palms with water, many florists employ a mixture of milk and water, the object being to prevent the formation of disfiguring brown stains.

«Paper»

«Paper Pads» (see also Adhesives, under Glue).

I.—Glue 3 1⁠/⁠2 ounces Glycerine 8 ounces Water, a sufficient quantity.

Pour upon the glue more than enough water to cover it and let stand for several hours, then decant the greater portion of the water; apply heat until the glue is dissolved, and add the glycerine. If the mixture is too thick, add more water.

II.—Glue 6 ounces Alum 30 grains Acetic acid 1⁠/⁠2 ounce Alcohol 1 1⁠/⁠2 ounces Water 6 1⁠/⁠2 ounces

Mix all but the alcohol, digest on a water bath till the glue is dissolved, allow to cool, and add the alcohol.

«Papier Maché.»—The following are the ingredients necessary to make a lump of papier maché a little larger than an ordinary baseball and weighing 17 ounces:

Wet paper pulp, dry paper, 1 ounce; water, 3 ounces; 4 ounces (avoirdupois); dry plaster Paris, 8 ounces (avoirdupois); hot glue, 1⁠/⁠2 gill, or 4 1⁠/⁠2 tablespoonfuls.

While the paper pulp is being prepared, melt some best Irish glue in the glue pot and make it of the same thickness and general consistency as that used by cabinet makers. On taking the paper pulp from the water squeeze it gently, but do not try to dry it. Put in a bowl, add about 3 tablespoonfuls of the hot glue, and stir the mass up into a soft and very sticky paste. Add the plaster of Paris and mix thoroughly. By the time about 3 ounces of the plaster have been used, the mass is so dry and thick that it can hardly be worked. Add the remainder of the glue, work it up again until it becomes sticky once more, and then add the remainder of the plaster. Squeeze it vigorously through the fingers to thoroughly mix the mass, and work it until free from lumps, finely kneaded and sticky enough to adhere to the surface of a planed board. If it is too dry to stick fast add a few drops of either glue or water, and work it up again. When the paper pulp is poor and the maché is inclined to be lumpy, lay the mass upon a smooth board, take a hammer and pound it hard to grind it up fine.

If the papier maché is not sticky enough to adhere firmly to whatever it is rubbed upon, it is a failure, and requires more glue. In using it the mass should be kept in a lump and used as soon as possible after making. Keep the surface of the lump moist by means of a wet cloth laid over it, for if you do not, the surface will dry rapidly. If it is to be kept overnight, or longer, wrap it up in several thicknesses of wet cotton cloth, and put under an inverted bowl. If it is desired to keep a lump for a week, to use daily, add a few drops of glycerine when making, so that it will dry more slowly.

The papier maché made according to this formula has the following qualities: When tested by rubbing between the thumb and finger, it was sticky and covered the thumb with a fine coating. (Had it left the thumb clean, it would have been because it contained too much water.) When rubbed upon a pane of glass it sticks tightly and dries hard in 3 hours without cracking, and can only be removed with a knife. When spread in a layer as thin as writing paper it dries in half an hour. A mass actually used dried hard enough to coat with wax in 18 hours, and, without cracking, became as hard as wood; yet a similar quantity wrapped in a wet cloth and placed under an inverted bowl kept soft and fit for use for an entire week.

«Parchment Paper.»—I.—Dip white unsized paper for half a minute in strong sulphuric acid, specific gravity, 1.842, and afterwards in water containing a little ammonia.

II.—Plunge unsized paper for a few seconds into sulphuric acid diluted with half to a quarter its bulk of water (this solution being of the same temperature as the air), and afterwards wash with weak ammonia.

«Razor Paper.»—I.—Smooth unsized paper, one of the surfaces of which, while in a slightly damp state, has been rubbed over with a mixture of calcined peroxide of iron and emery, both in impalpable powder. It is cut up into {503} pieces (about 5 x 3 inches), and sold in packets. Used to wipe the razor on, which thus does not require stropping.

II.—From emery and quartz (both in impalpable powder), and paper pulp (estimated in the dry state), equal parts, made into sheets of the thickness of drawing paper, by the ordinary process. For use, a piece is pasted on the strop and moistened with a little oil.

«Safety Paper.»—White paper pulp mixed with an equal quantity of pulp tinged with any stain easily affected by chlorine, acids, alkalies, etc., and made into sheets as usual, serves as a safety paper on which to write checks or the like. Any attempt to wash out the writing affects the whole surface, showing plainly that it has been tampered with.

«Tracing Paper.»—Open a quire of smooth, unsized white paper, and place it flat upon a table. Apply, with a clean sash tool to the upper surface of the first sheet, a coat of varnish made of equal parts of Canada balsam and oil of turpentine, and hang the prepared sheet across the line to dry; repeat the operation on fresh sheets until the proper quantity is finished. If not sufficiently transparent, a second coat of varnish may be applied as soon as the first has become quite dry.

«Strengthened Filter Paper.»—When ordinary filter paper is dipped into nitric acid (specific gravity, 1.42), thoroughly washed and dried, it becomes a tissue of remarkable properties, and one that deserves to be better known by chemists and pharmacists. It shrinks somewhat in size and in weight, and gives, on burning, a diminished ash. It yields no nitrogen, nor does it in the slightest manner affect liquids. It remains perfectly pervious to liquids, its filtering properties being in no wise affected, which, it is needless to say, is very different from the behavior of the same paper “parchmented” by sulphuric acid. It is as supple as a rag, yet may be very roughly handled, even when wet, without tearing or giving way. These qualities make it very valuable for use in filtration under pressure or exhaust. It fits closely to the funnel, upon which it may be used direct, without any supports, and it thus prevents undue access of air. As to strength, it is increased upward of 10 times. A strip of ordinary white Swedish paper, 1⁠/⁠5 of an inch wide, will sustain a load of from 1⁠/⁠2 to 3⁠/⁠4 of a pound avoirdupois, according to the quality of the paper. A similar strip of the toughened paper broke, in 3 trials, with 5 pounds, 7 ounces, and 3 drachms; 5 pounds, 4 ounces, and 36 grains; and 5 pounds, 10 ounces respectively. These are facts that deserve to be better known than they seem to be to the profession at large.

«Blotting Paper.»—A new blotting paper which will completely remove wet as well as dry ink spots, after moistening the paper with water, is produced as follows: Dissolve 100 parts of oxalic acid in 400 parts of alcohol, and immerse porous white paper in this solution until it is completely saturated. Next hang the sheets up separately to dry over threads. Such paper affords great advantages, but in its characteristic application is serviceable for ferric inks only, while aniline ink spots cannot be removed with it, after drying.

«Carbon Paper.»—Many copying papers act by virtue of a detachable pigment, which, when the pigmented paper is placed between two sheets of white paper, and when the uppermost paper is written on, transfers its pigment to the lower white sheet along lines which correspond to those traced on the upper paper, and therefore gives an exact copy of them on the lower paper.

The pigments used are fine soot or ivory black, indigo carmine, ultramarine, and Paris blue, or mixtures of them. The pigment is intimately mixed with grain soap, and then rubbed on to thin but strong paper with a stiff brush. Fatty oils, such as linseed or castor oil, may be used, but the grain soap is preferable. Graphite is frequently used for black copying paper. It is rubbed into the paper with a cotton pad until a uniform light-gray color results. All superfluous graphite is then carefully brushed off.

It is sometimes desired to make a copying paper which will produce at the same time a positive copy, which is not required to be reproduced, and a negative or reversed copy from which a number of direct copies can be taken. Such paper is covered on one side with a manifolding composition, and on the other with a simple copying composition, and is used between 2 sheets of paper with the manifolding side undermost.

The manifolding composition is made by mixing 5 ounces of printers’ ink with 40 of spirits of turpentine, and then mixing it with a fused mixture of 40 ounces of tallow and 5 ounces of stearine. When the mass is homogeneous, 30 ounces of the finest powdered protoxide of iron, first mixed with 15 ounces of pyrogallic {504} acid and 5 ounces of gallic acid, are stirred in till a perfect mixture is obtained. This mass will give at least 50 copies on damp paper in the ordinary way. The copying composition for the other side of the prepared paper consists of the following ingredients:

Printers’ ink 5 parts Spirits of turpentine 40 parts Fused tallow 30 parts Fused wax 3 parts Fused rosin 2 parts Soot 20 parts

It goes without saying that rollers or stones or other hard materials may be used for the purpose under consideration as well as paper. The manifolding mass may be made blue with indigotin, red with magenta, or violet with methyl violet, adding 30 ounces of the chosen dye to the above quantities of pigment. If, however, they are used, the oxide of iron and gallic acids must be replaced by 20 ounces of carbonate of magnesia.

«Celloidin Paper.»—Ordinary polished celluloid and celloidin paper are difficult to write upon with pen and ink. If, however, the face is rubbed over with a chalk crayon, and the dust wiped off with a clean rag, writing becomes easy.

«Cloth Paper.»—This is prepared by covering gauze, calico, canvas, etc., with a surface of paper pulp in a Foudrinier machine, and then finishing the compound sheet in a nearly similar manner to that adopted for ordinary paper.

«Drawing Paper.»—The blue drawing paper of commerce, which is frequently employed for technical drawings, is not very durable. For the production of a serviceable and strong drawing paper, the following process is recommended. Mix a solution of

Gum arabic 2 parts Ammonia iron citrate 3 parts Tartaric acid 2 parts Distilled water 20 parts

After still adding 4 parts of solution of ammonia with a solution of

Potassium ferricyanide 2.5 parts Distilled water 10.0 parts

allow the mixture to stand in the dark half an hour. Apply the preparation on the paper by means of a soft brush, in artificial light, and dry in the dark. Next, expose the paper to light until it appears dark violet, place in water for 10 seconds, air a short time, wash with water, and finally dip in a solution of

Eau de javelle 50 parts Distilled water 1,000 parts

until it turns dark blue.

«Filter Paper.»—This process consists in dipping the paper in nitric acid of 1.433 specific gravity, subsequently washing it well and drying it. The paper thereby acquires advantageous qualities. It shrinks a little and loses in weight, while on burning only a small quantity of ash remains. It possesses no traces of nitrogen and does not in any way attack the liquid to be filtered. Withal, this paper remains perfectly pervious for the most varying liquids, and its filtering capacity is in no wise impaired. It is difficult to tear, and still elastic and flexible like linen. It clings completely to the funnel. In general it may be said that the strength of the filtering paper thus treated increases 100 per cent.

«Fireproof Papers.»—I.—Ammonium sulphate, 8 parts, by weight; boracic acid, 3 parts; borax, 2 parts; water, 100 parts. The temperature should be about 122° F.

II.—For paper, either printed or unprinted, bills of exchange, deeds, books, etc., the following solution is recommended: Ammonium sulphate, 8 parts; boracic acid, 3 parts; sodium borate, 1.7 parts; water, 10,000 parts. The solution is heated to 122° F., and may be used when the paper is manufactured. As soon as the paper leaves the machine it is passed through this solution, then rolled over a warm cylinder and dried. If printed or in sheets, it is simply immersed in the solution, at a temperature of 122° F., and spread out to dry, finally pressed to restore the luster.

«Hydrographic Paper.»—This is paper which may be written on with simple water or with some colorless liquid having the appearance of water.

I.—A mixture of nut galls, 4 parts, and calcined sulphate of iron, 1 part (both perfectly dry and reduced to very fine powder), is rubbed over the surface of the paper, and is then forced into its pores by powerful pressure, after which the loose portion is brushed off. The writing shows black when a pen dipped in water is used.

II.—A mixture of persulphate of iron and ferrocyanide of potassium may be employed as in formula I. This writes blue.

«Iridescent Paper.»—Sal ammoniac and sulphate of indigo, of each 1 part; sulphate of iron, 5 parts; nut galls, 8 parts; gum arabic, 1⁠/⁠8 part. Boil them in water, and expose the paper washed with the liquid to (the fumes of) ammonia. {505}

«Lithographic Paper.»—I.—Starch, 6 ounces; gum arabic, 2 ounces; alum, 1 ounce. Make a strong solution of each separately, in hot water, mix, strain through gauze, and apply it while still warm to one side of leaves of paper, with a clean painting brush or sponge; a second and a third coat must be given as the preceding one becomes dry. The paper must be, lastly, pressed, to make it smooth.

II.—Give the paper 3 coats of thin size, 1 coat of good white starch, and 1 coat of a solution of gamboge in water, the whole to be applied cold, with a sponge, and each coat to be allowed to dry before the other is applied. The solutions should be freshly made.

Lithographic paper is written on with lithographic ink. The writing is transferred simply by moistening the back of the paper, placing it evenly on the stone, and then applying pressure. A reversed copy is obtained, which, when printed from, yields corrected copies resembling the original writing or drawing. In this way the necessity of executing the writing or drawing in a reversed direction is obviated.

«MARBLING PAPER FOR BOOKS.»

Provide a wooden trough 2 inches deep and the length and width of any desired sheet; boil in a brass or copper pan a quantity of linseed and water until a thick mucilage is formed; strain it into a trough, and let cool; then grind on a marble slab any of the following colors in small beer:

For Blue.—Prussian blue or indigo.

Red.—Rose pink, vermilion, or drop lake.

Yellow.—King’s yellow, yellow ocher, etc.

White.—Flake white.

Black.—Burnt ivory or lampblack.

Brown.—Umber, burnt; terra di sienna, burnt.

Black mixed with yellow or red also makes brown.

Green.—Blue and yellow mixed.

Orange.—Red and yellow mixed.

Purple.—Red and blue mixed.

For each color have two cups, one for the color after grinding, the other to mix it with ox gall, which must be used to thin the colors at discretion. If too much gall is used, the colors will spread. When they keep their place on the surface of the trough, when moved with a quill, they are fit for use. All things in readiness, the colors are successively sprinkled on the surface of the mucilage in the trough with a brush, and are waved or drawn about with a quill or a stick, according to taste. When the design is just formed, the book, tied tightly between cutting boards of the same size, is lightly pressed with its edge on the surface of the liquid pattern, and then withdrawn and dried. The covers may be marbled in the same way, only letting the liquid colors run over them. In marbling paper the sides of the paper are gently applied to the colors in the trough. The film of color in the trough may be as thin as possible, and if any remains after the marbling it may be taken off by applying paper to it before you prepare for marbling again. To diversify the effects, colors are often mixed with a little sweet oil before sprinkling them on, by which means a light halo or circle appears around each spot.

«WATERPROOF PAPERS.»

I.—Wall papers may be easily rendered washable, either before or after they are hung, by preparing them in the following manner: Dissolve 2 parts of borax and 2 parts of shellac in 24 parts of water, and strain through a fine cloth. With a brush or a sponge apply this to the surface of the paper, and when it is dry, polish it to a nigh gloss with a soft brush. Thus treated the paper may be washed without fear of removing the colors or even smearing or blurring them.

II.—This is recommended for drawing paper. Any kind of paper is lightly primed with glue or a suitable binder, to which a finely powdered inorganic body, such as zinc white, chalk, lime, or heavy spar, as well as the desired coloring matter for the paper, are added. Next the paper thus treated is coated with soluble glass—silicate of potash or of soda—to which small amounts of magnesia have been admixed, or else it is dipped into this mixture, and dried for about 10 days in a temperature of 77° F. Paper thus prepared can be written or drawn upon with lead pencil, chalk, colored crayons, charcoal, India ink, and lithographic crayon, and the writing or drawing may be washed off 20 or more times, entirely or partly, without changing the paper materially. It offers the convenience that anything may be readily and quickly removed with a moist sponge and immediately corrected, since the washed places can be worked on again at once.

«Wax Paper.»—I.—Place cartridge paper or strong writing paper, on a hot iron {506} plate, and rub it well with a lump of beeswax. Used to form extemporaneous steam or gas pipes, to cover the joints of vessels, and to tie over pots, etc.

II.—For the production of waxed or ceresine paper, saturate ordinary paper with equal parts of stearine and tallow or ceresine. If it is desired to apply a business stamp on the paper before saturation and after stamping, it should be dried well for 24 hours, so as to prevent the aniline color from spreading.

«Wrapping Paper for Silverware.»—Make a solution of 6 parts of sodium hydrate in sufficient water to make it show about 20° B. (specific gravity, 1.60). To it add 4 parts zinc oxide, and boil together until the latter is dissolved. Now add sufficient water to reduce the specific gravity of the solution to 1.075 (10° B.). The bath is now ready for use. Dip each sheet separately, and hang on threads stretched across the room, to dry. Be on your guard against dust, as particles of sand adhering to the paper will scratch the ware wrapped in it. Ware, either plated or silver, wrapped in this paper, will not blacken.

«Varnished Paper.»—Before proceeding to varnish paper, card-work, pasteboard, etc., it is necessary to give it 2 or 3 coats of size, to prevent the absorption of the varnish, and any injury to the color or design. The size may be made by dissolving a little isinglass in boiling water, or by boiling some clean parchment cuttings until they form a clear solution. This, after being strained through a piece of clean muslin, or, for very nice purposes, clarified with a little white of egg, is applied by means of a small clean brush called by painters a sash tool. A light, delicate touch must be adopted, especially for the first coat, lest the ink or colors be started or smothered. When the prepared surface is quite dry it may be varnished.

«Impregnation of Papers with Zapon Varnish.»—For the protection of important papers against the destructive influences of the atmosphere, of water fungi, and light, but especially against the consequences of the process of molding, a process has been introduced under the name of zapon impregnation.

The zaponizing may be carried out by dipping the papers in zapon or by coating them with it by means of a brush or pencil. Sometimes the purpose may also be reached by dripping or sprinkling it on, but in the majority of cases a painting of the sheets will be the simplest method.

Zapon in a liquid state is highly inflammable, for which reason during the application until the evaporation of the solvent, open flames and fires should be kept away from the vicinity. When the drying is finished, which usually takes a few hours where both sides are coated, the zaponized paper does not so easily ignite at an open flame any more or at least not more readily than non-impregnated paper. For coating with and especially for dipping in zapon, a contrivance which effects a convenient suspension and dripping off with collection of the excess is of advantage.

The zapon should be thinned according to the material to be treated. Feebly sized papers are coated with ordinary, i. e., undiluted zapon. For dipping purposes, the zapon should be mixed with a diluent, if the paper is hard and well sized. The weaker the sizing, the more careful should be the selection of the zapon.

Zapon to be used for coating purposes should be particularly thick, so that it can be thinned as desired. Unsized papers require an undiluted coating.

The thick variety also furnishes an excellent adhesive agent as cement for wood, glass, porcelain, and metals which is insoluble in cold and hot water, and binds very firmly. Metallic surfaces coated with zapon do not oxidize or alter their appearance, since the coating is like glass and only forms a very thin but firmly adhering film, which, if applied on pliable sheet metal, does not crack on bending.

For the preparation of zapon the following directions are given: Pour 20 parts of acetone over 2 parts of colorless celluloid waste—obtainable at the celluloid factories—and let stand several days in a closed vessel, shaking frequently, until the whole has dissolved into a clear, thick mass. Next admix 78 parts of amyl acetate and completely clarify the zapon varnish by allowing to settle forweeks.

«Slate Parchment.»—Soak good paper with linseed-oil varnish (boiled oil) and apply the following mass, mentioned below, several times in succession: Copal varnish, 1 part, by weight; turpentine oil, 2 parts; finest sprinkling sand, 1 part; powdered glass, 1 part; ground slate as used for slates, 2 parts; and lampblack, 1 part, intimately mixed together, and repeatedly ground very fine. After drying and hardening, the plates can be written upon with lead or slate pencils.

«Paper Floor Covering.»—The floor is carefully cleaned, and all holes and {507} cracks are filled up with a mass which is prepared by saturating newspapers with a paste that is made by mixing thoroughly 17 5⁠/⁠8 ounces wheat flour, 3.17 quarts water, and 1 spoonful of pulverized alum. The floor is coated with this paste throughout, and covered with a layer of manilla paper, or other strong hemp paper. If something very durable is desired, paint the paper layer with the same paste and put on another layer of paper, leaving it to dry thoroughly. Then apply another coat of paste, and upon this place wall paper of any desired kind. In order to protect the wall paper from wear, give it 2 or more coats of a solution of 8 4⁠/⁠5 ounces white glue in 2.11 quarts hot water, allow them to dry, and finish the job with a coating of hard oil varnish.

«METALLIC PAPER.»

This paper, made by transferring, pasting, or painting a coating of metal on ordinary paper, retains a comparatively dull and dead appearance even after glazing or polishing with the burnisher or agate. Galvanized or electroplated metal paper, on the other hand, in which the metal has penetrated into the most minute pores of the paper, possesses an extraordinarily brilliant polish, fully equal to that of a piece of compact polished metal. It is much more extensively used than the kind first mentioned.

The following solutions are recommended for making “galvanized” metal paper:

I.—For silver paper: Twenty parts argento-cyanide of potassium; 13 parts cyanide of potassium; 980 parts water.

II.—For gold paper: Four parts auro-cyanide of potassium; 9 parts cyanide of potassium; 900 parts water.

Moth Paper.—

Naphthalene 4 ounces Paraffine wax 8 ounces

Melt together and while warm paint unsized paper and pack away with the goods.

«Lead Paper.»—Lay rough drawing paper (such as contains starch) on an 8 per cent potassium iodide solution. After a moment take it out and dry. Next, in a dark room, float the paper face downward on an 8 per cent lead nitrate solution. This sensitizes the paper. Dry again. The paper is now ready for printing. This process should be carried on till all the detail is out in a grayish color. Then develop in a 10 per cent ammonium chloride solution. The tones obtained are of a fine blue black.

«Aluminum Paper.»—Aluminum paper is not leaf aluminum, but real paper glazed with aluminum powder. It is said to keep food materials fresh. The basic material is artificial parchment, coated with a solution of rosin in alcohol or ether. After drying, the paper is warmed until the rosin has again softened to a slight degree. The aluminum powder is dusted on and the paper then placed under heavy pressure to force the powder firmly into it. The metallic coating thus formed is not affected by air or greasy substances.

PAPER (ANTI-RUST) FOR NEEDLES: See Rust Preventives.

PAPER CEMENTS: See Adhesives.

PAPER DISINFECTANT: See Disinfectants.

PAPER, FIREPROOF: See Fireproofing.

PAPER, FROSTED: See Glass (Frosted).

PAPER ON GLASS, TO AFFIX: See Adhesives, under Water-Glass Cements.

PAPERS, IGNITING: See Pyrotechnics.

PAPER ON METALLIC SURFACES, PASTING: See Adhesives.

PAPER AS PROTECTION FOR IRON AND STEEL: See Rust Preventives.

PAPERHANGERS’ PASTES: See Adhesives.

PAPER, PHOTOGRAPHIC: See Photography.

PAPER VARNISHES: See Varnishes.

PAPER WATERPROOFING: See Waterproofing.

PAPIER MACHÉ: See Paper.

«PARAFFINE:»

«Rendering Paraffine Transparent.»—A process for rendering paraffine and its mixtures with other bodies (ceresine, etc.) used in the manufacture of transparent candles consists essentially in adding a {508} naphthol, particularly beta-naphthol, to the material which is used for the manufacture of the candles, tapers, etc. The quantity added varies according to the material and the desired effect. One suitable mixture is made by heating 100 parts of paraffine and 2 parts of beta-naphthol at 175° to 195° F. The material can be colored in the ordinary way.

«Removal of Dirt from Paraffine.»—Filtration through felt will usually remove particles of foreign matter from paraffine. It may be necessary to use a layer of fine sand or of infusorial earth. If discolored by any soluble matter, try freshly heated animal charcoal. To keep the paraffine fluid, if a large quantity is to be handled, a jacketed funnel will be required, either steam or hot water being kept in circulation in the jacket.

«Paraffine Scented Cakes.»

Paraffine, 1 ounce; white petrolatum, 2 ounces; heliotropin, 10 grains; oil of bergamot, 5 drops; oil of lavender, 5 drops; oil of cloves, 2 drops. Melt the first two substances, then add the next, the oils last, and stir all until cool. After settling cut into blocks and wrap in tin foil. This is a disseminator of perfume. It perfumes where it is rubbed. It kills moths and perfumes the wardrobe. It is used by rubbing on cloth, clothes, and the handkerchief.

PARCHMENT AND PARCHMENT PAPER: See Paper.

PARCHMENT CEMENT: See Adhesives.

PARCHMENT PASTE: See Adhesives.

PARFAITS: See Ice Creams.

PARFAIT D’AMOUR CORDIAL: See Wines and Liquors.

PARIS GREEN: See Pigments.

PARIS RED: See Polishes.

PARIS SALTS: See Disinfectants.

PARISIAN CEMENT: See Adhesives.

«PASSE-PARTOUT FRAMING.»

It is hardly correct to call the passe-partout a frame, as it is merely a binding together of the print, the glass, and the backing with a narrow edge of paper. This simple arrangement lends to the picture when complete a much greater finish and a more important appearance than might be anticipated.

In regard to the making of a passe-partout frame, the first thing is to decide as to the width of the mount or matt to be used. In some cases, of course, the print is framed with no mount being visible; but, unless the picture is of large size, it will usually be found more becoming to have one, especially should the wall paper be of an obtrusive design. When the print and mount are both neatly trimmed to the desired size, procure a piece of clear white picture glass—most amateur framers will have discovered that there is a variance in the quality of this—and a piece of stout cardboard, both of exactly the same dimensions as the picture. Next prepare or buy the paper to be used for binding the edges together. This may now be bought at most all stationery stores in a great variety of colors. If it is prepared at home a greater choice of colors is available, and it is by no means a difficult task with care and sharp scissors. The tint should be chosen to harmonize with the print and the mount, taking also into consideration the probable surroundings—brown for photographs of brown tone, dark gray for black, pale gray for lighter tones; dark green is also a good color. All stationers keep colored papers suitable for the purpose, while plain wall papers or thin brown paper answers equally well.

Cut the paper, ruling it carefully, into even strips an inch wide, and then into four pieces, two of them the exact length of the top and bottom of the frame, and the other two half an inch longer than the two sides. Make sure that the print is evenly sandwiched between the glass and the back. Cut some tiny strips of thin court-plaster, and with these bind the corners tightly together. Brush over the two larger pieces of paper with mountant, and with them bind tightly together the three thicknesses—print, glass, and cardboard—allowing the paper to project over about a third of an inch on the face side, and the ends which were left a little longer must be neatly turned over and stuck at the back. Then, in the same manner, bind the top and bottom edges together, mitering the corners neatly.

It should not be forgotten, before binding the edges together, to make two slits in the cardboard back for the {509} purpose of inserting little brass hangers, having flat ends like paper fasteners, which may be bought for the purpose; or, where these are not available, two narrow loops of tape may be used instead, sticking the ends firmly on the inside of the cardboard by means of a little strong glue.

These are the few manipulations necessary for the making of a simple passe-partout frame, but there are numberless variations of the idea, and a great deal of variety may be obtained by means of using different mounts. Brown paper answers admirably as a mount for some subjects, using strips of paper of a darker shade as binding. A not too obtrusive design in pen and ink is occasionally drawn on the mount, while a more ambitious scheme is to use paint and brushes in the same way. An ingenious idea which suits some subjects is to use a piece of hand-blocked wall paper as a mount.

PARQUET POLISH: See Polishes.

«PASTES:»

See Adhesives for Adhesive Purposes.

«Pastes, Razor.»—I.—From jewelers’ rouge, plumbago, and suet, equal parts, melted together and stirred until cold.

II.—From prepared putty powder (levigated oxide of tin), 3 parts; lard, 2 parts; crocus martis, 1 part; triturated together.

III.—Prepared putty powder, 1 ounce; powdered oxalic acid, 1⁠/⁠4 ounce; powdered gum, 20 grains; make a stiff paste with water, quantity sufficient, and evenly and thinly spread it over the strop, the other side of which should be covered with any of the common greasy mixtures. With very little friction this paste gives a fine edge to the razor, and its action is still further increased by slightly moistening it, or even breathing on it. Immediately after its use, the razor should receive a few turns on the other side of the strop.

PASTE FOR PAPER: See Paper.

PASTES FOR POLISHING METALS: See Soaps.

PASTEBOARD CEMENT: See Adhesives.

PASTEBOARD DEODORIZERS: See Household Formulas.

PASTILLES, FUMIGATING: See Fumigants.

PATINAS: See Bronzing and Plating.

PATENT LEATHER: See Leather.

PEACH EXTRACT: See Essences and Extracts.

PEARLS, TO CLEAN: See Cleaning Preparations and Methods.

«PEGAMOID.»

Camphor, 100 parts; mastic, 100 parts; bleached shellac, 50 parts; gun cotton, 200 parts; acetone, 200 parts; acetic ether, 100 parts; ethylic ether, 50 parts.

PEN METAL: See Alloys.

PENCILS, ANTISEPTIC: See Antiseptics.

PENCILS FOR MARKING GLASS: See Etching, Frosted Glass, and Glass.

PENS, GOLD: See Gold.

PEONY ROOTS, THEIR PRESERVATION: See Roots.

«PERCENTAGE SOLUTION.»

Multiply the percentage by 5; the product is the number of grains to be added to an ounce of water to make a solution of the desired percentage. This is correct for anything less than 15 per cent.

«Perfumes»

«DRY PERFUMES:»

«Sachet Powders.»—

I.—Orris root 6 ounces Lavender flowers 2 ounces Talcum 4 drachms Musk 20 grains Terpinol 60 grains

II.—Orange peel 2 ounces Orris root 1 ounce Sandalwood 4 drachms Tonka 2 drachms Musk 6 grains

{510}

«Lavender Sachets.»—

I.—Lavender flowers 16 ounces Gum benzoin 4 ounces Oil lavender 2 drachms

II.—Lavender flowers, 150 parts; orris root, 150 parts; benzoin, 150 parts; Tonka beans, 150 parts; cloves, 100 parts; “Neugenwerz,” 50 parts; sandalwood, 50 parts; cinnamon, 50 parts; vanilla, 50 parts; and musk, 1⁠/⁠2 part. All is bruised finely and mixed.

«Violet Sachet.»—

Powdered orris root 500 parts Rice flour 250 parts Essence bouquet 10 parts Spring flowers extract 10 parts Violet extract 20 parts Oil of bergamot 4 parts Oil of rose 2 parts

«Borated Talcum.»—

I.—Purified talcum, N. F. 2 pounds Powdered boric acid 1 ounce

To perfume add the following:

Powdered orris root 1 1⁠/⁠2 ounces Extract jasmine 2 drachms Extract musk 1 drachm

II.—A powder sometimes dispensed under this name is the salicylated powder of talcum of the National Formulary, which contains in every 1,000 parts 30 parts of salicylic acid and 100 parts of boric acid.

«Rose.»—

I.—Cornstarch 9 pounds Powdered talc 1 pound Oil of rose 80 drops Extract musk 2 drachms Extract jasmine 6 drachms

II.—Potato starch 9 pounds Powdered talc 1 pound Oil rose 45 drops Extract jasmine 1⁠/⁠2 ounce

«Rose Talc.»—

I.—Powdered talc 5 pounds Oil rose 50 drops Oil wintergreen 4 drops Extract jasmine 2 ounces

II.—Powdered talc 5 pounds Oil rose 32 drops Oil jasmine 4 ounces Extract musk 1 ounce

«Violet Talc.»—

I.—Powdered talc 14 ounces Powdered orris root 2 ounces Extract cassie 1⁠/⁠2 ounce Extract jasmine 1⁠/⁠4 ounce Extract musk 1 drachm

II.—Starch 5,000 parts Orris root 1,000 parts Oil of lemon 14 parts Oil of bergamot 14 parts Oil of clove 4 parts

«Smelling Salts.»—I.—Fill small glasses having ground stopper with pieces of sponge free from sand and saturate with a mixture of spirit of sal ammoniac (0.910), 9 parts, and oil of lavender, 1 part. Or else fill the bottles with small dice of ammonium sesquicarbonate and pour the above mixture over them.

II.—Essential oil of lavender 18 parts Attar of rose 2 parts Ammonium carbonate 480 parts

«Violet Smelling Salts.»—I.—Moisten coarsely powdered ammonia 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.—Moisten the carbonate, and add 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.

«To Scent Advertising Matter, etc.»—The simplest way of perfuming printed matter, such as calendars, cards, etc., is to stick them in strongly odorous sachet powder. Although the effect of a strong perfume is obtained thereby, there is a large loss of powder, which clings to the printed matter. Again, there are often little spots which are due to the essential oils added to the powder.

Another way of perfuming, which is used especially in France for scenting cards and other articles, is to dip them in very strong “extraits d’odeur,” leaving them therein for a few days. Then the cards are taken out and laid between filtering paper, whereupon they are pressed vigorously, which causes them not only to dry, but also to remain straight. They remain under strong pressure until completely dry.

Not all cardboard, however, can be subjected to this process, and in its choice one should consider the perfuming operation to be conducted. Nor can the cards be glazed, since spirit dissolves the glaze. It is also preferable to have lithographed text on them, since in the case of ordinary printing the letters often partly disappear or the colors are changed. {511}

For pocket calendars, price lists, and voluminous matter containing more leaves than one, another process is recommended. In a tight closet, which should be lined with tin, so that little air can enter, tables composed of laths are placed on which nets stretched on frames are laid. Cover these nets with tissue paper, and proceed as follows: On the bottom of the closet sprinkle a strongly odorous and reperfumed powder; then cover one net with the printed matter to be perfumed and shove it to the closet on the lath. The next net again receives powder, the following one printed matter, and so on until the closet is filled. After tightly closing the doors, the whole arrangement is left to itself. This process presents another advantage in that all sorts of residues may be employed for scenting, such as the filters of the odors and infusions, residues of musk, etc. These are simply laid on the nets, and will thus impart their perfume to the printed matter.

Such a scenting powder is produced as follows:

By weight

Iris powder, finely ground 5,000 parts Residues of musk 1,000 parts Ylang-ylang oil 10 parts Bergamot oil 50 parts Artificial musk 2 parts Ionone 2 to 5 parts Tincture of benzoin 100 parts

The powder may subsequently be employed for filling cheap sachets, etc.

«LIQUID PERFUMES:»

«Coloring Perfumes.»—Chlorophyll is a suitable agent for coloring liquid perfumes green. Care must be taken to procure an article freely soluble in the menstruum. As found in the market it is prepared (in form of solutions) for use in liquids strongly alcoholic; in water or weak alcohol; and in oils. Aniline greens of various kinds will answer the same purpose, but in a trial of any one of these it must be noted that very small quantities should be used, as their tinctorial power is so great that liquids in which they are incautiously used may stain the handkerchief.

Color imparted by chlorophyll will be found fairly permanent; this term is a relative one, and not too much must be expected. Colors which may suffer but little change by long exposure to diffused light may fade perceptibly by short exposure to the direct light of the sun.

Chlorophyll may be purchased or it may be prepared as follows: Digest leaves of grass, nettles, spinach, or other green herb in warm water until soft; pour off the water and crush the herb to a pulp. Boil the pulp for a short time with a half per cent solution of caustic soda, and afterwards precipitate the chlorophyll by means of dilute hydrochloric acid; wash the precipitate thoroughly with water, press and dry it, and use as much for the solution as may be necessary. Or a tincture made from grass as follows may be employed:

Lawn grass, cut fine 2 ounces Alcohol 16 ounces

Put the grass in a wide-mouthed bottle, and pour the alcohol upon it. After standing a few days, agitating occasionally, pour off the liquid. The tincture may be used with both alcoholic and aqueous preparations.

Among the anilines, spirit soluble malachite green has been recommended.

A purple or violet tint may be produced by using tincture of litmus or ammoniated cochineal coloring. The former is made as follows:

Litmus 2 1⁠/⁠2 ounces Boiling water 16 ounces Alcohol 3 ounces

Pour the water upon the litmus, stir well, allow to stand for about an hour, stirring occasionally, filter, and to the filtrate add the alcohol.

The aniline colors “Paris violet” or methyl violet B may be similarly employed. The amount necessary to produce a desired tint must be worked out by experiment. Yellow tints may best be imparted by the use of tincture of turmeric or saffron, fustic, quercitron, etc.

If a perfumed spirit, as, for instance, a mouth wash, is poured into a wineglassful of water, the oils will separate at once and spread over the surface of the water. This liquid being allowed to stand uncovered, one oil after another will evaporate, according to the degree of its volatility, until at last the least volatile remains behind.

This process sometimes requires weeks, and in order to be able to watch the separate phases of this evaporation correctly, it is necessary to use several glasses and to conduct the mixtures at certain intervals. The glasses must be numbered according to the day when set up, so that they may be readily identified.

If we assume, for example, that a mouth wash is to be examined, we may probably prepare every day for one week a mixture of about 100 grams of water and 10 drops of the respective liquid. Hence, after a lapse of 7 days {512} we will have before us 7 bouquets, of different odor, according to the volatility of the oils contained in them. From these different bouquets the qualitative composition of the liquid may be readily recognized, provided that one is familiar enough with the character of the different oils to be able to tell them by their odors.

The predominance of peppermint oil—to continue with the above example—will soon be lost and other oils will rise one after the other, to disappear again after a short time, so that the 7 glasses afford an entire scale of characteristic odors, until at last only the most lasting are perceptible. Thus it is possible with some practice to tell a bouquet pretty accurately in its separate odors.

In this manner interesting results are often reached, and with some perseverance even complicated mixtures can be analyzed and recognized in their distinctiveness. Naturally the difficulty in recognizing each oil is increased in the case of oils whose volatility is approximately the same. But even in this case changes, though not quite so marked, can be determined in the bouquet.

In a quantitative respect this method also furnishes a certain result as far as the comparison of perfumed liquids is concerned.

According to the quantity of the oils present the dim zone on the water is broader or narrower, and although the size of this layer may be changed by the admixture of other substances, one gains an idea regarding the quantity of the oils by mere smelling. It is necessary, of course, to choose glasses with equally large openings and to count out the drops of the essence carefully by means of a dropper.

When it is thought that all the odors have been placed, a test is made by preparing a mixture according to the recipe resulting from the trial.

Not pure oils, always alcoholic dilutions in a certain ratio should be used, in order not to disturb the task by a surplus of the different varieties, since it is easy to add more, but impossible to take away.

It is true this method requires patience, perseverance, and a fine sense of smell. One smelling test should not be considered sufficient, but the glasses should be carried to the nose as often as possible.

«Fixing Agents in Perfumes.»—The secret of making perfumery lies mainly in the choice of the fixing agents—i. e., those bodies which intensify and hold the floral odors. The agents formerly employed were musk, civet, and ambergris, all having a heavy and dull animal odor, which is the direct antithesis of a floral fragrance. A free use of these bodies must inevitably mean a perfume which requires a label to tell what it is intended for, to say nothing of what it is. To-day there is no evidence that the last of these (ambergris) is being used at all in the newer perfumes, and the other two are employed very sparingly, if at all. The result is that the newer perfumes possess a fragrance and a fidelity to the flowers that they imitate which is far superior to the older perfumes. Yet the newer perfume is quite as prominent and lasting as the old, while it is more pleasing. It contains the synthetic odors, with balsams or rosinous bodies as fixatives, and employs musk and civet only in the most sparing manner in some of the more sensitive odors. As a fixing agent benzoin is to be recommended. Only the best variety should be used, the Siamese, which costs 5 or 6 times as much as that from Sumatra. The latter has a coarse pungent odor.

Musk is depressing, and its use in cologne in even the minutest quantity will spoil the cologne. The musk lingers after the lighter odors have disappeared, and a sick person is pretty sure to feel its effects. Persons in vigorous health will not notice the depressing effects of musk, but when lassitude prevails these are very unpleasant. Moreover, it is not a necessity in these toilet accessories, either as a blending or as a fixing agent. Its place is better supplied by benzoin for both purposes.

As to alcohol, a lot of nonsense has been written about the necessity of extreme care in selecting it, such as certain kinds requiring alcohol made from grapes and others demanding extreme purification, etc. A reasonable attention to a good quality of alcohol, even at a slight increase in cost, will always pay, but, other things being equal, a good quality of oils in a poor quality of alcohol will give far better satisfaction than the opposite combination. The public is not composed of exacting connoisseurs, and it does not appreciate extreme care or expense in either particular. A good grade of alcohol, reasonably free from heavy and lingering foreign odors, will answer practically all the requirements.

«General Directions for Making Perfumes.»—It is absolutely essential for obtaining the best results to see that all vessels are perfectly clean. Always employ alcohol, 90 per cent, deodorized by {513} means of charcoal. When grain musk is used as an ingredient in liquid perfumes, first rub down with pumice stone, then digest in a little hot water for 2 or 3 hours; finally add to alcohol. The addition of 2 or 3 minims of acetic acid will improve the odor and also prevent accumulation of NH_〈3〉. Civet and ambergris should also be thoroughly rubbed down with some coarse powder, and transferred directly to alcohol.

Seeds, pods, bark rhizomes, etc., should be cut up in small pieces or powdered.

Perfumes improve by storing. It is a good plan to tie over the mouth of the containing vessel some fairly thick porous material, and to allow the vessel to stand for a week or two in a cool place, instead of corking at once.

It is perhaps unnecessary to add that as large a quantity as possible should be decanted, and then the residue filtered. This obviously prevents loss by evaporation. Talc or kieselguhr (amorphous SiO_〈2〉) are perhaps the best substances to add to the filter in order to render liquid perfumes bright and clear, and more especially necessary in the case of aromatic vinegars.

The operations involved in making perfumes are simple; the chief thing to be learned, perhaps, is to judge of the quality of materials.

The term “extract,” when used in most formulas, means an alcoholic solution of the odorous principles of certain flowers obtained by enfluerage; that is, the flowers are placed in contact with prepared grease which absorbs the odorous matter, and this grease is in turn macerated with alcohol which dissolves out the odor. A small portion of the grease is taken up also at ordinary temperatures; this is removed by filtering the “extract” while “chilled” by a freezing mixture. The extracts can be either purchased or made directly from the pomade (as the grease is called). To employ the latter method successfully some experience may be necessary.

The tinctures are made with 95 per cent deodorized alcohol, enough menstruum being added through the marc when filtering to bring the finished preparation to the measure of the menstruum originally taken.

The glycerine is intended to act as a “fixing” agent—that is, to lessen the volatility of the perfumes.

«Tinctures for Perfumes.»—

a. Ambergris, 1 part; alcohol, 96 per cent, 15 parts.

b. Benzoin, Sumatra, 1 part; alcohol, 96 per cent, 6 parts.

c. Musk, 1 part; distilled water, 25 parts; spirit, 96 per cent, 25 parts.

d. Musk, 1 part; spirit, 96 per cent, 50 parts; for very oleiferous compositions.

e. Peru balsam, 1 part in spirit, 96 per cent, 7 parts; shake vigorously.

f. Storax, 1 part in spirit, 96 per cent, 15 parts.

g. Powdered Tolu balsam, 1 part; spirit, 96 per cent, 6 parts.

h. Chopped Tonka beans, 1 part; spirit, 60 per cent, 6 parts; for compositions containing little oil.

i. Chopped Tonka beans, 1 part; spirit, 96 per cent, 6 parts; for compositions containing much oil.

j. Vanilla, 1 part; spirit, 60 per cent, 6 parts; for compositions containing little oil.

k. Vanilla, 1 part; spirit, 96 per cent, 6 parts; for compositions containing much oil.

l. Vanillin, 20 parts; spirit, 96 per cent, 4,500 parts.

m. Powdered orris root, 1 part; spirit, 96 per cent, 5 parts.

n. Grated civet, 1 part in spirit, 96 per cent, 10 parts.

«Bay Rum.»—Bay rum, or more properly bay spirit, may be made from the oil with weak alcohol as here directed:

I.—Oil of bay leaves 3 drachms Oil of orange peel 1⁠/⁠2 drachm Tincture of orange peel 2 ounces Magnesium carbonate 1⁠/⁠2 ounce Alcohol 4 pints Water 4 pints

Triturate the oils with the magnesium carbonate, gradually adding the other ingredients previously mixed, and filter.

The tincture of orange peel is used chiefly as a coloring for the mixture.

Oil of bay leaves as found in the market varies in quality. The most costly will presumably be found the best, and its use will not make the product expensive. It can be made from the best oil and deodorized alcohol and still sold at a moderate price with a good profit.

Especial care should be taken to use only perfectly fresh oil of orange peel. As is well known, this oil deteriorates rapidly on exposure to the air, acquiring an odor similar to that of turpentine. The oil should be kept in bottles of such size that when opened the contents can be all used in a short time. {514}

II.—Bay oil, 15 parts; sweet orange oil, 1 part; pimento oil, 1 part; spirit of wine, 1,000 parts; water, 750 parts; soap spirit or quillaia bark, ad libitum.

III.—Bay oil, 12.5 parts; sweet orange oil, 0.5 part; pimento oil, 0.5 part; spirit of wine, 200 parts; water, 2,800 parts; Jamaica rum essence, 75 parts; soap powder, 20 parts; quillaia extract, 5 parts; borax, 10 parts; use sugar color.

«Colognes.»—In making cologne water, the alcohol used should be that obtained from the distillation of wine, provided a first-class article is desired. It is possible, of course, to make a good cologne with very highly rectified and deodorized corn or potato spirits, but the product never equals that made from wine spirits. Possibly the reason for this lies in the fact that the latter always contains a varying amount of oenanthic ether.

I.—Oil of bergamot 10 parts Oil of neroli 15 parts Oil of citron 5 parts Oil of cedrat 5 parts Oil of rosemary 1 part Tincture of ambergris 5 parts Tincture of benzoin 5 parts Alcohol 1,000 parts

II.—The following is stated to be the “original” formula:

Oil of bergamot 96 parts Oil of citron 96 parts Oil of cedrat 96 parts Oil of rosemary 48 parts Oil of neroli 48 parts Oil of lavender 48 parts Oil of cavella 24 parts Absolute alcohol 1,000 parts Spirit of rosemary 25,000 parts

III.—Alcohol, 90 per cent 5,000 parts Bergamot oil 220 parts Lemon oil 75 parts Neroli oil 20 parts Rosemary oil 5 parts Lavender oil French 5 parts

The oils are well dissolved in spirit and left alone for a few days with frequent shaking. Next add about 40 parts of acetic acid and filter after a while.

IV.—Alcohol, 90 per cent 5,000 parts Lavender oil, French 35 parts Lemon oil 30 parts Portugallo oil 30 parts Neroli oil 15 parts Bergamot oil 15 parts Petit grain oil 4 parts Rosemary oil 4 parts Orange water 700 parts

«Cologne Spirits or Deodorized Alcohol.»—This is used in all toilet preparations and perfumes. It is made thus:

Alcohol, 95 per cent 1 gallon Powdered unslaked lime 4 drachms Powdered alum 2 drachms Spirit of nitrous ether 1 drachm

Mix the lime and alum, and add them to the alcohol, shaking the mixture well together; then add the sweet spirit of niter and set aside for 7 days, shaking occasionally; finally filter.

«Florida Waters.»—

Oil of bergamot 3 fluidounces Oil of lavender 1 fluidounce Oil of cloves 1 1⁠/⁠4 fluidrachms Oil of cinnamon 2 1⁠/⁠2 fluidrachms Oil of neroli 1⁠/⁠2 fluidrachm Oil of lemon 1 fluidounce Essence of jasmine 6 fluidounces Essence of musk 2 fluidounces Rose water 1 pint Alcohol 8 pints

Mix, and if cloudy, filter through magnesium carbonate.

«Lavender Water.»—This, the most famous of all the perfumed waters, was originally a distillate from a mixture of spirit and lavender flowers. This was the perfume. Then came a compound water, or “palsy water,” which was intended strictly for use as a medicine, but sometimes containing ambergris and musk, as well as red sanders wood. Only the odor of the old compound remains to us as a perfume, and this is the odor which all perfume compounders endeavor to hit. The most important precaution in making lavender water is to use well-matured oil of lavender. Some who take pride in this perfume use no oil which is less than 5 years old, and which has had 1 ounce of rectified spirit added to each pound of oil before being set aside to mature. After mixing, the perfume should stand for at least a month before filtering through gray filtering paper. This may be taken as a general instruction:

I.—Oil of lavender 1 1⁠/⁠2 ounces Oil of bergamot 4 drachms Essence ambergris 4 drachms Proof spirit 3 pints

{515}

II.—English oil of lavender 1 ounce Oil of bergamot 1 1⁠/⁠2 drachms Essence of musk (No. 2) 1⁠/⁠2 ounce Essence of ambergris 1⁠/⁠2 ounce Proof spirit 2 pints

III.—English oil of lavender 1⁠/⁠2 ounce Oil of bergamot 2 drachms Essence of ambergris 1 drachm Essence of musk (No. 1) 3 drachms Oil of angelica 2 minims Attar of rose 6 minims Proof spirit 1 pint

IV.—Oil of lavender 4 ounces Grain musk 15 grains Oil of bergamot 2 1⁠/⁠2 ounces Attar of rose 1 1⁠/⁠2 drachms Oil of neroli 1⁠/⁠2 drachm Spirit of nitrous ether 2 1⁠/⁠2 ounces Triple rose water 12 ounces Proof spirit 5 pints

Allow to stand 5 weeks before filtering.

«LIQUID PERFUMES FOR THE HANDKERCHIEF, PERSON, ETC.:»

Acacia Extract.—

French acacia 400 parts Tincture of amber (1 in 10) 3 parts Eucalyptus oil 0.5 parts Lavender oil 1 part Bergamot oil 1 part Tincture of musk 2 parts Tincture of orris root 150 parts Spirit of wine, 80 per cent 500 parts

Bishop Essence.—

Fresh green peel of unripe oranges 60.0 grams Curaçao orange peel 180.0 grams Malaga orange peel 90.0 grams Ceylon cinnamon 2.0 grams Cloves 7.5 grams Vanilla 11.0 grams Orange flower oil 4 drops Spirit of wine 1,500.0 grams Hungarian wine 720.0 grams

A dark-brown tincture of pleasant taste and smell.

Caroline Bouquet.—

Oil of lemon 15 minims Oil of bergamot 1 drachm Essence of rose 4 ounces Essence of tuberose 4 ounces Essence of violet 4 ounces Tincture of orris 2 ounces

Alexandra Bouquet.—

Oil of bergamot 3 1⁠/⁠2 drachms Oil of rose geranium 1⁠/⁠2 drachm Oil of rose 1⁠/⁠2 drachm Oil of cassia 15 minims Deodorized alcohol 1 pint

Navy Bouquet.—

Spirit of sandalwood 10 ounces Extract of patchouli 10 ounces Spirit of rose 10 ounces Spirit of vetivert 10 ounces Extract of verbena 12 ounces

Bridal Bouquet.—Sandal oil, 30 minims; rose extract, 4 fluidounces; jasmine extract, 4 fluidounces; orange flower extract, 16 fluidounces; essence of vanilla, 1 fluidounce; essence of musk, 2 fluidounces; tincture of storax, 2 fluidounces. (The tincture of storax is prepared with liquid storax and alcohol [90 per cent], 1:20, by macerating for 7 days.)

Irish Bouquet.—

White rose essence 5,000 parts Vanilla essence 450 parts Rose oil 5 parts Spirit 100 parts

Essence Bouquet.—

I.—Spirit 8,000 parts Distilled water 2,000 parts Iris tincture 250 parts Vanilla herb tincture 100 parts Benzoin tincture 40 parts Bergamot oil 50 parts Storax tincture 50 parts Clove oil 15 parts Palmarosa oil 12 parts Lemon-grass oil 15 parts

II.—Extract of rose (2d) 64 ounces Extract of jasmine (2d) 12 ounces Extract of cassie (2d) 8 ounces Tincture of orris (1 to 4) 64 ounces Oil of bergamot 1⁠/⁠2 ounce Oil of cloves 1 drachm Oil of ylang-ylang 1⁠/⁠2 drachm Tincture of benzoin (1 to 8) 2 ounces Glycerine 4 ounces

Bouquet Canang.—

Ylang-ylang oil 45 minims Grain musk 3 grains Rose oil 15 minims Tonka beans 3 Cassie oil 5 minims Tincture orris rhizome 1 fluidounce {516} Civet 1 grain Almond oil 1⁠/⁠2 minim Storax tincture 3 fluidrachms Alcohol, 90 per cent 9 fluidounces

Mix, and digest 1 month. The above is a very delicious perfume.

Cassie oil or otto is derived from the flowers of Acacia farnesiana Mimosa farnesiana, L. (N. O. Leguminosæ, suborder Mimoseæ). It must not be confounded with cassia otto, the essential oil obtained from Cinnamomum cassia.

Cashmere Nosegay.—

I.—Essence of violet, from pomade 1 pint Essence of rose, from pomade 1 1⁠/⁠2 pints Tincture of benzoin, (1 to 4) 1⁠/⁠2 pint Tincture of civet (1 to 64) 1⁠/⁠4 pint Tincture of Tonka (1 to 4) 1⁠/⁠4 pint Benzoic acid 1⁠/⁠2 ounce Oil of patchouli 1⁠/⁠4 ounce Oil of sandal 1⁠/⁠2 ounce Rose water 1⁠/⁠2 pint

II.—Essence violet 120 ounces Essence rose 180 ounces Tincture benjamin (1 in 4) 60 ounces Tincture civet (1 in 62) 30 ounces Tincture Tonka (1 in 4) 30 ounces Oil patchouli 3 ounces Oil sandalwood 6 ounces Rose water 60 ounces

Clove Pink.—

I.—Essence of rose 2 ounces Essence of orange flower 6 ounces Tincture of vanilla 3 1⁠/⁠2 ounces Oil of cloves 20 minims

II.—Essence of cassie 5 ounces Essence of orange flower 5 ounces Essence of rose 10 ounces Spirit of rose 7 ounces Tincture of vanilla 3 ounces Oil of cloves 12 minims

Frangipanni.—

I.—Grain musk 10 grains Sandal otto 25 minims Rose otto 25 minims Orange flower otto (neroli) 30 minims Vetivert otto 5 minims Powdered orris rhizome 1⁠/⁠2 ounce Vanilla 30 grains Alcohol (90 per cent) 10 fluidounces

Mix and digest for 1 month. This is a lasting and favorite perfume.

II.—Oil of rose 2 drachms Oil of neroli 2 drachms Oil of sandalwood 2 drachms Oil of geranium (French) 2 drachms Tincture of vetivert (1 1⁠/⁠4 to 8) 96 ounces Tincture of Tonka (1 to 8) 16 ounces Tincture of orris (1 to 4) 64 ounces Glycerine 6 ounces Alcohol 64 ounces

Handkerchief Perfumes.—

I.—Lavender oil 10 parts Neroli oil 10 parts Bitter almond oil 2 parts Orris root 200 parts Rose oil 5 parts Clove oil 5 parts Lemon oil 1 part Cinnamon oil 2 parts

Mix with 2,500 parts of best alcohol, and after a rest of 3 days heat moderately on the water bath, and filter.

II.—Bergamot oil 10 parts Orange peel oil 10 parts Cinnamon oil 2 parts Rose geranium oil 1 part Lemon oil 4 parts Lavender oil 4 parts Rose oil 1 part Vanilla essence 5 parts

Mix with 2,000 parts of best spirit, and after leaving undisturbed for 3 days, heat moderately on the water bath, and filter.

Honeysuckle.—

Oil of neroli 12 minims Oil of rose 10 minims Oil of bitter almond 8 minims Tincture of storax 4 ounces Tincture of vanilla 6 ounces Essence of cassie 16 ounces Essence of rose 16 ounces Essence of tuberose 16 ounces Essence of violet 16 ounces

Iridia.—

Coumarin 10 grains Concentrated rose water (1 to 40) 2 ounces Neroli oil 5 minims Vanilla bean 1 drachm Bitter almond oil 5 minims Orris root 1 drachm Alcohol 10 ounces

Macerate for a month. {517}

Javanese Bouquet.—

Rose oil 15 minims Pimento oil 20 minims Cassia oil 3 minims Neroli oil 3 minims Clove oil 2 minims Lavender oil 60 minims Sandalwood oil 10 minims Alcohol 10 ounces Water 1 1⁠/⁠2 ounces

Macerate for 14 days.

Lily Perfume.—

Essence of jasmine 1 ounce Essence of orange flowers 1 ounce Essence of rose 2 ounces Essence of cassie 2 ounces Essence of tuberose 8 ounces Spirit of rose 1 ounce Tincture of vanilla 1 ounce Oil of bitter almond 2 minims

Lily of the Valley.—

I.—Acacia essence 750 parts Jasmine essence 750 parts Orange flower essence 800 parts Rose flower essence 800 parts Vanilla flower essence 1,500 parts Bitter almond oil 15 parts

II.—Oil of bitter almond 10 minims Tincture of vanilla 2 ounces Essence of rose 2 ounces Essence of orange flower 2 ounces Essence of jasmine 2 1⁠/⁠2 ounces Essence of tuberose 2 1⁠/⁠2 ounces Spirit of rose 2 1⁠/⁠2 ounces

III.—Extract rose 200 parts Extract vanilla 200 parts Extract orange 800 parts Extract jasmine 600 parts Extract musk tincture 150 parts Neroli oil 10 parts Rose oil 6 parts Bitter almond oil 4 parts Cassia oil 5 parts Bergamot oil 6 parts Tonka beans essence 150 parts Linaloa oil 12 parts Spirit of wine (90 per cent) 3,000 parts

IV.—Neroli extract 400 parts Orris root extract 600 parts Vanilla extract 400 parts Rose extract 900 parts Musk extract 200 parts Orange extract 500 parts Clove oil 6 parts Bergamot oil 5 parts Rose geranium oil 15 parts

Maréchal Niel Rose.—In the genus of roses, outside of the hundred-leaved or cabbage rose, the Maréchal Niel rose (Rosa Noisetteana Red), also called Noisette rose and often, erroneously, tea rose, is especially conspicuous. Its fine, piquant odor delights all lovers of precious perfumes. In order to reproduce the fine scent of this flower artificially at periods when it cannot be had without much expenditure, the following recipes will be found useful:

I.—Infusion rose I (from pomades) 1,000 parts Genuine rose oil 10 parts Infusion Tolu balsam 150 parts Infusion genuine musk I 40 parts Neroli oil 30 parts Clove oil 2 parts Infusion tubereuse I (from pomades) 1,000 parts Vanillin 1 part Coumarin 0.5 parts

II.—Triple rose essence 50 grams Simple rose essence 60 grams Neroli essence 30 grams Civet essence 20 grams Iris essence 30 grams Tonka beans essence 20 grams Rose oil 5 drops Jasmine essence 60 grams Violet essence 50 grams Cassia essence 50 grams Vanilla essence 45 grams Clove oil 20 drops Bergamot oil 10 drops Rose geranium oil 20 drops

May Flowers.—

Essence of rose 10 ounces Essence of jasmine 10 ounces Essence of orange flowers 10 ounces Essence of cassie 10 ounces Tincture of vanilla 20 ounces Oil of bitter almond 1⁠/⁠2 drachm

Narcissus.—

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